35mm Film Camera Light Metering

The extinction meter was a beautifully simple solution, but in use it suffered from subjective interpretation, and variations in the sensitivity of the human eye, which differs from person to person.

Photovoltaic Selenium light meters came next. This material converts solar energy into electrical current, and generates a tiny voltage proportional to the intensity of light exposure. Both hand held, and built-in Selenium Meters became commonplace. They even allowed the development of simple automation, where mechanical systems exploited electrical deflection of a meter needle pointer to induce other physical changes (to set apertures or shutter speeds).

Selenium meters were inexpensive to make, and cost nothing to run, and did a pretty good job provided that they were not exposed to moisture. The most iconic exposure meter of all time – the Weston Master – was a Selenium meter.

The shortcoming of Selenium was that it is incapable of measuring lower light levels accurately. This became an issue as ever-faster films were developed, and so CdS (Cadmium Sulphide) replaced Selenium. CdS meters work differently, and exploit the phenomenon of photo-resistance. CdS is a material with an electrical resistance to the passage of a current that changes proportionately to the intensity of light exposure. Accordingly, CdS based meters require a battery to provide a current.

Most manufactures incorporated CdS meters in their cameras, as did the makers of hand-held systems, but CdS eventually gave way to another material; Silicone. This worked in the same way as CdS, but was even more sensitive to lower light levels, and reacted faster to changes in illumination levels. Silicone is today’s standard light measuring material.

Once Cds had been adopted, other forces (technological advancements, and consumer needs) conspired to make light meters an integral, and internalised component of the evolving camera, and design moved towards the exposure meter measuring light on its path to the film, rather than capturing an approximate measure of lighting levels in the vicinity of the subject. Here I am thinking and writing primarily about 35mm SLR cameras, and the development of through-the-lens metering.

The advancement of battery operated, CdS meter equipped camera brings us to the point of this article, since the following typical metering systems were adopted by manufactures.

Average metering

This is the simplest form, where the camera will use all the light coming from the entire scene to determine the exposure setting. No weight is given to any particular portion of the metered area, so an anomalous bright spot, for example, can result in overall under exposure. True average metering is a very rare thing. The vast majority of 35mm SLR film cameras employed the second form of metering.

Centre-weighted average metering

In this system, the meter concentrates between 60 to 80% of its sensitivity towards the central part of the viewfinder. The advantage of this method is that small areas at the edges of the viewfinder that vary greatly in brightness have less influence, and most subjects are generally in the central section of the frame anyway. In truth, centre-weighted metering was more of a consequence that design feature, since light scatter from the focusing screen coupled with the positioning of the meter cell(s) naturally caused an intensity fall off at the edges.

Partial metering

This type of metering works on the same principle as centre-weighted average, but intentionally ignores areas on the edges of the frame, which could otherwise influence the metering unduly if there are either very bright or dark. Partial metering typically concentrates on around 10-15% of the entire frame. Canon was a manufacturer quite keen on this system at one time.

Spot metering

Here the meter will only measure a very small area, typically at the centre of the view screen, and usually between 1-5% of the viewfinder area. Spot metering is very accurate and is not influenced by other areas in the frame. It is commonly used to shoot high contrast scenes. For example, backlit subjects, where perhaps a face is much darker than the bright halo of sunlight around the subject. Spot metering enables the photographer to select which element of a shot is correctly exposed, and the consequential under or over exposure of other, less important areas. Spot metering was usually a second option on high-end cameras, and not an every day metering pattern.

Matrix or Multi-zone metering

This is a much later development, where the camera measures the light intensity at several points in the scene, and then combines the results to find the best compromise exposure setting. Matrix metering was first seen on the Nikon FA, back in 1983. This pioneering camera didn’t sell well, because nobody understood how its metering system worked, and so didn’t trust its accuracy. Yet today, this system is the basis of evaluative metering, the name by which Matrix or Multi-zone has become more commonly known in digital cameras.

Obviously, as we move down this list, the metering systems become potentially more accurate, but the desirability of any system really depends on what you mostly want to photograph. There are no hard and fast rules to say which type of metering is most appropriate, and familiarity with the performance of any metering system is really the best way to exploit its particular strengths and weaknesses.

Once upon a time, the photographer might notice a bright spot in their centre-weighted metering viewfinder, and realise they needed to compensate, without recourse to more sophisticated metering systems. Evaluative metering has found its place in the modern age because photographers now want cameras to do the thinking for them, and they trust their superior powers.

Auto Focus in Digital Camera

Autofocus vs. Manual

It sounds very simple and it is, but there are a few points to remember before you shoot the picture. On the most simple auto-focus cameras the area analyzed by the auto-focus mechanism will be in the center of the frame; it will be this part that the camera focuses on even if the main subject is to one side and therefore out of the auto-focus range. It’s very simple to learn how to alter the focus by manually overriding this mechanism. The true art lies in knowing when it’s the best situation to use either manual or automatic focusing, if you can figure that out then you’re well on your way to becoming a much better photographer all-round.

More Beams, More Accuracy

Some of the more sophisticated cameras have a larger area of focus than that of the central spot found in the more simple models. These more sophisticated cameras send out three separate beams and make a ‘judgement’, either from one of these or from a combination of all three. Many of the single lens reflex cameras (SLR) that take interchangeable lenses are of the auto-focus type. Most of these will, of course, have a manual override for focusing but when in the auto-focus mode the same alterations may be required.

The Advantages of Automatic Cameras

If your camera has auto-focus then most other things will be automatic too. Here are a 5 reasons why choosing an automatic camera is more advantageous;

  • It allows for spontaneous and creative pictures to be captured instantly without time-consuming dial adjustments
  • The built-in flash provides quick, on-the-spot lighting for every occasion
  • Light exposure is metered automatically, saving on adjustment and measuring time
  • ‘Hands-free’ pictures can be taken using the self timer; so even the photographer can appear in the shot
  • The small and compact shape makes the camera easily portable in all situations.

Accessories for the Canon EOS Cameras

Zoom telephoto lens

A zoom telephoto lens (up to 200mm) is a common feature of a top lens collection. Even though it is possible to get a great picture with a 24 to 105mm lens, the high focal telephoto lens is a must-have piece of equipment for the photographer taking the landscape photos. The better quality lens includes an image stabilization feature to help avoid issues with camera shake. They are also quite light in weight, which makes them easy to transport when on-the-go.

Memory Cards

A 2GB, 4GB, or 16GB memory card offers the ability to store and look at the picture shortly after taking it. It is simple to upgrade the memory card, but it is necessary to check the write-speed on the camera. This relates to the maximum speed for saving images to the camera. A high-quality image or photos shot in a burst can delay the time it takes to write the photos to the memory card. Also, the brand of card can impact quality and usable storage life. If a memory card seems to be slow to write or you are running out of space, upgrading the card is certain to increase the enjoyment of using the camera and viewing the pictures.

Battery Grip

A battery grip is a simple accessory which makes the camera easier to hold, especially for those with large hands. They offer three main advantages: more battery life, more buttons and another handle. By attaching the battery grip, you include an extra handle making it more comfortable to use and control the camera. Since the battery grips include extra battery life, they are able to extend the usable life of the camera by a significant margin.


A flash unit helps capture light in low light conditions to increase the potential range of photos. A high-end unit opens up endless opportunities to be more creative in the type of pictures taken and the preferred locations. A wireless flash is designed to illuminate a range of areas. This makes it possible to take photos from a variety of angles and improves the quality of the pictures.

ISO Sensitivity

As photography means painting with the light, any photographer is in control of its composition (elements arrangement in the frame and even adding photo effects later or cropping it for a better result, for example) and exposure – when you press the shutter release you are just telling the camera to stay open for a certain amount of time and let a determined quantity of light in, reaching the camera sensor (digital) or film.

The exposure is controlled by 3 (three) adjustments we make in the camera: shutter speed, aperture and sensitivity. Shutter speed and aperture ultimately control how much light comes into the camera (we can compare this to a water tap – how much you open the valve and for how long will dictate the amount of water that will flow)… and how much light is needed for a certain exposure is determined by the sensitivity of the medium used (today it has been expressed as ISO numbers – and as ASA not so long ago).

In the digital cameras world today, we can find ISO ranges from as low as 50 up to 204,800, being the normal range placed somewhere between 200 and 1600. These numbers have some qualities associated with them: it sets the amount of light needed for a good exposure, and the lower the number, the more light is required, and as a consequence for a fixed aperture, a slow shutter speed will have to be used; and will influence the amount of noise in the image.

So, if you have lots of light (or have the camera mounted on a tripod), the lower the numbers you can set, and on the other hand, when you do not have lots of it or you need a faster shutter speed (for action and sports shots, for example), you will need to raise the ISO (and this is what the AUTOISO settings in your camera do: adjusts the ISO settings so you end up with the correct camera measured exposure for a given situation. You normally set the minimum and maximum range you want the camera to automatically adjust the ISO based on your acceptable quality and speed requirements).

It is worth knowing that each time you double the ISO (for example, from 100 to 200 or from 400 to 800), half of the light is needed for the same exposure, and vice-versa.

As we mentioned above, noise levels will also be influenced by the ISO settings, and the higher the number is, the more noise and visible grain an image will have. We normallywant the images to have the least amount of noise as possible.

Today, most digital cameras can make good quality images at ISOs up to 800 or 1600 and above, but several aspects affect this, from the sensor type a camera uses (for example, the size of the pixels used on the camera’s sensor, which are larger in SLRs compared to the compact ones. Larger pixels result in less noise and SLRs have larger sensors with larger pixels) to the amount and type of noise reduction algorithms and systems used in the cameras.

XiaoMi Yi M1 Mirrorless


Speaking of the XiaoMi Yi M1, we must know about its configurations above all. This novelty comes with a Sony IMX269 sensor, detachable M4/3 bayonet, 20.16 million pixels, and a 3-inch touch screen with 1.04 million pixels. Except for the latest firmware update, the added value of focusing point is 81, improving the focus speed and accuracy.


Yi M1 is claimed to be a special mirrorless camera for smartphone users. If you often use the phone to take pictures, then the M1 is very easy to use for you. The equipped 3-inch touch screen is for this purpose. On this screen, you can touch focus, select the exposure, shutter speed and do other operations. On the body of Yi M1, we cannot find the common aperture, shutter speed, and other mechanical switches. All these functions are integrated into the touchscreen. With the turntable on the top of the device, it can achieve the most efficient parameter adjustment. It would take some time to get started for the old-style SLR or traditional mirrorless camera users.


The currently released lenses of Yi M1 are only two, but the number of alternative lens groups has been enhanced a lot because of the using of M4/3 bayonet. All the M4/3 lenses from Panasonic, Olympus can be connected to the M1. The 12-40mm F3.5-5.6 lens would be enough to take pictures for daily use, equivalent to 24-80mm focal lengths, appropriate for most of the daily scenes. And the 42.5mm F1.8 lens is more suitable for making portraits. The larger aperture and 85mm equivalent will be more suitable to shoot photos with Bokeh, highlighting the portraits. As shown, the imaging quality of XiaoMi Yi M1 42.5mm lens is not sharp enough. And when the aperture is up to the maximum, the purple edge is obvious.

Anyway, the XiaoMi Yi M1 mirrorless camera provides a commendable performance. Especially, it would be a good choice for smartphone heavy users. What’s more, this low-cost mirrorless camera would be a decent option for the beginners of digital SLR and those who are not asking for extra high image quality.

Select Camera Flashes

  • Fixed Flash:- They are part of the camera, and they use battery of the camera as their power source. These are suitable for routine photography and their use requires very less technical knowledge.The downside of these type of flashes is that, they drain camera battery very fast, and they don’t help us to produce very high quality picture.
  • Dedicated Flash Units:- They are compact units with their dedicated power supply. They do not use camera battery so the life of camera battery is better in this case. These flashes fit in the camera shoe slot. They take inputs from camera circuit about the focal length of the lens, ISO sensitivity and shutter speed to accurately calculate the required intensity of flash. This feature can play a vital role in enhancing the quality of the images. These types of flashes can improve the picture quality to a great extent.
  • Xenon flashes: – These are useful in taking casual pictures, but sometimes they are used by professional photographers to take daylight pictures. They are very efficient while taking pictures under sunlight. These are very popular with the beach pictures and casual modelling photo shoot. The down side of these flashes is that they are not very effective in the low light conditions and this may result in a low quality picture in low ambient lighting conditions.

Out of these flashes listed here, you may select flash most suited to your shooting requirements. Proper camera and flash combination can create wonderful results.

SLR Camera Bag

A SLR camera bag is a good way to carry your SLR camera and lenses with you and keep them protected from damage. The bag you choose should have enough room to easily store all of your equipment. A good choice for a professional photographer or anyone who uses a variety of photography options is one which accommodates two or more cameras and a minimum of five lenses. You will also want a bag that you feel comfortable in carrying with adequate padding on carrying straps so that they take the impact off of the weight of the bag.

For those who like to have their camera readily accessible in case of an unexpected opportunity for a fast photo, a smaller bag may be the best choice for you. Although a small SLR camera bag will accommodate only one SLR camera and no more than four lenses, it will be easy to access what is needed when you need it. In spite of their smaller size, these bags still have the same great features of larger bags when it comes to durability and being resistant to water.

If your photography focuses on outdoor adventures and wildlife, an all-terrain bag that is made to resist all types of weather will suit your needs most effectively. These may be made in backpack styles or fit onto your waist to be worn as a belt bag.

For those photographers who demand versatility from their camera, a larger SLR camera bag with numerous compartments will give you room for a larger variety of equipment. Some of these are made to use as either a shoulder bag or as a backpack, making it simple to carry according to the area that you are in whether hiking long distances or riding on a crowded bus or plane.

It is important to find the camera bag that will accommodate the type and quantity of equipment that you need to perform your photography to its fullest. Your decision should be based on more than color or price. Instead, consider all of the features and the get the SLR camera bag that offers the best value for the money.

Nikon D3400 Mode Dial

So lets have a look at the first one on the Nikon D3400 mode dial – NIGHT PORTRAITURE. Now night portraiture is a mode which allows you to take a portrait at night. This is not as straightforward as it seems. First of all, it engages the flash to shoot what is called slow sync, and that opens the aperture and slows down the shutter speed, which allows the camera to get in as much of the light in the background of the picture as possible. Then, just before the shutter closes on the camera, the flash will go off to illuminate the subject in the foreground. That gives you a quite balanced picture where you have the subject well illuminated in the foreground but with the contextual background visible too. If you just shot with the flash then you would have the subject slightly overexposed in the foreground and just a black background. So by shooting it with night portrait it means that you get the background and some context in which the subject is standing and so it gives some meaning to the picture.

As with all of the semi-automatic modes – which are the ones that go up to M, A, S and P – essentially the ones that go up to the green auto mode, most of the presets are set and there is very little wiggle room. But when you are looking at each of them – particularly if you are looking on the back of the camera – there are certain things that you can change. It is worth knowing what you can change in each of the settings because you may want to change them just to slightly change the style of the picture that you are taking. So on the back of the camera you press the i button. It gives you the options that you can change when you are in each setting. So, for example, in NIGHT PORTRAIT we can change the quality and compression rate of the picture, the focus (autofocus or manual), flash compensation and exposure compensation. The final option open to you here is the ISO. That is set on auto and there is a very good reason for that when you are in night portraiture. The camera will set the aperture to be as wide as possible to get as much light into the sensor as possible, and it will also set the shutter speed to be at least 1/30th of a second, because any slower than that means there is likely to be movement blur when you take the picture. So that means that out of the 3 variables, ISO, shutter speed and aperture, you have basically fixed or minimized the options for two of them. So the ISO is the only variable that can move around with any great flexibility. In most cases the ISO probably will not go above 1000 or 1600. You will get an element of grain and noise in that shot, but it is a night portrait and to some extent that could and should be expected. So it is best to leave the ISO on auto in most cases. You can set it, but it does reduce the options for the Nikon D3400 and in this instance I think you should leave the camera to do what it does best which is to get the best exposure for your picture.

The mode just above the night portraiture on the Nikon D3400 mode dial is represented by a flower and is called CLOSE-UP MODE. It is a kind of macro mode which you can shoot even with the kit lens and it opens the aperture very wide which means that the subject in focus is very sharp but the background is blurred and that means that the subject stands out even more. The ISO is on auto for this and that is because you have set the aperture very wide, the shutter speed is set accordingly too for handheld photography and so the ISO is the only variable.

The one above close-up mode is the Running Man – the SPORTS MODE – and that prioritizes the shutter speed. It is very important when you are shooting sport or action that you have a fast shutter speed so that you freeze the subject in the frame and that means that you need at least 1/250th and probably 1/500th of a second shutter speed. So the ISO will go up accordingly, depending on the light, whether it is daylight or darker than that, it might go up to a 1000 or 1600 even 3200 and the aperture will be as wide as possible so that it can get as much light in and onto the sensor in that very brief period the shutter is open. The flash will not work and it will be on continuous which means that you will be shooting 5 frames a second, which is a good thing because it means that you are more likely to get a good frame out of any action that happens in front of you.

The one above sport on the Nikon D3400 mode dial is called CHILD MODE and it is ideal for candid photography. It is not a portrait mode but it is a mode which is designed for taking candid shots of people which also have plenty of the background in as well, to give that subject some context. It has quite a narrow aperture so that ensures that there is plenty of background in there. It means also that it slows down the shutter speed to give more depth of field. If it is deemed to be too dark, the flash will pop up. It also makes some of the colors a little more vivid but also focuses on getting the skin tones just right. Skin tones are really important in candid shots. When you look at a picture of person you look at their face or their features and the skin tones need to be just right. If it is not, it is really very noticeable. The colors of the clothes or the background can be slightly different from reality and the eye does not really register that provided the face and the skin look right and that is what this child mode is for – to shoot candid shots and get those skin tones right.

The one above child mode is LANDSCAPE MODE and this is designed for shooting landscapes. That means that you are trying to get a very deep depth of field – maximum depth of field in fact – and the very best quality. That means that the ISO is going to be as close down to 100 as possible and the aperture is going to be very small. Now that obviously has an effect on the shutter speed, which will be quite slow and that means that this mode is best for shooting with a tripod. Remember if you are shooting on a tripod you need to switch off the VIBRATION REDUCTION and you do that in the menus. This can produce very good landscapes. This mode also boosts greens and blues so that the landscape that you are shooting is quite vivid.

The option above landscape on the D3400 mode dial is PORTRAIT MODE and that really tries to do the opposite. It increases the shutter speed, it widens the aperture and it gives you a faster ISO. The reason it does that is because it is trying to get a very shallow depth of field. When you take a portrait you are focusing on the person’s face nearly every time and on the face you are focusing on the eyes and if the face is to one angle to you, you are focusing on the front eye. That is very important because when you shoot a portrait you want to blur out the background and so you need to have something something in that portrait – something in that face – which is pin-sharp, and as we all know when you look at somebody’s face you focus on the eyes first. So by having a very shallow depth of field the viewer is left in no doubt as to what is important in this picture. Portrait mode will also work well on skin tones and ensure that they are correct and if it is slightly dark then the flash will pop up.

The two modes above portrait mode are your AUTO MODES. These are essentially your point-and-shoot modes, if you come up from compact photography or even mobile phone photography, you will know that these are the modes where you can switch the camera on and press the button and it will take a half-decent picture. In both modes the Nikon D3400 is designed to get the best possible exposure. The difference between the two is that the green mode will use the flash if it thinks it is required – and it does not need to be that dark for it to decide that the flash is required – or the one below that is auto without flash and that takes perfectly good pictures but in situations where you may not want the flash to fire, perhaps you are in a museum or in the theater or you just do not want the distraction of the flash firing. On the back of the camera, if we press the ibutton, it is clear that we really are quite restricted in what we can change. We can change the quality and compression of the image, but we are then really limited to either changing the autofocus mode or the AF area mode. Nothing else can be changed in these modes, the camera does everything.

The semi-automatic modes on the Nikon D3400 mode dial are M, A, S and P. Strictly speaking M is manual and strictly manual but it is regarded as a semi-automatic mode because they are all grouped together. So the first one we come to is P – program mode – and it is the most appropriate, because it is the closest to the two Auto settings that are next to it. When you are in P mode the camera still tries to get the best exposure and still selects most of the presets, but it does allow you to choose a few more things. You can choose the shutter speed or the aperture. Now when you are in this mode you can change the shutter speed and aperture by rotating the dial on the top of the camera. That means that if you feel the shutter speed is not fast enough – or indeed is too fast – then you can change it. If you feel that the aperture is too wide or too narrow then you can change it and the camera will make other changes, to the shutter speed or to the ISO accordingly. When you are in this mode you will see the P at the top left hand corner on the Liveview screen and if you start to change the aperture or the shutter speed, then there will be an asterisk placed next to that to show that this is not the most appropriate mode that the camera thinks will get the best exposure, but that it will get the best exposure in the shutter speed or aperture that you have chosen.

The one above P mode is SHUTTER SPEED PRIORITY and that is really very useful, particularly if you want to control the shutter speed. Why would you want to? Well of course in sports mode I have explained that a fast shutter speed will catch the action, but if you want a faster shutter speed because the action is faster than sports mode expects, then you can set it up to from 1/500th, 1/1000th or 1/2000th up to 1/4000th of a second. Again it is a semi-automatic mode which means that the camera will change the aperture and the ISO accordingly. On the other hand if you are taking a picture of a stream or a waterfall you might want to slow the shutter speed down to say 1/15th or 1/10th of a second to smooth the water and give it a more smooth and relaxed feel to that picture. It does not actually freeze the water in midair but it gives you that element of motion blur, and if you are shooting night photography and you are shooting the night sky and you want to capture the stars, then you may want to slow that shutter speed down to five seconds, ten seconds – up to thirty seconds, which is easy to do with the Nikon D3400. So controlling the shutter speed can change the way the picture looks. That is why shutter speed priority is really useful.

The one above that is APERTURE PRIORITY. This allows you to prioritize the aperture. Why would you want to do that? Well we have spoken about aperture with regards to depth of field – if you want to have as much of that picture that you are taking in focus or sharp, then you would have a very narrow aperture and that means that the light takes longer to get in and hit the sensor and it means that the shutter speed needs to be a lot slower, etc. But it means that the picture is sharp, as much as possible, from front, mid and back. On the other hand, if you are trying to take a portrait, then you would want it to have quite a shallow aperture and so you can control it with aperture priority here. Now it is not always as simple as saying “oh why don’t I just put it on landscape” or “why don’t I just put it on portrait”. When you start to master your photography you will want to control what people see in your picture – what is sharp in your picture helps to tell the story and so it is important for you to be able to control all that depth-of-field, not just have everything sharp or hardly anything sharp. You might want to have the subject in the foreground and two people standing behind him sharp but two people standing behind them blurred because those front three people tell the story, not the five. Now that is quite difficult to achieve but, of course, you have the benefit of seeing the effect on the back screen. So it is important to be able to control your aperture because it does mean that you can use that in the storytelling of your pictures and how you use your pictures to tell the story that you are trying to tell.

Finally we come to Manual Mode on the Nikon D3400 mode dial. Now the beauty of manual mode is that you control everything. The camera no longer tries to get the best exposure – you are responsible for the exposure – and as a result of that you can change pretty much everything to get the sort of picture that you want. So manual is the thing that you progress to gradually. I would suggest that you start off with some of the basic settings so that you get a feel for the camera and then go on to P mode and then, as you become more confident, work through shutter speed and aperture priority. But manual then gives you the freedom to be as creative with your photography as you want to be. The difference, when you look at the back of the screen is that when you are in program or you are in shutter or aperture priority, when you try to change the shutter speed or the aperture then the rest of the settings change accordingly because the camera is still trying to set for the best exposure. When you are in manual, you can change the shutter speed or you can change the aperture and the other option does not change. So, in other words, the camera is not trying to manipulate the exposure because you have a completely free rein so that if you are in the back of the screen, by using the dial you can change the shutter speed, or by using the exposure button you can change the aperture by turning the dial. When you do that you will notice that when you are changing the shutter speed the aperture stays the same and when you are changing the aperture then the shutter speed does not move. This is real photography. It is why you bought a DSLR. Do not jump into it, but do not be intimidated by it either. This is a great way of exploring photography and doing great pictures – the ones you have always wanted to do.

Now is as a stepping stone into manual, I would suggest you take a look at the picture you want to take first in P mode because that will tell you what the camera thinks will be a decent exposure for what you’re trying to photograph, and then take a note of those settings and go into manual and then you can use those settings as a guide, as a benchmark, so that you know that if you just change those settings slightly you are not going to be too far out in terms of exposure. It is a great way of just having that safety net and knowing that you will be there or there abouts with your exposure. Of course, the advantage is that you will see that picture on the back screen straight away, so there is nothing really to be afraid of. This is what you bought a DSLR for and I encourage you to get into manual as quickly as possible. The back screen is fantastic for that because it means that you can see after every picture where you went wrong what were the good points and it allows you to progress your photography at a really rapid rate.

Info of Wi-Fi Cameras

The cameras also make it easy for you to share photos on social networks. To share the photos you only need to connect the camera to your favorite social network such as twitter or Facebook.

If you want to upload the photos to your phone or computer, you can easily do so. The good side is that you don’t have to use a cable to connect the camera to your Smartphone or computer for you to upload the photos; you only need to find a hotspot and you will be able to upload the photos automatically.

In addition to this, you have wireless control over the camera’s setting through your mobile device. Here you need to put on the Wi-Fi function and you will be able to connect the camera and your mobile phone and as a result you will be able to control the camera’s settings.

Although, Wi-Fi cameras have the above benefits, they are being faced by a number of challenges. Some of the challenges include:

  • The system is hard to set up: unlike Smartphones that have large screens thus making them easy to set up, Wi-Fi cameras have small screens which make it hard to properly execute the various options. The small screens make it complicated to operate the devices.
  • Lack of dedicated apps: While some manufacturers make it easy for one to upload pictures to a social network or storage system, the corresponding apps are usually under-developed and often lack the necessary key features. The apps also tend to be too slow to accomplish the required task.
  • Compatibility: the unfortunate thing is that most of the present programs work only on particular operating systems. For the cameras to effectively work, the developers have to work on programs that will work across all platforms.
  • Price: the existing Wi-Fi cameras are more expensive than the regular cameras which often repel customers from buying them.

While the cameras face the above challenges, it’s easy to solve the challenges and create devices that anyone enthusiastic about technology will be eager to have.

GoPro Hero

Dive Housing

Rated for depths of up to one-hundred and ninety-seven feet, the GoPro hero accessory dive housing is a must have for anyone who wishes to get that perfect shot in any underwater situation. Protecting your camera is key, and this dive housing unit keeps your camera safe, and keeps your underwater pictures clear and focused.

WiFi Control

Now you can use your camera to take pictures anywhere, even when you are not behind it. This is one of those GoPro hero accessories you will wonder how you lived without, enabling you to use a simple control remote to take pictures, and connect to your computer without messy cords. You can even add the BacPac control system for even further Wi-Fi range.

LCD Screen

On or off your camera, the detachable LCD screen makes getting the perfect shot a breeze. Whether you are behind your camera or away from it, GoPro hero accessories don’t get better than this. Now you can see exactly what your picture could look like, before you even shoot it.

3D Picture

Now you can create your own 3D movie or picture, with this great accessory. By using two cameras, and taking footage simultaneously, you can build a 3D shot that will be the envy of every photographer. It even comes with its own 3D editing software, to make every facet of 3D footage as simple as any other picture.

Additional Batteries

You never know when, or for how long you are going to need your camera. That’s what makes these GoPro hero accessories so great! No you can be sure you have all of the battery life you will need, in a small, energy-efficient package. These rechargeable batteries last about two and a half hours of total recording time, so always be sure to pack extras.