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Four Seasons
I saw seven white tail deer—one was a ten-point buck—in my neighborhood earlier this week and all were wearing their dark, thick winter coats. One of the babies was wearing an Eddie Bauer goose down vest. A couple had Polartec leg warmers. Looked like they were getting ready to hunker down for a long, cold winter. There are so many acorns covering the backyard of my New Jersey home that the local squirrels have brought in a carloads of illegal immigrant squirrels to help them harvest the crop. You should see it—we have a multicultural menagerie of furry rodents jabbering in seven or eight different dialects of Squirrelish. Even my pine trees (I have lots of trees) are dropping cones like a Cubs outfielder drops fly balls. They know that the next few months are going to be brutal, and they are making every effort to make sure that their DNA survives, even if they don’t. Okay, well, I may be exaggerating just a wee bit. Not by very much, though. I’m not a believer of the Farmer’s Almanac but I do believe that Mother Nature somehow—in some imperceptible way—sends her animals and plants an Emergency Alert that we humans are too busy to receive. So I’ve decided to activate Winter Defcon Nine and bring into play all of the contingency plans that I drafted over the last embarrassingly too many years. That’s right. I am going to ask Santa Claus for a new coat. Not just any coat you understand. I’m going after the best: the Gitzo Four Seasons jacket. It’s so cool! Err –warm? It has pockets galore: two large exterior pockets, two smaller exterior pockets, one large exterior rear pocket, two interior cargo pockets, and a number of smaller inside pockets for pens, my borrowed iPod, a GPS unit, cell phone and much more. It’s practical, protective, and positively will allow you to comfortably carry more camera gear than you could ever possibly need. The Gitzo Four Seasons jacket is fully waterproof and made of Teflon treated Cordura and Ecodry fabrics with fully sealed seams. Those of you who live in temperate climates may not fully understand the importance of keeping your body warm when the mercury dips below the freezing point. Having grown up in Chicago where I once experienced three consecutive weekends of -30 degree temperatures (I’m not making this up—I wish I were) I know the value of a warm coat. So, Santa—is there is room on your sleigh? Do you think you could wrangle one of these really cool photographer’s jackets for me? I promise to be no worse than last year. And if I get a really cool candid shot of one of your reindeer (remember the shot of Blitzen on New Years?) I’ll send it to you before I upload it to Fotolia.
—Jon Sienkiewicz
Arrows
The double arrow above was captured with an Olympus Pen E-P1. You should collect something. Flags. Dogs. Parking meters. It’s helpful and productive for photographers to work within a theme or self-assignment.
Test Your Image Stabilization System
Whether your image stabilization system is built into your camera or built into your lens, you will derive greater benefit if you understand exactly how well it performs under different circumstances and understand its limitations. One quick and easy way to test a compact digital camera (or DSLR) is to use progressively longer shutter speeds to capture a scene that contains both stationary and moving objects. Some examples of scenes that contain both stationary and moving objects include a flowing river, a waterfall and any busy street where people and/or cars are passing by while the buildings and streetlights hold their ground. (If the buildings begin to move, stop shooting immediately and proceed home at once.) Leave your tripod at home (this is the only time you’ll hear me suggest that). Depending on how dark it is, begin shooting at 1/30 or 1/25 of a second. Then try 1/15, 1/10, etc. until you begin the get the shakes. When you reach the combination that yields sharp stationary objects and wildly blurred moving objects, you’ve reached the maximum you can expect from your camera. Make note of the shutter speed and be confident that you can shoot handheld at that speed under most conditions. The image above was shot with a Canon PowerShot S90 at f3.5 for 1/13 of a second. Although it’s harder to see in this greatly reduced image, the rocks are razor sharp while the millstream is a total smear.
Photo Plus Expo
Photo Plus Expo How can anyone who is into photography resist this? The annual Photo Plus Expo is at Jacob Javits Center beginning Thursday, October 22nd and running through Saturday the 24th. If you live within driving distance of Manhattan you don't want to miss this. The biggies like Canon, Nikon, Olympus, Sony, Tamron, Sigma, Bogen, Lexar, ThinkTank Photo, Leica, Tamrac, Delkin Devices, Tokina, Lowepro, Datacolor, Mpix, Lensbabies, Western Digital, Bibble Labs, NIK Software, Kubota Image Tools and Tiffen will be there, as will up-and-coming companies such as Camera Bits (Photo Mechanic) and many others. You'll see a lot of new stuff you've only read about. Plus you can visit with key retailers including B&H, Adorama and KEH. If you live in New Jersey you can come by boat—park in Weehawken and take the ferry. It's an easy 5 or 6 minute walk from the terminal, and the bonus is that you're within comfortable walking distance to B&H Photo or a very short and cheap cab ride to Adorama either before, after or during the show. For many, that alone is worth the price of admission. Wow! Can I cover all of that in three days?
Filters For Fall Foliage
In the words of an old country song, "Summer's almost gone, and winter's comin' on." That means that now is the time to get ready for nature's annual organic fireworks. It was a wet summer for most of the country—the east coast in particular—so expect vibrant, explosive fall colors. A flamboyant, colorful fall is nature's way of apologizing for a drab, mediocre summer. At any rate, soon it will be time to get outside with your favorite cameras and capture all that autumn can offer. If you're like me, every year you want to shoot the best fall foliage of your life. To do so you need a handful of optical glass filters. Yes—optical glass filters—the kind that screw into the front of your lens.
Enhance Didymium filters are a secret weapon—few people know about them—so you can create incredible fall scenery while your friends are wondering what you know that they don't.
Polarize Note: Many cameras, digital SLRs in particular, require Circular Polarizers. Check the owner’s manual for your camera before buying a polarizer.
Shift Colors
Update Your Firmware
Even if your digital camera is brand new there's a chance that the firmware inside has been revised. To find out, visit the manufacturer's website and search for your camera model in the Support or Downloads database. Then consult your camera owner's manual to determine how to check which firmware version your camera is currently running. Manufacturers release updates for a variety of reasons. Sometimes it's to provide compatibility with new accessories; more often it's to fix bugs. Do not interpret a firmware update as a sign of weakness, however, or think that it indicates that the company was careless when it released the product originally. On the contrary, it means that the manufacturer is listening to consumer feedback and addressing issues that arise. Manufacturers always post clear and specific directions for upgrading. In most cases, it's a simple procedure. The steps involve downloading a ZIP file and copying the extracted BIN file to the root directory of a formatted memory card. The card is then inserted into the camera in the normal way and the camera is powered up. Sometimes it's necessary to start the camera in Playback mode; other times you have to press Menu or another button while powering on. Precautions: make sure that the battery is fully charged (or use the AC adapter). If the firmware upgrade process is interrupted for any reason—as will happen if the batteries die—the camera could become a nice chrome and glass paperweight. If you're reluctant to chance it, you can always send the camera back to the manufacturer. Most charge for this service (unless the firmware upgrade was released to remedy a critical flaw) so call first to verify the cost and anticipated turnaround time.
Canon PowerShot G11
Although I haven't put one through its paces yet, the new Canon PowerShot G11 sounds like the proverbial dream come true for serious photographers. Combining the best features of the legendary Canon G-series compact cameras, the PowerShot G11 has an articulated LCD that swivels and tilts (and reverses to protect itself snugly against the camera body) plus advanced low noise performance in low light. The lens is a 5X zoom that starts at 28mm (equiv.). Top shutter speed of 1/4000 second means it's capable of handling most fast action shots, too. Here's the rundown on the key features. Look for it in October for around $499.
∙ RAW + JPEG File Capture
Pentax K-7 Roadshow
If you live near one of these major cities, you can get a hands-on look at the new Pentax K-7 DSLR. Personally, I can hardly wait. The camera has one feature that I think everyone will love: an automatic three-shot HDR mode. The new K-7 combines information from three separate exposures that are captured in rapid succession with one press of the shutter. As you can see from Kerrick James's images above, the difference is dramatic. Drop in and see the new Pentax K-7 at one of these venues. I plan to.
San Jose August 8, 2:30-4pm
San Francisco August 9, 10-11:30am
Seattle August 11, 11:30-1pm
Portland August 12, 11:30-1pm
New York City August 14, 15
Miami August 16, 6-7:30pm
Orlando August 17, 5:30-7pm
Orlando August 18, 11:30am-1pm
Free Daily
The lock looks like it's still in pretty good shape. I shot this in Manhattan with a Tamron 18-270 VC lens. The VC stands for Vibration Compensation, Tamron's name for "image stabilization." Because the lens reaches the equivalent of 405mm on my Nikon D90, the VC is a very important asset. It allows me to shoot handheld at shutter speeds that would otherwise deliver blurry pictures. I know, because I discovered my personal SBA, or "Shake Begins At" values and wrote about it all in the April issue of Shutterbug: http://www.shutterbug.com/techniques/pro_techniques/0409sba/index.html However, I must admit that another feature—the whopping 15X zoom range—is a very compelling reason to reach for this lens when I am out and about with my family. The flexibility of a 15X zoom means more than merely bringing subjects closer. The greatest value of a long zoom comes in the form of significantly expanded composition possibilities. It's literally the antithesis of a fixed focal length lens. Zooming allows you to find the exact composition you're after. Because the zoom covers from about 28mm to 400mm (depending on the camera's lens multiplier) you're certain to find the magic angle-of-view before you run out of zoom. The full name of this lens is Tamron AF18~270mm f3.5~6.3 Di II VC LD Aspherical (IF) Macro and it provides an awful lot of versatility in a compact package.
Food Fight
Food—particularly the dishes served in restaurants—should be among the most attractive (and thereby photogenic) subjects you'll encounter during the course of the day. Chefs—big chain burger flippers included—go to great lengths to make their plates appeal to the eye. I can't recall any ugly food that tasted good, with the possible exception of sauerkraut. But I can certainly name a number of foods that looked terrific but tasted less so. Therefore, one would expect it to be easy to find lots of good looking edibles to photograph, and by extension, a snap to come home with a bag full of good food images. Like photographing brides on their wedding day (who are similarly at their peak of eye appeal) there are many reasons why producing outstanding food pictures is challenging. At the root of this problem (and for that matter, at the root of most photographic problems) we can point an accusing finger at the poor lighting conditions. Restaurants tend to be dark. Some have strangely colored lights. Most discourage you from bringing in your own lighting setup. Tripods are likewise shunned. There is one simple solution: eat only during daylight hours and always sit near a window. Alternatively you can buy a miner's headlamp that's daylight balanced (5500 degrees Kelvin) and wear it nonchalantly as you would a tiara. Fortunately, many camera makers are of like mind in that they provide a Food Mode or Cuisine Scene on their compact camera models. And they work quite well. If your camera doesn't have such a setting, try the Close-up Mode with forced flash and, if possible, slightly juiced Saturation. Practice at home (on real food of course) using the crummiest lighting you have. If you don't have any crummy lighting, build a tent of old, yellowed newspapers and place it over the plate. Steady yourself by doing exactly what your mother taught you not to do—plant both of your elbows firmly on the table. Exhale and shoot. As much as I enjoy digitizing my meals, I recommend against shooting your food under certain conditions. For example, you should leave the camera at home when you're on a blind date or job interview. Fried chicken joints are a no-no as well, unless you have a grease-proof point-and-shoot. And some of those hoity-toity places may think you’re trying to steal their recipes or China pattern or something; whatever it is they think you're up to, they may ask you to stop. Sorry—got to run. Bon Appetit has come knocking on my door…
Tamron 60mm f2 Macro - Double Life
I shot it with Tamron’s new 60mm f2 macro lens. That’s not a typo. This lens is an f2.0, not an f2.8 like most macro lenses. The key to good macro photography is a small aperture and the extended depth-of-field that accompanies it. So what’s the big deal about having a large aperture like f2? First, an f2 lens delivers more light to the viewfinder. That makes it easier to focus (especially useful when you focus manually) and gives you an overall brighter viewfinder for comfortable composition. It also allows you to invoke less depth-of-field, something you may (or may not) want to do while pursuing macro work, but a vital tool when using this lens in its double life as a 90mm equivalent portrait lens. You see, besides close-up work, macro lenses in the 50mm or 60mm configuration are ideal for portraits when used on a digital SLR. The 1.5X (or Canon’s 1.6X) multiplier turns a 60mm macro into a 90mm portrait lens. Add in the fact that most macros are f2.8 and you have a fast, near-perfect portrait lens that will resolve every pore on your subject’s face. But the Tamron 60mm is an f2.0, so you can do some even more amazing things like totally separating a portrait subject’s visage from the background. And you can do it in moody, subdued ambient light—the conditions often favored for environmental portraits. Macro lenses are highly corrected for optical aberrations that occur when focused close, and aberrations are kept well under control even when the lens is focused all the way out to infinity. So they’re very well suited for general use. The Tamron 60mm f2 macro (here’s the whole official name: SP AF 60mm F/2.0 Di II LD 1:1 Macro, model G005) just might be the fastest macro ever made for digital SLR cameras. Its f2 aperture is fully one stop faster than the f2.8 maximum aperture found on conventional macro lenses in the same class. Furthermore, this lens delivers 1:1 (life size) reproduction without an adapter. That means that a subject that physically measures 5mm by 5mm in reality will be recorded on your camera’s CCD or CMOS sensor 5mm by 5mm in size. And shooting 1:1 is a very thrilling experience. The image above was captured with a Tamron 60mm f2 macro exposed for 1 full second at f22, ISO 125, on a Canon EOS 40D in daylight.
Underwater, All Weather - Pentax Optio W80
Foul weather sure puts a damper on picture taking with an ordinary camera. Those of us who live in areas where winters provide snow and cold temperatures have become accustomed to moving our hobby indoors when the climate demands it. We have to. Or do we? I’ve been shooting with a Pentax Optio W60 (the older model) for a few months now and there are several things I like about it. It has a 5X zoom (longest in its class) that begins at true 28mm wideangle and extends to 140mm telephoto. And it’s a non-extending zoom, so the W60 maintains 1-inch thickness instead of doing a Pinocchio. Pentax pioneered the category of waterproof cameras, so it comes as no surprise that the Optio W60 is useable to depths of 13 feet. What matters most of all—the thing that I like best—it takes terrific pictures. The latest model is the Optio W80, introduced on June 24. It’s 12-megapixel and dives deeper than its predecessor, all the way to 5 meters (about 16 feet). It’s also shock resistant. Since “Impact Damage” is the #2 killer of cameras (water damage is #1) it’s great to know that the Optio W80 will survive a fall from a height of three feet. And the Optio W80 has feature that all New Yorkers will love: it thumbs its nose at cold weather. The new model can be used in below-freezing temperatures of 14 degrees Fahrenheit (-10 degrees Celsius). So in addition to snorkeling, canoeing and backyard pool splashing you can add frigid winter activities such as skiing and snowmobiling to its many talents. The image above was shot by Lars Granoe with my Pentax Optio W60.
TARP
The House of Representatives recently passed the so-called “clunker rebate” bill that provides robust monetary incentives to folks who upgrade from a gas guzzler to a more energy efficient vehicle. There are conditions of course (it’s a government program after all) and as of this writing it hasn’t passed through the Senate, but if it’s signed into law, some lucky car buyers may get as much as $4500 back. I think it’s a great idea, despite the fact that it rewards those who sinned against the environment in the past by driving socially irresponsible vehicles. And I see no reason why it shouldn’t be expanded to include the photographic industry. Owners of digital SLR cameras in the 6-megapixel category should get a $1000 rebate if they migrate up to a more efficient 10- or 12-megapixel camera, for example. That would stimulate sales. The Senate would probably want to prorate it at $200 per megapixel, but I’m sure an equitable formula could be derived. Or maybe the people who bought film cameras after 2003 under the mistaken notion that silver halide was still a viable energy—I mean imaging—alternative could turn in their old celluloid burners and get a cute little modern compact camera that gets 300 shots on one SD card. It would be so easy to advertise and promote. TARP would suddenly stand for Technology At Reduced Prices.
Five Things That Are Bad For Cameras
You probably have your own Sandy Hook somewhere close to you. And like ours, it almost certainly is haunted by the same five camera killers. I'm talking about five of the seemingly benign accoutrements of summer that make even the most hardened camera service managers cringe. They are, in no particular order, Water, Sand, Sunblock, Insect Repellent, and Direct Sun. Water—"liquid damage" to the service manager—is a major problem, particularly with compact cameras and entry level DSLRs that lack moisture resistant seals. You don’t have to submerse a camera (or lens) to ruin it. A light mist or blast of spray will often do the trick. When water reaches the microscopically close solder traces on the printed circuit boards inside your camera it can wreak havoc. And water often leaves a contaminating residue when it evaporates. Get into the habit of carrying a large plastic garbage bag along with your cameras gear. You never know then a summer shower will appear. Sand has an uncanny knack for winding up where it doesn't belong and working its way into crevices that resist other forms of dirt. I think it's because sand granules are hard and more-or-less regularly shaped. Think of it this way: a bag full of diamonds will tumble through a tiny opening more readily than a bag full of woodchips. And do more damage, too. Sunblock is great for protecting skin from UV—or so we're told—but it can be unkind to cameras, particularly lens coatings. Of course, it's never good to leave a fingerprint on a lens, but it's especially bad when that finger has been coated with SPF 30. Don't forget that if you're like most of us, your nose comes in contact with the LCD on your SLR monitor when you focus, so make sure that you never apply zinc oxide or even common sun screen to your nose. Insect Repellent can contain chemicals that damage smooth, shiny, plastic surfaces—cameras, cell phones and PDAs included. The spray-on variety seems innocuous enough but it lingers on your skin and can easily transfer to your photo gear even hours later. I can't recommend an alternative but I can suggest that you keep the stuff off of your hands as much as humanly possible. Direct Sun is dangerous on many levels. And it can really make a black camera get hot. Makes you wonder why SLR cameras are not silver-colored anymore…anyway, keep your camera cool—it's easier than it sounds. Simply avoid direct sunlight and hot spots like glove boxes. I have a cheap ($5) collapsible cooler—the size designed to hold a six-pack of soda. It just fits my DSLR with kit lens attached and sits on the floor in the back seat of my car. It protects my camera from bumps and scrapes as well as heat. Fisheye photo made possible by Sigma. Canon 5D Mk II with Sigma 8mm full-frame 180-degree fisheye.
What Do You See?
I see the shadow of a wolf that’s about to pounce on a rabbit. To some people it may look like a scrap of poster attached to a utility pole that’s riddled with staples. But if you look closely you can see the line of the wolf’s jaw, his alert ears and his black, wet nose. Photography creates the ultimate Rorschach test. While some people try to see everything, photographers can see small details. And in the process, they sometimes find things that aren’t even there until they are isolated from the whole.
Technical information: Nikon D5000 with 18-55mm Nikkor (zoomed to 55mm) f7.1 at 1/200 second at ISO 200.
Olympus 150mm f2.0 Zuiko Lens
Olympus was kind enough to lend me a 150mm f2.0 Zuiko lens for some personal shooting. I recently bought a new E-520 at an incredible price because it’s a discontinued model. Even so, it has a rich feature set, Image Stabilization and weighs slightly more than a well-dressed chicken taco. It also offers Live View, Dust Reduction and Wireless Flash. On close-out, this DSLR body cost me about the same as a high-end point-and-shoot. The weather was lousy for the first several days after I received the lens, but I was not able to resist shooting in the early morning and early evening between cloudbursts. It was not what you’d call the ideal shooting environment. Later, of course, I was able to use it under more favorable conditions. But even in the worst light, I was truly amazed. The 150mm f2.0 is the equivalent of a 300mm f2.0 on a 35mm film camera. I knew that using this glass would be fun, and I expected the results to be superb because it’s one of Olympus’s highest quality (Super High Grade Series) lenses. So I began this adventure with very high expectations—like when you order the signature dish at a famous restaurant. But I was not prepared for this. Holy cats! This is a worldclass lens. To say it’s sharp is almost an insult—sharp is an adjective reserved for earthly lenses. This glass is from another planet. To be honest, part of the reason why the performance appears even more extraordinary is a result of the extremely limited depth-of-field that a 300mm lens provides at f2.0. If you want to blur the background and isolate your subject—as in a portrait—there’s no better way to do it than to use a long lens with a large aperture. Separating the main subject from its environment enhances the appearance of sharpness. But physics aside, this glass really cooks. This lens is no lightweight by any measurement. Tipping the scales at nearly three-and-one-half pounds, it reminds me of a fireplug with a tripod socket. Of course, when a lens is substantially heavier than the camera body to which it’s attached it’s wise to carry the combination by the lens—and carefully, at that. I found it quite comfortable to do so. In fact, the center of gravity provided terrific balance. Between that and Olympus’s in-camera Image Stabilization, I was able to shoot wide open at slow shutter speeds without mishap. It’s also rather expensive—around $2300 in most shops. But if you consider the fact that you can buy an Olympus DSLR body at a very reasonable price, the combo becomes more attractive. If you shoot stage performances, wildlife, arena sports or anything similar you might find that this lens makes you a suddenly better photographer. And it serves to remind us, once again, that the lens is the most important part of the equation. Oh, the camera body is important, that’s for sure, but if you’ve got worldclass glass you can get good images.
Desaturate
Open an appropriate image. The hardest part of this operation is finding the right shot. From the CS4 dropdown menu select Image/Adjustments/Desaturate (or simultaneously press these keys: Shift+Ctrl+U. Your colorful image is now black, white and shades of gray. The color is still there, however. From the Toolbar select the History Brush Tool (or press the Y key and it will activate automatically). Choose the most appropriate brush size (as you normally do) and paint over the areas where you want to restore color. Stop and release the mouse button frequently, and use Ctrl+Z to Undo mistakes. Ctrl-Z will undo everything you did since the last time you released the mouse button, so if you fail to release it frequently you may end up undoing more than you'd like. Note that the History Brush Tool will not work if you open an image and rotate it, so do your color editing before rotating. Or Rotate, Save and then begin from step one. If you have a graphics tablet this procedure is much easier. You can use the Blur Tool and Smudge Tool to clean up around the edges. Note that you can give the image an overall color cast before you selectively restore the natural color—that is, the background does not have to be black and white. But I'll let you figure out how to do that step on your own.
Kids and Cameras
Everyone I know has outgrown at least one generation of digital camera, and many have passed them on to responsible kids who are having a blast. Specifications like resolution, zoom range and focusing speed don’t matter to children. They’re just thrilled to have a camera and to be able to make images. We can learn a lot from that. Trusting a young person with a camera is an opportunity to teach and reinforce values as well as artistic expression. How old to start? That depends on the child, of course. The important thing—regardless of the child’s age—is to establish some rules. Here are rules that we observe at the Sienkiewicz house. - No pictures from inside the car (except an occasional bridge, large mammal or boredom-induced self-portrait). - Not too many pictures of just feet if they can be avoided. - Turn the flash off when ambushing the dog. - Be prepared to explain each image and why it was created. (We always gather around the PC to admire and discuss the images, usually the same day they were shot.) - Especially when traveling, spend more time enjoying your surroundings, family and friends than you spend taking photographs. - Try not to drop the camera and tell dad if you do. - Don’t forget and leave the camera at Cracker Barrel ever again. Needless to say, cameras that have small, removable parts (including batteries) that could present a choking hazard should not be given to kids, particularly kids who are younger than five years old. Above photo of Maya Sienkiewicz using a Pentax Optio E70 was shot with a Pentax Optio P70.
Contrarian
You know the guy who goes to the famous steakhouse and orders chicken? And swears up and down that he does it because he likes chicken? Well, I kind of feel like that guy. Spring is painting herself on every tree, shrub and flower garden—the Earth is shedding her drab, gray pajamas and slipping on her party dress—and there is color everywhere. Finally. So what am I doing? Shooting pictures of colorful flowers and converting them to monochrome. Now, I suppose some psychologist somewhere could make something of this. But I’ll bet that any behavioral expert who finds this strange is a person who never shot Panatomic-X, developed it in Microdol and printed it on Agfa Brovira. There is something exciting about the texture of a black-and-white image that color shouldn’t be allowed to disguise. Fortunately, I don’t need a darkroom to get the sort of enjoyment I remember from the Film Ages. Nowadays I shoot black-and-white images in color and make the conversions in Photoshop using Nik Software Silver Efex Pro. The Silver Efex package allows me to emulate the results I might have gotten from 18 different black and white film types, plus there’s a variable toning selector that delivers results very close to traditional wet-chemistry toning techniques. The application features more than 20 preset styles and a pretty nifty grain reproduction engine—although grain is the one thing I usually try to avoid. There are other ways to produce monochrome images, but many of the alternatives I have tried resulted in insipid, lifeless, colorless pictures—not the dramatic black-and-white statements that are worthy enough to shove the colors right off of the palate. Image above shot with a Pentax K20D and Pentax 100mm f2.8 Macro.
Card Readers
The Pentax Optio W60, for example, has around 36.4 megabytes and in a pinch—like when you remembered to charge the battery but forgot to change the memory card—you can record about fifty 1280x960 images. The camera is capable of much higher resolution, of course, but even at this level you’ll get enjoyable images instead of kicking yourself in the pants for not buying an extra card. This means that camera manufacturers must continue to include a USB cable. And that’s too bad, because you don’t really need it to download images that have been captured to your removable memory card. Instead of using a USB cable to transfer image files, buy a multi-format card reader. Connect it to your PC and leave it there. Card readers have steadily gotten faster, prettier and more reliable. And they’re not very expensive. If you’re starting to look for the perfect under-$30 gift for Mom or Dad or the graduating student in your life, consider a card reader. The image above shows Transcend and SanDisk multi-format card readers. Either would look attractive next to your computer. The Transcend is small and travels well with your notebook PC; the SanDisk can be removed from its tripod-like legs. Kingston offers several models as well, as does Lexar.
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