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Shoot at the Highest Resolution Always shoot at the highest resolution your camera offers. For example, the D-620L from Olympus shoots at two resolutions: 1,280 by 1,024 or 640 by 512 pixels. You can shoot four times as many of... See more » Shoot at the Highest Resolution Always shoot at the highest resolution your camera offers. For example, the D-620L from Olympus shoots at two resolutions: 1,280 by 1,024 or 640 by 512 pixels. You can shoot four times as many of the smaller pictures, but they'll be only one-fourth as good. This goes even when shooting photos for the Web--a large original picture provides more flexibility, permitting you to crop, reduce the image size, or perform a combination of the two. Remember, you can always reduce the number of pixels in an image, but you can't magically invent more. If you shell out the bucks for high resolution, and you should, you might as well use it. Get in Close Ever wonder why all the vacation shots of you and your companions taken by other tourists look terrible? It's because the stand-in photographers step back half a mile away when they take the shots. With a digital camera, that means you end up taking about 15 pixels in the center of the image. Pixels are scarce, so you need to devote as many to the subject of the photograph as possible. When photographing a person, turn on the LCD and close in until that person fills up the screen. Don't take the shot until you see the whites of their eyes. Shoot in Pairs When shooting important images--staff parties, family functions, vacation photos--don't settle for a single shot. Like butterflies, digital pictures are free, so go nuts. The rule of thumb is to take no fewer than two pictures of virtually everything, four or five if the scene is even moderately interesting. Think fashion photographer: keep moving that camera and firing off shots. With lots of variations to choose from, there's a higher probability of getting a good photograph. Shoot Big Pixels don't treat all objects equally. About the worst thing you can photograph with a digital camera is a tree. If the camera captures about a million pixels, and the tree contains a few hundred thousand leaves, you end up with three or four pixels per leaf, so it all smears together in a big, gummy mess. The same goes for lawns, gardens, distant mountains, hairy surfaces, or anything else with scads of intricate details. For the best results, photograph clearly defined subjects with smooth, distinct outlines. People photograph well, as do cars, buildings, furniture, and most man-made objects. Stick to obvious foreground subjects that stand out clearly from their backgrounds, and you should be fine. Eliminate Red-Eye If you've ever shot a picture with a flash, you've no doubt encountered red-eye, in which everyone's pupils turn bright red, giving them a mildly demonic look. The culprit is dilated pupils. In dim light, the pupils are nice and big, permitting the flash to bounce off the inside of the retina and reflect back into the camera lens. One solution is to turn on your camera's red-eye reduction flash. This provides a preflash, which reduces pupil sizes so that the second flash is reflected harmlessly off the iris. The problem with a preflash is that it causes people to blink--and most of us would rather get red-eye than a bunch of closed eyelids. A better solution is to turn on a few lights or to shoot in a shaded area outdoors. By shining some light on a situation, you reduce pupil sizes naturally and limit your risk of red-eye. Shoot Outside in Indirect Light Most digital cameras offer built-in flashes, but they're not very good. When shooting in a dimly lit room or at night, a subject a few feet away will appear as a luminous ghoul against a pitch-black background. For the best results, shoot outside or in a naturally lit room during the day. A little cloud cover or tree shadow helps to soften the harsh color transitions you often get in direct sunlight. Counterintuitive as it may sound, low contrast is better than high contrast. There's nothing worse than a large area of white (called a hot spot) or black in a photo, because there's no way to fix it. Use the Flash in Backlit Conditions The best use for a cheesy consumer flash is to fill in shadows in full daylight. When you photograph a person against a See less »

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