Black and White or Color

When I started out as an actor, black and white was the standard. You printed your headshot, stapled your resume to the back, and that was that. Those days are gone. Color is now the industry standard for audition submissions. And casting directors expect it. If you love black and white save it for your online profiles or use it as a thank you card after a callback. It photographs beautifully and stands out in a non-audition context. Just don’t lead with it when you’re trying to get in the room.

Clothing

Go with solid colors. Avoid busy patterns, because they pull the viewer’s eye away from your face, and your face is the whole point. Stay away from solid white and bright red as well; white tends to blow out under studio lighting and red can create color casts on skin. Instead, lean into tones that work with your complexion: browns, light pinks, blues, grays, greens, and in some cases black. Your clothes should support your face, not compete with it. The same goes for jewelry. Leave the statement pieces at home. If someone looks at your headshot and notices your necklace before they notice your eyes, something has gone wrong.

Border or No Border

I’m in the border camp. There’s something that reads as intentional and professional about a clean white border around a print. It frames the image the way a mat frames a photograph on a wall. If you have an agent, the lower border is also a practical place to put their contact information. That said, if you have representation, defer to them on this one. They know what they want on the materials they’re handing out.

Gloss or Matte

Go matte. Full stop. A gloss finish is for family portraits you’re going to frame and hang above the mantle. A headshot is a professional document. Matte reads that way. It also handles better. It doesn’t pick up fingerprints, it sits flat in a stack, and it doesn’t create glare under office lighting when a casting director is flipping through a pile of them.

Posing and Framing

The purpose of the image is to show who you are using your face. Simple as that. Don’t get so close to the camera that you crop the top of your head. Yes, it emphasizes your eyes, but casting wants to see your hair too. They’re picturing you in a role before they’ve met you. Get your shoulders in the frame, but stop there. They can gauge your build well enough from the head and shoulders; you don’t need to give them more than that.

For guys, crossed arms actually work well in a headshot. I know it has a reputation for looking closed off, but in a framed image it reads as confident and gives the photo some structure. For women, I’d recommend something softer. A hand crossing toward the other arm tends to frame nicely without the same energy. And look at the camera. Your eyes should be the first thing anyone sees when they look at the image.

If you have a beard in your photo, show up to the audition with that same beard. Don’t make them wonder if they called in the right person.

Smile or No Smile

This one comes down to how you want to be seen. If you’re going to smile, make it genuine. A forced smile reads immediately, and it will undermine every other thing you’re trying to communicate. If you’re not going to smile, that’s completely valid, but don’t fill the space with a frown or a scowl. Unless that’s a very deliberate creative choice, it tends to limit the types of roles you’ll be called in for. Think of your expression as the first line of your audition. What are you saying before you’ve said anything?

Portrait or Landscape

My default recommendation is portrait orientation, and it has been for a long time. That said, this is one area where the industry is shifting, and I’m seeing more landscape headshots than I used to, particularly for actors with a strong online presence. Before you decide, talk to your photographer about where the images will be posted. For corporate headshots, portrait is almost universally expected. For actors, the honest answer is to look at what working actors in your market are doing, or ask an agent or casting director directly. Whatever you choose, make it a deliberate choice, not an accidental one.

Backdrop

In the studio I use a combination of grey, white, and black backdrops to give clients options. My default recommendation is grey. The backdrop should be invisible, or close to it. The moment a viewer has a thought about what’s behind you, you’ve lost them. Grey sits neutrally behind almost any skin tone and any clothing choice. It doesn’t compete. If someone looks at your headshot and thinks ‘oh, nice grey backdrop,’ that’s still too much. It should just disappear.

Look Unique, Look Natural

Here’s the part no checklist can fully capture. With all these guidelines around clothing, framing, and format, how do you actually stand out? That’s the question, isn’t it? Don’t look at the camera the way you’d look at a DMV lens. Your eyes are the window into your personality, so use them. If you’re the wacky, charismatic guy in every room you walk into, let that come through. If you’re the serious, intense type who gets cast as the detective or the surgeon, commit to that. Just make sure it’s genuinely you and not a character you’re playing for the photo. Casting directors have seen millions of headshots. They can tell.

I know actors are reluctant to get typecast, and I understand that. Everyone wants range. But when you’re starting out, range is a luxury. Pick the version of yourself that is most marketable and lead with it. When you’re famous, you can change things up.

If this is for business purposes, focus on looking professional. This isn’t as much about showing your personality as it is about helping you get hired.

Your Shot Before the Shot: Prep Day

How you show up to the shoot matters more than most people realize. Get a full night of sleep because the camera will notice if you didn’t. Drink water the day before. Avoid anything that makes your face puffy (alcohol, sodium-heavy food, a night out at the dance club). If you’re getting a haircut before the shoot, do it a few days out, not the morning of. Fresh haircuts often look a little too fresh in photos. You want to look like the best version of your everyday self, not like you just came from the salon.

Makeup

For women, I’d always recommend wearing makeup for a headshot session. The key word is natural. It should look like you on a good day walking into an audition, not you getting ready for a night out. Studio lighting is unforgiving, and a little polish goes a long way. Some men also choose to wear makeup for a shoot, and there’s nothing wrong with that. The rule is the same: if you’re wearing it, it should be invisible. Use it to reduce shine or address anything you’d rather not have the camera catch. Don’t use it to look younger or dramatically different. The headshot needs to look like you, because you are eventually going to walk into a room.

Relax

This might be the most important item on the list. If you can’t relax in front of a single photographer in a quiet studio, ask yourself how you’re going to handle an audition room full of people waiting to judge you. The shoot is practice. Treat it that way. A good photographer will help you get there, that’s part of the job, but you have to be willing to let go of whatever is making you stiff. The camera reads tension instantly and mercilessly.

Keep It Current

If you walk into an audition and don’t look like your headshot, you’ve created a problem for yourself before you’ve opened your mouth. A headshot should be updated every couple of years at minimum, and sooner if you change your hair, grow or lose a beard, or do anything else that alters how you present. It’s not a portrait for your wall; it’s a business card, and it needs to be accurate.

The headshot is your first impression. In many cases, it’s the only impression you get before someone decides whether to call you in or not. Treat it with the same seriousness you’d give an audition, because the headshot is what gets you that audition.

The post Advice for Getting a Headshot appeared first on D Studios Photography.

As times evolve, so do we. By joining forces with Forty Frames, we’re expanding beyond photography and select video production. We now offer enhanced video production and editing along with photography. This expansion allows us to better serve you as a one-stop shop for all your creative needs. We’re thrilled to bring even more value and versatility to your projects!

With the change in name, we will be migrating content from the D Studios Photography website to this site with the intent of eventually closing that site completely.

If you are interested in purchasing the D Studios Photography domain name: The site is made available through Afternic (GoDaddy). All sales are processed through them, guaranteeing a safe and secure transaction.

If you have any questions, feel free to contact us.

The post D Studios Photography is Now Part of Forty Frames Media! appeared first on D Studios Photography.

Nighttime photography takes a little more planning and, depending on the weather, a warm coat. But, if done correctly, there is ample opportunity for creativity. Plus, the lack of light means there are fewer people out at night, and those who are out are less likely to accidentally step in front of our camera.

Another creative and fun thing for nighttime photographic work is High Dynamic Range (HDR) Photography. HDR photography involves taking multiple pictures of a scene at different settings and merging them on a computer later.

Equipment

There are specific pieces of equipment that a photographer will need in order to take nighttime photographs such as a decent camera. This is because most cameras are designed to capture images during the day. This means that they’re not set up to take high-quality shots at night. If you want to take better nighttime photos, then you’ll need to invest in a decent camera. And by camera, my recommendation is an actual camera, not a phone that has a camera as well.

If you are using a DSLR camera, when taking the image, the shutter can cause the camera to shake. If your camera has a shutter lock function, use that. New murals camera this is not an issue. In addition, it’s best to shoot in RAW mode so that you can adjust the white balance later on.

A tripod and a cable or remote release for the camera are useful items to have. Since the camera is picking up less light and will require a longer shutter time, it won’t be possible to hold the camera in hand.

If using a tripod, it should be a sturdy one so as not to move and create a blurry image. Since most pictures will involve long shutter times, a stopwatch and notepad are handy for making notes of the time used for each exposure. This is especially important if using film. When using film, the light range that the film picks up varies over time so that, when taking a scene, the reds will come across brighter or more intense than the blues.

If it’s cold at night, a thermos of hot chocolate is also helpful. And, on the warm summer nights, a gin and tonic is a good way to go.

When to take Nighttime Photographs

It doesn’t need to be pitch black outside to take night photographs. Just after the sun has set while the sky is a little blue, is an excellent time to take some photographs. Urban areas and houses can have a surreal effect just after sunset. When taking pictures of people just after sunset, it is possible to still get some of the background in the picture and use a subtle amount of flash to light the subject.

While taking pictures late at night, after it’s fully dark outside, using long shutter speeds will be required. A fun thing to do here is to point the camera at the sky, set the camera to the bulb setting and, using a stopwatch to time it, hold the shutter release for multiple minutes before releasing. When reviewing the images later, it will be possible to see the stars moving.

When taking pictures of motion such as traffic, the long shutter speed will cause the car lights streaming through the image. It’s also fun to hold a flash off the camera and trigger it at different objects. When the flash hits the moving object, it creates a unique freeze effect on the image. Or, take a flashlight and highlight different areas of a subject while holding the camera shutter open. Just be cautious not to do anything that will cause the camera to move, or the image will end up blurry.

Think of photographs of the San Francisco Bridge at night and how fantastic those look. Think about any city street or urban area in any town and what a different feeling that will have, with no people and dreamlike lighting.

It will take some practice and note taking to figure out the right amount of time to hold the shutter open when taking night photographs. Yet, take your time with it and you can create some interesting and beautiful artwork.

The post A Few Night Photography Tips appeared first on D Studios Photography.

Instead of taking a picture with the sun behind the photographer, try taking a picture with the sun behind the subject. When taking a picture with the sun behind the subject, the subject will appear dark while the background will be washed out. Done correctly, it can also create some sparkle from the corner of the image, and unique effects with the shadow.

Setting the Camera

The camera’s auto light-meter will need to be shut off, and you as the photographer will need to manually adjust the settings as the sun can throw the reading off. This will need to be done by manually adjusting the aperture and shutter settings. The built-in camera light-meter will either underexpose or overexpose depending on if it is picking up on the subject or the light behind.

Since this involves shooting into the sun, it is difficult to focus manually. If users find it difficult to look through the lens with the sun in the background, a trick with autofocus is to aim at the subject with the autofocus on, let it focus, then turn the autofocus off when composing with the sun.

Playing with Light

If the goal is to avoid having the subject appear overly dark, it will be necessary to add some light on the subject. This can be done via a flash on or near the camera, or some type of reflector. By reflecting some light back on to the subject, it will counterbalance the bright sunlight behind.

Leaving the subject in silhouette can also create a nice effect as well. By shooting towards the sun with the subject in the dark, it can create a moody effect. It is also possible to catch the shadow dropping in front of whatever is being photographed.

When shooting with the sun behind the subject, it is a good idea to shoot when the sun is low in the sky such as mornings and evenings. Not only will you not be dealing with the poor light of the sun overhead, the image can also get some nice color glows from the setting or rising sun.

In Summary

It might take some practice, and thanks to digital cameras, it is easy to take the time and number of pictures to get some practice. But, when it’s done correctly, shooting into the sun will add a new light or shadow to images. Shooting with this method requires more thought and planning, as well as multiple test shots, but the results are usually worth the extra work

The post Tips For Using the Sun as a Backlight appeared first on D Studios Photography.

HDR photography enables photographers to record a greater range of tonal detail than currently available cameras can capture in a single photo. Using HDR processing allows photographers to take multiple pictures of a scene and combine them together with dramatic effect. If used to the extreme, HDR photography creates a striking and surreal image. If used sparingly, it will bring out details that wouldn’t normally be visible on the image.

The human eye can adjust to the changing light level as we scan dark to light areas in our field of view. A camera only takes a photograph in one light setting. And so, HDR processing will create an image that looks like the original scene or, depending on how it’s used, will create an image that is reminiscent of a surreal fantasy world.

Taking the Pictures

Taking a HDR photograph involves taking multiple pictures of the same subject with the camera in the exact same location at different settings then, after the pictures are taken, manipulating those three or more images in layers using HDR processing software.

Since most HDR photographs are comprised of 3 to 5 images, it is necessary to set the camera on a solid surface, such as a tripod, and use a remote trigger or cable release. The camera should not be allowed to move at all in between each image, as they need to line up later on. It’s possible to use a table, chair, or any other solid surface, but it is recommended to use a sturdy tripod.

Attached the camera to the tripod, and either a cable release or remote trigger to the camera. Then compose the image. The camera must be set to its manual functions. Then adjust the f-stop and shutter speed to best compose the scene. Take the image using the cable release or remote trigger. Then dial-down the shutter speed or f-stop by one stop. Be very careful not to move the camera, as this will cause the images to be out of line later on.

Take the picture again and repeat the dial-down process. After taking a few pictures with the camera dialed-down, repeat the process except for increasing the shutter speed or aperture opening over what it was originally set at. It might not be necessary to use all the images when processing them and, if they aren’t needed, they can be deleted later. After a few times of doing this, it will be possible to get a better idea of how to set the camera for each image.

If worried about moving the camera during the process, you can use your camera auto-bracketing function, or audio-exposure. This will let the camera take 3 images in a row at different aperture settings without the need to touch the camera. Also, if using a DSLR that allows you to lock the shutter for night photography, set that as well.

Best Time to Take HDR Photographs

Technically HDR photographs can be taken at any time, but it’s usually best to take the photographs in lighting situations where there is a lot of contrast between the light and dark areas of a scene. For example: shooting out a window from inside a house while including the inside walls. Usually the light outside is a bit brighter, and so the camera either exposes for the interior or exterior, but cannot expose for both.

Most HDR photographs are usually taken in the evening or at night of a static subject, such as a cityscape or building. When taking a scenic picture just after dusk, the sky might still be a little bright in the foreground. The image will look either too dark in one area, or too bright in the other. If taking a picture later at night, any streetlights or other light could washout portions of the picture while leaving other areas black.

Processing the Pictures

Processing the images involves taking the captured images using different exposures, and then combines them into one photograph to create an image with a wider dynamic range, using computer software to combine multiple images with different exposures into one photograph.

The most common tool for doing this is Adobe Photoshop CC and Lightroom. Previous versions of Photoshop involved creating multiple layers and manipulating each in a time-consuming process. However the current versions of the software allow users to import the images and batch process them into one image. Then the images can be further manipulated as needed.

Photoshop, however, is an expensive piece of software, so there have been other companies to release HDR processing software. One of the more popular ones is Photomatix Pro. Photomatix Pro was designed specifically to create HDR images and is pretty easy to use. There are also some free HDR programs available that might be worth trying for a novice user before spending money one on of the other products.

Note: Many cameras and smartphones now come in with built in HDR features, allowing the effect to be processed directly in camera. However, this technique does not allow for a lot of adjustments by the user. You basically get what the camera gives you.

The Bottom Line

The HDR process can be time-consuming and sometimes frustrating for some photographers because it is not as easy as taking a regular photo. In order to get the best results, photographers need to take 3-5 photos of the same scene with different exposures. The camera needs to be set in a stable location, and to be set on manual mode so that the shutter speed, aperture and ISO settings are all consistent between shots.

High Dynamic Range Photography involves a lot of planning before taking the pictures, some patience when taking the pictures, and time spent after the pictures were taken to process them. If all is done well, the final image will be a fantastic piece of art to hang on the wall. Even though HDR photography can create interesting and dramatic effects, it can also be a time-consuming and sometimes frustrating endeavor.

The post High Dynamic Range (HRD) Photography appeared first on D Studios Photography.

Knowing what depth of field is and how to work with it when it comes to photography will allow you to have more control over the look of the final image adding additional impact to your images. This can be an emotional response or simply to focus the viewers eye where you want them to look.

F-Stop

The most common and often used method for adjusting the depth of field is by adjusting the f-stop, or aperture, of the camera. The f-stop setting will either increase or decrease the focal length. If the f-stop is set wide open or at a low number such as f1.4, the depth of field will be shallow. If the f-stop is set narrow or at a higher number such as f22, the depth of field will be deeper. Try this by taking the same picture with the f-stop at f2.8 or whatever your widest option is, and take the same picture at f22. It will be possible to see the difference in depth of field when comparing the two images.

Focal Length of Lens

The distance between the object being photographed and the lens will also affect the depth of field. The further away the subject is from the camera, the further the depth of field will increase. When taking a picture of mountains using a wide-angle lens, almost everything will be in focus. Yet, while using a macro lens to photograph flowers or other small objects, the camera is extremely close which will result in a very narrow depth of field in the picture.

Distance of Object

The distance between the object being photographed and the lens will also affect the depth of field. The further away the subject is from the camera, the further the depth of field will increase. Similar to the previous experiment, set your cameras aperture wide open, or to a low f-stop. Then take a picture of an object or person from 2 to 4 feet away. Then to around 10 feet away and take the same picture. When cropping the image to have the same framing you should see more depth of field in the picture taken from further aware compared to the once closer.

In Summary

Understanding the effect of the distance between the object being photographed and the lens is key for taking a great photograph. A shallow depth of field is used to focus on one particular element in an image, while a deep depth of field can be used to show many different elements.

The result in narrowing down the focus of the image to what the photographer would like the viewer to see and allows the photographer to control the interpretation of the scene. By selectively using depth of field, photographers can create a professional-looking effect which not only will make the images more enjoyable to view.

The post A Basic Understanding Depth of Field appeared first on D Studios Photography.

Prints of these and other images are available through my profile on RedBubble

The post The Irish East Coast in Black And White appeared first on D Studios Photography.

After doing a quick internet search, it appears that most digital point-and-shoot cameras being sold these days range from 15 to 20 megapixels, with digital SLR and mirrorless cameras even higher. The latest iPhone and Samsung cameras both offer 12-megapixel cameras built in. One of the misconceptions about these new cameras is that the extra megapixels are creating a sharper and better image when, in fact, image quality has more to do with the quality of the lens on the camera than the sensor inside of it.

What is a Megapixel?

We should start by defining a megapixel. A megapixel is 1 million pixels. A pixel is a tiny square on the sensor within the camera. To view a pixel in a photograph, open the image on a computer and zoom into the image until the little squares are visible. Once you see the square, you are seeing a pixel. The idea behind “the more megapixels the better” is that with more megapixels, crammed into a sensor the megapixel gets smaller and we can enlarge further the image before the squares become visible. Which, technically, us true.

There is only so much physical space on a camera sensor and, with each megapixel upgrade, more information is being crammed onto the sensor, creating larger and larger image files. When the images are stored on a computer, they then take up more hard drive space. This in turn requires buying computers with larger hard drives for storage and faster processors to handle the images, creating a never-ending cycle of buying.

Based on this photographer’s experience with portrait photography, I have found that most consumers order prints less than 8×10, occasionally enlarging to a 16×20 but rarely ever larger. Most images, in fact, are ordered digitally to be posted on social media with a few to be framed in a home. Sue Chastain wrote an article on Lifewire.com stating that only a 3 to 4-megapixel camera is needed for high-quality 8×10 prints. While a chart made available by B&H Photo Video shows that a 4-megapixel camera will create photo quality, 8×10 prints. Based on my experience I would say that around 8 to 10-megapixels is a good number for the average print.

There are other things to take into consideration with pixels and those are pixels per inch (ppi) and dots per inch (dpi). When printing a picture, the printer creates little dots of each color (a combination of red, blue, yellow, and blacks) to create the final image. Each printer can handle only so many dots per inch so, if printing an image with more megapixels than the printer can handle, they end up being unnecessary.

As each new year’s camera is produced with more megapixels, most manufactures also do other upgrades to the camera. Early digital point-and-shoot cameras were slow to use and, when pressing the ‘shoot’ button, the photographer would have to wait for the camera to focus and take the picture. The lag time often made the picture taken different from the picture intended to be taken. Also, the speed on new cameras has been greatly improved, as well as color quality and accuracy

Cropping and Enlargements

There are advantages to having a larger megapixel camera. If cropping the image, the more cropping that is being done, the more the zoom is increasing on that section of the print and this is increasing the pixel size. The more megapixels, the better the crop that can be made to allow for a good print.

Cropping an image involves editing it in a photo editing app and cutting out portions of the image to zoom in and focus on a specific area. This is where a larger megapixel number comes in handy. As you crop the image and zooming in to focus on a specific area on the picture you are cutting out megapixels, so by having more than is needed originally you will not necessarily see a reduction in quality.

One way to avoid the need for this is to take the image with the final output in mind. For example, if you are standing on the side of a mountain and the focus of the image is a lake at the bottom of the mountain, don’t take a picture of the entire skyline and crop it later, but take the picture of the lake that is the focus. Take the picture framing it as you intend the final output to be framed.

What Should I Buy?

When shopping for a new digital camera, any camera on the market today is going to have more than enough megapixels for the average consumer’s needs. Instead of looking for a camera with the highest megapixel count, there are other camera features to be looked at.

The most important thing to look at is the quality of the lens on the camera. Look at sample images taken with the camera and assess the clarity of the image. Also, does the lens have optical zoom or digital zoom? Optical zoom will create a better image.

Another thing to look at on the camera is the image color quality. Is it an accurate representation of the scene? Look at the blues in the sky and people’s skin tones to check for accuracy. How well does it take pictures in low light or bright light? Finally, look at the other camera features, such as screen display and autofocus options.

With people usually using the default settings on a camera read some reviews on the quality of the auto-focus and how fast and accurate it is. Additional features like follow focus are also handy if you are using the camera for video as well.

Quality Over Quantity

When buying a new camera don’t fall into the megapixel hype. Since most consumer prints are less than an 8×10 anything over an 8-megapixel camera is unnecessary. Most cameras being sold these days already exceed that it is more important to focus on the other features a new camera offers.

Megapixels tend to be emphasized when it comes to new digital cameras. Although more is usually better, it might not always be the case for cameras and megapixels. When it comes to buying a new camera look at the other features of the camera and ignore the megapixel count.

The post The Megapixel Myth appeared first on D Studios Photography.

Things you will need:

• FutureBit Moonlander 2
• Driver
• Mining Software
• Litecoin Pool

The Plan:

The idea is, to install the miner, plug it into my USB hub, and let it run in the background of my work computer. I figure since I will be running it during the day when I’m working anyway so that the additional electricity usage won’t be noticeable – I’m guessing, I haven’t calculated my average electricity usage before installing or after to see the difference.

Instillation:

1. The first thing you are going to need is to download a driver. Simply, download the file, extract it from the zip and install. The same as any other time you have installed drivers on your computer.
2. Once the driver is installed, you will need to sign up with litecoinpool.org. I’m not going to walk you through that process as there are a few tutorials out there already on how to do it. Basically, just follow the steps. Also note that once you have setup your account, you will need to enter your payment address which will be the Litecoin payment address you have associated with your cryptocurrency wallet
   • Here is a link to an article I wrote on cryptocurrency. About halfway through the article is a section of wallets.
3. Now for the fun stuff, you will need to install the mining software. Before you download the miner from the GitHub, disable your antivirus firewall. Basically, all antivirus programs consider cryptocurrency miners a bad thing. You can re-enable it later and add an exception for it after everything is installed and running.
4. Download the mining software and extract it from the zip file. I placed mine in my documents folder but you can put it wherever you want, such as the desktop, or some other folder.
5. Once extracted, open the folder bfgminer… and and go to the .bat file labeled Start Moonlander 2, right click on it and select edit. This will bring up notepad.
   • The two things you need to change are going to be where it has a – u and -p.
   • The u is the username and the p is the password.
6. Go back to Litecoin pool and you will need to add a worker if you haven’t already.
7. Once you have a worker copy and replace the user and password from the .bat file. Be sure to have the full name. Then do the same for the password.
8. Then save it.
9. Before you run it, plug the miner into either your USB hub or simply the USB drive on your computer.
   • The nice thing about this one is it has a built-in fan. Some of the others on the market you will need to purchase a fan to keep it cool.
10. Now that the miner is plugged in, simply double-click start Moonlander 2 to get it running. Give it a minute or two and you should see your worker in the green and the speed rate on litecoinpool.org.

If it’s not working then you should see an error of some type of error as it runs. Two errors that I experience are:

• “bfgminer.exe’ is not recognized as an internal or external command.” I had to reinstall the drivers for this one to get resolved.
• “Please check the details from the list below of the servers you have input Most likely you have input the wrong URL, forgotten to add a port, or have not set up workers” This was because my unsername didn’t copy correctly. So doublecheck you have your username and password exactly as it should be.

For the results:

I previously did an experiment to see how much I could mine just running the scrip on my computer and it was about a quarter of the speed as the Moonlander is. It also had the negative impact of slowing down my computer. Since the Moonlander is doing the work, I’m getting four times the speed and it doesn’t slow down my machine. The only downside so far is I need to turn off my USB hub when I turn my computer off. Since the Moonlander has the built-in fan, as long as it’s getting power the fan will run.

Looking at the numbers so far, I’m not really going to make any money off this. I’m averaging less than a penny an hour when calculating the profit. It is possible to adjust the speed, so I am going to play with that a bit to see if I can squeeze any more out of it.

So, if you are looking to make money, probably not a good investment. But, if you want to start dabbling in cryptocurrency mining, which is what I’m doing, then it is worth it to get some experience dealing with editing scripts and doing the calculations.

Finally, you will need to re-enable your virus protection software and add an exception for the miner. I’m not going to walk through that process as it varies depending on which program you are using.

For a video walk-through of the instillation and setup process

The post Using the FutureBit Moonlander 2 appeared first on D Studios Photography.

Pixels

Any modern digital camera on the market has more megapixels than any average user will ever need. Most digital cameras being sold today, offer over 15-megapixels when the average user can take a high-quality picture with a 10-megapixel camera, and possibly even less. Higher megapixels do not always equal better pictures; it just means more pixels being crammed by reducing the pixel size into the same small sensor. These more pixel cameras also mean more space on a computer and larger files. If the images are of poor quality because of other issues, the megapixel count is irrelevant.

Aperture

The aperture is one item that decides how much light is allowed to reach the sensor. The smaller the number, the wider the aperture, the more light reaches the sensor. When working in low-light situations, where flash is not desired, having a camera with a wide aperture (F1.8, for example) will allow users the ability to take a reasonably high-quality image with no flash needed. When looking at a camera, look to see the aperture range, and if you can set the camera to a manual mode and adjust this yourself. A wide aperture also allows you to play with the depth of field.

See Using the Camera F-Stop for more on how this affects image quality.

Optical Zoom vs. Digital

This is one of the more important things to look for when buying a digital camera. When choosing a point-and-shoot camera, look for optical zoom over digital zoom. Optical zoom uses the lens to zoom in. Digital zoom just enlarges a portion of the image which can reduce the overall image quality.

Color and Image Quality

This can be difficult to measure while at the store. Sometimes it is possible to look at sample images within the store. If doing so, be sure each camera’s sample pictures are printed on the same paper as the paper will affect image quality and color. It is also possible to do an internet search and read reviews and comparisons between cameras with sample images. Some cameras for example do a better job and skin color, while others might be more well suited for nature.

ISO

ISO is used to measure film sensitivity to light for film cameras. With digital images, we think of grain. The lower the ISO the higher quality or less grain is visible, but with a low ISO longer exposure or a wider aperture is needed. The higher the ISO the opposite is required, less exposure and narrower aperture. Most cameras allow users to manually adjust the ISO, but as the ISO goes up, the image will show more grain.

When buying a camera, look at the quality of the image at a high ISO. The higher the ISO, the more noise will appear on an image. Sometimes this might be desired, as it can create a dramatic image. Look at sample images taken at the camera’s maximum ISO to check its noise level. Comparison charts can also be found on many camera review sites with sample images.

Video

Cameras are no longer just cameras, they are also video cameras. Digital cameras now pretty much all come with a movie mode that allows users to take digital videos. When looking for a camera that you also intend to use for taking video check to see what options are available for video formats and if they can be adjusted. The larger the format, the more space taken up on the memory card and some people might not need a high-definition video if just posting something short online. Are you planning to send your vacation video to Netflix? If not, you probably don’t need one that does 8k video.

Usability, like view angles, features etc.

Look for a camera that allows users to manually adjust the settings such as shutter speed and aperture. Will it shoot RAW files, if that is something that you desire. Since most smaller point-and-shoot cameras no longer have a viewfinder, check the viewing angle of the LCD. Also, make sure it’s possible to view the LCD in bright light or other situations where it might be difficult to see what is on the screen. Are you doing videos for YouTube or take a lot of selfies? if so, it might be worth looking at a camera that has a display that can pull out and reversed so you can see yourself. And think about where you will take the camera. Does it need to be compact enough to fit in a pocket? If you plan on carrying it in a bag everywhere, perhaps one with detachable lenses would be a good option. If the plan is to take it everywhere in a pocket, then think compact and durable.

A final thing to look consider is if it has a viewfinder. Most compact digital cameras have an LCD on the back to view the image being taken, however, this might be an issue in bright light or outdoors where having a small viewfinder will be a better option.

In Summary

Buying a digital point-and-shoot camera is like any other purchase. You should think about what you intend to use it for and look for features that you can’t get on the phone in your pocket.

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