Tag: Length

The First Dance: Tips For Choosing The Right Song And Making It Special
by David Burgess on 0

The First Dance: Tips For Choosing The Right Song And Making It Special

Your first dance as a married couple is a moment to be treasured – and choosing the right song is an important part of making it perfect. Here are some tips to help you pick the right tune and make sure your first dance is as special as it can be.

Think about the meaning of the song

Your first dance song should be significant to you as a couple. It could be the song that was playing when you first met, your favourite song from when you were dating, or a song that reminds you of a happy memory together. Whatever the meaning, make sure it’s a song that has personal significance for you both.

Choose a song with a good beat

The first dance is a chance to show off your best moves, so pick a song with a good beat that will make dancing together easy and fun. If you’re not sure what kind of music you want, take a look at some of the most popular first dance songs for inspiration.

Make sure the lyrics are appropriate

Your first dance is a romantic moment, so you’ll want to choose a song with lyrics that reflect your love for each other. Avoid songs with crude or explicit lyrics, and try to pick a song with positive, romantic lyrics that will make your first dance even more special.

Think about the length of the song

Your first dance should be long enough to enjoy, but not so long that it feels like it’s dragging on. A good rule of thumb is to choose a song that’s three to four minutes long. This will give you plenty of time to dance together without feeling like the song is never going to end.

Consider your guests

Your first dance is for you and your spouse, but you’ll also want to consider your guests when choosing a song. If you have elderly guests or young children at your wedding, you might want to avoid choosing a slow, sentimental song that could make them feel uncomfortable. Instead, opt for a happy, upbeat song that will get everyone on the dance floor.

Get professional help

If you’re having trouble choosing the perfect first dance song, don’t hesitate to ask for help from a professional DJ or wedding planner. They’ll be able to offer suggestions and help you choose a song that you’ll love dancing to on your wedding day.

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The Walk Down The Aisle: What To Expect
by David Burgess on 0

The Walk Down The Aisle: What To Expect

When you’re planning your wedding, there are a million things to think about – the dress, the flowers, the venue, the guest list. But one of the most important things to think about is the walk down the aisle.

This is the moment when all eyes are on you, when you’re making your grand entrance as a bride. So it’s important to make sure you’re feeling confident and ready for your big moment.

Here are a few things to keep in mind as you’re planning your walk down the aisle…

1. The length of your aisle

The first thing to think about is the length of your aisle. If you’re getting married in a church or a large venue, chances are you’ll have a long aisle to walk down. But if you’re getting married in a more intimate setting, your aisle might be shorter.

Either way, it’s important to make sure you’re comfortable with the length of your aisle. If you’re not comfortable walking long distances in your wedding dress, consider a shorter aisle. If you’re worried about tripping on a short aisle, consider a longer one.

2. The width of your aisle

The next thing to think about is the width of your aisle. This is important because you’ll need to know how many people can walk down the aisle with you.

If you’re having a large wedding, you might want to consider a wider aisle so that more people can walk down with you. But if you’re having a smaller, more intimate wedding, a narrower aisle might be more appropriate.

3. The type of flooring

Another thing to think about is the type of flooring you’ll be walking on. This is important because you’ll want to make sure your shoes are appropriate for the type of flooring.

If you’re getting married on a carpeted floor, you’ll want to make sure your shoes are comfortable and won’t slip. If you’re getting married on a hardwood floor, you might want to consider wearing heels so you don’t slip.

4. The lighting

The lighting in your venue is also important to think about. If you’re getting married in a dark church, you might want to consider carrying a bouquet or wearing a veil so you’re not lost in the darkness.

If you’re getting married outdoors, you’ll want to make sure you’re not squinting in the sunlight. If you’re getting married in a dimly lit room, you might want to consider wearing brighter lipstick so you stand out.

5. The music

Last but not least, you’ll want to think about the music you’ll be walking down the aisle to. This is important because you want to make sure the music fits the tone of your wedding.

If you’re having a traditional wedding, you might want to consider walking down the aisle to classical music. If you’re having a more modern wedding, you might want to consider walking down the aisle to pop music.

Whatever you decide, make sure you’re comfortable with the music and that it fits the overall tone of your wedding.

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How to Make a Loopy Hair Bow
by Leland Richardson on 0

How to Make a Loopy Hair Bow

A flower loop hair bow is a delightful way to dress up a little girl. This charming bow is made from a variety ribbon in different colors and patterns. You can make a flower loop hair bow any size with as many layers as you like. For each succeeding layer just decrease the length of the ribbon by one inch. After creating your loopy hair bow, embellish the top with an artificial flower, an ornamental button, a plastic heart, jingle bells, or any decoration you choose.

How to make the Bow

Practice the technique briefly to better understand the construction of a flower loop hair bow. Cut a 10″ length of ribbon. Find the middle of the ribbon and insert a needle through it. Curl one end of the ribbon over (the end is flat and not curled into a circle) and push the end down halfway on the needle. You should have a loop with a needle protruding through one end. Curl the other end of the ribbon over and push it down on the needle. Now you have a figure 8 with a needle protruding in the center. This is the process you will repeat to construct the loop bow.

4″ Bow with 4 layers

Cut 6 pieces of ribbon 9″ long for layer 1. Cut 5 pieces of ribbon 8″ long for layer 2. Cut 4 pieces of ribbon 7″ long for layer 3. Cut 4 pieces of ribbon 6″ long for layer 4. Stack up all 6 pieces of ribbon for layer 1, fold them in half and hold. Insert a threaded needle half way through the center of the loop and through each layer of ribbon. Fan the pieces of ribbon around the needle in the shape of a flower. Place a salon or hair clip in the center to hold the fanned ribbon in place. Fold the end of the first ribbon over and push the end onto the needle. Take the ribbon next to the one you just folded and do the same thing. Repeat until all the ribbons are folded all the way around. Adjust the folded ribbons so they are evenly distributed around the bow. Pull the needle completely through until it is stopped by the knot in the end of the thread. Run the needle back through making a stitch. Make several stitches to secure layer 1. Repeat the entire process for each layer of the bow. You can sew or hot glue all the layers together.

Attach to a Barrette

Sew a piece of ribbon 2 ½” long to the bottom of the bow (the side with visible ribbon ends). Use this piece of ribbon to hot glue or sew the bow to the barrette. Add a flower, or any decoration to the front of the bow.

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Kodak Playsport Zx5 Review
by Leland Richardson on 0

Kodak Playsport Zx5 Review

The Kodak Playsport Zx5 is a high definition pocket camcorder capable of recording 1920 x 1080p in the H.264 format. It is waterproof to a depth of 10 feet, can survive a drop of up to five feet and is sealed against dust and dirt.

It retails for $179.

Kodak Playsport Zx5 at a Glance

The Good: Slim, rugged design, good video quality.

The Bad:

Sticky center control, no built-in USB plug, mono mic.

Kodak Playsport Zx5 Video Quality

The Playsport Zx5 records 1920 x 1080 HD video at 30 frames per second (fps) in the H.264 video format via a 5-megapixel CMOS sensor. You also have the option to record 1280 x 720 video at 60fps for capturing faster moving action or at 720/30fps.

As with the previous Playsport, the video is quite appealing for a pocket camcorder. Occasionally, the colors would drift a bit but the effect is hard to notice unless you’re really parsing your footage. Compared with last year’s Zx3, the video appeared less noisy indoors, which is a plus.

In addition to video, the Playsport can also snap 5-megapixel still images. Unless you’re working with plenty of natural light and a very steady hand, the photo function mostly produces blurry pics.

Optics

The Playsport offers a fixed focal length lens with a 4x digital zoom. The zoom isn’t much help – it tends to simply ramp up the digital noise in your video, so it’s probably

best to avoid it all together. The Playsport offers digital image stabilization to help keep videos smooth during recordings. The video I shoot wasn’t particularly shake-prone, but it’s hard to tell if that’s the stabilization kicking in or the fact that the Playsport is so small that you can get a real nice grip on it.

One thing you’re likely to notice (and it’s reared its head on other pocket cams) is trouble with the auto-focus. Sometimes it’s slow to lock on, leaving you with a second or two of blurred video. It’s not unusual for a pocket camcorder lens, but it’s something to bear in mind.

Playsport Design

The Playsport isn’t the slimmest and trimmest pocket camcorder on the market, mostly because it’s designed to take a beating. Still, at 2.3 x 4.4 x .7-inches and 125g it’s still light and compact enough to slip into a pocket with hardly a notice. The corners of the Playsport are rounded off with a rubberized bumper which not only protects it from bumps but gives it a sturdier grip. While the camcorder seals away its memory card and connector ports to protect them from the elements, both click open easily so they’re quick to access.

The Playsport has seven external buttons – an on/off switch that sits rather flush on the top of the camcorder and is a bit difficult to engage. It’s backlit though, so you can notice when the Playsport is turned on (in case the live preview on the LCD display didn’t tip you off). On the back of the camcorder, you’ll find controls for switching between still and video, playback, trash, settings and a share button – which lets you tag videos for automatic emailing or uploading once the Playsport is connected to a PC. These controls are quite responsive. The record button sits at the center of a four-way controller, which is a bit less responsive than the other controls.

The Playsport comes in three color choices: red, blue and black. Aesthetically, it’s pretty sharp.

Playsport Zx5 Features

In addition to its rugged, waterproof design, the Playsport Zx5 has several video effects that can be applied to videos including vivid color, sepia, black and white, high saturation and “1970s film look” if you want a retro feel to your videos. There’s an underwater setting as well to optimize your exposure if you take the Playsport beneath the waves. You’ll also find face detection, and the aforementioned share button, which lets upload videos automatically to Facebook, Flickr, Kodak Gallery , Twitter, YouTube and several other sharing sites. The share function is definitely a plus, but the Playsport doesn’t have a built-in USB plug, so you’ll have to fish around for a cable when you’re ready to connect.

Menu & Display

Kodak has updated – and improved- the menu system from the Zx3 on the new Playsport Zx5. Good thing too, as the older menu was difficult to understand. The new menu trades vague icons for simple text. It’s not the most dynamic thing in the world, but it certainly gets the job done.

The Playsport’s 2-inch display features a glare-shield, which you can activate in the menu to compensate for bright sunlight. The display itself is bright but doesn’t have a great viewing angle, so you need to be holding it straight-on to get the sharpest preview of the video you’re recording.

Playsport Memory

The Kodak Playsport Zx5 comes with 128MB of internal memory so you’ll need to opt for an optional SD/SDHC card to record video of any length. The camcorder supports SDHC cards up to 32GB in capacity – enough to store about six hours of HD footage.

Kodak Playsport Zx5 Bottom Line

The Playsport Zx5 is a very versatile pocket camcorder – it not only takes sharp video but is designed to go underwater and take the odd fall off a table. Despite its sturdy build, the Playsport is sharply styled and not at all cumbersome to carry with you. The lack of a built-in USB plug and a lapse in autofocus top the very short list of quibbles with the Playsport Zx5, which continues Kodak’s tradition of leading pocket camcorders.

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Easy DIY Instructions to Make a Knotted Charm Bracelet
by Leland Richardson on 0

Easy DIY Instructions to Make a Knotted Charm Bracelet

I’ve received quite a few emails about the knotted Figaro sterling silver charm bracelet shown in my charmed jewelry article. This is one of my original designs from a few years back and I don’t know where similar ones are for sale.

I’ve decided to post the DIY instructions on how to make this sterling silver bracelet. Even for those with minimal craft or jewelry making skills, this bracelet is extremely easy to make.

1. Supplies and Tools List for the Knotted Charm Bracelet

I purchased all my supplies and tools from Fire Mountain Gems and Beads. You could also find most if not all of the supplies and tools at a craft store such as Michaels.

Here is your supplies and tools list:

*** Figaro sterling silver 2mm chain by the foot. I purchased mine from Fire Mountain Gem and Beads, which came in a five foot length.

*** 3-strand clasp in sterling silver. You could also use a silver-colored base metal.

*** 8 sterling or silver-colored split rings in the appropriate size for your clasp.

*** 2 sterling silver charms.

*** Split ring pliers.

2. Knotting the Sterling Silver Chain

Woman’s bracelets in the US are sized at 7.5 inches in length, including the clasp assembly. Depending on how tight you get your knots, knotting the chain will use up approximately 2 inch of chain per knot.

To make sure you have the needed length, I recommend you cut three, twelve inch lengths of sterling silver chain. Matching up the ends on one side, lay the three strands side-by-side and at the mid-point, knot all three strands together. Pull tight and use a pin or pick if need be to tighten the knot.

Do the same at the mid-point between the middle knot and end on both sides.

3. Attaching the Clasp

You’ll be placing the split rings on the oblong section of the Figaro chain. If need be use your wire cutters to remove any smaller links at the end of each strand of the sterling silver chain. Then using your split ring pliers, attach your chains to one side of the three-ring clasp.

Fire Mountain Gems and Beads has a great video on using split ring pliers. The concept is the same as putting a key on a key ring.

4. Adding Charms to the Figaro Chain

Trim the other side of the three sterling silver chains to the correct length for the bracelet, making sure to include the length of the clasp. My clasp/split ring assembly added one inch in length, so I trimmed my chain to approximately 6.5 inches, making sure that the oblong part of the chain was at the end of each strand. It’s better to trim so the bracelet is slightly longer than shorter if need be to properly place your oblong section of the Figaro chain.

5. Selecting Your Charms

Depending on what type of charms you are using, use a split ring or the built-in lobster claw to attach your two charms equally spaced between the three knots.

My charmed theme was phobias. I hate bugs and snakes, so I used a spider and snake charm. Plus there is plenty of room to add more charms in the future. I already had a 14K and diamond spider charm in my findings collection that I used for my phobia charm bracelet.

6. Making it Even Easier!

If knotting the Figaro chain is too much hoop-la for you, purchase a Figaro bracelet and add the charms to the oblong sections. If a lobster claw clasp is already attached to the charm, it’s easy to add and move them on your charm bracelet.

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Portrait Photography Tips ~ Use A Canon Rebel T3i For Portraits
by David Burgess on 0

Portrait Photography Tips ~ Use A Canon Rebel T3i For Portraits

How To Take Portraits (For Beginners)

GREAT NEWS!!
You do not need a professional digital SLR camera to take awesome portraits.
You can get super portraits with an inexpensive (cheap even) DSLR camera. In fact, if you own a Canon Rebel T3i, you have in your hands an excellent tool for portrait photography.

The technology that Canon has built into its newest Rebel cameras is improved by leaps and bounds over what was available even a couple of years ago. Combine this inexpensive digital SLR with a even a so-so Canon Portrait Lens, and you have a combination that will get you some great portrait shots as well as lots of happy feedback from those you photograph.

Getting Ready To Take A Portrait

Begin with the basics.
Portrait Mode The first thing you MUST do is take your Canon Rebel T3i off the Auto setting (a gasp is heard from the crowd)..

Really! You might get lucky and get a decent portrait in auto mode, but if you want the best results, you will have to take drastic steps.

There are two choices here. First, you can use the Portrait Mode supplied by the camera, or you can use Aperture Priority (Av).

Since the simplest way to get started is to use the Portrait mode setting, let’s start with that.

Set your camera on Portrait Mode. See the picture on the right. When you do this, your Rebel will automatically use the largest aperture available for the lens you have attached to the camera.

 

Photo by RebelT3iOwner

Say What?? (I am psychic; I know what you are thinking.)

Don’t worry. You don’t even have to know what an aperture is if you use the portrait mode.

The next thing to do is compose and take the shot. When you review your shot, you should see that the background is blurry. That is the sign of a good portrait.

So what if your background is not blurry? Well, here is how to make the background blurry.

First, use a lens with a longer focal length and step away from your subject (you can also accomplish this by using the zoom on your lens at its highest setting – on the kit lens, zoom to 55mm).
The second way to help out your background is to move the subject of your photo farther away from the background. In other words, put more space between the person you are photographing and the background. Do not have them standing with their back against a wall, for instance.

Using a tripod
If there is plenty of light, you can usually have good success with hand-holding your T3i, as long as you use good camera technique. However, using a tripod is never a bad idea for a regular portrait.

Tip For Getting Great Shots
Take shots when your subject is not expecting it. Most of us announce the timing with “Say cheese.” But if you want natural expressions, try taking spontaneous shots. Or, take several shots in succession after you do the “say cheese” thing. One feature that is enabled when you use Portrait Mode is Continuous Shooting. So, if you just hold down the shutter button, you will be taking up to 3.7 shots every second. Try it. You will get some surprisingly good shots that way.

Portraits Using Aperture Priority

Feeling adventurous? Try this.

Using Aperture Priority for Portraits When you take a portrait shot with you Canon Rebel T3i in Portrait Mode, the camera does all the thinking for you, including aperture, shutter speed, ISO.. all of it. That’s why the settings on “that side” of the dial are called Basic settings. The camera does all the thinking; all the photographer has to do is select the basic setting.

The settings on the “other side” of the dial are called Creative settings. This simply means that the photographer can take more control of what the camera does on a particular shot.

Taking portraits works very well when you choose the Av, or Aperture Priority, setting. Once in that position, simply select the “f-stop” you want to use (f-stop basically means Aperture setting). The one thing you have to remember here is that larger numbers mean smaller apertures and smaller numbers mean larger apertures.

Basically, you want to set your f-stop at the smallest number you can for the lens you are using. If you are using the kit lens (18-55mm), and you zoom to the 55mm length, you will choose f/5.6. Your Rebel will not let you choose a number any smaller than that. If you are shooting with your zoom lens at the 18mm length, you can choose f/3.5. This is because the lens has a variable aperture (the smallest aperture changes as the lens zooms to higher focal lengths).

OK, enough of the geeky stuff. Why would someone want to use Aperture Priority rather than Portrait Mode?

The simple answer is that there are those of us who believe that having as much control of the camera as possible gives us better final results (pictures). In aperture priority, you can set your own ISO in order to increase the shutter speed. You can also change the exposure compensation to add more or less contrast to the image.

Finally, and this is a real control thing, you can shoot in RAW rather than JPEG. If you choose to do this, you will definitely have to do some post-processing of every image in some photo editing program like Photoshop.

The intent of this article is not to be an entire photography course, so, let’s suffice it to say that if you want to venture into the realm of learning more about photography, use Aperture Priority. At least use it when the stakes are not too high. You can possibly mess up a photo op and not get the picture, so maybe save your experimenting for times when you can patiently learn how Aperture Priority works.

The photo above was taken using Aperture Priority. The light coming from the window gave some interesting effects. Using Portrait Mode gave would not allow me to take this without a flash, another reason to try Aperture Priority.

Photos by WRasku

Portrait Lenses For Canon

These lenses will go a long way toward making your pictures look GREAT!

Recommended focal length for portraits is about 75mm (plus or minus), but on a Rebel a 50mm lens is roughly equivalent to that because of something called the “crop factor.” So, any one of these lenses will qualify as an excellent choice for your future portraits.

Portraits With Props

Add Interest to portraits by adding unexpected items.

Canon Rebel T3i Portrait Sometimes you can get a great shot that grabs lots of attention by simply adding a hat or scarf. Simple things add so much interest if used in a way that develops a story along with the excellent quality of the Canon Rebel and the portrait lens you choose.

Recently, we were browsing in a downtown gift shop that had lots of hats, scarves, jewelry, and other great photo props. We ended up with some pictures that we normally would not have even thought to shoot.

..don’t stop after you get one shot. It sometimes takes a little time for the subject to start to relax..
Let your subject use her imagination when it comes to props like this. She will know what looks good on her (and, more importantly, she will know what she does not want to be seen in). The subject will also feel more at ease if he or she has some input into the setup of the shot. This can work very well with children as well as adults.

 

 

And don’t stop after you get one shot. It sometimes takes a

little time for the subject to start to relax and get into the mood. Also, don’t hesitate to show her (or him) the photos you are shooting. When she sees how good the pictures are turning out, she will be much more enthusiastic about the idea.

Another excellent way to generate excitement in this type of situation is to bring together two or three people who are friends. They will feed on each others excitement and enthusiasm.

You can even get good portraits in public places. In fact, this type of photo can add much more interest than using a standard photography background. Photographers use this quite often in senior portraits when the take their subject to stand by a tree or a covered bridge, but you can do the same thing at a restaurant or public square.

Photos by WRasku

Pet Portraits

Love taking pictures of your best friends?

Pet Portrait With Canon Rebel T3i Pets could be one of the most popular portrait subjects. After all, don’t we all love our dogs, cats, turtles, parakeets, etc, etc?

Yes we do!

The problem is, sometimes our beloved friends do not know how to cooperate.

In situations where getting the pet to look in the right direction, or just stay in one place long enough for you to get the shot, you will need a couple of things.

First, you need patience. Chances are you will have to take quite a few pictures before you get The One.
Someone to help you would also be helpful. You can enlist the help of another person who in intimate with the pet. (This is especially true if you are doing this for a friend, and the pet is not your own.)
This is where a good, fast lens comes in handy. Point and shoot cameras may get some good pet photos, but your Canon Rebel will shoot rings around a point and shoot in this situation, simply because you can choose the right lens for the shot.

Some other things that can help here are treats and toys. Most animals (even cats) respond to goodies. They also show interest in their favorite toys.. see the picture of Colby here.. he was looking intently at a treat.

Photo by WRasku

A Nifty Trick For Pet Photos

Pet wide angle portrait

Take a pet photo with a wide-angle lens.

This is Colby again. He is not the best model – hates to have his picture taken when he knows it’s going on the Internet. He’s so vain.

I did this with the kit lens at the widest focal length – 18mm. I got up really close – as you can see, his nose is out of focus, but the eyes are sharp. Sharp eyes are what separates an OK picture from one that has the possibility of being a WOW picture.

What happens in a picture like this is something called distortion. The lens distorts the actual image so that it looks a bit wonky. It will not make your wife (or husband) look like a super-model, but it’s fun for animals.

This one is not in the WOW category, but I was dealing with a moving target. You can take this technique and use it with your own pet. Farm animals like pigs and cows work perfectly with this method. Your fans, friends, and family will love it.

Using Your Canon Rebel T3i for Self-Portraits

Getting a bit lazy here. Rather than write about self portraits, I made a video.

With the Canon Rebel T3i’s articulating LCD, you can see yourself before you take the photo. All you need is a cheap remote shutter button.

Portraits That Tell A Story

The Canon Rebel T3i can capture the action.
Action Portraits With A Canon Rebel T3i Great portraits are not always a result of someone sitting on a stool in front of a photography backdrop with the camera man saying, “Cheese.” You can use a good digital SLR like the Canon Rebel T3i to capture some nice candid portraits like this one of the guitar player.

The truth is that your subjects will love the pictures when you are able to capture the personality of the moment. As the viewer looks at the photo, there is a story that emanates from the picture, or maybe it will be a question. But in either case, the picture gets the viewer involved, and that is one of the signs of a good photo.

Photo by WRasku

Use A Fast Canon Portrait Lens

Wide apertures help to blur the background.

Use A Fast Canon Portrait Lens Notice how the background is blurred in the photo above. The way that was accomplished was to use a Tamron 28-75mm f/2.8 lens set on Aperture Priority with the aperture set to f/2.8. This not only guarantees a blurry background, but it also gives you the fastest shutter speed possible in an indoor situation.

Nothing is worse than taking a killer picture of a great subject and having it totally messed up by some distracting background item that you didn’t even know was there.

Sometimes you can’t avoid background clutter, but you can blur it out using a wide aperture lens. One desirable feature of a Canon Portrait lens is a wide aperture.

Of course, it may also depend on the focal length of the lens to know whether an f/4.0 lens is wide enough to get that blurred background. If you can secure a lens with f/2.8 as its widest aperture, you will pretty much guarantee a nice blurred background.

Photo by WRasku

Edit Your Canon Rebel Portraits

Post processing adds punch to a photo.

Canon Rebel T3i Portrait Cropped Almost all digital photos can be “helped” with a little post-processing. You don’t need the most expensive photo-editing software to do this either. You can even use free online photo editing sites like GIMP or PICNIC to get your portraits looking good.

Sometimes all it takes is changing to black and white or a bit of cropping to make your portrait a real show-stopper.

Photo by WRasku

Keep Your Canon Rebel T3i In Plain Sight

Don’t be shy!
Don’t be shy with your Rebel T3i When you are at special events, you are in prime territory for portrait shots.

This shot was taken at a Civil War Re-enactment. These guys love interacting with their audience and having their photo taken. They will also give you all the details of their costume. It is very enlightening and rewarding.

The thing that will hinder you is your shyness. Even if they say “no,” which they won’t do, the worst thing that can happen is you don’t get to take their picture.

On the other hand, it is always a good gesture to ask if you can make their picture. Asking permission will not only get you the great photo, but you can also use it online when you have their consent. As a gesture of gratitude, you might even offer to send them a copy.

Group Portraits are awesome when there is a theme. At the Civil War demonstration, these gentlemen were very cooperative for the photographers. Then I took the picture into my editing software to add a vintage look to the photo. So much fun!

Photos by WRasku

Take Family Portraits

Family photos with Canon Rebel Every year, I use my Rebel for family photos that end up on or in Christmas cards.

This is one of the ones that was chosen.

Here is the data for this picture:
Camera lens: Tamrom 28-75 f/2.8
Mode setting: Av (Aperture Priority)
Aperture: f/2.8
Shutter speed: 1/320sec
ISO: 400
Focal length: 42mm
Flash: off

In-camera Effects

Edit Your Photos Without Expensive Software

There are several Canon T3i in-camera editing effects that you can use right in the camera. Once you select an effect, the software will generate a separate file so you don’t lose the original. Essentially, you can create many photos from a single shot.. without a computer!

The effects are:

Grainy Black and White
Soft focus
Fish-eye effect
Toy camera effect
Miniature effect

Example of Grainy Black and White

Example of Fish-eye Effect

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Playwright Zoo
by David Burgess on 0

Playwright Zoo

Zoo playwriting?

A resource linking you to some of the coolest new trends as well as classics particular to playwrights and their craft. — And check out the Playwright Zoo Archive for past musings and featured artists.

Polar Bears

The coolest.
Michael R. McGuire is one of the playwrights whose opinion I trust. He’s a theater artist working within his community as a major contributor to the local arts scene in New London, Connecticut. He is a self-taught self-starter who also helps other theater-artists see their work produced. I’ve know Mike for a few decades, and we’ve worked together to co-produce new-play festivals and full-up productions. He founded a playwrights group that meets regularly throughout the year where members bring new work to have it read and discussed (then we all go out for food and beer). He’s the kind of guy you want to have around when you’re trying to get a new piece on its feet. Everybody should have a friend like Mike.

Michael R. McGuire has written plays for the past 16 years. His play SOMETIMES I FEEL LIKE I MISSED THE TRAIN was part of The Lark’s 2004 Playwrights Week and showcased by The Planning Stage at The Golden Street Gallery in 2006. He was awarded a CT Artist Fellowship in 2005 for his play THE NEW GIRL with which he produced a showcase at the Avery Point Playhouse. His plays PERSEPHONE RULES! and THE MISJUDGMENT OF OENONE are published by Brooklyn Publishers.

McGuire founded the playwrights reading group Writers’ Roundtable in 2000.

The interview:

Michael R. McGuire – why the “R”?

There is another playwright in America named Michael McGuire. We were getting one another’s rejection letters returned. The other McGuire has been around longer so I added my middle initial. Plus, it sounds cooler.

You’re a playwright based in Southeastern Connecticut. What are some of the challenges to you as a playwright not being in a big city?

The biggest challenge is the lack of opportunity to network with theater professionals. Literary managers have no face to put with my name. Of course this might also be an advantage…

What are the benefits?

I enjoy being an outsider. Because so many playwrights live in NY, they tend to have a New York sensibility. My New London, CT sensibility is a bit different and informs my writing.

Living in a small arts community like New London County, how essential to you and your work has been the acquisition of production skills?

I have produced, directed and also acted in many of my own productions. It is essential for a playwright to see the work in front of an audience. If opportunities do not present themselves, you must create them.

What makes you want to produce the works of others as well as your own?

I sometimes come across a script that I simply must see on stage. Your play TO DIE FOR WANT OF LOBSTER was one of these. (That it had a great role for me had nothing to do with it)

I do not consider myself an especially skilled director of the works of others and prefer to leave that to others when I can.

Being outside of the mainstream loops and circles that life in New York or another theater hub could offer, how do you get your work out there? Do you have a marketing plan? If so, how does it work?

I wouldn’t call it a plan so much as a dogged tenacity to submit my work to every theater I can find that might be appropriate. In addition to Dramatists Sourcebook, I also search online and scour the resumes of playwrights I admire for theaters they began in.

I keep a database of all my submissions and mail frequently. How does it work? I’m not so sure it does!

While the stereotype of the struggling playwright places him/her in a room, alone, flushing out genius across pages, waiting for discovery – how does it really work from your experience? Are you alone or do you depend on others?

I write in coffee shops. I need a bit of hubbub to write. Silence is deadly to me. I read a great deal and consider all writing as part of a larger conversation. Nothing is created in a vacuum. Our playwrights group Writers’ Roundtable has been a valuable resource for feedback and inspiration.

How did you find other artists in your small-town community to work on your plays?

Mine is a theater-heavy small-town due, in part, to our proximity to The O’Neill. New London has an artistically thriving if financially struggling community. I am also fortunate to have an actress girlfriend, Heidi Harger, who has inspired imagery for more than one of my plays.

What resources are do you use to expand your knowledge of writing? What’s available when you’re off the beaten path?
Given Amazon.com everything that is available elsewhere is available here. The works of Gary Garrison, Jeffery Sweet and Stuart Spenser have been valuable, especially early on. Reading the works of current playwrights has also been important. I have to travel a bit to see professional theater, but every playwright should watch live theater.

You recently participated in a 24-hour play experiment, which was the first of it’s kind in the New London area – what was that like? What was unexpected?

We were given an assignment in the evening and had to have a 10 page play written by morning. The plays were handed off to randomly selected actors and director who rehearsed and had the play before an audience that night. It was fun for me because I didn’t have to direct it myself, a rare treat.

Unexpectedly my director, unknown to me before the project, is interested in an on-going collaboration on future plays.

You’ve also participated in the now defunct Local Playwrights Festival at the O’Neill Theater Center, which was produced and performed by all Connecticut and Rhode Island based volunteers to present workshops of plays by local authors – how relevant was that earlier experience for you?

Having an early play (WHAT’S GONNA SET YOU FREE?) selected for that festival was the encouragement I needed at that time to let me know I might be in the right business. It also introduced me to other playwrights and the local theater community at large. It is impossible to overstate the importance of that event. You may blame them for all my subsequent scribbling.

Any plans for the short play that came out of that?

I’m not much of a short play writer in general, but I may send it out here and there.

What are some recommend reads for playwrights?

I mentioned some writers above, and of course read any play you can get your hands on, but also read magazines, novels, comic books, essays and everything else. Ideas are everywhere. I could live ten lifetimes and not run out of ideas.

What do you recommend a playwright order from the bar when being taken out after a showing of one of his/her plays?

If the show went well, have a Guiness or two. Remain sober enough to absorb the praise. If the show went poorly, start pounding whiskey. I accept no responsibility for anyone who follows this advice.

Anything else?

Learn the rules and then break them with style.

The Monkey House

Musings on the state of theater-arts

A Playwright & Web Forums: How to Use Them for the POWER OF GOOD
(your good & others)
from the mind of Kato McNickle

There are a lot of playwright specific forums, groups on Facebook or MySpace, and other web-based cyber-groups floating around. One thing I’ve noticed from participating in these forums and groups is that about 1 outta 50 playwrights actually knows how to interface, interact, and maximize the potential of these virtual porticoes. How savvy are you when it comes to participation thru posting? Are you that one or the other 50?

If that forum your a member of was a theater — what would you do with it? Would you really only tap on the mike once our twice, see if it was on, and only leave a brief calling card — or would you do more? Can you do something more memorable, more lasting, more significant with your stage-time?

I think sites such as these are like stage-time. How can you do more than leave a calling card? How can you use this forum to make a statement — to leave an impression? From impressions come connections. The connections are what we seeks as artists.

Visit the Playwright Zoo Archive.

Creative Creatures

Workshops for the writer @ Kripalu Center for Yoga & Health

Writing as a spiritual practice, a creative path, or as a way to re-vision your life story helps you access the thoughts behind your thoughts and experience a new intimacy with yourself. Writing helps us make friends with our inner critic, freeing us to create and express without inhibition.

Kripalu provides a welcoming environment in which to turn inward toward the words that are calling you-and offers you a variety of skilled teachers to guide you on the next step of your writing journey.

FastLinks to theaters

These theaters accept unsolicited plays

Actors Theatre of Louisville
Louisville, KY. National 10-minute play contest.

Act II Playhouse
Ambler, PA. Full length plays, musicals, and solo pieces.

African Continuum Theatre
Washington, DC. Multicultural work relevant to African-American community.

Alabama Shakespeare Festival
Montgomery, AL. Plays from Southern writers with Southern or African-American themes.

Amas Musical Theatre, Inc.
NYC. Multicultural casts and themes.

ART Station
Stone Mountain, GA. Full-length plays, musicals, solo pieces that describe Southern experience.

Asian American Theatre Company
San Francisco, CA. Innovative rendrings about the Asian American experience.

Bristol River Theatre
Bristol, PA Cutting-edge works, plays that experiment with form.

Celebration Theatre
West Hollywood, CA. Plays not previously produced that provide a prgressive gay and lesbian voice in contemporary theatre.

Centre Stage-South Carolina
Greenville, SC. Full-length, unproduced plays.

City Theatre
Miami, FL. One acts only that represent a diverse mix of subjects and themes.

Columbus Children’s Theatre
Columbus, OH. Social issue one-acts acceptable for audiences in grades K-5.

Dad’s Garage
Atlanta, GA. Full-length nontraditional plays, comedies.

Detroit Repertory Theatre
Detroit, MI. Full-length issue oriented plays.

East West Players
Los Angeles, CA. Plays by or about the Asian American experience.

El Centro Su Teatro
Bilingual and/or Spanish language plays, plays dealing with the Chicano/Latino cultural asthetic or political experience.

Express Children’s Theatre
Houston, TX. Plays for young audiences.

5th Avenue Theatre
Seattle, WA. Adventure Musical Theatre: ongoing program that commissions original musicals performed for K-6 students.

Foothill Theatre
Nevada City, CA. Seeks full-length plays. New Voices of the Wild West: annual spring series of plays about the rural American West.

Growing Stage Theatre
Netcong, NJ. Accepts plays with a production history suitable for family audiences.

Hangar Theatre
Ithaca, NY. Accepts one-acts for for young audiences only.

Huntington Theatre
Boston, MA. Accepts plays from Boston area playwrights only; agent submission all others.

Jewish Theatre of the South
Atlanta, GA. Works on Jewish themes.

Jobsite Theater
Tampa, FL. Topical, politically and socially relevant theatre; plays appealing to 20- and 30- somethnings.

Kitchen Dog Theater Company
Dallas, TX. Plays from Texas and Southwest playwrights.

Kuma Kahua Theatre
Honolulu, HI. Plays set in Hawaii or dealing with Hawaiian experience.

Merry-Go-Round Playhouse
Auburn, NY. Plays for young audiences.

Mill Mountain Theatre
Roanoke, VA. Accepts unsolicited one-acts for CenterPieces reding series only.

Miracle Theatre Group
Portland, OR. Hispanic playwrights, plays that deal with the Hispanic experience.

Mu Performing Arts
Minneapolis, MN. Asian-American expeience, plays combining traditional Asian performance with Western theatre styles, short plays suitable for school tours.

New Georges
NYC. plays by women only, works with vigorous use of language and heightened perspectives on reality.

New Jersey Repertory Company
Long Branch, NJ. Work not produced professionally, social or humanistic themes.

A Noise Within
Glendale, CA. Translations or adaptations of classical material only.

Oldcastle Theatre Company
Bennington, VT. Accepts musicals and plays.

OpenStage Theatre & Company
Fort Collins, CO. Accepts full-length plays.

Oregon Children’s Theatre
Portland, OR. Plays and musicals for young and family audiences.

Playhouse on the Square
Memphis, TN. Full-length plays and musicals.

Playwrights Horizons
NYC. American writers only, works with strong sense of language that take theatrical risks.

Porchlight Music Theatre Chicago
Chicago, IL. Full-length and one-act musicals.

Sanctuary: Playwrights Theatre
Brooklyn, NY. Accepts playwrights with at least one professional production only; prefers plays with unusul structure, radical core ideas, epic form, work that’s off the map or otherwise seen as impractical.

Seattle Children’s Theatre
Seattle, WA. Accepts unsolicted plays for Drama Summer School season only: one-act plays suitable for young actors.

Seem-To-Be-Players
Lawrence, KS. Plays for young audiences.

Soho Repertory Theatre
NYC. Accepts unsolicited scripts for Writer/Director Lab only, deadline: May.

TADA! Youth Theater
NYC. Plays for young audiences.

Thalia Spanish Theatre
Sunnyside, NY. Plays with Hispanic themes.

Theater by he Blind
NYC. Works by and about being blind.

Theater for the New City
NYC. Experimental American works; plays with poetry, music, and dance; social issues.

Trustus Theatre
Columbia, SC. One-acts for late night series – 45-75 minutes in length. No topic or experimental structure is taboo.

Two Chairs Theater Company
Grand Junction, CO. Full-length, one-acts, 10-minute plays. Annual short play fest, deadline Jan. 31.

Unicorn Theatre
Kansas City. MO. Full-length contemporay social issues.

Victory Gardens Theater
Chicago, IL. Accepts plays from Chicago residents only. All others submit 10-page sample and letter of inquiry.

VS Theatre Company
Los Angeles, CA. Accepts unique and edgy full-length unproduced plays with submission form.

West Coast Ensemble
Los Angeles, CA. Plays not previously produced in Southern California.

Wings Theatre Company, Inc.
NYC. Gay themed musicals and plays only.

The York Theatre Company
NYC. Small cast musicals.

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Cool Magic Tricks for Beginners
by David Burgess on 0

Cool Magic Tricks for Beginners

Easy-to-perform magic tricks for the beginner

While all magic tricks, if they are well performed, seem hard to do, many of them require no special skill or expertise, just a thorough rehearsal of the steps involved.

The best magic tricks are real crowd pleasers, and a few magic tricks, if performed in the right context, will not be out of place at most gatherings.

Magic tricks can be surprising, amusing, and can make people think. Many are based on scientific principles, although most people don’t associate magic with science. The best effects are based on simple premises.

Many of the best magic effects create disbelief and astound the audience. Most people want to know how a magician performs all of those incredible, fascinating effects and illusions. Most magicians realize that wanton exposing of magic tricks merely to satisfy people’s curiosity is bad for the art, but teaching those who have a sincere desire and interest in learning magic is admirable.

The tricks taught here were chosen because their effects are good and they are easy to learn. The equipment required, such as bottle caps, matchbooks and matchboxes, can be found easily around the household.

While these tricks can be read and learned in just a few minutes, you are well advised to practice all of them a few times before performing them for anybody, even for your friends and family. Even the simplest tricks have pitfalls and these can only be learned by doing a few practice sessions. A little practice will also give you the self-confidence in performing that is essential for every effective magician.

The most important thing to remember is that the success of any magic trick depends on its presentation. The simplest trick can be turned into a magical masterpiece with a bit of showmanship. Learn to perform these tricks and all those you learn in an entertaining manner and you’ll soon discover why magic is such a great hobby.

The Flower In The Buttonhole

A nice trick for the stage
cool magic tricks and how to do them This is a good trick for more formal magic shows with a larger audience, such as a talent show. Walking on stage, you comment that there seems to be something missing from your appearance. What you need is a flower in the buttonhole of your jacket’s lapel. You simply snap your fingers and a flower instantly and visibly appears in your buttonhole!

What you need:

A suit jacket, a length of black elastic and an artificial flower.

How you fix it:

Attach the artificial flower to the piece of elastic and thread the other end of the elastic through your buttonhole. Next, tie a safety pin onto the other end of the elastic (don’t make the not too tight, as you may need to experiment with the length of the elastic).

Run the elastic through the buttonhole and then behind your right lapel down towards the bottom. Pin the safety pin as far away from the buttonhole as possible while still being hidden behind the lapel. This will give the elastic a bit more “stretching room.” The elastic should be taut. Shorten and adjust the length of the elastic as necessary so that the flower stays in place.

How you do it:

Before walking out on stage, you pull the artificial flower over to your armpit and hold it there by pressure of your arm. When you are ready to perform, walk out on stage, comment on your needing a flower, and release the pressure of your arm, allowing the flower to fly to your buttonhole. Wear a dark suit so the elastic will not be noticed.

The Three Rattle Caps Game

You show three plastic caps from milk cartons, all the same color. One of them has a steel ball inside, which you demonstrate by rattling the cap. Now you mix the three caps around by rearranging them in a few moves on the tabletop. Even though an audience member tries to keep a close eye on the caps as you mix them, they always guess wrong as to which one rattles.

What you need:

Four plastic caps from milk cartons, a piece of cardboard, a small steel pellet and glue, such as contact cement, that will adhere to plastic.

Preparation:

Trace around one of the caps with a pencil four times on the piece of cardboard to create templates for four cardboard discs. Cut them out along your outlines. Glue a disc to the open side of each of the four milk carton caps, placing the steel ball in one of them before you do so.

Before the trick begins, attach the cap that rattles to your left arm with a rubber band under the sleeve of your shirt so nobody can see it.

How you do it:

Tell the audience that a common trick that carney operators and street hustlers use is the three shell game, and that you would like to demonstrate this with your own version.

Place the three caps on the table and “demonstrate” to the audience that only one of them rattles by lifting it off the table and shaking it slightly with your left hand (the hidden cap is actually what rattles).

With your right hand, slide the caps around on your table three or four times, so that the audience still thinks that they can keep track of the cap that rattles. Have the audience member point to the cap that they think has the rattle. With your left hand, lift up a different cap and show that it is the one that rattles.

You can repeat this a couple of times, and the audience member will unsuccessfully guess which rattles every time. It is a good idea to stop after two or three times so that the audience doesn’t notice that you use the same hand to shake the caps each time.

The Disappearing Matches

You pick up three matchboxes from the table one at the time and shake them. The audience can clearly hear the sound of matches rattling in each box. Wave your hand over the boxes and then open each one. Show that the matches have vanished and that each contains a differently-colored ribbon or silk handkerchief.

What you need:

Four matchboxes, three differently colored ribbons or pieces of cloth and a rubber band.

How you fix it:

Empty all of the matches out of three of the matchboxes and half the matches out of the fourth matchbox. Place a square of colored cloth or a differently colored ribbon in each box. With the rubber band, attach the half-filled matchbox to your left arm under your sleeve so that no one can see it.

How you do it:

This trick works on a similar principle to the preceding one. Pick up the boxes on the table one at a time with your left hand and shake them. The audience hears the matchbox hidden up your sleeve and thinks it’s the matchbox you are shaking that is making the sound.

Wave your right hand over the boxes to make the matches “vanish,” and then open each one, showing the silk or colored ribbon inside. The audience can look at the matchboxes all they desire and they will not discover the secret. Reach up your sleeve behind your back and remove the hidden matchbox.

Now here are the REAL secrets of magic!

Here’s how to become a true Master Magician, by the author of this lens!

The Zombie Finger

magic tricks revealed You show a box that you say you found in a strange antique shop. Lifting the lid, you show a very realistic human finger inside, which you invite the viewers to touch. When they bend in close, the finger suddenly jumps at them!

What you need:

A small cardboard jewelry gift box, the type that has a layer of cotton batting inside, and the lid.

Preparation:

With a pointed pair of scissors, cut a small hole (just large enough to slip a finger through) slightly off center in the bottom of the box. Also, make a small hole in the cotton at about the same place. Make sure you can slip your finger through the hole(s). Place the lid back on the box.

If you slip your middle finger through the hole at the bottom of the box and bend it towards you while straightening out your other fingers, it will look for all the world like a real finger laying inside the box.

Put the lid back on the box and place the box inside or behind another object on the table or in your pocket.

How you do it:

Grab ahold of the box with your right hand, while at the same time slipping your finger through the hole in the bottom and bending it toward yourself. You should be able to do this with the lid still on the box.

Bring the box out into view and tell the story of finding it in an antique shop. At the proper moment in your story, lift the lid and show the finger inside the box. To make the finger seem to “jump,” you simply straighten out the finger in a quick movement.

Tip: You can apply makeup effects to your middle finger to give it a more ghoulish appearance before the trick begins.

Eyes Behind Your Back

You hand a member of the audience three or four matchbooks, each containing a different printed design or advertisement on the cover. You turn your back and have them mix up the three matchbooks and hand them to you behind your back. You are able to announce the cover design or advertisement of each and bring them out from behind your back without looking.

What you need:

A belt, two sets of identical matchbooks with different printed cover designs, a jacket or sports coat.

Preparation:

Hang the duplicate matchbooks on the back of your belt in a memorized order as shown. Under cover of your jacket, no one will be able to see these.

How you do it:

When the audience member hands you the match packs, you simply place them into your rear pants pocket behind your back. In announcing the printed design of the matchbook you are about to bring forward, you really reach under the back of your jacket and remove the corresponding matchbook from your belt. Be sure to keep your other hand behind your back so the audience thinks you are still holding the matchbooks. Like most magic tricks, this should only be done only once for the same audience.

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Best camera for macro photography
by David Burgess on 0

Best camera for macro photography

The best camera for macro photography for close up images

If you are looking for the best camera for macro photography you have come to the right place since this article focuses solely on the best macro cameras, and macro lenses, currently available to take your macro images to the next level.

Digital cameras, especially digital slr cameras, are expensive so if you want to buy the best camera for macro photography make sure you take a look at the rest of this article before shelling out your hard earned cash. After all, you don’t want to waste it right?

If you really want to get the most out of your macro photography there are other things you need to consider besides the camera. Lenses are one such consideration, and the best macro lenses are also covered in this article.

If your macro subjects consist of moving things, such as insects, butterflies and the like, the best macro camera needs a high burst rate. The top end Canon and Nikon digital SLRs are full frame and have a high burst rate but these are very expensive. Cheaper alternatives include crop sensor cameras with dual processors and these are the best value for money cameras.
macro shot of flower If you take macro images of static subjects, such as flowers and still life things, the best camera for macro photography need not have a high burst rate. In these circumstances the best camera for macro photography is the one with the best image quality, and highest number of pixels.

Point and shoot cameras and mirrorless cameras have a macro photography mode however these don’t capture “true” macro photographs. I would not recommend either a point and shoot or a mirrorless camera for macro photography, and the only real options are digital slr cameras, as detailed below;

Best camera for macro photography – Canon dslrs

Arguably you can use any digital slr camera for macro photography however many photographers claim the best camera for macro photography is a full frame slr camera since these have the largest sensors and produce some exceptional images. If you are capturing macro and close up images of flowers and still life subjects then I agree the best camera for macro photography is the full frame digital slr camera.

If, however, you are taking macro and close up images of insects I think the best camera for macro photography is one with the highest burst rate. Capturing images of insects can be tricky and to get the keeper shots you need to fire off a load of shots in quick succession and choose the best. You can buy full frame digital slr cameras with a high burst rate, such as the Canon 1D X, but these cost several thousand dollars and are out of reach of most enthusiasts. There are alternatives, but these are not full frame cameras.

Best camera for macro photography – Canon 5d

If you want an affordable full frame camera the Canon eod 5d is the camera of choice, which is Canon’s top selling digital slr camera of all time and when you get to have a go with this camera it is easy to see why. The 21MP sensor captures a lot of information and the image quality of the 5d is simply awesome. This camera captures images that will impress family and friends, and images that you can easily sell on and make some extra cash.

The Canon 5d is superb. It is a relatively small dslr camera that is tough, durable and well built. Like all Canon dslr cameras the Canon 5d is user friendly, intuitive and all the necessary controls are close to hand, which means you won’t have to go delving through the menu system.
The Canon 5d has a poor burst rate, but then given the cost of the 5d this isn’t surprising. Because of the poor burst rate the Canon 5d isn’t best suited to insect photography. If, however, you want to capture macro images of flowers and still life subjects the Canon 5d is the tool with which to do it.

Best camera for macro photography – Canon 7d

When I go chasing insects and mini beasts my camera of choice is the Canon 7d. With an 8 frames per second burst rate the 7d is ideal. The 7d has an 18mP sensor, and whilst it is not quite as impressive as that of the 5d, it is more than enough to capture some stunning macro images.
Like all Canon digital slr cameras the 7d is tough, durable and built to last. It also has a sensible menu system and user friendly interface, which makes it a doddle to use. All settings controls are close to hand, which means there is no need to go through the menu to change anything.
You can also use the Canon 7d for taking macro images of flowers and still life subjects, but it is insect photography where this camera is really good.

Best camera for macro photography – Nikon dslrs

Nikon D7000

If you prefer Nikon branded cameras my recommendation is the Nikon D7000. The Nikon D7000 is a top rated, and very popular, Nikon dslr camera you can use for macro photography. The D7000 has a high burst rate, which makes it ideal for insect photography, however you can also use it for close up and macro photos of flowers and still life subjects.

Like all Nikon dslr cameras the D7000 is a top quality camera that is made out of high quality materials and contains great optics, which means this camera is built to last and is capable of capturing some stunning photographs. If you prefer Nikon branded cameras and need a camera that has a high burst rate the Nikon D7000 is a camera you should look at.

Top macro lenses to get the most out of your macro photography

Macro lens When taking macro images you have to remember that you need a decent macro lens to get the most out of your best camera for macro photography. Macro lenses are prime, i.e. a fixed focal length, fast and very sharp. The image quality of all macro lenses is simply stunning and you won’t be disappointed with any of them. Macro lenses are available in a range of focal lengths from 50mm to 150mm so there is something for all types of macro subjects. Below are the best macro lenses currently available.

Top Canon macro lenses

 

 

Canon 100mm f2.8L IS USM macro lens

If you shoot a canon dslr camera the Macro lens of choice is the Canon 100mm f2.8L IS USM lens. With a 100mm focal length this lens has a large working distance, i.e. distance between the end fo the lens and the subject, which gives you a lot of room to move and also makes lighting that much simpler.

Being an L series Canon lens the 100mm f2.8L IS USM is bullet proof and built to last. The image quality is second to none and many photographers claim it is Canon sharpest lens of all, and I have to say I agree. The image stabilisation technology helps to keep camera shake at bay, and this technology works exceptionally well. If you want the best macro lens to go on your best camera for macro photography the Canon 100mm f2.8L IS USM lens is the lens to buy.

Nikon lenses for macro photography

Nikon 105mm f2.8G ED-IF AF-S VR macro lens

If you shoot a Nikon dslr camera the top end macro lens is the Nikon 105mm f2.8G ED-IF AF-S VR lens. This top quality lens is simply awesome and if you are serious about your macro photography this is the lens to buy.

The build quality is great, the image quality is amazing and boy, this is one sharp lens. In fact, many people consider it Nikon’s sharpest lens and I would have to agree. This lens produces images that are tack sharp from the centre to the edges.

The 105mm focal length gives a big working distance, i.e. distance between the end of the lens and the subject, which makes it perfect for insect photography, although this lens can obviously be used for taking macro images of flowers and still life subjects as well. The vibration reduction “VR” technology keeps camera shale at bay and ensures images are tack sharp at all times.

If you want the best Nikon branded macro lens for your Nikon camera you have to have the Nikon 105mm f2.8 lens. It really is an awesome lens that won’t disappoint.

Top Sigma macro lenses

If you want an alternative to a Nikon branded or Canon branded macro lens there are a few third party manufacturers out there, but the best is Sigma by far. Sigma has some excellent lenses and all of them are available in both Nikon and Canon fit.

Sigma 105mm macro

Sigma 50mm macro

Sigma 70mm macroSigma 70mm macro

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