Cineserge

Living a dream as a photographer & filmmaker

How to Photograph Fireworks

NY Institute of Photography has a great article series covering all aspects of photographing fireworks. With the 4th of July (Independence Day) approaching, I thought it would be fitting to feature this article by Jim Barthman. Enjoy.

"Regardless of the camera equipment you use, making good photos of fireworks can be challenging. Here are some tips on digital fireworks photography as well as some basic things to consider whenever you are shooting a pyrotechnics display."

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Another tutorial covering fireworks photography is written by Michael Carr, a writer (guide) at About.com. Michael lists 7 tips that will help you take better photos of fireworks.

"Fireworks displays are certainly stunning and colorful. Capturing those moments with a camera is a challenge, though. Often times, you'll end up with shaky, blurry messes that hardly resemble what actually happened. This year, get stellar fireworks pictures. Watching fireworks go off on the 4th of July is always fun to do, but photographing them can sometimes be your biggest headache. Here are some digital photography tips for shooting fireworks pictures."

Read More...

Darren Rowse of Digital Photography School posted a great (as usual) tutorial HERE

My reason for this advice is that back when I bought my first ever SLR (a film one) one of the first things I photographed was fireworks and I was amazed by how easy it was and how spectacular the results were.

Read More...

Along with the articles mentioned, check out Tips for low-light photography. It may give you some ideas and a better understanding of the subject (which is a photographer's goal; or at least mine)

If you have a technique that you use to photograph fireworks, share it with our community by leaving a comment - I would love to hear it and try it out!

New to Photoshop? Check this out!

Anyone who has ever used Adobe Photoshop will tell you that there is a lot to learn in order to perform even simple tasks. You would be forgiven for admitting that you felt a little bewildered by the large array of menus, floating palettes and tools on offer.

I have been using Adobe Photoshop on a professional basis for the past 10 years and have seen it continuously grow. I currently lecture at a local University in this very subject and still find that during each and every lesson I find something new within this excellent photographic tool.

My students, daunted by the overwhelming size of the application, often ask ‘Where do you start?’

This article is intended to answer that very question. Whether you are an absolute beginner or a veteran, I believe that the approach outline here will benefit your further learning.

1. To Begin...Don’t be afraid, it won’t explode!

Explore Photoshop. Feel free to open up an image and run through each menu, clicking on menu items and buttons or slide bars and submitters…EXPERIMENT!

Of course, it would be wise to ensure that the image that you are using has been back-up elsewhere before you start this expedition.

What could possibly go wrong? The only thing I could imagine that may go astray is the odd floating palette. If this happens, you can recall them by using the ‘Window’ menu. So just relax, sit down and muck around with your image.

2. Photoshop Navigation

In order to become proficient and effective in using Adobe Photoshop, you must be comfortable with navigating around an image. A few tricks of the trade should come in handy here.

There is nothing worst than trying to move from one area of an image to another using the default Zoom tool and Hand tool. Using these two toolbar ‘criminals’ will MASSIVELY slow you down!

EXPERIEMENT 1: Try it out for yourself for yourself…

a. Open up an image.

b. Start your stop watch.

c. Use the Zoom tool to increase the zoom factor to about 200%.

d. Now, using the Brush tool, draw a line from the left hand side of your image across to the right

e. Use the Hand tool to reveal the next part of the canvas.

f. Stop your stop watch! How long did it take?

You’ll find it both a slow method and a challenge to keep focused on the task, i.e. pick up brush - paint, pick up hand tool - move, pick up brush – paint, etc.

EXPERIEMENT 2: Now try this:

a. Open up an image.

b. Start your stop watch.

c. Use Ctrl + to increase the zoom factor to about 200%.

d. Now, using the Brush tool (press B), draw a line from the left hand side of your image across to the right

e. Hold down the spacebar and left click and drag to reveal the next part of the canvas.

f. Stop your stop watch! How long did it take?

Firstly, Experiment 2 will only take a fraction of the time to get the same results as found in Experiment 1. Secondly, I bet you barely had to think about it! You mind was allowed to wonder onto other things.

Holding down the spacebar toggles between the Hand tool and the currently selected tool. Take you thumb off the space bar and your back to Brush tool.

Keep on practising through the above exercise.

3. So what have we learnt from this?

Using quick-keys or shortcuts are simply the best way of operating within Adobe Photoshop. They will both increase the speed of your workflow and free up valuable brain processing power. In fact, you’ll find that if you adopt the use of quick-keys, you will soon start to work on a reactionary and instinctive basis. Photoshop by reflex!

I rarely have to think about what I am doing while using Adobe Photoshop. That is, I don’t have to think about the technical runnings, just the creative objectives.

This is comparable to driving a car. I’m sure that any motorist reading this article will agree that while driving from A to B, you are not necessarily aware of all of the physical operations involved in controlling your car. You do it by reflex. Using Photoshop can be the same with practice.

Feel free to use this article online and in your email newsletters as long as you leave it intact and do not alter it in anyway. The by-line and resource box must remain in the article and you must acknoledge the author.

James Middleton
http://www.turningturnip.co.uk
http://www.turningturnip.co.uk/photoshop

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Photoshop Tutorial - How to get Great Skintones

Good skintones. The search for the holy grail of digital photography. I have been banging our heads against the wall for years trying to perfect "THE ONE SIZE FITS ALL" solution to working with skintones and I'm talking about capturing, workflow, output, the whole nine yards. What I've figured out so far is that skintones are somewhat subjective. The procedures that ultimately create good skintones are as follows:

Good capture: When you capture the image 99% of your job is done. If your exposures are off and your colorbalance is off, then your skintones will be off.



Of course this means your lightmeter will be your best friend (second to your dog). Be on top of your exposures like dirt on a pig. Know your histograms and image tones. Don't just use your LCD as a reference. Your LCD brightness varies, and is not 100% reliable to use on it's own, however it is an integral tool that works with everything else. Never get lazy here, always check your exposure, know your exposures and keep it accurate. Make this a part of your mind set and workflow. And don't forget to test new stuff, never assume....

Colorbalance: I like to shoot a greycard under the lighting conditions we are shooting in as a custom whitebalance setting. For some reason a greycard seems to work better for us than a whitecard. What can I say. I get images that are neutral, I can warm them up later if I choose. However, for many digital photographers, using a white card to create their custom white balance weems to work just fine.

Workflow: I like to get an idea of what a good skintone is by using the colorpicker. Now remember, skintones are subjective, so it's purely arbitrary but you will get used to it in time. So, as a rule of thumb, using the color picker, depending on the actual pigmentation of the subject we find the reds are about 20% higher than the green and about 30 - 40% higher than the blue. Since during the capture the tone has been turned off (in camera parameters), I can add more to the skintone by using colorbalance and saturation.

Assuming that you have good capture, (exposure/whitebalance), there are several ways to acquire or enhance skintones. One of the best ways is by using the selective color (IMAGE/ADJUSTMENTS/SELECTIVE COLOR, or ALT-I-A-S). I have been using this for a little while now, and so far it's rendered me outstanding skintones. Here's how it works:
Simply reduce the amount of cyan in the reds. Usually about 40-50%. I could go more, but I hold off. Why? Because when I adjust the contrast later it will bring out more tones in the image, thus giving me more red in the skin. There is al lot or red in the skin, especially caucasians, so by doing this technique you will give most people more warmth and glow to their skin tone- but be careful!! Do not over do it.

The thing I like about using the selective color this way, is that I am only working with the red tones. If I didn't want to affect any other reds (like the reds in her coat) I can simply do several things:

  1. Make a selection around her face and then perform the adjustments.
    OR
  2. After the adjustments simply use the history brush and erase the areas I don't wish affected.

That's it. Simple isn't it, when you get down to the basics.

Robert Provencher has been a professional portrait and wedding photographer for over 25 years. He has trained hundreds of professional photographers throughout North America in live workshops and through his online forum. Robert has authored several manuals on digital photography and photogaphy marketing. http://www.nobsphotosuccess.com

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Color Calibrating Your Computer

Have you ever been disappointed with the quality of the prints you received from your local photo laboratory? Or wondered why you can spend hours tweaking your digital images and still get them back with strange colour tones or too much light? Welcome to the often frustrating world of colour calibration!

Problems with colour calibration occur because every computer screen has a different way of showing a particular colour. Even primary colours can be shown very differently if you view them on a different monitor or computer. To see this in action, try looking at the same image on both your own computer and that of a friend or colleague.

The frustrating thing is that the problem gets worse over time - as your computer screen ages it becomes less precise in the way it displays colours. What this means is that while an image may look great on your screen, it will look different and be printed differently at the printers. Some printing labs will try to adjust your photos for you - unfortunately this can often make them look even worse.

Calibrating your computer and a printing facility can be difficult - but in this article we outline some simple ways to achieve greater consistency.

Basic calibration: There are a number of free online options you can use to achieve better calibration of your monitor. Easy RGB has a simple step-by-step guide that will assist you to adjust a number of settings.

Software calibration: The Adobe Photoshop image editing suite automatically installs a program called Adobe Gamma into your control panel (START-SETTINGS-CONTROL PANEL). Using this type of colour-calibration wizard will allow you to achieve far more accurate colour calibration settings. For a free alternative to Adobe Gamma you should take a look at this program.

Hardware calibration: The best possible calibration results are achieved by using physical calibration devices. By placing the device against your monitor, it can adjust your colour profile to a recognized standard. Although expensive, the Spyder 2 (http://www.colorvision.com/) is used by many professional design and printing companies.

Color Profiles: To achieve as perfect as possible a match between the image you see on your screen and the one you get back from a printing lab you should ask for a copy of the colour profiles used to calibrate their printing machines. This is a small file that will tell your computer exactly how to display each colour for the greatest accuracy. Large photographic laboratories may be unwilling to provide you with this information, but many smaller agencies will be very amenable.

A final word: Taking photographs is an important part of capturing and preserving the important milestones and events of our lives. Many people will often spent hours in front of a computer editing their images before sending them off to be printed. Making sure your computer monitor is properly calibrated is one way you can make sure that your passion and effort is rewarded with stunning photographs.


Dylan Tovey works at the Australian canvas printing company http://www.brilliantprints.com.au/ He gets to see the good, the bad, and the ugly when framing and printing customer photographs. His own keen love of photography has turned him into an evangelical spokesperson for good photographic habits.

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Photography 101: What's a Megapixel?

With the rise in popularity of the internet, digital photography is getting closer and closer to becoming the widespread standard. Not only for use in digital publications but hard copy as well. For those in the technology and photography industry the transition has been relatively easy, whereas most of us “regular folks” are now in a bit of a fog when it comes to all this crazy terminology, like megapixel, that we know nothing about. You’ll hear lots of people (mostly “gurus”) talking about how great it is and how much easier digital photography is. Now go and try to explain megapixel to your grandfather!



To make the transition to digital photography easier it’s important to understand the relevant terminology. One of the most important terms you'll hear when discussing the topic is the MEGAPIXEL. Megapixel, translated literally stands for one million pixels. A PIXEL is a single point in a graphic image. Therefore a digital picture that is one megapixel is an image that has been created using one million pixels of varying colors. Being the inquisitive person that you are, I bet now you’re wondering how those pixels come together in color to create this picture. Well my answer to that is… BABY STEPS FIRST! If you really want to learn, let’s cover all our megapixel basics before we get into bits and bytes.

So now that you know what a megapixel is, let’s talk about how this translates into your every day life. You’re at the store comparing five different digital cameras. While there are a number of different elements that differentiate cameras, the megapixel is the most obvious element to consider. A one megapixel camera takes pictures using one million pixels or points. You may be thinking to yourself “Wow that’s great!”, and it is, but what you need to consider is the kinds of pictures you want to take and what you will be using them for.

For someone who is just looking to send family photos through email or simply store them in their computer for later viewing, one megapixel is fine. Even if you are looking to print some small 4x6 size photographs to take with you, one megapixel can still suit your purposes depending on how picky you are. On the other hand, if you are planning on taking pictures so that you can blow them up to 16x20 and hang them on the wall, one megapixel simply isn’t going to cut it.

Think of billiard balls put away neatly in their little tray, all lined up next to each other. The mixture of colors brought closely together creates a “picture” of sorts. Now spill them out onto the pool table and try to create the same “picture” on this much bigger background. Obviously to recreate the “picture” you’re going to need a lot more balls. Basically that’s how megapixels work. The bigger the canvas is going to be the more millions of pixels you will need to cover the space without distorting the image.

See how easy that was?! You are now one step closer to becoming a digital photography genius. Good luck and don’t forget to take it one step at a time. Just think of it as gathering your pixels together one by one. Soon enough you’ll have enough to understand the “BIG PICTURE”!

This digital photography tip article is brought to you by award-winning professional photographer Warren Lynch. Exciting articles gives both beginners and advance digital camera enthusiast the leg up.
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Sony enters the dSLR market with Alpha dSLR

Sony Alpha dSLRWhat do you do when you're the latecomer to a very exclusive party? You've got one of two options: Dress up like everyone else and blend in with the crowd or make a huge entrance wearing an outfit that's louder than a Rolling Stones concert. Sony has chosen the latter when it comes to their new digital SLR camera.

The Feature Fight. A year ago, there were five dominant players in the digital SLR camera business: Canon, Nikon, Olympus, Pentax and Konica Minolta. Canon and Nikon duked it out for the attention and admiration of professional photographers, while Olympus, Pentax and Minolta preferred to target the consumer market. With the megapixel race pretty much over, these three companies gained consumer attention with their own proprietary features.
Olympus developed the Supersonic Wave Filter, a device that "scrubs" the camera's electronic sensor, removing tiny particles of dust. Pentax made their cameras small and light, some of the most portable digital SLRs on the market. Konica Minolta beat everyone else to the anti-shake arena, and made it an integral part of their cameras. The built-in anti-shake reduced camera vibrations for clearer hand-held shots, and it worked with every compatible Minolta lens.
But here's the key: since all of these technologies were proprietary, there was no one SLR that had them all. Until now.

The Sony DSLR-A100. Sony claims that their new digital SLR camera has all of these features and more. It includes a dust-repellent sensor (like Olympus), built-in anti-shake (like Konica Minolta) and a compact frame that mimics the size of the Pentax digital SLRs.
Then Sony takes it one step further. The A100 has one feature not available in any camera from Canon, Nikon, Olympus, Pentax or Minolta. In fact, only two lesser-know cameras made by Fuji have something similar: extended dynamic range. The human eye has exceptional dynamic range, and can perceive a lot of detail from shadow to light. Cameras can't. A digital SLR will either lose detail in the shadows and correctly expose highlights, or will blow out the highlights when exposure is set for the shadows. A camera with extended dynamic range is better equipped to capture detail from dark to light, even when there is a lot of contrast in the scene.

In addition to the extended dynamic range, the DSLR-A100 also has an autofocus feature which activates when you bring the camera up to your eye, 10.2 megapixels for huge 16x20 inch prints and all the other goodies you'd expect on a high-end digital SLR.

What the Future Holds. Only time will tell how well Sony competes with the established digital SLR companies. Even though Sony is late to the SLR party, they are prepared to make a big entrance. If they continue to release feature-rich cameras like the DLSR-A100, Canon and Co. will have to watch their backs.

Chris Roberts dispenses practical plain-English advice and information about digital SLR cameras at the Digital SLR Guide. His 5-week ecourse in digital SLR technique helps beginners get the most out of their digital SLR cameras.
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Press Release

SAN DIEGO, June 5, 2006 — Sony is jumping into the digital single lens reflex
(D-SLR) camera market with today’s introduction of the α (Alpha) DSLR-A100
system. The system combines advanced SLR features with other Sony digital imaging innovations.

With its 10.2-megapixel APS CCD image sensor, the DSLR-A100 camera is expected to have the highest resolution available in its class. It will be introduced with 19 high-quality Sony lenses, and will be compatible with most of the former Konica-Minolta
Maxxum® mount lenses. The system will include a wide range of accessories as well.
Sony developed a new Dynamic Range Optimizer image analysis technology
to provide exceptional picture quality and natural color reproduction, along
with a new Bionz image processing engine. This new engine supports a continuous
burst mode for fast-action shooting and performs intelligent power management.

“Our system will be attractive to people who are ready for something beyond what’s
available in D-SLR cameras today,” said James Neal, director of marketing for
digital imaging products at Sony Electronics. “Sony enthusiasts who want to upgrade from point-and-shoot cameras, as well as former Konica-Minolta digital and film SLR camera users who have already made substantial investments in lenses, will welcome this initiative.”

Read more at dpreview.com

Silhouette Photography Tips

Many photographers probably have stared at a silhouette image and pondered to themselves how exactly it had been taken and composed. Silhouette images could contain a couple looking at a sunset, a cityscape with the sun shining through buildings, or just a normal horizon. In order to get an effective silhouette image, a photographer must be in the right place at the right time and have the right exposure settings.

Silhouette Definition: In the area of photography, a silhouette is defined as an outline that appears dark against a light background. More specifically, it is where your subject appears as a plain black shape against a brighter background. It is an artistic photography expression that many photographers like to refine and perfect in their images. This effect can be achieved with any bright light source with the sun being the most common. In a sunset silhouette photo, the sunlight in the background is exposed correctly forcing everything else in the photo to be underexposed causing the effect.

Silhouette Techniques: When you are preparing to take a silhouette image, there are many things to keep in mind. These tips are equally effective for both digital and film photography. First of all, you need to make sure that there is not too much light on your subject, even if it is being reflected on to your subject the stray light will ruin the effect. If there is not enough light in the background, your subject will appear grey instead of black. The effect is just multiplied when you have multiple colors of bright lights in the background. Some photographers focus on artificial lights, others focus on the sun at certain times of the day, the possibilities are endless.

My Silhouette Tips and Techniques: I usually take my silhouette images when the sun is just above the horizon. I prefer the time around sunset because the sun causes the sky to be brighter than everything else for greater contrast. Another technique I use is to align the sun directly behind the subject so it causes a glow effect around the main subject. I usually use a relatively big subject so it creates a more drastic effect then a small insignificant subject.

I always use a narrow aperture (high f/stop) so the camera captures the whole scene with a high depth of field so everything is in focus. I usually use the aperture manual mode on my camera so I can control what the aperture will be and then the camera automatically selects the right shutter speed necessary for the photo. If you are trying to create the effect with a point-and-shoot camera make sure you compose the photo with the background light by pointing the camera at the background. If you compose the image by pointing the camera at your dark subject, then the background will be over-exposed and you will not end up with a silhouette.

There is no exact science to taking a great silhouette image. It will take practice, luck, and experience to capture truly amazing silhouette images. So keep practicing.

Trisha Leung is a digital photography enthusiast and regularly submits articles to http://www.picturecorrect.com/ which offers tips and news about digital photography, digital camera reviews, photoshop tutorials and computer wallpaper.

"I normally talk about the importance of using a flash when taking shots into the sun to give sufficient light to add features to your subject but there are also times when making your subject featureless apart from their outline against a bright background can be most effective - or when in other words silhouette is a worth exploring."

Scanners Exposed: Which is Best for Photographs?

Scanners range in price from under $100 all the way up to $40,000 or more. Obviously there's a lot of difference in features between these two price points, so let's take a look and see what type of scanner is best for your needs.

If you only need to grab some scans to send by email or put up on the Internet, then you can get the job done with a scanner in the $100 price range.

If you are a professional photographer, or you want to print your scans to photographic paper or use them in commercial printing processes, then you're shopping in the $800 to $2,000 range.

Functionality and specialization are the two price-drivers for scanners. Your first step is to determine which of the three basic scanner types is best for you.



Flatbed Scanner: A flatbed scanner scans photographs, clippings, book pages, small 3-d articles, etc.

Film Scanners: Specially designed to scan negatives, slides, and transparencies.

Combination Scanners: Does the work of both a flatbed and a film scanner.

Some film scanners are highly specialized so make sure that the one you are considering supports your preferred film format.

The major quality determinator for any scanner is the optical resolution rating. Not only does the resolution dictate the quality of the scanned image's appearance, but it determines the maximum size print that can be produced from the scan.

Optical resolution ranges from 300 Dots Per Inch (DPI) up to 4000 DPI and higher. Anything below 600 DPI is not worth considering at all and an optical resolution of 2700 or better should handle most projects that the average photographer will encounter.

Make sure that the scanner's DPI rating is the true optical resolution rating and not the "interpolated DPI rating" which requires software to achieve. DPI is one of the features that drives up the cost of a scanner but it is a critical performance item for you so it is worth spending time on.

Color depth, a measurement of the number of colors that the scanner is able to process, is another performance measurement that's worth understanding. In scanners color depth is measured in bits. A 24-bit scanner is OK but 30 bit is better. Pro photographers may want to consider 36 or 48-bit models.

Another performance item is the scanner's density range rating. Density range refers to the tonal quality that a scanner is capable of capturing. The higher the range the better the image quality. A good scanner will have at least a 3.2 rating. Ratings of 3.4, 3.6 and higher are even better.

Although you also need to consider hardware compatibility and bundled software issues, the last of the most important performance items is scan time speed which is measured in pages per minute or PPM.

What's the perfect scanner for you? It's hard to say but we've given you all the information that you need ot make the right choice.

Check out our photo scanners techniques. This digital photography tip article is brought to you by award-winning professional photographer Warren Lynch. Exciting articles gives both beginners and advance digital camera enthusiast the leg up. With cutting-edge digital photography blogs, forum and review resources.

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Battery Life and Your Digital Camera

With a traditional camera, you can take pictures even when your batteries are empty. So, how are you going to take pictures with your digital camera, when the battery is empty? There is not much choice. To get the most out of the cameras batteries, you should start using some energy saving tactics, that are easy to remember and implement.
  • Switch off the camera when not in use
  • Use the motor driven zoom lens only when you really need it, don't use it to show off
  • Shorten the time for previewing the picture on the LCD screen
  • Shorten then time for the automatic shut down of the camera (only do this when timing isn't an issue, like it is with snapshots, animals or sports photography)
  • In cold climate, keep the camera warm. Batteries loose their power rapidly when they are getting cold.
  • When working in cold climate, take a spare set of batteries along
  • Always use the best batteries you can get. Usually the more expensive batteries keep their voltage for a longer time on a steady level.
  • When using reloadable batteries, get the more expensive NiMH types with the highest capacity available. They have a very long life between reloading and no memory effect.

Tom has spent most of his free time behind cameras of different types. He specializes in close-up work and travel photography. To share his experiences and fascination about digital photography, he has set up http://www.digitalcameratips.de which covers topics for beginners as well as advanced users of digital cameras.

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How Long Will My Digital Prints Last?

The question in the title of this article would be much easier to answer if you took the word "digital" out of it. Color photographic printing has been relatively unchanged since its debut, and you can expect those prints to last up to 100 years if stored properly. [And by properly, I mean away from light in a consistently cool environment without extreme highs or lows in humidity levels.]

But anyone who hasn't been living in a cave the last five years knows that digital photography is rapidly taking over traditional film processes. It's time to ask some tough questions about what that means for the lifespan of your treasured family photographs.

Manufacturer's claims. You're shopping in your favorite office supply superstore and pick up a box of glossy paper for your ink jet printer. The box says it will last 104 years. But how accurate is that claim?

Independent, third party testing. Thank goodness for Henry Wilhelm. His company, Wilhelm Imaging Research, conducts research on the stability and preservation of traditional and digital color photographs and motion pictures.

Brand matters. I'm not a "brand loyalty at any cost" kinda gal, but in this situation brand really does matter. Manufacturer X designed their paper and inks to work together, and it's in your best interest to use them the way they were designed. Wilhelm's testing has proved beyond a shadow of a doubt that cheap inks fade more rapidly. So while it's OK to use them for short-term documents, but it's the wrong choice for photographs you'd like future generations to enjoy.

Inkjet vs. traditional prints. "When properly stored, dyebased inkjet and dye diffusion thermal transfer prints have stability comparable to that of traditional photographic prints." But ink jet prints are more vulnerable to certain kinds of damage:

Water damage. According to tests, traditional photographic prints are fairly stable in water. Some types of digital prints are completely destroyed when they become wet, while some are more water-resistant. Dye-based ink jet images, for example, showed serious damage after even a brief immersion in water.

Pollution. Airborne elements such as ozone can cause some colors to fade very rapidly. Some ink jet prints had this color shift problem less than a month after printing. Photos encased in frames are less susceptible to damage from pollution. Use use glass or inert plastic that is specially manufactured to block damaging UV rays.

Personally, I've decided to skip the ink-jet altogether. I had some not-so-great experiences with printing my own photos (and cutting them out - ick) before I started researching ink jet longevity. Now, I upload digital photos to my trusted local photo processor. The web interface is quick and painless, the prices are reasonable, and I pick up my prints on my way home from work.

One final word of advice: Stay away from quickie one hour shops because that rapid turnaround time doesn't always allow for proper rinsing. Residual chemicals (no surprise) will cause prints and film to degrade more quickly. I also noticed once that a popular online printer (they like to flood my in box with free print offers) charged extra for trusted paper brands like Kodak. Hmmm... Something to think about.

Still have questions? Send email queries to Ask the Archivist: ask@jacobsarchival.com

About the Author: Sally Jacobs has a Master's Degree in Library Science
with a Specialization in Archives Management from the University of Wisconsin-
Madison. She has worked on collections at the Library of Congress, the Wisconsin
Historical Society, the Chicago Chapter of the American Red Cross, and many family
collections just like yours. She teaches non-archivists how to organize,
preserve and share their treasured memories.

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