barcode dll for vb net 1: Getting the Right Gear in Software

Generator Code 128 in Software 1: Getting the Right Gear

CHAPTER 1: Getting the Right Gear
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Prices for commercial reflectors start at about $15 for a small, 12-inch reflector. In addition to Photoflex, other companies that sell popular reflector lines include Visual Departures (www.visualdepartures.com) and Westcott (www.fjwestcott.com). Reflectors come in different colors, and each color produces a slightly different lighting effect:
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White
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Produces neutral reflected light that is, the reflector doesn t change the color of the light source. (Light color is discussed in detail in 8.) Produces slightly cooler (bluer) reflected light. Silver reflectors also create a bit stronger, more sparkly light than white reflectors. Produces slightly warmer, more golden reflected light, making it a terrific choice for portrait lighting.
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Usually, commercial reflectors are dual-sided affairs, each side covered with a different material. For most projects, a white/gold combo is a good fit.
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When you go reflector shopping, you ll also find black, silk, and translucent reflectors, which actually are light reducers instead of light reflectors. You can place a black reflector between a subject and the sun to create instant shade, for example. Silk and translucent reflectors act as light diffusers, creating a softer, less focused light.
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Auxiliary Flash Units
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If you do a lot of indoor or nighttime photography, you may want to invest in an auxiliary flash. Figure 1.5 shows such a flash unit. External flash units offer several advantages over your camera s built-in flash:
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You can angle the flash head, which
lets you control the direction of the light. For example, you can aim the head toward the ceiling, so that the light bounces off the ceiling and down onto the subject. This creates a diffused light source and softer shadows than a flash aimed directly at the subject.
FIGURE 1.5 An external flash unit features a movable head that you can swivel to adjust the direction of the light.
Shoot Like a Pro!
The light is stronger and more broadly focused than what you get from a built-in
flash, so a larger area of the scene is illuminated.
External flash units typically enable you to adjust the strength of the flash. Some
digital cameras also offer this function for built-in flashes, but you usually have to buy at the higher end of the price spectrum to get this feature. You can connect an external flash to your digital camera in a couple of ways. Most so-called prosumer cameras that is, the high-end models with advanced photographic bells and whistles offer a hot shoe. A hot shoe is a little flash connection bracket on the top of the camera, as shown in the left image in Figure 1.6. You simply slide the base of the flash unit into the bracket.
Hot shoe
FIGURE 1.6 Cameras at the higher end of the consumer price spectrum include a hot shoe or socket for attaching an external flash.
In medium-priced cameras, you may instead find a flash-cord socket that enables you to attach a handle-mount flash, like the one shown on the right side of Figure 1.6. You use a cord supplied with the flash to connect flash and camera. You can then either hold the flash in one hand and the camera in the other, or you can attach both to a bracket, as shown in the figure. (In photography jargon, handle-mount flash units are called potato mashers because of their resemblance to that kitchen tool.) What if your camera offers neither hot shoe nor flash socket You can still enjoy the flexibility of external flash power by using a slave flash. A slave flash works in conjunction with your camera s built-in flash. When your camera flash fires, the slave flash sees that burst of light and triggers its own light in response.
CHAPTER 1: Getting the Right Gear
External flashes range in price from $50 to hundreds of dollars. At the high end of the spectrum, you get sophisticated flash controls, such as the ability to adjust precisely the timing and power of the flash output. Some advanced flash units, like the $190 Minolta model shown in Figure 1.5, work either attached to the camera or as a wireless remote flash, which gives you great flexibility in positioning the flash. Although working with external flashes isn t complicated, buying one can be. You need to be sure that the flash you buy can communicate with your camera so that the flash fires at the appropriate time. In addition, your camera s autoexposure mechanism may or may not be able to adjust exposure properly to account for the varying flash power of the external unit. Typically, you get the maximum coordination between flash and camera when you buy the camera manufacturer s flash equipment. Unfortunately, those units are usually pricier than third-party units. If you re in the market for an external flash, I suggest you take your camera to your local camera store for advice. Tell the staff what type of photography you plan to do so that they can steer you to the proper equipment. This guidance is especially important if you re buying a slave flash. Some slave units are engineered to operate as a secondary light to a shoe-mounted flash and don t respond properly to a built-in flash. Also check out your camera manufacturer s web site for recommendations. For third-party flash equipment, check out Digi-Slave (www.srelectronics.com), Sunpak (www.sunpak.com), and Metz (www.bogenphoto.com).
For close-up photography, you may want to invest in a special macro flash unit. 5 discusses this type of flash.
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