A Short Glossary of Digital Photography Terms-Part-2

Dark Frame - A noise reduction process whereby a camera takes a second exposure of a black frame after the camera takes a long exposure (1/2-second or longer) image. The image "noise" is easily identified in the black frame shot and is then electronically removed from the actual image. This helps reduce the amount of hot pixels that normally show up in long exposure shots from digital cameras. Decompression - The process by which the full data content of a compressed file is restored.

Dedicated Flash - Describes an electronic flash that is made to be used only with a specific model of camera. Canon, Nikon, Olympus and other cameras have specific electrical contacts in the hot shoe to pass TTL-metering and AF range data to/from the flash unit. You can not use a dedicated Canon flash on a Nikon camera for example.

Densitometer - A tool used to measure the amount of light that is reflected or transmitted by an object.
Diffusion Dithering - A method of dithering that randomly distributes pixels instead of using a set pattern. Digital Film - Term used to describe solid state flash memory cards.

Digital Zoom - A digital magnification of the center 50% of an image. Digital zooms by nature generate less than sharp images because the new "zoomed" image has been interpolated.

Digitization - The process of converting analog information into digital format for use by a computer.

Diopter Adjustment - Adjusts the optical viewfinder's magnification factor to suit the eyesight of the user. Look for a knob or dial next to or beneath the viewfinder's eyepiece. Not all cameras have this feature.

Dithering - A method for simulating many colors or shades of gray with only a few. A limited number of same-colored pixels located close together are seen as a new color.
DPI - Dots per Inch. A measurement value used to describe either the resolution of a display screen or the output resolution of a printer.

DPOF - Digital Print Order Format. Allows you to embed printing information on your memory card. Select the pictures to be printed and how many prints to make. Some photo printers with card slots will use this info at print time. Mostly used by commercial photo finishers or those Kodak kiosks you find in the mall.

DRAM - Dynamic Random Access Memory. A type of memory that is volatile - it is lost when the power is turned off.

DRAM Buffer - All digicams have a certain amount of fixed memory in them to facilitate image processing before the finished picture is stored to the flash memory card. Cameras that have a burst mode have much larger DRAM buffers, often 32MB or larger. This also makes them more expensive. DSLR - Digital SLR (Single Lens Reflex) camera. Interchangeable lens digital camera. Manufacturers include Canon, Fuji, Kodak, Nikon, Olympus, Pentax and Sigma.
DVD - "Digital Versatile Disc"DVD is DVD-Video recorded on a DVD-R or DVD-RW disc, which contains superior quality video (MPEG-2) and audio. Typically, a DVD can hold more than one hour of video.
Dye Sub - Dye Sublimation is a printing process where the color dyes are thermally transferred to the printing media. Dye sub printers use the CMYK (cyan, magenta, yellow, black) color format and have either three ribbons (cyan, magenta and yellow) or high-end printers have four CMY plus a blacK. The paper is run in and out of the printer four times, once for each color and then a fourth time when a protective overcoat is applied. Dye sub is continuous tone printing; it prints tiny square dots each of which is denser in the center and lighter on the edges. These dots can be varied from almost no dot at all to an almost completely solid dot. The dyes are transparent so different colored dots can be printed on top of each other to form any one of 16-million colors. This is known as the subtractive color process. Dye sub prints rival conventional photographs in both their color gamut and longevity with water and UV resistant qualities.
Dynamic Range - A measurement of the accuracy of an image in color or gray level. More bits of dynamic range results in finer gradations being preserved.
Depth of field. The distance between the nearest and farthest points that appears in acceptably sharp focus in a photograph. Depth of field varies with lens aperture, focal length, and camera-to-subject distance.
Docking station. A small base connected to the computer by a cable. You insert the camera or other device into the docking station to transfer images.
Download. Sending a file from another device to your computer.
E-TTL / E-TTL II - Canon's flash exposure system used on their digital SLRs. To quote Canon: "The “smarter” E-TTL II system captures the subject as a “plane” and ensures that images containing various colors and levels of reflection are captured accurately and optimally. The system compares the ambient light with the reflected pre- flash off the subject reported in all 35 metering zones and selects the areas with a small difference to be weighted for flash exposure calculation. This system also eliminates or under weights areas with large difference recognizing them as an extremely reflective object in the background or as a highly reflective subject, smartly ensuring it by considering the distance information data provided from compatible EF lenses. The system similarly prevents over-exposure when photographers lock focus and recompose the shot by considering the flash output level calculated according to the broader distance."

EPP - Enhanced Parallel Port - the newer hi-speed, bidirectional printer port on modern computers. Some older digicams and scanners use the EPP port to transfer data.

ERI-JPEG - Extended Range Imaging Technology, a new file format used in Kodak professional digital cameras. This proprietary technology offers an innovative image file format similar to a JPEG, but with the dynamic range and color gamut information of raw DCR camera files. Extended Range Imaging Technology files allow you to easily open, edit, and print JPEG files within your JPEG workflow. Your JPEG files are captured directly in the camera. With ERI, you'll have the extensive editing, color balance, and color compensation capabilities of RAW digital negatives for applying to your JPEG files.

E-TTL - Canon's Evaluative-TTL exposure system that uses a brief pre-flash before the main flash to calculate the exposure index.

EV - Exposure Value, a very complex thing but in the digicam world it usually means the ability to override the auto exposure system to lighten or darken an image. EVF - Electronic ViewFinder, a small color LCD with a magnified lens that functions as an eye level viewfinder. Usually found on video camcorders but they have been showing up on super-zoom digicams where optical viewfinders are impractical. (Canon Pro90, Fuji 2800Z, Olympus C-2100, Nikon Coolpix 5700).

EXIF - EXIF (Exchangeable Image File format) refers to the embedded camera and exposure information that a digital camera puts in the header of the JPG files it creates. Many graphic programs (Photoshop, ThumbsPlus, Qimage Pro, CameraAid) can read and display this information.

Exif Print - Exif Print (Exif 2.2) is a new worldwide printer independent standard. Under Exif 2.2, the digital still camera can record data tags for specific camera settings and functions such as whether the flash was on or off, if the camera was in landscape, portrait or night scene mode, etc. Referencing some or all of this information, an Exif Print compatible application can process digital camera images intelligently based on specific camera settings and the shooting environment.
Exposure compensation. The ability to adjust exposure by one or two stops to lighten or darken the image.
Exposure/focus lock. The ability to point at one part of the scene and hold the shutter button half-way down to lock in exposure and focus settings when you point the camera elsewhere to compose the scene.
Firewire. See IEEE 1394.
Flash card reader. An accessory that attaches to your computer by cable. You insert a flash memory card into the reader to transfer files.
Flash memory card. A card containing chips that store images.
Flash memory. A form of memory using chips instead of magnetic media. The data in the device isn’t lost when the power is turned off.
Flash, fill. Flash used to fill shadows even when there is enough light to otherwise take the photograph.
Flash, ring. -A special circular flash that fits over a lens to take close-up pictures
Flash, slave.- A flash that fires when it senses the light from another flash unit.
FlashPix. -An image format that contains a number of resolutions, each of which is broken into tiles that can be edited and displayed independently.
Floppy drive,-A storage device on almost all computers that accepts 3 ½ or 5 ¼-inch floppy disks.
FPX - FlashPiX - Trade name for a new multi-resolution image file format jointly developed and introduced in June 1996 by Kodak, HP, Microsoft and Live Picture.
Full Bleed - Printing term used when an image or inked area extends to the edge of all four sides of the printed piece. Better known as "borderless" in today's world of inkjet photo printers.
Frame grabber. A device that lets you capture individual frames out of a video camera or off a video tape.
Frame Rate. The number of pictures that can be taken in a given period of time.
Gamma - A measure of the amount of contrast found in an image according to the properties of a gradation curve. High contrast has high gamma and low contrast low gamma.

Gamma Correction - In reference to displaying an image accurately on a computer screen, Gamma correction controls the overall brightness of an image. Images which are not properly corrected can look either bleached out, or too dark.
Gamut - The range of colors that are available in an image or output process. It is generally used in describing the capabilities of a printer to reproduce colors faithfully and vibrantly - i.e. "The xxxxx printer has a wide color gamut."
GIF. -An image file format designed for display of line art on the Web.
Gray market.- Importing camera equipment outside of the normal manufacturer’s distribution channels to take advantage of lower prices elsewhere in the world.
Gigabyte (GB) - A measure of computer memory or disk space consisting of about one thousand million bytes (a thousand megabytes). The actual value is 1,073,741,824 bytes (1024 megabytes). Gradation - A smooth transition between black and white, one color and another, color and no color. Gray Level - The brightness of a pixel. The value associated with a pixel representing it's lightness from black to white. Usually defined as a value from 0 to 255, with 0 being black and 255 being white. Gray Scale - A term used to describe an image containing shades of gray rather than color. Most commonly referred to as a black and white photo
Guide Number - The output power rating of a electronic flash unit.
HAD CCD - Sony's latest CCD imager, HAD = Hole Accumulation Diode

Halftone Image - An image reproduced through a special screen made up of dots of various sizes to simulate shades of gray in a photograph. Typically used for newspaper or magazine reproduction of images but it is also how today's inkjet printers work. Halftoning or dithering are the methods used to produce a smooth gradation of color versus distinct bands of color or moirè patterns.

HD - Hard drive (aka HDD), the internal, large-capacity data storage unit in today's PC computers.

HDTV - High Definition Television. New video "standard" that will resolve 1,125 lines in the United States instead of the traditional 525 lines of the NTSC standard. The aspect ratio is 16:9 versus 4:3 of regular TV sets. Histogram - A bar graph analysis tool that can be used to identify contrast and dynamic range of an image. Histograms are found in the more advanced digicams and software programs (graphic editors) used to manipulate digital images. The histogram shows a scale of 0 - 255 (left to right) with 0 being black and 255 being white.

Hot Shoe - A flash connector generally found on the top of the camera that lets you attach a flash unit and trigger it in sync with the shutter. Hologram Laser AF - Sony introduced a new laser-assisted auto focus system on the Cyber-shot DCS-F707 that uses a safe Class 1 laser to paint a grid on the subject that makes the auto focus fast and accurate. Also found on the DSC-F717, F828, V1 and V3 cameras.

Hue - A term used to describe the entire range of colors of the spectrum; hue is the component that determines just what color you are using. In gradients, when you use a color model in which hue is a component, you can create rainbow effects.
IEEE 1394.- A new port on the computer capable of transferring large amounts of data. Currently the fastest available port.
i-TTL - Nikon's new flash exposure system, used on new D70 digital SLR and SB-600 and SB-800 Speedlights.

ICC Profile - The International Color Consortium, a group that sets standard guidelines for color management in the imaging world. Most printers, monitors and scanners as well as digital cameras, usually come with a driver disc for Windows and Mac systems that includes ICC profiles for the particular device. Color profiles simply let one piece of hardware or software "know" how another device or image created its colors and how they should be interpreted or reproduced. IEEE-1284 - This is the high-speed bidirectional parallel port specification used on Windows PCs mostly for printers.

IEEE-1394 - Better known as "FireWire" - it's a high-speed input/output bus used by digital video devices, film/flatbed scanners, high-end digital still cameras & PCs. iESP - Olympus' exposure metering system. iLink - Sony's term for IEE-1394 FireWire data port found on their camcorders. Image Processing - Capturing and manipulating images in order to enhance or extract information. Image Resolution - The number of pixels per unit length of image. For example, pixels per inch, pixels per millimeter, or pixels wide.
Image sensor. A solid-state device containing a photosite for each pixel in the image. Each photosite records the brightness of the light that strikes it during an exposure.
Image Stabilization - An optical or digital system for removing or reducing camera movement in telephoto zoom lenses. Usually found only on extremely long focal length lenses such as the 10X lens on Sony Mavicas and Olympus C-2100UZ, E-100RS. Can also be found on Panasonic FZ1/FZ2/FZ10's 12X Leica zoom lens. InfoLITHIUM - Sony's "smart" lithium rechargeable battery pack. It has a chip inside that tells the camera how long (in minutes) it will last at the current discharge rate.

Inkjet - A type of printer that sprays dots of ink onto paper to create the image. Modern inkjet printers now have resolutions of up to 2880dpi and create true photo-quality prints. Interlaced - Term used to describe an image sensor that gathers its data by first processing the odd lines and then the even lines. See also "Progressive Scan" for the other (preferred) method. Interpolated - Software programs can enlarge image resolution beyond the actual resolution by adding extra pixels using complex mathematic calculations. See "Resolution" below Intervalometer - Fancy term for Time-Lapse. Capture an image or series of images at preset intervals automatically. Interval Recording - Capturing a series of images at preset intervals. Also called time-lapse.
Infrared. See IrDA. IR - InfraRed (aka IrDA) uses an invisible (to humans) beam of light to either wirelessly control a device or as a method of transferring data from camera to computer (or printer) without cables. Some cameras also employ infrared in the auto focusing system.
Interpolation. In an image interpolation adds extra pixels. It’s done with some zoom lenses.
Inverse square law. The physical law that causes light from a flash to fall off in such a way that as flash to subject distance doubles, the light falls off by a factor of four.
IrDA. -An agreed upon standard that allows data to be transferred between devices using infrared light instead of cables..
ISO.- A number rating indicating the relative sensitivity to light of an image sensor or photographic film. Faster film (higher ISO) is more sensitive to light and requires less exposure than does slower film.

Turn Off Vibration Reduction (or IS) of your camera

The big rage in digital lenses these days are the Vibration Reduction (VR) lens from Nikon and the Image Stabilization (IS) lens from Canon, which help you get sharper images while hand-holding your camera in low-light situations. Basically, they let you hand-hold in more low-light situations by stabilizing the movement of your lens when your shutter is open longer, and honestly, they work wonders for those instances where you can't work on a tripod (like weddings, some sporting events, when you're shooting in a city, or just places where they simply won't let you set up a tripod). If you're in one of those situations, I highly recommend these VR or IS lenses, but depending on which one you use, there are some rules about when you should turn them off. For example, I shall start with Nikon. If you are shooting on a tripod with a Nikon VR lens, to get sharper images turn the VR feature off (you do this right on the lens itself by turning the VR switch to the off position). The non-technical explanation why is, these VR lenses look for vibration. If they don't find any, they'll go looking for it, and that looking for vibration when there is absolutely none can cause (you guessed it) some small vibration. So just follow this simple rule: When you're hand-holding, turn VR or IS on. When you're shooting on a tripod, for the sharpest images possible, turn VR or IS off. Now, there are some Nikon VR lenses and some older Canon IS lenses that can be used on a tripod with VR or IS turned on. So, be sure to check the documentation that came with your VR or IS lens to see if yours needs to be turned off.

Varioptic liquid lens

It's not even two years ago that Varioptic launched a new liquid lens for a number of new markets, the communications market for mobile phones, PDAs, web cams, and the entertainment market for digital cameras, camcorders and gaming applications. Today, the total manufacturing capacity is already at 100.000 units per month and is planned to reach 1 million units at the end of this year. Varioptic's liquid lenses, using two drops of liquid, act similarly to the human eye, in that they can change shape, to zoom or focus automatically...

HIGHLIGHTS
The liquid lenses that we develop are based on the electrowetting phenomenon. A water drop is deposited on a substrate made of metal, covered by a thin insulating layer. The voltage applied to the substrate modifies the contact angle of the liquid drop. The liquid lens uses two isodensity liquids, one is an insulator while the other is a conductor. The variation of voltage leads to a change of curvature of the liquid-liquid interface, which in turn leads to a change of the focal length of the lens.Intellectual Property Varioptic has pioneered the electrowetting technology since its founding and is now at the forefront of all advances in this field. Varioptic owns 2 fundamental global patents on the technology and is dedicating much of its resources to improve and patent new advances in this technology.

Key competitive advantages

• Large inverse focal length range

• Ruggedness (No moving parts )

• Fast response

• Very good optical quality

• Good transparency in the visible range

• Wide Operating temperature range

• Very good stability of the optical axis

• Extremely low electrical consumption

• Simple low-cost construction.

Source-http://www.varioptic.com/en/tech/technology-overview.php

Photoshop Keyboard Shortcuts - Magic at your Fingertips!

Photoshop is a powerful tool. One of my favorite things about the program is that you can use your mouse in conjunction with your keyboard to save time and really get down to business. Keyboard shortcuts are a serious time-saver when working in the digital darkroom.
Keyboard Shortcuts are keystrokes used to quickly invoke a command. Shortcuts usually (but not always) involve a modifier key such as Ctrl, Alt, or Shift. For example, instead of choosing Select » Deselect from the menus, you could simply press Ctrl+D.These commands are a little awkward and cumbersome at first, but once you pick up a couple of commands on the keyboard you’ll never go back. The whole idea is that while one hand is running the mouse, the other hand might as well be doing something too. This method of working with Photoshop can really decrease your time spent on the computer and give you more time to get behind the camera.
You can explore Photoshop's menus to see which commands have keystroke shortcuts. Also, if you float your pointer over any tool on the toolbar, a pop-up box will tell you the tool's name and key command.
Speed isn't the only benefit of using keyboard shortcuts. Keyboard shortcuts can improve your efficiency, and in some cases, they can even invoke commands that might not otherwise be available (e.g., zooming while a dialog box is open, or inserting a Select forward layer command into an action).
I've complied a lists of my favorite commands and keys that I use everyday. I thought it would be nice to share, ……………….Enjoy…..Rajendra


The Magical Keys
Here is a list of a few Magical Keyboard Shortcuts that I use everyday. The sweet thing about these shortcuts is that they are only one little keystroke.
M: The Marquee tool.
W: The Magic Wand selection tool.
V: The Move tool.
U: The Vector Shape tool.
B: The Brush tool.
F: The Paint Bucket (a/k/a Fill).
E: The Eraser tool.
[ or ]: Increase or decrease Brush or Eraser size by ten.
I: The Eyedroper tool.
D: Set your Pallet back to Black and White (default).
X: Switch foreground and background colors.
H: The Hand tool.
Space Bar: Whatever tool you're using, if you hold the Space Bar, the Hand tool will
What the "Shift" Key Can Do
The Shift key is another magical tool in Photoshop. It affects several different tools in different ways. For example:
Shift and the Marquee tool (M): Holding Shift while dragging the Marquee tool will turn your rectangle or sphere into a perfect square, circle or oval.
Shift and the Shape tool (U): Like the Marquee tool, this will make a perfect shape, either a square, circle or one of the custom shapes you select from the drop down menu.
Shift and a Guide Line: Holding Shift while moving a Guide Line will make the line snap to your ruler (so that you can line up your Guide at 1", 1 1/2" or 2", etc.).
Shift and the Brush tool (B): You can paint from point to point! Click once to paint and move cursor to where you would like to end your line. Hold Shift and click to paint. A line will magically appear in between Point A to Point B.
Shift and a Shortcut Key: This will cycle you through any hidden tools. For example holding Shift and tapping "B" will cycle through the Paint Brush, the Pencil and the Color Replacement tools. You can also edit your preferences (CTRL + K) and deselect " Use Shift Key for Tool Switch" so that simple tapping a key like "B" will cycle through your hidden tools.
Gain Control... with CTRL
Here is a list of my most frequently used CTRL Commands in Photoshop.
CTRL + N: Create a new document.
CTRL + O: Open a document.
CTRL + W: Close a document.
CTRL + S: Save a document.
CTRL + SHIFT + S: "Save as" (give document a new name or save in a different format).
CTRL + K: Edit your preferences.
CTRL + Z: Undo the last function.
CTRL + A: Select All (something you must do to cut or copy anything).
CTRL + D: Deselect All.
CTRL + X: Cut.
CTRL + C: Copy.
CTRL + SHIFT + C: Copy all the layers as a merge whole.
CTRL + V: Paste.
CTRL + T: The Transform tool.
CTRL + L: Adjust Levels (the magic photo saver!).
CTRL + U: Adjust Hue, Saturation and Lightness.
CTRL + SHIFT + U: Desaturate.
CTRL + I: Invert colors.
CTRL + J: Move selection to new layer via a Copy.
CTRL + SHIFT + J: Move selection to new layer via a Cut.
CTRL + ALT + G: Create Clipping Mask (make layer conform to the shape of the layer below it).
CTRL + E: Merge layer down.
CTRL + SHIFT + E: Merge every visible layer.
CTRL + ALT + R: Crop.
CTRL + F: Repeat the last Filter
CTRL + New Layer Button: Creates a new layer under your current layer

There are too many shortcuts but above are just a listing of my favorites. Do you have one that I left off th

SOLARIZATION OF PHOTOGRAPHS

“I don’t know how it is done, but I like” it is a standard reaction of a budding photographer when he observes a solarized picture in an exhibition for the first time. Solarization is a darkroom technique with the help of which any ordinary photograph can be made to look graphic & surrealistic. Now you can also make solarised prints following the technique described below.

True Solarization is the complete or partial reversal of an image by extreme overexposure-about 1,000 times the amount required to give a normal negative image on development in the camera. True solarization often occurs when a very intense light source-e.g. An electric ark –appears in the picture and is grossly overexposed. Because of solarization, the source reproduces as a black patch on the print instead of clear white.
Nowadays the term solarization is often used, however to refer to the Sabattier Effect or Pseudo-Solarization, which produces results similar in appearance. For producing sabattier effect the print or negative is re exposed halfway during development. The already developed image acts as a negative through which the rest of the silver bromide is exposed. Some reversal of the image occurs and the result is part negative and part positive. A further distinction is that the Sabattier effect produces a fine line of low density between the fogged and already developed area of the image, this line is called Makie Line. This happens partly because there is always an increased concentration of bromide ions in the emulsion at the boundary separating a completely developed area from the one that is just developing. Sabattier effect was supposedly discovered by accident in 1862 by a French scientist named Armand Sabattier so the technique is most correctly referred as Sabattier effect In 1930 Man Ray used it for the first time for producing artistic images.

Subjects:
You can solarize almost anything but negative with large areas of dark tone and simple outlines often yield most satisfying results. Select a subject matter where there is a great wealth of detail that you want to emphasize. The original negative must be contrasty for better result. Nudes, Architecture, etc often produce eye-catching result.

Technique:
Both Prints and the Negatives can be solarised. Generally people solarize Black & White materials but solarising colour negative or transparencies produce some of the most beautiful and eye catching results. I shall try to explain the methods used for solarizing different type of materials. Don’t be afraid, if you have done basic Black & White darkroom processes such as Developing and printing you can do solarization too. For getting consistent solarized result you must standardize your process so that you can get desired result every time.

Print Solarization:

Print solarization can be defined as a complete or partial reversal of tones in an exposed and partially developed paper emulsion when given a uniform second exposure and developed to completion. Through the manipulation and control of multiple variables a variety of effects can be produced, from mere traces of tone in print highlights to posterization-like reversals .For best result take a hard grade paper instead a normal grade pap er. Make a test print to determine the proper exposure time. Place your negative in the enlarger carrier and expose the printing paper up to the time indicated by your test print.
Place the exposed paper inside developer. After developing for two thirds of the regular time pull the print out, place it flat on the table facing up and switch on the darkroom overhead light only for a second. After this re exposure, the paper is then returned again inside the developer to complete it’s development .For example if you are giving 150 seconds developing time, give re-exposure after 100 seconds and then develop again for another 50 seconds.
For re exposure I use a 40-watt milky bulb hanging at a 4 feet distance from the table. I use a bed –switch to turn it off and on. By changing the time of first development and amount of re-exposure you can control your amount of solarizartion. Always use a fresh developer for good result. The exact amount of re-exposure is very important because if you give too much re-exposure you will get a black print instead of a solarized print.

Effect of exposure on Solarization: -
Whether one solarizes paper or film, the initial exposure is very important, as it determines the overall nature of the final image. If the initial exposure is fairly heavy, the final image will be like the image obtained by normal development, no matter how heavy is the second exposure. If the initial exposure is light, the final image will show reversal - that is, tonal values paralleling those of the initial exposure. An intermediate initial exposure can yield a final image containing both negative and positive regions, and it is this type of image that has fascinated the artistic practitioners of solarization.
Effect of the Film or Paper:
The technical quality of a solarized image is dependent on the photographic material (film or paper) used and, especially in the solarization of paper and on the composition of the developer. If either of these factors is not optimal, the solarized image can be "muddy," with gray highlights. The contrast enhancement can also be obtained by using films or papers of medium or low contrast and by using low- contrast developers. During solarization of photographic papers, the choice of paper is very important. Many enlarging papers give rather poor results no matter what kind of developer is used. However, if a suitable developer is used, good results are obtained with Agfa Brovira paper this paper is first choice of solarizers.

Effect of the Developer:
Most general- purpose developers contain both metol and hydroquinone as the active developing agents. These developers serve fairly well in the solarization of film, but give muddy results in print solarization. The fact that a heavily used metol- hydroquinone developer gives better print solarization than the fresh developer has probably been in the lore of solarization for many years. A fresh solution of developer, containing only metol as the developing agent, functions as a good solarizing developer. The inclusion of both hydroquinone and metol in a developer makes it unsatisfactory for solarization of paper. Heavily used developer solutions give good print solarizations merely because the hydroquinone has been consumed, and the sole active developing agent is the remaining metol. A print or film immersed in a clear developer containing only metol as a developer can be uniformly exposed to light in the second exposure and can be clearly observed during the subsequent development.
Following formula for a stock solution of "solarizing developer" having the desirable characteristics outlined above.
solarizing developer
Metol -12.0 gSodium sulfite, anhydrous -37.6 gSodium carbonate monohydrate- 41.0 gSodium bromide -4.8 g
Dissolve chemicals, in the order given, in about 850 ml of water at room temperature, and then dilute to 1 liter. For solarization of enlarging papers, dilute with an equal volume of water and use at 16- 18oC.
Kodak Selectol- Soft is a hydroquinone- free developer is a good alternative that can be used for print solarizations; the stock solution has about the right concentration for use as a working solution in solarization
How to Boost a muddy print?
The highlights of solarized prints (i.e., those areas that reverse when solarized) are usually somewhat degraded during the reversal process .The traditional remedy for muddy solarization has been to use photographic materials of extremely high contrast and to increase the contrast still further by successive copying of the solarized image. For example, a commonly used procedure is to make a positive copy of a solarized negative on a sheet of lithographic film, use that positive to make a negative copy on a second sheet of lithographic film, and then to make a final print using that negative. Each copying step causes such a large increase in contrast that the final print usually lacks all tones between white and black.
You can also use overall or selective reduction in Farmers Reducer to increase the contrast of the print and give it some punch. The formula of Farmers reducer is given below: -
Solution A
Potassium Ferricyanide----50 g
Water-------500 cc
Solution B
Hypo------200 g
Water--- 1000 cc
For this purpose take a big try or developing dish .Take one part of solution A and 5 parts of solution B and mix them in 30 parts of water in a dish of suitable size. Wet the negative or print thoroughly, and then place it in the reducer and start agitating the dish till the image is reduced to desired density. Again wash the print thoroughly in running water to eliminate all traces of reducing chemicals. Solution A and B should only be mixed just prior to use, as the mixed solution deteriorates very rapidly.
For local reduction of small dark areas and highlights, the iodine iodide reducer is best. The formula of iodine iodide reducer is given below: --
Potassum iodide---12 g
Iodine Crystals----10 g
Water----200 cc
The print on which this reducer is being used must be free from hypo so wash the print thoroughly before using this solution. With the help of a fine brush apply the above solution on the highlight carefully. As soon as you apply the reducer that part of the print on which the reducer is applied will become either or purple. Then immerse the print in a plain hypo solution for one or two minutes, this will clear up all the iodine iodide from the surface of the print and you will get a pure sparkling highlight. After this wash the print in water to remove the traces of the chemicals
Solarizing negative:
Photographers prefer to solarize negative because once the solarised negative is ready they can make any number of print whereas in case of print solarization you have to solarize each time. For soalrisation Lith film is used instead of normal negative film. Lith film is a high contrast film so it gives better solarized result, it is an Ortochromatic film so you can use is in Red safelight in darkroom and use it just like bromide paper. Lith films are normally developed in special high contrast developer but you can use usual D-163 or D-19 paper developer. I have got good result with these developers. Step-by-Step solarization procedure is given below.
Take out one of your Black& White negative, which is contrasty and has a good shadow detail. If your starting point is a transparency, make a good negative from it by printing it onto a lith film and use this negative in the next steps given below.
Place your normal /lith negative in enlarger carrier and place a lith film in the easel. Expose some test strips to determine the correct exposure time. Now take a fresh lith film expose and develop the film as usual in D-163 developer for 2 minutes with continuous agitation.
After drying the film contact print it on another lith film.
Now start developing film in the same developer (with emulsion side facing up) with continuous agitation for 30 seconds then settle the film down in the developer for a few seconds without agitation.
Re-expose the film to white light while it is still in developer. Do not agitate the film and let it stay in developer for 90 seconds.
After this, rinse the film in stop bath, then fix, wash and dry the film as usual. You can also use a hair dryer to dry a lith film.
Now make a print of the required size on a hard grade bromide paper.

The secret of obtaining good result is to use a fresh developer each time. Agitate the film continuously before the second exposure, but agitation should be stopped after the second exposure.
Due to contrasty nature of lith film and mackie lines the negative solarization often looks like a pen –and ink drawing.
Colour Solarization: -
You can produce a solarised print form a colour negative. To produce a solarised image of a colour negative first make a colour print from it. Place the negative in the enlarger negative carrier, focus the image, and make a test strip to determine exposure and filtration value . For solarizing this exposed print re expose the colour print with a colour light halfway through the development. For re exposing I use a table lamp fitted with 40-watt milky bulb. This lamp is directed towards the white ceiling so that only weak bounced light falls on the paper. To colour this light I use commonly available cellophane paper over the table lamps reflector. The low wattage of the bulb and bouncing the light makes it weak and permits long fogging exposure and thus considerable control on the final image .By juggling the image and fogging exposure times and colour filtration, you can control the end result.
Colour print soalrization is similar to Black and White print solarization the only difference is that you use colour chemicals, colour paper and colour light .So all the method dealt above in Black & White Solarization are applicable here and need not to be repeated. The one major difference is that you cannot use any safelight during colour print processing you will have to work in total darkness.
Duotone Effects:-
One of the most interesting and little-explored possibilities in print solarization is that of duotone effects. To achieve a duotone effect you should utilize two developers, one for use prior to the solarization exposure, and one for use during and afterward. The first developer should have a very low bromide content--only one or two grams per liter--while the second developer should have a very high bromide content in the vicinity of 30 to 70 grams per liter of working solution, depending upon the paper. The print is exposed and developed for 30 to 60 seconds in the first developer, then is transferred to the second developer where it is solarized and developed to completion. The "fog" that is deposited into what would have been the high values of the normal print will be of a distinctly warmer tone than the darker values developed out in the first development prior to solarization.
When utilizing a high bromide developer it is necessary to use a much brighter light source for the solarization exposure, since bromide tends to reduce emulsion speed. This is where high-wattage bulbs are necessary.

Multiple Solarization: -
Sabattier effect produces a fine line of low density between the fogged and already developed area of the image, this line is called Makie line. One thing you may try is to make double or triple lines. ­­Multiple solarization works best with lith films. Take the first sabattier image and contact print that to a new sheet of lith film. Now solarize this film once again .You will get two instead of one clear line. The effect can be carried out further till you are satisfied. The multiple solarised print has only lines, which gives it an extraordinary look.

Chromoskedasic solarization: -
Chromoskedasic solarization means a coloured solarization made by scattering of light. This is a Black and White print solarization process which gives results similar to colour solarization .In this type of solarization all paper and chemicals used in Black and White solarization are used but it uses thiocyanate as the silver halide solvent in the second developer; producing a whole range of colours in the previously white areas of the print - 'grayish brown, reddish brown, brownish red, orange, yellow, greenish brown, brownish green, purplish brown, brownish purple, blue, or subtle combinations of these' - largely dependent on the pH. The colours are due to the different particle size of the silver produced. A suitable thiocyanate solution to add to print developers is Kodak Ektamatic S30 Stabilizer (an acetate - buffered thiocyanate solution). Developer pH can be increased by using Kodak S2 Activator (a dilute potassium hydroxide solution) or soda and decreased by adding acetic acid or borax.
Partial print Solarization:
Due to second exposure and development you get a solarised print. This second exposure reduces the contrast of the print that is why some photographers use partial print solarization to emphasize their main subject. In partial print solarization the main subject of the print is left intact only the surroundings are solarised so the attention of the viewer is easily directed towards the main subject. Let us take a look how it is done.
This technique can be used either with Black and white or with colour print solarization. Take a plain white paper equal to the size of your printing paper. Enlarge and focus your negative on this piece of white paper. Now take a pencil and draw the outline of that portion of the picture, which you want to keep intact during solarization. Now switch on the white light of the darkroom and fill the outline with black marker pen. Now our mask is ready. A print is made on a sheet of paper and once image begins to appear, remove the paper from the developer and place it on a flat table. This partially developed print is covered with the mask in as complete register as possible. The re- exposure to white light is given in this condition. To keep the paper and mask in flat and in register you can place a glass sheet over them. This re-exposure to white light partially reverses all but that area under the “mask” and once development is completed you get a print in which the normally printed main subject is surrounded by a partially reversed one, providing surrealistic effect. The photographic paper is covered by a sheet of white paper so the second solarization exposure will be more than usual, so before giving the final exposure make a test solarized print to determine the solarizing exposure.

SHARING YOUR PHOTOS

If an image is captured and no one but the Photographer sees it, has it really been enjoyed?" Clearly, a much less complicated question, it's answerable by simply stating, "Not nearly as much." The sharing of an image is, after all, the reason you capture it in the first place, isn't it?
Among the many wonders of the Internet is the fairly recent development of photo-sharing Web sites. These sites are set up as online communities where people can "drop off' their images for all of the world (or may be just for mom and dad) to see. What's really terrific about these photo-sharing sites is the scale of the transaction - people will pass their photos around as always, but now, instead of just in the living room or at the water cooler at the office, you can pass 'em around the world.
And think about the cost associated with the old methods of sharing images. Because you don't have to spend time searching through shoe boxes for negatives, stopping at the store, dropping off the order, stopping at the store again, picking up the order, returning the negative to its (junk drawer) file, buying envelopes, buying note paper, buying postage stamps, and going to the post office before getting on with life, the whole-cost pricing of each shared picture is greatly reduced.
There are a bunch of photo-sharing communities on the Internet, following sites that appear at the top of most lists are: SmugMug, Flickr, Picasa Web Albums, Photobucket
One real attractive aspect of most sites, is the fact they don't cost a Rupee.
Sharing with Adobe's www.activeshare.com
Photo-manipulation software giant Adobe has emerged in the Web photo-sharing game as well. With its setup, the user is asked to download the site's easy-to-use ActiveShare software. A nice feature of this Adobe software is the fact it does away with the sometimes cumbersome step of importing photos into the computer by providing the user a one-click process to getting images from a digital camera or scanner. Click on the appropriate icon and the images are downloaded instantly.
Once the images are on your desktop, ActiveShare provides some very basic photo-editing capabilities along with some intuitive image organization and electronic photo album features. A real nice touch is the option to preview your work after completion. A terrific built-in search engine allows users to search for images currently residing on their hard drive that might be last-minute additions to their newly created electronic album. (Many of the Adobe photo album templates are more attractive than most of the sharing sites we've visited.)
The software automatically communicates with the site and your images are ready to roll. With one click, your images are automatically uploaded to the eCircles portion of the ActiveShare Web site.
The main emphasis with ActiveShare.com is clearly family. The site isn't set up for photo sharing between strangers, as many of the other sites are. Adobe is pushing photo sharing between family and friends as its eCircles section encourages family members to gather and share comments on the posted images. Bold graphics and brief, breezy text guide members through the steps needed to complete the process. Once you're finished adding any last minute captions or enhancements, it's time to alert the gang that your album is ready for sharing. The eCircles e-mail setup allows you to send out the entire album right from the site or have your recipients come visit your Circle at the ActiveShare site.
Flickr

Flickr was originally conceived in 2002 as a video game-screenshot sharing web site, but it quickly blossomed into a full-fledged photo sharing site with a bustling community. The now Yahoo-owned site offers free accounts with limitations placed on photo uploads and other features, while the $25/year Pro account promises unlimited uploads, storage, and sets. Flickr, like many of the others, also recently added video sharing to their repertoire.
Picasa Web Albums
Picasa Web Albums are the online counterpart to Google's popular, Windows- and Linux-only desktop photo organization software, Picasa. Despite its late entry to the photo sharing game in mid-2006, Picasa Web Album's seamless integration with Picasa and Google accounts quickly gained the service a large following. A free account with Picasa Web Albums gives you 1GB of free storage space, and you can buy extra storage that's shared with your Gmail account for anywhere between $20/year for 10GB to $500/year for 400GB.
SmugMug
SmugMug is a premium photo sharing web site with an emphasis on professional photography. That's not to say that the site's not also perfect for the weekend photographer, as its attractive and user-friendly interface is tempting for any level of photog. The biggest hurdle for new SmugMug users is that the site has no free account (though there is a 14-day free trial), and the minimum price for an account is $40/year. However, SmugMug users—many of whom are former Flickr die-hards (there's even an import tool called Smugglr

)—seem very pleased with their choice.

Each one of the sites is fun and ease of use. There's really no reason not to start sharing your digitized masterpieces today

QUOTES FROM THE MASTERS

Welcome, fellow photographers from around the world. I have collected quotations that I hope will help promote the art of photography. I have tried to accurately credit all writers for the quotations I have used. If anyone can offer corrections or additional information, it will be appreciated. If any source objects to being quoted here or if I have strayed into any copyrighted materials, my sincere apology - please advise me and, if you wish, your quotation will be removed.
Your help is needed to make this an interesting site.I intend to update this site regularly, so please check back from time to time. Thanks for your visit, and enjoy…………..Rajendra

Photograph: a picture painted by the sun without instruction in art.

~Ambrose Bierce
I shutter to think how many people are underexposed and lacking depth in this field."
Rick Steves, travel guide and author
All I can do in my writing is to stimulate a certain amount of thought, clarify some technical facts and date my work. But when I preach sharpness, brilliancy, scale, etc., I am just mouthing words, because no words can really describe those terms and qualities it takes the actual print to say, "here it is." -
Ansel Adams

"People think that all cameramen do is point the camera at things, but it's a heck of a lot more complicated than that!"
-Larry in Groundhog Day
Just as a fisherman cannot catch fish unless his line is in the water, a wildlife photographer cannot shoot great wildlife images unless he or she is out there with camera in hand and the knowledge of what to do then the 'magnificent moment' occurs."
-George H. Harrison, in Magnificent Moments: The World's Greatest Wildlife Photographs
"Life is like a good black and white photograph, there's black, there's white, and lots of shades in between."
-Karl Heiner
"You press the button and we do the rest."
-Kodak advertisement
"You don't take a photograph. You ask, quietly, to borrow it."
-Pentax advertisement
The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt. -
Henri Cartier-Bresson
To take photographs means to recognize -- simultaneously and within a fraction of a second -- both the fact itself and the rigorous organization of visually perceived forms that give it meaning. It is putting one's head, one's eye and one's heart on the same axis. –
Henri Cartier-Bresson
"Twelve significant photographs in any one year is a good crop"

-Ansel Adams
There are no rules for good photographs, there are only good photographs.
~Ansel Adams

"A good photograph is knowing where to stand."
-Ansel Adams
"There is nothing worse than a brilliant image of a fuzzy concept."
-Ansel Adams
When words become unclear, I shall focus with photographs. When images become inadequate, I shall be content with silence. ~Ansel Adams
Fear is a darkroom where negatives develop.
~Usman B. Asif
Buying a Nikon doesn't make you a photographer. It makes you a Nikon owner. ~Author unknown
"There are always two people in every picture: the photographer and the viewer."-Ansel Adams
Sometimes I do get to places just when God's ready to have somebody click the shutter.
~Ansel Adams
No place is boring, if you've had a good night's sleep and have a pocket full of unexposed film.
~Robert Adams, Darkroom & Creative Camera Techniques, May 1995
When you photograph people in colour you photograph their clothes. But when you photograph people in B&W, you photograph their souls! ~Ted Grant
Dodging and burning are steps to take care of mistakes God made in establishing tonal relationships.
~Ansel Adams
If I could tell the story in words, I wouldn't need to lug around a camera.
~Lewis Hine
If you are not passionately devoted to an idea, you can make very pleasant pictures but they won't make you cry.
-Ruth Bernhard
There is no art which affords less opportunity to execute expression than photography. Everything is concentrated in a few seconds, when after perhaps an hours seeking, waiting, and hesitation, the photographer sees the realization of his inward vision, and in that moment he has one advantage over most arts - his medium is swift enough to record his momentary inspiration.
-Sadakichi Hartmann
The meaning of quality in photography's best pictures lies written in the language of vision. That language is learned by chance, not system.
-Walker Evans

DR. PANKAJ SHARMA, AIIPC, FFIP, IIPC Gold

287-Biharipur Civil Lines, Bareilly-3, U.P. India
Ph: +91581-2556897 (R); +919412552607 (M)
e-mail: pankajbpcl@rediffmail.com

Pankaj Sharma (1969), a shutterbug with indomitable hankering for the art of photography, has astounding achievements in this field. An alumnus of the Department of Ancient History & Culture, M.J.P. Rohilkhand University, Bareilly, he has been awarded Doctor of Philosophy for his research in 1994.

A born artist, Dr. Sharma’s penchant for photography had developed at a very young age. Soon it became his passion after he acquired Diploma in Photography from the same University. Thereafter, exhibitions, participation in the National/International competitions, awards/certificates of merits, honours, judging of national/international salons of photography, lectures on photography and publications of photographic works, all were in pipelines in next few years. He has to his credit five solo, two joint and ten group exhibitions organised in different cities of India. Mention may be made to his official exhibition on “Glimpses of Rohilkhand” covering 100 photographs of important monuments and memorials of Rohilkhand. This collection has become a prized possession of the Panchala Museum of MJP Rohilkhand University and has earned wide acclamation for him.

His works have been regularly published in many reputed news papers, magazines, journals and periodicals, such as Times of India, India Today, Amar Ujala, Times Journal of Photography and Smart Photography. Amongst them publication in “Tiranga” by Flag Foundation of India, New Delhi, “Rohilkhand ki Loksanskriti” by Department of Culture, U.P. State Govt., Lucknow, “4000 years of Bareilly” by MJP Rohilkhand University are important.

He is amongst a few in India, who has been honoured with Associateship of India International Photographic Council, New Delhi and Fellowship of Federation of Indian Photography, Kolkata (both in pictorial section).

Be it the human life, animals, birds, a tiny flower or colossal monument, his subjects are wide and varied. Many of his works have portrayed the life beyond the gizmos—the poor, downtrodden and destitute. The ingenuity of his photography can be envisaged from the expressions, moods, colours, timings and centrality of the subjects. These experiments and experiences have elevated him to the chairs of juries in several photo contests and exhibitions.

He is member of ‘India International Photography Council’, New Delhi (presently a member of the Executive Committee), ‘Federation of Indian Photography’, Kolkata and ‘Photo Vision’, Bareilly (India).

MEMORY CARDS

SD or MMC? Micro or Duo? When it comes to memory cards, it's easy to become confused seeing all of the different types and variations available. The following article will answer most of your questions you ever wanted to ask……………Rajendra

Digital camera memory is an essential and often overlooked piece of digital photography equipment .A memory card is a device offering an easy, fast and reliable way for storing and transferring digital files. Memory cards are the storage medium of choice for almost all of our digital media - everything from photos, music, movies, game saves and much more are being kept on these tiny devices. So knowing what type of memory card is right for you (and your particular devices) is becoming vitally important.
What is a memory card?
Memory cards are small devices (some no bigger than your thumbnail) that are used to store electronic data. Just like film is used to store photos and floppy disks are used to store information, memory cards can be used to store a wide variety of media. This can be anything (depending on the device) from photos, music, movies, games, documents, programs and more. And while cards come in a variety of shapes and sizes and are available for a variety of products, all memory cards do essentially the same thing -- store data.
Memory cards, also commonly known as flash memory cards, are essentially chips that allow users to write and rewrite data multiple times. Some of the key features of flash memory cards include their small size and the ability to retain data without a power supply. This allows them to fit into a variety of portable consumer devices.
Development of memory cards
Flash memory was invented by Dr. Fujio Masuoka while working for Toshiba circa 1980. According to Toshiba, the name "flash" was suggested by Dr. Masuoka's colleague, Mr. Shoji Ariizumi, because the erasure process of the memory contents reminded him of a flash of a camera. Dr. Masuoka presented the invention at the IEEE 1984 International Electron Devices Meeting (IEDM) held in San Francisco, California.
Intel saw the massive potential of the invention and introduced the first commercial NOR type flash chip in 1988.

The first memory card was introduced in 1990 by the name PCMCIA and latter on even called for PC Card and was mostly used by laptop computers
Thanks to the flash memory’s durability, reliability and low power consumption demand for memory cards grew rapidly. In 1994 the CompactFlash was introduced as a smaller alternative to the PCMCIA/PC Card, mostly to be used in digital cameras. In 1996 the SmartMedia Card was introduced as a competitive standard to CompactFlash also to be employed by digital cameras.The popularity of memory cards grow rapidly in the beginning of 2000, since usage of memory cards expanded to other consumer electronic products like camcorders, portable audio players, mobile phones etc. This created also the need for much smaller memory cards, therefore the first small form factor was the MultiMediaCard standard followed by the SD Memory Card and later on the Memory Stick. Since most portable devices were becoming smaller and the usage of memory cards in mobile phones were becoming more common some new smaller versions ware introduced. Those were the RS-MMC or MMCmobile, miniSD, and Memory Stick Duo.
What are the different types of memory cards available?There are six main types that you'll come across in the world of memory cards -- SD, MMC, Memory Stick, Compact Flash, xD Picture Card and SmartMedia.
Compact Flash Cards
CompactFlash is one of the most common types of digital camera memory. Most high-end digital cameras, and all digital SLRs are CompactFlash compatible.
There are two physical sizes of CompactFlash - Type I and Type II. Type II is thicker and some cameras will only accept Type I CompactFlash. Type II CompactFlash is usually higher capacity. The most common Type II CompactFlash cards are mechanical, MicroDrive, memory cards.
The main benefit of CompactFlash, besides availability, is that it has a controller chip in the card. The controller chip allows higher transfer rates. Most cameras can't take advantage of this extra speed, though. Only cameras with larger internal buffers - mostly digital SLRs - can take advantage of high-speed CompactFlash.
CompactFlash is inexpensive, easy to find, and works in a lot of digital cameras. For those reasons, it's one of the most desirable types of digital camera memory.
Smart Media Cards
Smart Media cards are typically 45mm x 37mm and weigh around 2 g. They are very thin at only 0.76 mm. They used to be popular in digital photography but they have now been superseded by other media cards. When they were first manufactured, they were styled as the successor to floppy disks. They are compatible with most devices and there are adaptors that enable their use with devices with which they're not directly compatible. However, Smart Media cards have limited storage capacities .

Secure Digital (SD) and Multimedia Cards (MMC)
Secure Digital cards and Multimedia cards look the same as both are around 32mm x 24mm. SD cards, however, are typically thicker and heavier at 2.1mm and 2g, respectively. However, there are now smaller and lighter SD cards popularly known as miniSD cards. SD cards also offer better security for they come with a data write protection switch. Multimedia cards do not have this security feature.
Memory Stick
Memory Sticks are so-named because they look like sticks of chewing gum. They come in a variety of sizes and were originally launched by Sony for use with the company's portable electronic devices and mobile phones. There is a Memory Stick Standard, the slimmer Memory Stick Duo, and the more advanced Memory Stick Pro. Commercially, Memory Sticks have a capacity of around 128 MB but Memory Sticks with 8-Gb capacity are already in the works. Their maximum storage capacity is pegged at 32 Gb.
xD Picture Cards
Introduced by Olympus and Fuji in 2002, the xD Picture card is the newest digital camera memory format. Its tiny size - 0.97" x 0.98" x 0.67" - means it can be used in very small cameras. The xD Picture Card can also be used in any CompactFlash compatible camera with the available CompactFlash adapter. It's currently available in many capacities.
Since it was developed and introduced by Olymous and Fuji, most current compact digital cameras from those manufacturers use the xD Picture Card media.
MicroDrive
The MicroDrive card is actually a miniature hard drive housed in a Type II CompactFlash chassis. The IBM MicroDrive was the first compact memory card to offer a full 1 Gigabyte storage capacity. MicroDrives have a reputation for being delicate and unreliable. They are more prone to failure since they have moving parts that can wear, or be damaged. But when handled normally and not abused, they are very reliable. Because of their moving parts, MicroDrives use more battery power than flash memory. And compared to new, high-speed CompactFlash cards, MicroDrive seek and write times are fairly slow.
Eye-Fi wireless memory card
Eye-Fi is a wireless memory card for digital cameras. Once you get it set up, you take a photo with your camera and it's automatically uploaded to your computer and to Flickr (or another photo sharing site of your choosing). The first thing you notice about the Eye-Fi is that it looks just like an ordinary 2-gig SD card...so tiny that when you use it for the first time, you almost can't help but examine your camera from all angles to make certain that there are no wires involved. It's magic. This card will make your ordinary digital camera into a wireless camera.
Can I use the same card on other devices?The simple answer is yes, but with some caveats.As long as your different devices take the same type of card, you should be able to freely use the same memory unit in those different devices. If, for example, your PDA, mobile phone and laptop all take SD cards, then you'll be able to use the same SD card to store data, take pictures or transfer information.
You may not be able to access or use your stored data from one device to another, however. Individual devices may use a specific file structure when recording information onto a memory card, or they may use specific file format types. If a device is unable to browse a memory card's directory or cannot read a specific type of file format, then it won't be able to display or utilise something stored using a different device. Songs stored as MP3 files on a card, for example, can't be played on a device that doesn't have MP3 support.
Speed of the card
The speed varies among different memory cards. While buying one for your electronic gadget or buying an electronic device that has them, the speed factor is very essential. The speed actually determines the rate of speed of capturing a picture and the speed of transferring it into the computer. Thus the speed of your device depends on the speed of the cards. The SQ flash memory card is one of the different cards that leave all the others behind in speed. A 1 GB SQ flash card would increase the reading speed to the 24 MB and the writing speed to 12 MB. It shows a wide gulf of difference in the speed of other Memory cards.

How safe is the data stored on memory cards?

When it comes to the safety of your data, memory cards have some key advantages over other storage devices such as hard disks or CDs/DVDs. Memory cards are much more shockproof than other storage mediums. Since there are no moving parts in a memory card, they're much less prone to the movement damage which can occur in a normal hard drive.
They're also much less fragile than a CD/DVD -- the case of a memory card can easily take a scratch or two, while scratches on the underside of a CD or DVD will most often result in data loss. Since memory cards are physically so small, perhaps the greatest risk of data loss lies with losing the entire card itself, rather than by some other accident.
How do I transfer data from my memory card to my PC?

Most portable devices come with cables to link directly to a PC or laptop, allowing you to transfer any images or data stored on your memory card. If you don't have your device or cable with you, however, there are other alternatives.
Most new PCs and laptops are now being sold with built-in card readers. These allow you to slide your card directly into the computer, from which you can access any data stored on the card.
There are also stand alone card readers you can purchase. These card readers can usually read more than one type of card, which is handy if you've got several devices with different memory units.
Does the Quality of photographs have any relation to storage media?
No, memory card only store data they does not determine the quality.

LANDSCAPE – ESSENTIALS TO REMEMBER

If you ever get to shoot in some truly amazing outdoor locations, it's really a very humbling photographic experience. You set up your tripod, look in your viewfinder, and it happens you begin to silently sob. You're sobbing because you bought all this expensive camera gear, with multiple camera bodies and lenses that cost more than a Car, you've got more filters than a Camera store, and your camera bag weighs approximately 10 lbs. You saved all year, took your two-week vacation from work, bought round-trip airfare, now you're looking through your viewfinder and what you see doesn't look half as good as the postcards in the park's gift shop that sell for Rs 2 each. Tears begin to stream down your face as you realize that you're not going to get the shot you came for. And whose fault is all this? Even though we're not Ansel Adam, we can surely get better photos than the ones in the gift shop, right?
The Golden Rule of Landscape Photography
There's a golden rule of landscape photography, and you can follow every tip in this chapter, but without strictly following this rule, you'll never get the results the top pros do. As a landscape photographer, you can only shoot two times a day: (1) dawn. You can shoot about 15 to 30 minutes before sunrise, and then from 30 minutes to an hour (depending on how harsh the light becomes) afterward. The only other time you can shoot is: (2) dusk. You can shoot from 15 to 30 minutes before sunset, and up to 30 minutes afterward. Why only these two times? Because that's the rule. Okay, there's more to it than that. These are the only times of day when you get the soft, warm light and soft shadows that give professional quality lighting for landscapes. The point is, professional landscape photographers shoot at those two times of day, and only those two times. If you want pro results, those are the only times you'll be shooting, too.
Now read the following short but to the point article from Sri Suman Srivastava AIIPC and know the essentials of Landscape photography………Rajendra Prasad ARPS

LANDSCAPE – ESSENTIALS TO REMEMBER

By Sri Suman Srivastava AIIPC

There is a general misnomer that a photograph of a sea, river & mountains do not constitute a Landscape. However, the fact remains that a Landscape picture constitutes of either land (obviously), sea, river, mountain/hills, or combination of any of these but without a distinct presence of human figure in it. But if a very non-distinct human figure or a structure (like hut/boats etc) adds to overall view of the picture, it is permitted. An ideal Landscape picture essentially has to have a centre- point (we refer it as the subject) any where in the format but not in the dead centre of the format- that is against the grammar of composition. However, it is said that some time you must break the rule/grammar if you genuinely justify it.
A Landscape may include clouds in its composition but alone ‘Cloud’ can not constitute a Landscape picture.
Essential Components:
1. Lens:
Lenses having focal lengths ranging from 18 mm to 200 mm (in stray cases even 300 mm).Preferred photo taking apertures should be from f 8 to f 16 if you are using lens having focal length 70 mm and above. If it is less than 70 mm you can use even f 5.6, if there is a compulsion. One should in all probability avoid extreme f numbers for they lead to certain kinds of error (viz., Achromatic Aberration & Diffraction) and ultimately reflect in the picture in form of reduced sharpness and resolution.
2. Film:
However, in all kind of photography slow speed films are preferred but if it comes to Landscape then ISO 100 (if less than ISO 100 possible better) or utmost ISO 200 are preferred choice. For they provide better tonal range & sharpness.
3. Exposure:
Exposure affects the rendering both of detail and of atmosphere. Under or over exposure always tend to give frustrating results.
Over-exposure will ruin the quality and detail of the highlights, Under-exposure will lose us the detail in shadows. But there are occasions when it becomes essential to decide whether to expose mainly for the highlight areas or the shadows.
If you are taking pictures on negatives take exposure of low key (shadow) area or in case if you are shooting on a chrome films then exposure of high key area will give you saturated and a good color balance. (This rule of exposure is universal). The ideal exposure for a landscape can be read through a ‘Grey-Card’.
4. Filters:
Since, we are discussing in light of color pictures only – let us confine it to the ‘filters’ that facilitate us in recording a good color Landscape.
First & foremost is a Polarizer- this helps in recording the sky portion of the Landscape with its full characters and while shooting snow in sun, helps in polarizing excessive sun rays and thereby ensures balanced tonal gradations. Avoid this filter when you desire the falling shadows of the trees/hills etc in the pond / river which are very much the part of your frame but to eliminate the shadows if so desired, use it. Conversion Filters- viz., Amber filter ( 81 A ) & Blue filter ( 80 B ) – While shooting very early in the morning or late in the after noon you get yellowish/reddish tone in your picture due to low Kelvin color temp., so as to balance that you have to use 80 B filter. And while shooting in the noon color temperature being in excess (Kelvin is the unit to denote color temp.) bluish tone/cast is there in the picture so as to balance that you have to use 81 A filter. Though, the color lab if instructed properly can remove the color cast while making print enlargement but you essentially have to use these filters while using Chrome films. Three more filters are required in Landscape photography viz., UV Filter (on high altitude) Graduated Filter & Neutral Density Filter. You may find many more filters in books but only unavoidable filters; I have taken up over here in light of Landscape photography.
However, for making landscapes in B&W – Yellow, Yellow-Green, Orange filters (just to name a few) are essential and can help in creating dramatic/incredible landscapes.
5. Tripod-
Tripod is another very important tool to get razor sharp images and does help significantly by allowing you to use desired f number in a situation where you cannot select desired or fast shutter speed.
6. The Right Lighting-
There is a famous saying that the finest of the Camera does not produce sparkling pictures in dull light and this is all the more true when it comes to shoot ‘Landscape’. Lighting as you know is the most important component in p’graphy. For a lively Landscape with a universal appeal, eminent photographers do wait hrs/days together for appropriate lighting condition. No compromise what- so-ever it may be is recommended. Light, mood & theme are the important constituents of pictorial photography.
1. From the front – Flat sunshine from behind the camera is rarely effective for the shadows are hidden from the view and the result is flat. This kind of lighting can, however, be very suitable for landscapes that are mainly cloudscapes – mostly sky with possibly only a strip of earth.
2. From the side – A more favourable position for the sun is to the side of the subject, a little to the front. This gives good relief. If the sun is quite low, render long decorative shadows.
3. Sunsets – The most photographically appealing effects are obtained when the sun is not too low and is concealed by a heavy and interestingly shaped cloud. But do not under-expose or thing will become too black at a time over dramatic.
4. Fog, - Fog produces very pleasing effects for the camera, for color is almost eliminated. It is best to work in to the light so that the dim shapes are silhouetted against the soft glow. It is also important to have some well defined objects in the near foreground to give perspective.
A light morning mist, with the sun almost breaking through is particularly suitable for woodland pictures.
And there could be many more lighting conditions.
And lastly, do not forget that the camera is mobile-and hence, lighting can always be changed by a change of viewpoint and so the Composition-that is so very vital. Landscape can be framed horizontally as well as vertically both but ensure that the horizon line is straight – no excuse. And it should not be in the middle of the frame i.e., horizon line should not divide the frame in two equal parts; it should be on the either side of the frame.

For those who resort to digital medium/photography for LANDSCAPE, they should too follow the universal rules enumerated above like while taking landscapes they should preferably fix the ISO at 100/200. As regard to filter is concerned they should essentially use Polarizer especially if they include sky in their Landscape picture. And for making B&W landscapes, they can resort to Photoshop – there they would find many filters too including warm filter i.e. 81 A or in case, if the camera permits to shoot in B&W they can do so and can use recommended B&W filters.