After you select a desired effect, you can fine-tune the height of your flames or the speed of your waves by tweaking the adjustment settings. DP Animation Maker gives you more than 60 objects to choose from in our standard pack, and over in extension packs. Add new elements into your image such as snow, rain, fog, and lightning bolts. Then, make them pop with sparkles or rays of light. Integrate other natural elements such as grasses, falling leaves, flowers, butterflies, birds, and fish.
Or insert bubbles, ghosts, clocks, explosions, electricity, and magic dusts for a fairy tale feel. You can also make a statement by overlaying text to convey a written message. Then, get ready to customize. Add even more variety to your creations with our powerful set of animation brushes. Use nature brushes to insert fire, streams, water, or blinking lights. Intensify object movements with geometric brushes that give you waves, drifts, zooms, and rotation.
Or go with pattern brushes that provide pink and colored hearts, glittering and gold stars, and other custom patterns. Perfecting your animation is easy. Our drawing tools allow you to use small or large brushes, erase your work, determine size, and define hardness and opacity percentages.
Adjustable property settings also enable you to designate movement speed, stretch and shrink percentages, and apply animation to specific parts of an image. Have the perfect song you want to include, too? You can. Our music upload feature lets you integrate MP3 audio files that will play during your movie. Simply choose songs and put them in your preferred playing order. You can preview your animation by adjusting the scene zoom and camera speed before you export your work.
With DP Animation Maker, you can add and delete effects as frequently as you wish. With each format type, you can adjust the settings.
Free Stuff Departments Contributors. Free Tutorials Upload Free Stuff. Tutorials Story of Rendo. All Contributors. Galleries Sections Genres Artists. Community Forums Tutorials Contests Awards. Magazine Who's Online Wiki. Premium Tutorials. Upcoming Contests Archives. Move all of the files inside the folder onto your Desktop. Now you can exit out of the folder. You will now need to Mspformat your memory stick. Vista does not work with this.
Minimize the Command Prompt. Copy the Pandora folder into your Local Disk Driver. Once you've done that go back into the Command Prompt.
On the Command Prompt starts typing these in order. Your Memory Stick is now formated and ready to be used. To shoot images that require tricky positioning, use the vari-angle LCD. Print directly from the A80 using Canon Direct Print or with the new PictBridge technology and you'll see how your skills develop instantly! Once you explore everything the PowerShot A80 can da, you will soon discover talents you never knew you had. For more information visis www.
Not that you needed much encouragement - there's something about hot, sunny weather that makes you want to shoot anything and everything you see. The days are long, the subjects plentiful and, as a result, the photography is easy. But, as winter draws on, it's cold, gloomy and miserable; there just don't seem to be as many interesting subjects or the same momentum to capture them. It would be nice to keep shooting over winter, but while the mind is willing, the flesh can be weak.
You poke your head out your front door with the thought of doing some photography and suddenly that idea of creating a model of the Eiffel Tower out of matchsticks seems so much more appealing. But it doesn't have to be that way. What would it take for you to be motivated to get shooting this time of year? You might get two days the same, but rarely three. It's never boring, and that variety opens the door to producing a wider range of pictures. This is particularly true when it comes to landscape photography.
How dull would it be if every time you went out there was brilliant sunshine, rich lush foliage and a bright blue sky? Every shot would look the same. What you need is some drama in your pictures; some passion. And you only get that with storm clouds, stark silhouettes and the sense of something interesting happening. Brave the elements And, in truth, it's only the idea of going out that's the problem.
The reality is very different. Once you're outside breathing the fresh, crisp air and savouring the smell of the countryside you really enjoy it - and because you've wrapped up warm the cold isn't really a problem. In fact, as you walk along you start to feel really cosy. So don't hold back. Winter is one of the best times for landscape photography, because everything looks so different, and it's an opportunity to produce something different.
And, of course, don't forget that another bonus is that the best locations aren't littered with hundreds of people, as they are in summer, making it difficult if not impossible to photograph certain areas well It's true that in summer you may sometimes get 16 hours of uninterrupted sunlight, but much of the time it's too strong and harsh for many subjects. Quality is more important than guantity and, in this respect, winter scores highly.
Because the sun stays lower in the sky, you don't get the heavy contrast and deep shadow found at other times of the year. In winter you can still go out in the middle of the day and take great shots - something you'd struggle to do in summer. The wonderful Taking' light you get in winter is particularly valuable in landscape photography, throwing evocative shadows and revealing the texture of ploughed fields.
These effects can be observed most easily if you seek out an elevated position that looks out across a scenic view. Another good thing about winter is that you don't have to get up in the middle of the night to shoot the sunrise, making it much more accessible for those who find dragging themselves out of bed a challenge at the best of times.
The secret to shooting a sunrise successfully lies in being in position before the sun appears over the horizon. Once it does, you need to be guick - you don't normally have more than five or ten minutes before the initial warmth is gone.
With sunsets you've got more time. You can find a nice spot and sit and wait for the sun to descend. It's a good idea, though, to take a picture every few minutes, because it's not always easy to judge the best time to shoot - you can always delete those that don't work.
With both sunrise and sunset work a tripod is virtually essential if you want to avoid camera shake. You should be okay including the sun itself in the picture, because during the winter it's much weaker - and there's less risk of flare. If there's not as much orange as you would like, you can either fit a Cokin sunset filter over the lens or add some warmth later on the computer.
And, since winter skies can often be bland and washed out during the day, you might find it necessary Weather conditions Of course, there's more to winter weather than sunlight - in fact, it's the season when there's the widest range of atmospheric conditions. One of the most photogenic is mist and fog, which completely transforms the landscape, making even a mundane subject appear magical. The limited visibility produces a wonderful sense of depth, with foreground subjects appearing sharp and things in the distance less clearly defined.
Because the colours are muted, the images are often monochromatic with a soft, delicate tonality. Rain, too, can add much-needed mood to scenic work in winter, making everywhere look rich and lush. Stormy weather with dramatic cloud formations, can add variety and interest.
One of the best times to shoot is after there's been a heavy fall of rain and the sun comes out. If you're lucky, you might even see a rainbow. Keep warm While it is possible to do winter landscape photography from the window of a car in which the heater has been cranked up to keep you feeling like toast, you're going to find yourself limited in terms of locations.
There's nothing wrong with being a fair weather snapper, but if you're serious about getting some decent shots you're www. Once the temperature drops to freezing or below, you need to dress for warmth. You need to look after your gear as well. And given how much money you spent on it, you might be inclined to give it priority over your own needs. For stockists, go to www. Well, you might prefer not to risk your eguipment. A cheaper alternative is a large freezer bag with a hole cut out for the lens.
Such a bag is also useful to avoid condensation when you take the camera indoors after being out in the cold. Once it starts to freeze, some batteries stop working. For that reason, it's a good idea to keep the battery warm until you need it, by storing it in a pocket where it can pick up your body heat and then you pop it in just before you use it each time. Between each two layers of clothing there's a layer of air, which helps to keep you warm.
While they're not exactly fashionable, nothing beats a pair of long johns for keeping you warm if you plan to be out for an extended period. Fingerless gloves would be much more suitable for controlling your camera!
But if you choose anything too bulky you'll find it hard to set the controls. The best compromise is to use fingerless gloves, which will keep your hands warm but allow your fingers freedom. While that's great in terms of practicalities, such as being able to drive to work without hassle, it's a disappointment to the scenic photographer. Of course, you don't have to leave it to chance.
If you're keen enough you might like to plan a trip to somewhere you're virtually guaranteed to see some snow, such as Scotland. Or, if you like a bit of skiing, don't forget to take your gear with you and find time to shoot some landscapes as well.
Snow, though, isn't the easiest thing in the world to photograph. Like anything that's white, it can easily mislead your meter into underexposing, and that's why there are so many pictures of grey snow. Yes, of course you can brighten shots up in your image-editing program, but it's better to get it right in the first place if you want to maximise guality.
That means increasing exposure by around one to one-and-a-half stops. Something else you need to be aware of with snow is that it often has a blue colour cast when it's in the shade. While this can sometimes work well, giving the picture a melancholic feel, mostly it looks wrong. When you've got both sunlight and shadow in the shot there's normally no problem, but if there's no sun you may need to clean up the colours on the computer.
Ironically, when photographing landscapes too much snow can be a bad thing. Pictures need clear a lack of colour this time of year. In spring you've got blossom and new growth.
In summer there are the many and varied shades of green. And in autumn you've got the gold and russet leaves. But, right now, the leaves are bare, and flowers and fruits are few and far between. That means you need to be creative if youre pictures are to have impact. And one of the most important ways of doing that is through imaginative composition. Most landscapes are taken using a wide-angle setting or lens, with the intention of getting as much in as possible but, if you're not careful, this will result in everything looking like it's a long way off.
A better solution is to frame the picture so that there's something in the foreground making it more three- dimensional. A boulder, a bush, an upturned boat - virtually anything can work. If it's got a strong colour or shape, so much the better. Alternatively, find some natural frame, such as the overhanging branches of a tree, to add a sense of depth. That's not always possible during the winter months, so it can be a good idea to choose a telephoto lens setting and crop in tight on a feature that is of particular interest, such as a building or lake.
Avoid having an undifferentiated mass of white, which the eye struggles to make sense of and be sure to have other features that break it up. Composition and colour Even when the light is right and conditions are as perfect as they can be, coming up with stunning winter landscapes isn't always easy.
Professionally developed photos, now created at home hen French inventor, Joseph Nicephore Niepce produced the first successful photograph in , little did he realise the phenomenon he had started. And, as photography has become more popular than ever, print and image guality for the home user has radically advanced. Niepce would have no doubt marvelled at the development of photography over the years and taken great satisfaction from the introduction and resulting guality, of digital photography.
As technological advances in image and print guality have been made, photo enthusiasts and digital camera owners can now produce genuine lab-guality images. Leading the way for the digital imaging enthusiast is FIR With a product range that's designed to suit all pockets: HP printers, scanners, cameras, papers and inks produce the highest guality, true-to-life photos and create a home photo-lab to rival the professionals. Developed by an industry leader in research and development, the HP No 59 Grey Photo inkjet print cartridge has been specially formulated with a range of black and grey inks.
HP's Premium Plus Photo paper combines high-quality images with true-to-life photo-quality prints Competition! E3' mium pin photo popw layer coating, the ink is absorbed, retained and 'binds' to produce a virtually grain-free image. Thicker, glossier and heavier With a wide choice of print finishes, HP Premium Plus Photo paper has been designed with exceptional fade resistance, allowing images to resist fading longer than traditionally processed photos.
Digital camera owners and photo enthusiasts can produce true-to-life photo-guality prints, ranging from borderless 10 x 15cm photo printing to personalised cards, posters and promotional material and brochures, newsletters and professional documents. Leading the way for digital imaging enthusiasts, HP Premium Plus Photo paper produces vivid, life-like, virtually grain-free images with rich colours and realistic skin tones.
With a premium, high-gloss finish, which matches studio-guality prints, HP's photo printing system unites HP printers, scanners, cameras, papers and inks, providing amateur photographers with their own digital imaging studio.
The only limit is your imagination To enter the competition to win your own photo lab, answer this simple question and email the answer to editor.
Editor's decision is final. No correspondence will be entered into. Winner will be drawn randomly from those people who submit the right answer. P's Premium Plus Photo paper is designed for deep blacks and vibrant, accurate colours making photos noticeably brighter with true- to-life skin tones. Ideal for high-resolution digital images, it can be used for pictures that are suitable for framing, photo albums, gifts and business-quality images.
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Not only are they great value, they're versatile too! When shooting in parks and gardens, avoid including anything, which makes it obvious the location is cultivated. All you have to do is put some food out close to the house and shoot with a zoom through a window. G ertainly it's a good idea as you're going around to keep your eyes peeled for trees, which have a strong, clear shape that will look good when silhouetted against the sky.
Depending j on how close you can get to your subject, there are two main ways you can approach it. If you can get underneath the tree, try crouching down low, angling the camera, and using a wide-angle lens setting.
This will give a dramatic perspective, with the tree seeming to zoom off into the distance. If you want to maximise your options, shoot against a plain, white sky. This makes it easier to add a sky of your choosing later. Many trees have decorative bark, and going in close to photograph them will allow you to make a fascinating abstract study. Alternatively, you might prefer to have the trunk of a tree sharp in the foreground, with the rest of the scene out of focus behind.
Groups of trees provide a variety of options, depending on how they're arranged. A tightly cropped row can make an appealing composition, especially if you stand back and flatten perspective by using your longest focal length. Accessible landscapes While it's preferable to head off into the great outdoors when you feel in the mood for some landscape photography, that's not always possible. It's dark before and after work, and there are so many other things that need to be done at the weekend.
But the good news is that wherever you live - even in the heart of the city - there are places you can go to do a bit of scenic photography in your lunch hour or when you've got a morning spare. Your local park might not be a patch on Dartmoor or Many trees have decorative bark, and going in close to photograph them will allow you to make a fascinating abstract study the Peak District, but it can be the source of some interesting images if you think creatively.
You'll normally find trees aplenty, and as you wander round you may be surprised at how many other possibilities come to mind. Pockets of woodland, too, are scattered the length and breadth of the country. If you're not sure where the nearest one is to you, check out an Ordnance Survey map for your area.
At worst it should be a short car or bus ride away. Although leaves are usually associated with autumn, you'll still find plenty on the ground in wooded areas this time of the year. And with their close-focusing facility and WYSIWYG what you see is what you get viewing, digital cameras are really fantastic for taking photographs of the landscape in miniature.
The secret lies in noticing them in the first place - and to do that you have to start thinking small. Step outside early in the morning, for instance, and you'll probably see a spider's web covered in dew. If it's out in the open it might just be catching the first rays of the rising sun. Find the best angle, so there's a dark area behind, and you'll capture it at its best. If there's been a frost, see if you can find a colourful berry and crop in tight.
If there's even a hint of a breeze the picture can end up blurred as a result of subject movement - so hold a piece of card alongside it to stop it swaying. Choose white card, and it can also double as a reflector, bouncing light into the shadow side of the berry. When the weather's overcast there's little point in heading off to a well known location.
You're likely to be disappointed by the results. But drab conditions are ideal for photographing plants, and if you can find some attractive evergreens, perhaps with variegated leaves, these will look great - especially if you splash them with water first. If you really can't bear to be outside in the cold, you might consider bringing a collection of landscape elements indoors and shooting a still-life composition by creating a still-life studio using window light.
Draining out the colour produces a crisp, graphic monochrome image, which you can play around with to produce a range of effects. And it couldn't be easier to do. Simply change the file to greyscale, desaturate or use a more sophisticated means of conversion, if you're familiar with one.
It's so simple even parents can figure it out. And for those more advanced, there's Adobe Photoshop Elements. We even bundled them together Just to save you a trip to the shops. For more information visit: w w w-adobe.
Or gratifying. Shoot belter pictures with the HP Photasmarl digital camera H comes with HP's exclusive Adaptive Lighting technology Which means you con expect great pictures even in taw lighting conditions. Our aim is to inform you fully about a product's best and worst features. To this end, we guarantee each review is Independent: We have a cast-iron policy of editorial independence.
Suppliers never see a review until the magazine hits the newsagent Authoritative: Every review includes the manufacturer's range, other options, test shots, plus links to buy online Clear: We use diagrams and boxes to ensure each review delivers a definitive verdict If you have a comment about our reviews, or a product you would like us to test, please email us at editor.
Visit our website at www. Digital Camera Shopper - it's packed full of expert reviews on everything to do with digital cameras! But what are the pictures like from the smallest Digital Ixus?
There's more to this camera than giant image files. This camera's based on Fujifilm's existing S camera. And that's guite something. Where the S had a 3. This instantly sguashes any remaining arguments over the SuperCCD's interpolation system and what megapixel band it should be placed in. The S is the highest resolution non-SLR full stop, even in terms of its raw pixel count. Actually, there's also the brand-new 8-megapixel Sony DSC-F camera, but it is not yet available Fujifilm has achieved this not by increasing the physical size of the SuperCCD, but by miniaturising its photosites so that there are now twice as many in the same area.
The SuperCCD in the S2 Pro is physically much larger, and this has its own impact on image guality, as you'll see if you ever get to compare shots taken on both. A camera for enthusiasts There's more to this camera than giant image files. It's designed as a much cheaper alternative to a digital SLR for serious photographers. You get the convenience of twin card slots for a start, with the ability to use cheap, high-capacity CompactFlash cards, MicroDrives or the tiny and increasingly common xD Picture cards being used extensively now by Fujifilm and Olympus.
The S is just as happy in photo studios or on location, too. The new camera boasts a hot-shoe for external flash units or studio flash connections, plus a threaded shutter button for accepting a cable release.
While the zoom's focal range of Omm eguivalent isn't dramatic by today's ultra-zoom standards, it's OK for most purposes and it can be boosted at either end of the range with optional 0.
The lens does have a good maximum aperture of f2. Actually, though, the S's ISO range isn't as promising as that high 'base' figure suggests. You can also set it to ISO or ISO , but at a setting of you're limited to file sizes of 3 megapixels or lower. The SuperCCD design does have other advantages besides high sensitivity and big file sizes. It also offers a movie mode that runs at a resolution and frame rate that must be the envy of other makers.
Shooting at x pixels and at a speed of 30fps, with sound, the S is practically in digital camcorder territory, especially if you slot in a high-capacity CompactFlash card or MicroDrive.
You can choose from a 'first five' or 'final five' option, and while this might sound a bit odd, it's handy for those situations when you're not quite sure when the action's going to start, or when it's finished.
Sustained sequence shooting speeds do drop to around 1 fps, though. We should mention the battery life, too. Not only does the S run on alkalines quite happily, it'll take around shots before they start to flake out. It's a figure borne out by our hands-on experience, too. Handling and design The S's rock-solid build quality and tough feeling black finish add to this impression of solidity.
The controls feel tight and precise and, except for a navipad that's a shade on the small size, they're well spaced, too.
The power switch is on a rotating collar around the shutter release, which seems to the most natural place to put it for one-handed operation, and a thumbwheel on the top-plate speeds up control over aperture, shutter speed, EV compensation and other options.
The start-up time's barely three seconds. That's pretty good in a camera of this type, where most models take three to four seconds to haul themselves into life. You can switch to manual focusing via a dial on the left of the body, and the lens has a manual focusing ring, which is better than fiddling with the navipad as you would have to on other cameras, and focus is confirmed in the viewfinder as you turn the ring.
Just as well really because electronic viewfinders are not in the same league as the optical systems on genuine SLRs, and you need this kind of focus confirmation.
You can also press a zoom magnifier button to enlarge the central section of the shot for greater accuracy, but by now it's all getting a bit fiddly. The S's zoom buttons move the lens through its range quickly enough, but it's still not exactly lightning fast. The same applies to the AF. The S uses a hybrid system, with an external AF sensor for measuring the approximate distance, followed by CCD-based contrast-detection for fine-tuning.
Yes, it's sophisticated, but it's still not fast. Not as fast as a digital SLR, anyway. You can expect it to take between half a second and a second to confirm focus, depending on the focal length used and how far away from the correct focus point the lens currently is.
The continuous focusing option will cut the delay, but it's a bit annoying to feel the camera continuously whirring away to itself as you frame shots and change viewpoints. The AF is quick enough for this type of camera and accurate, too, but it's not an SLR, and you can expect to have to practice prefocusing techniques carefully with action shots.
The S's handling isn't perfect, then. This has long been a characteristic of SuperCCD images and you all too often zoom in or out unintentionally while you're lifting the camera to your eye or shifting your grip.
And the size of the navipad is a bit of an issue because many of the camera's photographic options - self-timer, white balance, metering mode, bracketing - are easily accessed via the menus.
None of the S's handling faults are serious, though. It's such a nice, satisfying camera to use overall, that you're unlikely to get steamed up about any of them. Besides, its two displays are particularly good. The main LCD is crisp, clear and colourful - it's one of the best around. But the EVF electronic viewfinder is good, too, even though we're not great fans of this type of device, because they generally produce undersaturated, flat looking, pixelated images.
Of its type, though, the S's EVF, is extremely good, and it makes a contrast with the lamentable little screen fitted on the HP Image quality This is the bottom line, of course. Does the S deliver the breakthrough in image guality that its specs suggest? The short answer is 'no'. The long answer is that it comes very close. The miniaturisation of the SuperCCD design doesn't seem to have been achieved without cost. Like the FinePix F and S, which also use HR SuperCCD technology, at pixel magnifications on-screen, the S's images show a distinctly granular appearance, with edges that should be straight and clean appearing broken instead.
What you've got to remember, though, is first that these are megapixel files being viewed at unnatural magnifications for files of these dimensions, and second that there's more to image guality than microscopic definition. At normal viewing distances, the S's images appear crisp and sharp. This has long been a characteristic of SuperCCD images, and while it is to a degree an illusion, it nevertheless makes for very punchy looking images.
The S does seem to have a little difficulty separating shades of red, tending to reproduce them as a single, full-on scarlet assault, and it does have a tendency to invent a little not unattractive blueness in overcast skies but, on the whole, its colour rendition is enthusiastic and clean.
And yes, its results are better than those of its high-end 5-megapixel rivals. We'll have to reserve judgement on the new 8-megapixel Sony but, for now, you won't get better image guality than this, especially at this price.
On top of that, the S really is an extremely good camera in its own right PRO The lens has good max aperture of f2. Images look crisper at normal distances, too. But can the smallest ever Digital Ixus take good pictures?Master aniMate 2 quickly and easily, while creating stunning DAZ Studio animations; With award winning DAZ Studio 3D animator, Val Cameron from Dreamlight and multiple Dreamlight gallery contest winner Paul G. You get the following: Step by step, all features of Animate and Animate 2 .