• A circular polarizing filter is for use with all cameras with beam splitters in the light paths of their TTL exposure meter and with autofocus lenses.
• Linear polarization filter is for SLRs and rangefinder cameras without beam splitters in their light paths.
• Circular polarization has the same pictorial effect as linear polarization, but allows for proper exposure metering and/or autofocus distance settings.

Polarizer’s are multi-talented

Experienced photographers consider polarizing filters to be the most important filters. Their ability to reduce or eliminate reflections is probably their best-known feature, but it is not the only one. They enhance the color purity of the subject (increased color saturation) by blocking the blue veil of light from the sky, They increase the contrast in black-and-white photographs, reduce haze, and make white clouds stand out dramatically from an intensely blue sky. When the filter is rotated by 90º from its normal reflection-reducing position, it can even appear to increase the relative intensity of reflections on water, glass, lacquer and plastic materials up to a factor of 2. (from B&W Filter Handbook)

With polarizing filters, reflections on glass, lacquer, on nearly all plastic materials and other electrically non-conducting surfaces can often be reduced or even eliminated. Polarizing Filters provide you the control over how much reflection you wish to remain because the light reflected at an angle of about 40° to 70° by these surfaces is strongly polarized. Its transmission can be reduced, blocked or even enhanced! In relation to the remaining un-polarized light, depending on the rotation of the filter. Thus a clear view is made possible through plates of glass, of goldfish below the surface of the water, or of writing or pictures behind a glossy layer of lacquer.

Every object outdoors reflects light from the sky more or less diffusely and largely polarized, some objects, such as green plants and red roof tiles are covered by a bluish-gray veil that can make them appear pale and dirty. Polarizing Filters can remove this polarized veil and thus increase the saturation of the true color. Because the blue light from the sky, especially at an angle approximately perpendicular to the sun is strongly polarized, a polarizing filter can be used to render the sky with a more saturated color, so that white clouds will stand out more dramatically. (from B&W Filter Handbook

Sources: http://uk.answers.yahoo.com/question/index?qid=20090127124859AAjP6Fh http://www.dcresource.com/forums/archive…

Please let me know if you have questions. Have fun, good luck, and happy shooting!

Open the hardcover book, “Life In Hell: Nature’s Beauty“, and the lucky reader discovers over 100 exquisite photographs of wildlife and spectacular four-season scenes that nestle among the rolling hills, stunningly reflective bays and flowing streams of Hell, Michigan.

Back Cover of the book "Life in Hell: Nature's Beauty"

These never-before seen images are the work of master photographer Victor Banta, who has explored every inch of Hell’s rich surrounds, from the Hi-Land chain-of-lakes to the flowering glacial moraines rising from their shores to the village’s historic dam on Hell Creek.

Each page presents an enticing new vista or intimate close-up, some baked in sunshine, others frozen in fog, each framing spectacular views of flora and fauna, including Mute Swans, Great Blue Heron and Sand Hill Cranes amid wildflowers and vivid seasonal scenes.

HELL is an ancient crossroads trod by Native Americans, fur hunters, explorers and traders. Early German visitors stepped into this lush landscape and pronounced it, “So schön und Hell!”

These stories and more are captured by photographer Victor Banta who has created a wonderful and rare coffee table book for friends and family to enjoy for generations.

This hard cover book makes a fine gift that will be joyously received.

Individual prints from the book are also available for those seeking spectacular wall or desktop art. For more information, go to http://victorbantaphotography.com/gallery/

Inside pages of the Book "Life in Hell: Nature's Beauty"

Cost: $60 for both workshops 1 & 2.

Prepare to capture beautiful Fall photographs!
I get a lot of inquiries of how to take better photos with a camera.

Workshop 1: Since photography is all about light and exposure, a focus on how to control your camera to capture images the way you see them in your minds’ eye is the goal of Workshop 1. We will cover exposure metering with your camera and understand how it is metering what you see, as well as how to control the exposure of the image you capture. We will explore how you can adjust the settings of your camera to better capture what your mind’s eye sees.

Workshop 2: In the second workshop of this series, we will go deeper into more complicated lighting situations and build on the concepts and tricks presented in the first workshop. We will experiment with adding additional lighting to a scene including on camera flash, studio lights, and reflectors. This workshop will be even more hands on than the first and there will be opportunities to get answers to questions you have after experimenting with what you learned in the first workshop.

Regardless of what camera you are using, as a photographer, engineer and expert in remote sensing, I will guide you through the steps and tricks that will improve the quality of your photographs.

These 2 hour workshops are a hands on type of workshop, so bring your own camera and any questions you might have written down. The workshop will be part discussion, part shooting, part review of results, and conclude with a review of highlights and tips.

Although not required, a digital camera is recommended so you can see immediate results. So bring your DSLR or point-and-shoot camera and be sure your batteries are charged and bring extra batteries.

If you would like to submit questions before we meet, please email me indicating which dates you will be attending.

I look forward to seeing you at East End Studio & Gallery in Marshall, Michigan. See this link for address and more information as well as to sign-up for the class. http://www.eastendstudiogallery.com/

Cost: $60 for both workshops 1 & 2.

Below I will outline some tips that will improve the quality of your stage lit images as you capture photos of your favorite performers. This Photo Tip is written with digital cameras in mind, although many of the techniques that follow apply to film cameras as well.

The example photo above, was taken at Northridge Church’s Glory of Christmas show, illustrating the results of the techniques outlined in this Photo Tip.

Stage lighting presents a challenge for photographers and cameras. In most cases, flash photography is prohibited and distracts from the experience. Many of today’s digital cameras allow the user to adjust exposure settings. For stage lighting, we want to capture as much of the natural light as possible, but we also want to make sure the performers are captured with the best exposure. To do this, below are some camera settings that will improve the quality of your images. Note, not all cameras allow adjustment of all of these settings, try as many as you find on your camera and see what happens.

• Turn off the Flash. With many point and shoot camera unless you are less than 10 feet from the subject, chances are your flash will not benefit the exposure. Turning the flash off allows the camera’s shutter speed to go slower, saves battery life, and does not distract other’s attention.
• Set ISO (film speed) as high as it will go, depending on the camera, this may be 400, 800, 1600 or higher. Note, at higher ISO settings, the image resolution may be reduced and the camera’s sensor “noise” will increase making the image look more grainy. Experiment, with the ISO setting prior to the performance. Review the images and zoom in to look for changes in resolution and increases in noise.
• Shoot in the Av (aperture priority) setting if you have one. Typically, this allows access to more user settable camera functions opposed to a “Scene” or “Program” shooting mode.
• Open aperture all the way up to largest opening. The smaller the number, the larger the aperture. The larger the aperture, the more light will come into the camera. Note, when the lens is zoomed, the maximum aperture size is reduced. Also, f3.5 is a larger aperture than f8.0.
• Set the light metering sensitive area to spot (the default setting might be something like Average or Evaluative.) Spot metering allows you to measure the exposure in a smaller area, in this example avoiding all the dark areas that would cause an over-exposure of the subject or region of most interest.
• Take the meter reading (by pressing down half-way on the shutter button and holding) on the face or subject that is lit and most important to have at the correct exposure. (Typically this is a bright spot on stage.)
• Take a couple of photos and take a minute to analyze them. When the camera is in the image review mode, most cameras allow you to zoom in on the image to see some of the detail. If the key subject is still too bright you will have to under-expose your images. Typically under-expose by 1 to 2 stops as a starting point.
• Depending on the camera, there may be an Exposure Compensation control with a range from -2 to +2 with 3 steps between each number. If you adjust the Exposure Compensation from the default of ’0′ to ‘-1′, this will under expose the image 1-stop and make the image darker.
• If your camera does not have an Exposure Compensation adjustment, you will have to “trick” the camera’s light meter by pointing the focus spot at something bright at a similar distance as your subject, push the shutter button halfway down and hold to lock focus and exposure, then while holding the shutter button re-position the camera with the desired framing and expose the image. This same exposure trick will come in useful for all kinds of lighting situations where you have to adjust exposure to get the image you visualized.

Please let me know if you have questions. Have fun, good luck, and happy shooting!