10.1 Mega Pixels,Large 2.5" LCD Monitor, DIGIC II image processor, EOS Integrated Cleaning System, Picture Style image processing parameter, TAMRON AF50-200MM Lens, Protective lens hood, AF 55-200mm zoom

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All of us use it every time we click on the shutter button. Practically all modern cameras include some sort of an auto focus system. Thanks to the auto focus system we can enjoy an easier photography experience and can concentrate on composing the right photo and capturing the moment rather than on manually setting the focus.

Automatic focus though has its limitations. For example sometimes one might want to produce photos which are a bit fuzzy as an artistic expression. Also the auto focus implementation has its limitations and in some scenarios it might fail. One example is using a high end SLR camera with a passive auto focus system to take a picture of blue skies. In most cases the camera will move its motor back and forth and will eventually give up and fail to focus.

To better use the auto focus system it would help to understand high it actually works. Although implementations can vary we can divide them all into two categories: passive and active. Most pocket cameras use the cheaper passive method while high end professional cameras use either the active or a combination of both.

Passive auto focus:

Passive auto focus can be perceived as imitating how we set the focus manually. The camera defines one or more regions in the picture (usually they are marked as rectangles on the viewfinder or the LCD). The camera then analyzes the picture seen through those regions and calculates a Focus Level number. The camera then tries to move its lenses back and forth as it recalculates the Focus Level. The camera looks for a position where the Focus Level is the highest. For that point if the Focus Level is above a predefined threshold the camera would define this region of the photo as being in focus.

The Focus Level can be calculated in many ways. The common attribute of all calculations is figuring out how much Contrast is there in the photo. Although not in the scope of this article one way to calculate such a number is by running the photo through a high frequency filter – this is based on the fact that high contrast is associated with high frequencies.

Active auto focus:

Active auto focus works by measuring the distance between the camera and the object in the picture. Technically if you knew the exact distance to the object you are taking a picture of you could set the lens to the exact focus position. The active focus system shoots a beam of invisible light, usually infrared, at the object at the center of the picture and measures the distance to that object. Based on that distance the focus is set.

Combined auto focus:

Some high end cameras combine both systems. The camera will pick the right system for the specific scenario or will cross check and use both at the same time. The photographer can also decide manually to use one of the two options. For example when shooting blue skies the camera can try to use the active system and measure the distance. Since the distance is infinite the camera can set the focus and skip the passive focus. In other cases when the distance is not infinite the camera can use the active system to put the lens in approximately the right position and then use the passive system for fine tuning. In dark scenarios the camera can opt to use the active system since the passive one will not work.

So why doesn’t the auto focus work all the time?

Even with all the electronics and computing power in the camera there will always be scenarios where the camera auto focus fails. Failure can be when the camera can not focus and the picture is fuzzy or sometimes when the picture is actually in focus but the camera “thinks” that it is not.

What causes such cases? The list is long but here are just a few examples:

- Taking low light pictures: The passive auto focus system needs to “see” the picture in order to work and in low light scenarios this is not possible. Some systems use a series of flashes to overcome this limitation but this solution fails many times. An active system can measure the distance to the object in such scenarios but will fail if the object is not in the center of the picture or if there are a few objects at different distances.

- Active systems can fail with objects that tend to absorb the infrared beam they are using. Some materials absorb infrared beams and will cause the active system to measure the wrong distance. In some scenarios other infrared sources such as candles and open flame fires can render the active system useless.

- Low contrast objects such as white walls or blue skies. The passive auto focus relies on the fact that the Focus Level changes significantly when moving the lens back and forth. This allows the camera to settle on the right focus position. The Focus Level of low contrast objects does not change much and fails the passive system.

Knowing how the auto focus system works helps a photographer understand why sometimes the camera can not focus. In such scenarios the photographer can look for other solutions. Sometimes the photographer will have to use the manual focus. In other cases focusing on another object in the picture that is in the same distance but easier to focus on and locking the focus on that object will solve the problem.

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There are underwater cameras that are simply disposed of after use. These are the cheapest type of underwater camera available in the market. They have the capacity to take between 20 to 30 pictures, and photos can easily be developed. They are waterproof enough to be used in harsh rain and snow storms, and are usually tolerant of being fully submerged up to twenty or thirty feet.

There are also underwater cameras that are cheap reloadables. These cameras are designed with economy of price in mind. These are very similar to disposable underwater cameras, expect that the user can replace the film and use the camera multiple times. They are usually capable of greater water depths than their disposable counterparts.

New generation cameras have resolutions in the 3-4 megapixel range and can take excellent quality pictures underwater.

These cameras offer options for every level of diver and snorkeler. For the experienced diver/photographer who wants more control over the camera functions. The Advanced-Dive control system allows users to manipulate resolution, light sensitivity (EV), exposure modes and much more while underwaterwhile the Easy-Dive control system is the perfect choice for divers seeking a simple underwater photo system that produces breathtaking results.

Underwater cameras are designed for one-Button-Operation and can be set to Land or Sea modes plus modes that take into account the unique aspects of underwater photography. Cameras also feature three dedicated underwater external flash modes, allowing for more exposure control when using an external flash. For perfectly lit photos in any situation, users can toggle among Macro Flash, Portrait Flash and Far Flash modes, which adjust exposure based on camera-to-subject distance.

While an on-camera flash helps illuminate objects below the surface, cameras are also compatible with external flash units, which ignite the vivid colors of the underwater environment and allows users to illuminate objects from different angles. Because the external flash is a unit activated via the on-camera flash, no sync cord is necessary. Set the camera to "External Flash," and it automatically de-activates the digital pre-flash.

To compensate for low-light conditions that naturally occur as divers travel below the water’s surface, cameras can adjust the shutter speed and aperture automatically to compensate for difficult light conditions, ensuring vivid images without worry of underexposure.

Photos can be composed via a large color LCD monitor on the back of the camera; or users can frame subjects through a top-mounted SportsFinder. Either way, composition is simple, even when viewing subjects through a dive mask. To help conserve power during underwater adventures, users often shut off LCD monitors while the camera is on and compose photos using large top-mounted viewfinders.

With the many technological advances of recent years, underwater photographers now no longer have to compromise on quality. Users are almost guaranteed to return to land with a stunning set of images.

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This is the kind of situation your digital camera’s white balance is meant to prevent.

The white balance is a sensor that analyzes the lighting conditions and colors of a scene and adjusts so the white in the picture appears white. This helps insure the other colors appear as natural as possible. This is one advantage digital photography has over tradition film.

With film, you buy with a certain lighting condition in mind. If that changes, you need to either change your film or hope you can fix any errors in post-production.

Most digital cameras allow you to use either automatic white balance, or choose between several preset conditions such as full sun, cloudy day and so forth.

Automatic white balance will work in most conditions. There may be times, however when you want to “warm” up a picture to enhance the color, such as for portraits or sunsets. The best way to do this is set your camera’s white balance to “cloudy”. This will deepen the colors and add a glowing quality to portraits. It will take a beautiful sunset, and enhance it to the point of incredible.

Practice taking the same photo with different white balance settings to get a feel for the changes each setting evokes. Keep notes until you have a good idea of what each setting does. In time, you will come to automatically sense which setting is best for your particular situation.

White balance is a small setting that can make big changes in your finished photos. Make it your friend and you will no longer have to worry about faded sunsets or blue snow.

Using the "white balance" correctly your image quality will improve dramatically.

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Buyers and collectors have accepted photography as art for some time, but only if it’s of significant artistic merit. Great landscape photography sells because the buyer is searching for escapism and the need to dream. As a species we have always been linked to and drawn to the landscape. Do you have a love for the countryside and a understanding of the landscape?

When you’re out in the great outdoors, away from the bustle, what do you see …

… sunlight filtering through trees and dancing on the landscape?

… snow on the mountains and a gushing river in full flow?

… coastal cliffs with the shimmering sea lapping onto the shore?

… a brooding sky casting a spell over the windswept moors?

… the warm glow of the sun setting at the close of day?

… or mists and changing patterns of wind, clouds and magical light?

Do you see the beauty and feel the connection?

To produce a great photo landscape you need to understand the countryside and how light affects it. You need to have a passion for the land and experience an intimate connection with nature. The best way of doing this is to explore an area on foot and become part of the landscape before taking any photos.

On your walk look for:

* Light (shadows and highlights)

* Shapes (round and angular)

* Colour (harmony and discord)

* Texture (rough and smooth)

* Composition (strong and weak)

* Tones (light and dark)

* Patterns (even and odd)

* Mystery ( ? and ? )

So the next time you’re out with your camera looking for that open vista of rolling hills and mountains, also observe the intimate details in the landscape and maybe just photograph a small section of the bigger picture.

Your personality and your vision must come through in every photo you take; it’s up to you to capture the essense of the landscape in front of you. If your photograph works, the person viewing your image will feel they can step into your picture and experience the emotion of being there. A great landscape photograph is a great escape.

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Take your time to choose the subject
Take your time to choose the subject, then spend time walking around the subject looking for the best angle and lighting.

Take your time to set up the shot
Don’t be afraid to take your time to set up your shot. Although it can get a bit frustrating if you have your loved ones tagging along and they’re sitting and waiting impatiently for 20 minutes for you to take a single shot of a piece of driftwood on the beach!

Don’t always choose brightly-coloured subjects
Subjects with muted colours can sometimes produce excellent results. A field of wheat of similar yellow-brown colour can produce striking results when accompanied by a low-sun and long shadows.

Movement diffusion
If you have a camera that allows you to shoot with a manual shutter speed - try slowing the speed and increasing the F-stop. Then move your camera when taking the shot. Some very effective arty-type images can be produced with blur effects.

Overexpose your subject
Not too good to do all the time, but experiment with results by over-exposing the subject.

Try macro photography
Grab a magnifying glass and see if you can focus your camera through the glass onto a small subject. It just may work! And may open up a whole new range of subjects for you!

Shoot through wet glass
Try spraying water onto a window, then take a shot through the window to a subject outside. (wet the outside of the window - not the inside of your home!)

Colour balance
Try balancing colour by having subject and the surrounding detail in similar colours.

Silhouettes
Silhouettes usually have a small range of colours, but can produce some of the most beautiful images. Shooting a silhouette involves having the background brighter then the subject in the foreground.

Experiment with patterns
We’ve all seen those amazing images of the red and orange leaves of maple trees in the fall/autumn. Thousands of leaves - all of a similar shape and colour - but very awe-inspiring and beautiful.

Compliment colours
Two strikingly-different colours can be beautiful too. Picture an image of your girlfriend or wife in a red dress sitting on a field of green grass. Or your boyfriend or husband in a red shirt walking through a field of waist-high wheat stalks. Complimentary colours that will bring more attention to the subject.

Use a colour filter
If your camera can be fitted with coloured filters - try your hand. Although this effect can be made quite easily these days with photo and image-editing software.

Sunrise is better than sunset
Wake up before sunrise one day and go on a photography expedition. If you’ve not done it before you’ll be pleasantly-surprised by the contrasting light and shadows. But remember you’ll only have a very short window of time in which to shoot (usually less than an hour) before the sun rises too high and you lose the light.

Use a flash in daylight
Use your flash during the daytime to fill a close subject with light. This will produce better results where the background is brighter than your subject and the automatic shutter speed on your camera shoots too fast to effectively show the detail of your subject.

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Here are some tips from the experts at Canon to help you make the most of memorable vacation moments:

Always be prepared: Don’t forget to bring backup camera batteries or memory cards so you’ll never miss a shot.

Creativity is key: Sunsets and mountain ranges are always great backdrops for family pictures. By using your surroundings in interesting ways, you’ll be able to create images featuring an array of natural color and light while showcasing your happy family.

Share the fun: Take turns and let others control the lens for a while. A camcorder such as the Canon DC40 DVD Camcorder is so easy to use that anyone in the family can take great video. The camcorder records direct to DVD, is compact and takes high-resolution, 4-Megapixel digital photos.

Strike a pose-No!: Candid shots of family members can capture