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Camera and Equipment Insurance

On July 5, 2010, in lense, by admin
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Good camera equipment is not cheap. Most photographers spend years acquiring theirs. If you had to replace all your equipment at once, or even a portion of it, would you be able to? What would you do if faced with such a situation? Settle for a fraction of the equipment you once had? Stop taking pictures altogether and pick up a cheaper hobby?

Costly Camera

Contents

  1. What type of policy do I need?
  2. What if I use my equipment commercially only on occasion?
  3. I want to add a floater to my homeowners or renters policy
  4. I need a commercial policy
  5. Bottom line
  6. Survey Results and Insurance Program

None of the above sound appealing? Consider insuring your equipment. If your equipment is insured, check the coverage and exclusions of your policy to make sure you have the coverage you need. If you lost all your equipment tomorrow, would your insurance company pay for the replacement value of your equipment? Would you face exclusions if you receive photography-related income? Understanding your level of coverage today could save you from being unable to shoot pictures tomorrow.

What type of policy do I need?

The type of policy you need depends on how you use your equipment. If you do not make any money through the use of your equipment, a standard homeowners or renters policy should cover against theft and fire, even when your equipment is outside your home. Typically, standard homeowners and renters policies cover you against named perils only. They also typically have deductibles. If your equipment is accidentally damaged, for example, you drop it, chances are it will not be covered under a standard homeowners or renters policy.

If you use your equipment for non-commercial purposes, another alternative is buying an “all-risk” floater. This attachment to your homeowners or renters policy includes a schedule of covered items. An all risk floater generally covers the scheduled equipment against everything except specifically excluded perils stated in the policy (e.g., acts of war). So if you’re walking down a street and you accidentally drop your camera and a car drives by and runs it over, smashing it into pieces, it’s covered unless that situation is specifically excluded in your policy.

If you use your equipment primarily for business purposes, you should be insured by acommercial inland marine policy. A commercial policy offers all-risk coverage for equipment, eliminates the potential of exclusions if equipment is used professionally, and offers a variety of optional floaters designed to insure against the liabilities faced by a professional (e.g., someone trips over your tripod).

What type of policy do I need if I occasionally use my equipment for commercial purposes?

That’s a difficult question to answer. Some photographers who generate revenue from their work, even if it’s not their primary source of income, need a commercial policy. Commercial policies are generally more expensive than personal policies and might be required depending on the value of your equipment and the level of income you generate from photography. It’s not unusual for a photographer to talk with two different insurance agents and be told by one that they require a commercial policy while the other says a personal policy is sufficient. Your best bet is to talk to a number of insurance agents representing different companies and see which company will offer you the best deal. Remember that misrepresenting your information could cause your coverage to be denied. Worse, if you are offered a policy, misrepresenting your information could cause your claim to be denied, even though your policy is fully-paid!

Due to interest from the community, photo.net has arranged for a special photo equipment insurance program available exclusively to photo.net members. The program offers photographer’s insurance at a heavily discounted rate as a photo.net subscription benefit.Click here to view a document outlining the coverage levels, benefits and associated costs for the insurance. If you’re already a photo.net subscriber, you can access the insurance application form in the Subscriber Services section of your personal photo.net workspace page. If you aren’t currently a photo.net subscriber, you can click here to subscribe.

I want to add a floater to my homeowners or renters policy

Items of value, including photography equipment, that are not covered or have limited coverage on standard homeowners policies may be scheduled on a personal articles floater. Rates for insuring your equipment on a personal article floater vary among companies. Generally, you should expect to pay about $1.35 – $1.75 per every $100 dollars of equipment with no deductible. Coverage is usually in addition to your unscheduled property, giving you more coverage if there is a total loss. Most homeowners and renters insurance policies provide coverage against named perils only. If your camera falls off a shelf and breaks, it is not necessarily covered. Personal article floaters are usually written on an all-risk basis, meaning your equipment is insured against everything except specifically excluded perils. So, if you’re leaning over the side of a boat to get the perfect shot, your strap breaks and your camera falls to the bottom of the ocean, it should be covered unless that peril is specifically excluded in your all-risk floater or if you intentionally threw the camera overboard. With a personal article floater, the burden is on the insurance company to prove that a claim is not covered. With a standard homeowners policy, the burden is on the insured.

Personal article floaters provide broad coverage, usually with no deductibles. Generally, you’re agreeing on the value of your equipment prior to loss. When you apply for a floater, your insurance broker will ask you to list all your equipment, the market value/replacement cost, serial number and other information on your equipment. The market value of an item is the replacement cost of the item in its current state, not a new piece of equipment. Generally, insurance companies replace insured equipment and do not pay cash for the value of the item. If you want cash to replace the item yourself, generally you will have to negotiate with your insurance provider.

Personal article floaters can also cover items you’ve bought even if you have not told your agent. Policies can provide coverage for newly acquired items for up to 30 to 90 days if you pay a pro-rated premium.

I need a commercial policy

If photography is your primary income, or a source of income, a commercial policy might be right for you. Generally a commercial policy is more expensive than a personal article floater attached to your homeowners or renters insurance policy. You should expect to pay between $1.75-$2.25 per every $100 dollars of equipment with a deductible between $250-$500 per claim. A commercial policy offers a similar level of coverage for equipment as an all risk personal article floater, but eliminates the potential exclusion of equipment if used professionally.

Additional coverage available on a commercial policy includes general liability, commercial property, workers compensation, commercial automobile coverage and umbrella liability to name a few.

Most states require you to carry workers compensation insurance(they’re so good in Massachusetts of keeping track of this even photo.net had to comply when sent notice after only a month of incorporation). Professional photographers operating a studio with employees could be liable for any and all costs associated with injuries in the event fo an accident. Professionals not only face this liability with full-time employees, but also with anyone they have hired for an assignment. Carrying workers compensation protects you from personally being liable for such costs. General liability insurance further protects you from third party bodily injury or property suits.

Bottom line

The bottom line is that you should get the type of coverage that best fits your needs beforeyou’re faced with the strain of having to pay for equipment, injuries, or other liabilities. If your equipment is insured, check your policy and make sure you have the coverage you need and that you will not face exclusion if you receive income from your photography.

Photo.net Survey Results and Insurance Program

We ran a survey on photo.net to determine both if there was interest from the community for a photo.net insurance program and the level of demand. There is great interest as we received 699 responses. We determined the average amount of equipment users wanted insured was $8,452 and the median was about $5,500. 15% of users reported greater than $20,000 dollars worth of equipment to insure.

As a result, photo.net has arranged for a discounted photographers insurance program to be available exclusively for photo.net members (view details). As a photo.net subscriber, you can access the insurance application form in the “subscriber services” section of your personal photo.net workspace page.

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Article Source : http://photo.net


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Art Of Photography

On July 5, 2010, in lense, by admin
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Photography is both an art and a science. Photography allows us to express our feeling and emotions, but to do so we need to master the scientific part of the medium. Unlike a painter, who is in direct contact with his subject and his canvas, a photographer is separated from his subject by the camera and from his “canvas” by computers and printers today and by darkroom equipment previously.

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The scientific aspects of photography can be both overwhelming and fascinating, so much so that for some photographers photography comes to be just that: a scientific process that they attempt to master over their lifetime. However, to achieve mastery of the technical side of photography is to address only one of the two aspects of photography. The result is often technically excellent photographs that lack emotion and “seeing” qualities. In this regard, I share the opinion of Ansel Adams who said, and I paraphrase, that there is nothing more boring that a technically perfect rendering of a fuzzy visual concept. In other words, an artistic photograph is created when technique is used to express a vision and an emotion, not when technique is used for it’s own sake.

Countless articles are written daily about the many scientific aspects of photography. From equipment reviews, to image processing techniques, to tips on how to be a more efficient photographer, to stories about what works and what doesn’t, there is no shortage of material on the subject. Nothing wrong with that. In fact, I have contributed my share of articles on this subject and I will continue to do so. Again, the scientific aspect of photography is very important and learning as much as you can about it is certainly worth your time and efforts.

However, learning about the artistic aspect of photography is just as important. Unfortunately, there is a much lesser amount of information on photography as art. Far fewer essays are being written, far fewer discussions are taking place, and far less information, help and tips are available. It is as if photographers, for the most part, discovered how much they have to learn about photographic science and, overwhelmed and enchanted by equipment and technique, stopped there and looked no further. It may also be that some photographers, or photographic instructors, are uncomfortable writing about photography as art, or lack the practice and knowledge to do so.

The goal of this series is to remedy this situation in two ways: first, by providing you with a source of help and information about the artistic aspect of photography. Second, by making use of my personal background. I was trained as a painter and artist at the Academie des Beaux Arts in Paris and later discovered photography. From day one I approached photography as an art form just as capable of expressing what I see and feel as any other artistic medium. My training, combined with my practice and knowledge of many artistic medium, provides me with a unique perspective on photography. For example, I often draw comparisons between photography and other arts. I also look at art from both a historical and a contemporary perspective. Finally, I make my living selling fine art prints, writing about photography and art, and teaching photography. In short, I am not just an observer. I am an active practitioner, writer, teacher and student of both aspects of photography. I am also an art collector, an enthusiastic admirer, and an occasional practioner of many other artistic medium.

When I decided to start this series I carefully considered what the contents of each essay might be. The last thing I wanted to do was provide ineffective, redundant or superficial information. I wanted to avoid what I perceived to be the most obvious pitfalls of such a series, namely to talk of photography as if it was art, without attempting to explain why it is, and later proceed to apply art concepts to photography, as if there was a direct crossover between photography and other arts.

At first I did not know how, or if, this could be done. It was only after writing and publishing on my site several essays for a series I originally titled Thoughts and Photographs that I felt confident to have found the proper format. I later renamed this series Reflections on Photography and Art, a title that I continue to find appropriate for this endeavor since this is after all a reflection, albeitedly one based on years of experience.

At this time I have a list of over 25 essays that I am considering including in this series. Certainly, some of these essays will be revised, while some will be pushed aside and new ones will be introduced. This list is but a beginning, a starting point. However, I feel more confident starting on this journey knowing that I can proceed further than a couple of essays. I feel better having a road map, so to speak, to guide me in the exploration of photography as art.

In comparison to my previous series, Photography and Aesthetics, this new series is written in a freer, more direct fashion. Photography and Aestheticsconsists of carefully organized articles written over weeks and, for the later articles in the series, months.  Reflections on Photography and Art consists of essays, a format that allows me a much freer approach to the content of each piece.  As we will see in the series, feeling free to create is one of the sine qua non conditions for practicing photography as art.  I deemed it perfectly natural to metaphorically shape the structure of each essay around one of the overall premises for this series.

Do you want to build upon your current skills by studying the artistic aspect of photography? If your answer is yes, I welcome you to join me in what can only be an enlightening, though at times challenging, experience.

Article Source : http://www.luminous-landscape.com

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Types Of Lenses

On April 17, 2010, in lense, by admin
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The independence to change lenses based on your needs gives a lot of freedom to a photographer. But what are these different types of lenses. Various lenses are suited for specific application. Lets have a look at some common names and what they do.

  • Normal/ Standard Lenses – These are lenses provided by the camera manufacturers along with the camera as a part of the kit. These are generally of the 18 – 55mm focal length for a normal 35mm camera.
  • Telephoto lenses – These are the lenses with focal length longer than the standard lens. Also called as Long focus Lens. These lenses are generally used to take photographs from a distance. Especially for nature and wildlife photography where you can not go near to the subject but want to fill the frame with the subject from a distance. Normally, 70 – 300mm lens is recommended for such purpose though different combination can be used based on your requirement.
  • Mirror Lenses – This is a special design of a long focus lens in which some of the lens elements are replaced with the mirrors. These lenses are generally lighter than the normal lens of the same focal length but they come with fixed aperture.
  • Wide Angle Lenses – These lenses have lower focal length than the standard lenses which helps in getting more area of view in the frame from the same distance. Typically used for landscape photography. These lenses can increase the perspective distortion. So, caution is recommended.
  • Zoom Lenses – These are the lenses with variable focal lengths. In these lenses the positive and negative elements of the lens are put together in such a way that by moving them you can get varied focal lengths. You can also find telephoto lens with zoom lens capabilities. Do not get confused between the two.
  • Macro Lenses – These lenses are designed to do close up photography like flowers, insects, etc. Basically the macro lenses have very high focusing movement than the normal lenses.
  • Aspherical & Fluorite Lenses – These lenses with special purpose. Fluorite lens uses one or more elements of calcium fluoride (CaF 2 ) made from synthetic crystals. This lens has a very high color correction. Aspherical lens elements help to compensate for distortion in wide-angle lenses, and compensate or eliminate spherical aberrations in lenses with a large maximum aperture. They also allow manufacturers to produce more compact lenses than was previously possible using only spherical lens elements. These are costly lenses RedBox – Retailer of Digital Cameras, Optics and Photo Accessories

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The Advantage of Digital SLR Cameras

On April 17, 2010, in Uncategorized, by admin
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Let’s begin with the key advantage of digital SLR cameras: they are fast.

Does this sound familiar?

  • You’re attending a big event and want to grab a shot of a fleeting moment
  • For some reason your compact digital camera just won’t focus
  • FINALLY it locks the focus and you’re ready – you press the button
  • But there’s a DELAY – the camera pauses for a second, then it takes the shot

The moment is gone – you’ve missed it.

If this sounds at all familiar to you (and frustrates you immensely), you’ll completely understand why speed is a significant advantage of digital SLR cameras.

Built For Speed:-

So why are some compact cameras so slow and digital SLRs so fast? It’s electronics vs. mechanics.

There’s a device called a shutter that sits in front of the digital SLR sensor, blocking it from light.

When you take a photo, the shutter (made up of two curtains) opens and closes.

This is different from a compact camera, where there is no shutter mechanism. In compact cameras, the sensor is electronically activated every time you take a photo.

The advantage of the mechanical solution is that it is instantaneous: you press the shutter button and the shutter snaps open.

There’s never a delay when you want to capture that photo of a lifetime.

If this was the only advantage of digital SLR cameras, it might be enough for anyone who’s frustrated with a sluggish compact camera.

For anyone who’s still skeptical, here are a few others.

High Quality in Low-Light

One clear advantage of digital SLR cameras is that they’re able to capture photos even when there’s not a lot of ambient light.

So what? Every camera can take a photo when there’s not a lot of light – just turn on the flash.

Here’s the trick: digital SLR cameras can do it without the flash.

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On April 17, 2010, in dslr, by admin
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Digital single-lens reflex camera Or DSLR

On April 17, 2010, in dslr, by admin
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A digital single-lens reflex camera (digital SLR or DSLR) is a digital camera that uses a mechanical mirror system and pentaprism to direct light from the lens to an optical viewfinder on the back of the camera.

The basic operation of a DSLR is as follows: for viewing purposes, the mirror reflects the light coming through the attached lens upwards at a 90 degree angle. It is then reflected twice by the pentaprism, rectifying it for the photographer’s eye. During exposure, the mirror assembly swings upward, the aperture narrows (if stopped down, or set smaller than wide open), and a shutter opens, allowing the lens to project light onto the image sensor. A second shutter then covers the sensor, ending the exposure, and the mirror lowers while the shutter resets. The period that the mirror is flipped up is referred to as “viewfinder blackout”. A fast-acting mirror and shutter is preferred so as to not delay an action photo.

All of this happens automatically over a period of milliseconds, with cameras designed to do this 3–10 times a second.

DSLRs are often preferred by professional still photographers because they allow an accurate preview of framing close to the moment of exposure, and because DSLRs allow the user to choose from a variety of interchangeable lenses. Most DSLRs also have a function that allows accurate preview of depth of field.

Many professionals also prefer DSLRs for their larger sensors compared to most compact digitals. DSLRs have sensors which are generally closer in size to the traditional film formats that many current professionals started out using. These large sensors allow for similar depths of field and picture angle to film formats.

The term DSLR generally refers to cameras that resemble 35 mm format cameras, although some medium format cameras are technically DSLRs.

History:-

On August 25, 1981 Sony unveiled a prototype of the first still video camera, the Sony Mavica. This camera was an analog electronic camera that featured interchangeable lenses and a SLR viewfinder.

At Photokina in 1986, Nikon revealed a prototype analog electronic still SLR camera, the Nikon SVC, a precursor to the digital SLR.[25] The prototype body shared many features with the N8008.[25]

In 1991, Kodak released the first commercially available digital SLR, the Kodak DCS-100. It consisted of a modified Nikon F3 SLR body, modified drive unit, and an external storage unit connected via cable. The 1.3 megapixel camera cost approximately US$30,000. This was followed by the Kodak DCS-200 with integrated storage.[26]

Over the next decade, DSLRs have been released by various companies, including Canon, Nikon, Kodak, Pentax, Olympus, Panasonic,Samsung, Minolta (later Konica Minolta, and whose camera assets were then acquired by Sony), Fujifilm, and Sigma, with higher resolutions and lower prices.

In 1999, Nikon announced the Nikon D1, the first DSLR to truly compete with, and begin to replace, film cameras in the professional photojournalism and sports photography fields. This camera was able to use current autofocus Nikkor lenses available at that time for the Nikon film series cameras, and was also able to utilize the older Nikon and similar, independent mount lenses designed for those cameras. A combination of price, speed, and image quality was the beginning of the end of 35 mm film for these markets.

In January 2000, Fujifilm announced the FinePix S1 Pro, the first DSLR marketed to non-professionals.

In November 2001, Canon released its 4.1 megapixel EOS-1D, the brand’s first professional digital body.

In 2003, Canon introduced the 6.3 megapixel EOS 300D SLR camera (known in the United States as the Digital Rebel and in Japan as the Kiss Digital) with an MSRP of US$999, directed at the consumer market. Its popularity encouraged other manufacturers to produce affordable digital SLR cameras, lowering entry costs and allowing more amateur photographers to purchase DSLRs.

Since 2003, the number of megapixels in imaging sensors have increased steadily, with most companies focusing on build quality, high ISO performance, speed of focus, higher frame rates, the elimination of digital ‘noise’ produced by the imaging sensor, and price reductions to lure new customers.