What exactly is “face detection technology”, and why is it considered a valuable asset in a digital compact camera?  Part of the confusion about this feature is caused by its rather vague name—“face detection”—that sounds more like something out of a James Bond movie than a photography store.  This article will explain what face detection is, how it works, and why it’s useful in a camera.

First, let me describe the problem that face detection technology in a digital compact camera solves.  Have you ever taken a picture of a person in which the flash from the camera washed out their face, to the point where you can only make out a pale blob with a pair of eyes and lips in it?  This phenomenon usually occurs where taking a picture indoors or outdoors in dim lighting.  When the picture is taken, the flash is too bright.  The light reflects off the person’s skin (usually the face) back at the camera, through the lens, and onto the film or image sensor where, because the flash was too bright, the image of the person’s face ends up being overexposed and consequently washed out.  It is possible to avoid this, however, by manually adjusting the exposure and flash levels.  This takes time, however, and thus is only really practical for posed pictures—and a lot of amateur photographers like snapping quick, candid photos that capture a second of true life.

What face detection does is identify the face of the person in a framed shot, calculate the proper exposure levels to get the best image of the subject’s face in the picture, and then adjusts the flash level accordingly.  It does all this in less than a second, of course.  The result is a photograph where the person’s face is clearly visible in all its lifelike color and detail.

How does a digital compact camera even know part of the framed image is a face in the first place?  The answer is to that is complicated, involving technical computer jargon and mathematical algorithms.  Put simply, a computer program in the digital camera defines a face as a pre-defined set of shapes and colors.  When you frame a shot through the viewfinder, the computer program scans the image looking for the “face pattern” of shapes and colors until it identifies one.  Of course, when you turn your head, the shape changes.  Consequently, digital cameras are best able to identify faces when the subject it looking straight at the camera, and has more trouble with faces in profile or looking up, down, or to the sides. 

Considering how impressive and useful this technology is, one would expect to find it as an advanced, high-end feature in expensive, professional cameras with price tags running into the thousands of dollars.  Surprisingly, this is not the case.  Face detection technology is becoming increasingly common in inexpensive digital compact cameras aimed at the family market.  The average compact camera targeting the amateur family photographer usually runs between $100 and $350 dollars. 

Face detection technology starts becoming commonly available in the midrange cameras around the $200 level, such as the Sony Cybershot series or the Casio Exilim series.  Of course, face detection is becoming a standard element in the more expensive higher-end compact cameras, such as the Canon PowerShot G10 retailing for around $500.  Even some of the inexpensive low-end digital compact cameras come with face-detection technology, such as the Samsung S860, which sells for under $90.

When you are shooting in low light situations such as indoors or in the evening, flashguns are generally used to add light, illuminating the subject and enhancing the quality of the photo.  Flashguns can also be used to create interesting shadows and illuminations to give a photograph depth, drama or clarity.  Photography lighting allows you to create just the shot that you want.  It is a wonderful tool and you should experiment with different placements of light, brighter light and lower light.  A flash can be a great fill when using a faster shutter speed in low light situations.  There is just no end to the ways that you can manipulate your photographs using light.

Direct Flash vs Bounced Flash
Your flashgun is extremely versatile.  Many have the capability to either deliver a direct flash or a bounced flash.  A direct flash give the photo hard shadows and the light is reflected on shiny surfaces.  On the other hand, a bounced flash eliminates the reflections and shadows, offering a warmer, more naturally lit shot.  There are several ways that you can bounce a flash.

Open your aperture
Increase your FEC +/- (Flash Exposure Compensation)
Set your flash to manual
Hold your flash in your hand or set it on a tripod

Bounce your flash off of a reflective surface such as the ceiling, a wall or even a white card or poster board.  Play around with both direct flash and bounced flash to find the techniques that work best with your equipment, your skills and your personal taste.  Just remember that when you are bouncing your flash, the surface that you are bouncing it off if may be father than your subject so the flash will need to be adjusted to compensate for the increased distance.  By increasing your flash you will ensure that you supply the amount of light that is required for the shot.

Flashguns
Flashguns are great for location shots because they are so portable and easy to use.  If you are shooting on location, you can simply set up a couple of flashguns on tripods and use them like you would pro lighting.  There are many different types and manufacturers out there.  When purchasing a flashgun, make sure that it is compatible with your camera.  While the major camera manufacturers such as Canon and Nikon market their own flashguns, you can find flashguns by other manufacturers.  Often, these are a more economical option.  Sunpack, Sigma and Metz are three popular brands that make flashguns that work with brand name cameras.

Pro Lighting
Professional lighting also offers a wide variety of options.  While a bit more expensive than flashguns, pro lighting can give you great shots, particularly in studio shoots.  You can purchase lights mounted on tripods, stands or that can be bracketed to a wall.  Because many of these lights are larger, they are often not as portable as their smaller flashgun cousins.  They can, however, all you to create dramatic effects and light a shot almost perfectly.

Lighting is a science that can be perfected so that shots are crisp and effects are created exactly to the photographer's liking.  Practice and experimentation are the keys to learning how to get that perfect shot.  The wonderful thing about the science of lighting is that it is highly versatile with many options regarding the source and how the light is manipulated.  All you need to do is get out there find out what works best with your equipment and you.

“Full Frame” refers to the size of the image sensor behind the lens in the camera that actually captures the image when you open the shutter.  Specifically, it refers to an image sensor that is the same shape and size as 35mm film frame that has been the photography standard for decades.  However, image sensors that size are more difficult and expensive to build.  Consequently, the majority of digital cameras—both amateur compact models and professional SLR models—use smaller image sensors.  The most common image sensor size among professional digital SLR cameras is the APS-C standard, which is roughly 57% smaller that the size of 35mm film. 

So, why should you care?  There are three reasons.  First, the quality of the picture is directly related to the size of the image sensor—the larger the image sensor, the better quality the picture.  Larger sensors capture images with a higher pixel count, greater color range, and less noise.  Smaller image sensors have a lower pixel count, producing noisier, grainier photographs, even at high speeds.

The second drawback to “half-frame” cameras applies mostly to professional photographers, but is a serious problem.  Professional photographers have several different types of specialty lenses (such as wide-angle, zoom, manual-focus, tilt/shift, etc.) that they can attach to their cameras.  These lenses, however, are currently intended for use with 35mm film cameras, and designed for the 35mm-sized frame format.  The problem is that the lens projects a light image the size of a 35mm frame—but the digital camera’s image sensor is smaller.  Consequently, it doesn’t capture the entire image—just the center.  The result is a zoom-in type of effect on the center of the image, with all four edges being cropped off.  This is known as the “crop factor”.  Professional Digital SLR cameras using the APS-C format sized image sensor will lose over half of the original image seen through the lens.  Commercial digital cameras (“compact” cameras) use tiny image sensors—some only about 1/30th (or 3%) the size of a 35mm frame—and will lose most of the image.  This effectively makes the expensive and highly useful specialty lenses worthless.  In contrast, a full-frame digital camera will capture the exact image seen through the specialty lenses.

The third problem, once again applying mostly to professional photographers, is that the dimensions of the image coming through the lens doesn’t match the dimensions of commercial image sensors.  The aspect ratio (the ratio of how wide to how high the frame is) of a 35mm film frame is 3:2, while the image sensor cheaper, commercial digital cameras have an aspect ratio of 4:3.  The resulting picture will not only be cropped on all sides, but will also have even more space cut off on the left and right sides of the photograph. 

Currently, Kodak, Canon, Nikon, and Sony all make full-frame digital camera.  Clearly, full-frame cameras interest mainly professional photographers and amateur enthusiasts, and thus tend to be expensive, high-end cameras.  Such cameras, however, are often loaded with advanced features, and are well worth the price tag.

Canon and Nikon both produce two types of full-frame DSRL cameras—a high-end, feature-rich professional type for several thousand dollars, and midrange type for amateur photographers that offer slightly fewer features at about half the price.  For example, the Nikon D3 FX, the high-end camera, boasts 12.1 MP, a speed of 9 frames per second, and a 51-point auto-focus system.  Nikon’s midrange camera, the D7000, offers almost the same features, but a slower speed of 5 frames per second—but that drops the price almost in half!  Canon has a similar story, with camera speed being the main difference between their high-end EOS-1Ds Mark III (5 fps) and their midrange 5D Mark II (fps).  The EOS-1Ds offers 5 frames per seconds.  The 5D can only offers 3 fps, but is roughly half the cost!

The Nikon D700 is a 12.1 mega pixel camera with EXPEED digital image processing and an Fx-format CMOS sensor that sits at a 23.9x36 millimeter range. It also allows for continuous shooting at a rate of five frames per second with the option to shoot up to eight frames per second. This is perfect for getting the perfect photo finish.

The Nikon D700 also comes with a 3 inch VGA Color monitor that gives a high resolution 170 degree wide angle viewing. The monitor also comes with tempered glass protection and calibrated color allowing you the best possible image review. You can also meet all your shooting modes with the hand held or tripod shooting modes. The Nikon D700 also comes with three dynamic AF modes and comes with a 51 point Auto focus function with 3D tracking so you can keep up with all the action without worrying about blurring photos. An onboard database of over 30,000 images helps you to ensure that your exposure is perfect with a 1,005 pixel 3D color matrix metering function.

In order to provide the best protection for your investment in a Nikon D700, Nikon has given the D700 a magnesium alloy construction as only part of its overall protection. Add to this light weight but durable construction a ultrasonic sensor cleaning system to reduce dust as well as protection against moisture and you have a camera that go just about everywhere you do.

The Nikon D700 is also compatible with a number of lenses, offering even more versatility to this already feature and function packed camera. The D700 is compatible with the Type G or Type D AF NIKKOR lens with all functions supported. The DX AF NIKKOR is also compatible with all functions except FX-Format image size 36 by 24. The AF NIKKON other than G or D is also supported without the 3D Color Matrix. In addition other compatible lens include the AI-P and the Non-CPU AI NIKKOR with limited functions.

The D700 is a full function customizable piece of precision elegance when it comes to photography equipment. It is compatible with a number of different lenses, it has a wide viewing area designed to provide you with the ability to see your image exactly as it will appear. The protection features of the camera mean that you are not only protecting your investment but that you can take your camera anywhere you go and be secure in the knowledge that it is protected against both dust and moisture.

 The lighting and exposure features mean that your pictures comes out perfect every time no matter what the conditions. Auto focus features mean that even action shots come crystal clear and perfect without the blur that comes with trying to take action shots. The D700 for Nikon is the perfect blend of precision and accuracy that are unrivaled anywhere else. The camera is also light weight only at only 35 ounces making it ease to handle and comfortable to hold.

The powershot cameras are generally differentiated from each other by the capability of their components . The salient features of the Powershot S5 IS are the 12x optical zoom lens with IS , 8.0 Mega pixels, Extensive movie options ,DIGIC III and iSAPS , Face Detection AF/AE/FE , Red-Eye Correction , ISO 1600 and Auto ISO Shift , 2.5" vari-angle LCD , 22 shooting modes.