Here’s a list of some really nice places to photograph in Toronto.

• llan Gardens, Botanical Conservatory – (Free from outside) (inside you need a photography permit I think)
  Google Map Link
• Centre Island - Google Map Link Flickr Group
• Casa Loma (free from the outside) Google Map Link Flickr Group
• Downsview Park – (great for shooting models and cars)
  - Google Map Link Flickr Group
• Don Valley Brickworks - Google Map Link Flickr Group
  **Entrance may be secured by security**
• Distillery District - Google Map Link Flickr Group
• Edwards Gardens - Google Map Link
• High Park (Landscape, animals, people, nature)
  - Google Map Link Flickr Group
• Kensington Market - Google Map Link Flickr Group
• Kariya Park – (for engagements free) (wedding photos need permit)
  - Google Map Link
• Leslie Split - Google Map Link
• Nathan Phillips Square - Google Map Link
• Philosopher’s Walk - Google Map Link
• Queen Street - Flickr Group
• Queens Park - Google Map Link
• Spadina Avenue. – (lots of art and graffiti) Flickr Group
• Scarborough Bluffs - Google Map Link Flickr Group
• The Guild Inn - Google Map Link Flickr Group
• The Waterfront - Google Map Link Flickr Group
• The Toronto Labyrinth-Google Map Link
• U of T - Google Map Link Flickr Group
• Unionville Main St.- Google Map Link
• Yonge & Dundas Square – (great at night) Google Map Link

The following list of places are wonderful for photography. However, they’re not free.  A nominal fee is required for special events.

• Toronto Zoo
• CNE/Ontario Place - Google Map Link
• Black Creek Pioneer Village - Google Map Link
• CN Tower
• The Hockey Hall of Fame - Google Map Link
• Royal Ontario Museum
• Toronto Science Centre
• Art Gallery of Ontario
• Casa Loma - Google Map Link Flickr Group

Some other random places to consider…

• Nathan Phillips Square, particularly at night is a nice place to shoot.
• The Toronto Labyrinth (tucked away in a cozy alleyway between the Bell building, the Eaton Centre and the Marriott hotel.
• Queen’s Park
• Philosopher’s Walk is a nice spot to shoot at night (next to the ROM)
• the distillery district
• unionville main st. (markham)
• Allan Gardens, botanical conservatory in downtown TO
• Edwards Gardens/Toronto Botanical Gardens, Leslie and Lawrence area
• Black Creek Pioneer Village - http://www.blackcreek.ca/
• Kariya Park – for engagement photos(free)
• Kensington Market - Google Maps Link Flickr Group
• badlands, rouge river (the park around there), terra cotta
• Harbourfront during the summer festivals – has a great cross section of ppl and culture with events and food and music from all over the world.
• Chinatown – downtown one (we do have 5) – mostly Spadina between Dundas and College – on the weekends you will see the most interesting lines and textures in the faces. And then you have all the fish and veggies to boot.
• Riverdale farm
• Adamson Estate and the surrounding area. and OP, it’s Leslie Street Spit, not Split.
• Cheltenham badlands in Brampton (http://www.torontohiking.com/Hikes/L…l16badlnd.html) (free)
• Royal Botanical Gardens in Hamilton (not sure if that’s part of GTA though). http://www.rbg.ca/
• David A. Balfour Park (Just south of Mt. Pleasant cemetary)
• Sunnybrook Park. http://maps.google.com/maps?f=q&sour…,0.077162&z=1

The CCD chip is about as large as your fingernail. The chip inside a highperformance camera, such as the 2.5 megapixel C-2500L, has over 1,700 x 1,300 ®photosensitive diodes on its tiny surface. They are arranged in columns and rows, much like the pixels of a computer monitor.

If each of the sensors on a CCD chip were to react to incoming light in the same way, a digital camera could only take black-and white pictures. However, to ensure that all colours can be captured, the sensors are covered with different colour filters. These can be either RGB (Red, Green, Blue) or CMY (Cyan, Magenta, Yellow) with additional green filters for more trueto-life results.

Of course, brightness data is also required for correct image reproduction. The light is divided up into 256 levels of intensity for each colour.

This combination yields 256 x 256 x 256 = 16.7 million possible colours for true colour reproduction. This data is transformed into digital signals so that all relevant image information can be stored by the digital camera.

Basically, there are two different kinds of CCD chips which can be used in digital cameras. The first was originally developed for television and video and has since been optimised for still cameras. Called the video, or interlaced CCD, these CCDs have the advantage of high light sensitivity. They feature either RGB or CMY and green colour filters. Olympus uses the latter filter type for its video CCDs.

Although this CCD captures the information in one shot, the data is read in two sequences. First the rows 2, 4, 6 etc. and then rows 1, 3, 5 etc. To allow uninterrupted reading, no further light is permitted inside the camera. This is ensured through the use of a mechanical shutter.

Due to their high performance, relatively simple construction and low production costs, video CCDs are now also found in ®megapixel cameras.

Another type of CCD designed especially for digital cameras, yields even better digital pictures. The progressive-scan-CCD, or simply progressive CCD, can record a number of complete images per second. Because the image is captured and read in one movement, a mechanical shutter is superfluous. This, in turn, enables extremely high shutter speeds to be achieved.

A progressive CCD is coated with RGB (Red, Green, Blue) colour filters. Since each pixel in the picture corresponds to one of the three types of CCD pixels, only one colour is recorded for each dot. Special software is used to calculate and complete the missing colour data. The better the software program, the better the resulting picture will be.

An additional improvement in picture quality is achieved by a relatively simple trick. The subject can be reproduced even more precisely when the CCD chip’s proportion of green-filtered pixels is modified to contain two green-coloured data for every red and blue-coloured data.

The reason for this: not only is the human eye more sensitive to green but the colour green also significantly influences our perception of brightness.

A tripod, or something to rest your camera on, is essential because the camera must be completely still during the time that the shutter is open. If you want to make a fast-moving car blur as it speeds by you, a relatively fast shutter speed of 1/20 of a second may give you the results you are after, however, if you want to make stars in the nighttime sky look like glowing rings as the earth rotates, your exposure may last all night.

The light meter on your camera may not be able to accurately judge the best aperture setting for longer shutter speeds, especially in low-light situations, so your best bet is probably to “bracket.” This means taking up to six pictures of the same subject, but doubling the shutter speed each time. This will give you a variety of effects and exposures and allow you to choose the best shot. In general, slow shutter speeds will allow a lot of light into the camera, which means that you will want to use a small aperture (ie. f/22) to avoid over-exposing the shot. In bright daylight it will be necessary to use the lowest ISO available and a neutral density filter to cut the light down.

Some great effects and shutter speeds to try are:

Moving stars: several hours
Moving cars at night: 10 seconds
Waterfalls: 4 seconds +
Amusement park rides: 1 second

About The Author
Rick Blythe authors Better Digital Photography.

One of the hardest things to get right in a photograph is the lighting. Too much light, too little light, or a combination of the two can ruin an otherwise perfect photo. But, luckily this problem can be solved if you understand the types of lighting, how they affect your camera and what you can do to use these effects to your full advantage.

Backlighting

Backlighting is just as it sounds: light that comes from behind your subject. This can make a beautiful photo, or turn a beautiful photo into a disaster. Backlighting is what turns a palm tree into a silhouette against the sunset. In this case, that is a good thing that adds to the photograph. But, the same thing can happen if you want to take a photograph of a person who has a strong backlight behind them, such as the sun, sky, or bright lights. The camera reads the brightness behind the main subject and sets its internal meter to expose properly for the extra light. This underexposes your subject and will usually turn them into a silhouette. You can avoid this by using a fill-flash. A fill-flash will “fill” in the needed light, chasing away the shadows from your subject caused from the bright light behind.

Side lighting

Side lighting can have a very drastic effect on your photos, also. But, unlike backlighting, its brightness comes from the right or left of your subject. This tends to cast one side in total darkness, while putting the other in the spot light. This is a wonderful way to get a mysterious, dramatic portrait photo. Pose your subject in front of a window, with one of their shoulders close to the window. Your camera will expose properly for the bright side and will usually cast the other side of the face in complete darkness. If, on the other hand, you want a natural portrait you can use something to reflect light onto the darkened side of the face. A white poster board or other light reflecting surface can bounce enough light back onto your subject to soften the effect of side lighting.

Side lighting is wonderful for showing texture and adding depth to a photo.

Diffused Lighting

Sometimes lighting from any direction is just too harsh. This is when you want to soften the incoming light, to take away some of the contrast for a more pleasing photograph. Bright sunlight at midday is the worst kind of light for photography. The light colors are washed out and the contrasting shadows are too dark. To avoid this, wait for the sun to go behind a cloud or if your subject is moveable, put them in the shade of a tree or building and take the photo there. The light will be much more natural here and will result in a better photo. If it is not possible to move your subject, and there is not a cloud in sight, you can sometimes make your own shade with an umbrella or some similar object. Or, come back in the morning or evening when the sun is lower the sky.

Artificial Lighting

Artificial lighting comes in all shapes and sizes. From a built in flash on your camera to expensive lights in the studio, they all have their strengths and weaknesses.

On camera flashes are simple and easy to use, but sometimes cause the awful red eye so common in snapshots. The farther the flash is away from the lens, the less likely this is to happen. Another problem with on camera flash is the harsh light they cast onto the subject. If you have an off camera flash, you can bounce the light for a softer effect.

One last thing to remember about artificial light, unless you are using black and white film, regular indoor lights will give your photos a yellow cast. These lights are not the equivalent of flash bulb lights, and therefore will not give you the same results.

Knowing these simple tips about lighting will help you go out and make the most of all your photo opportunities. And, with practice, your photography will open up new opportunities for you!

Written by Debbie Stauffer

The following are some important points to consider when hiring a wedding photographer:

• Has the photographer done any other wedding or is he/she doing this for fun? You must be comfortable with the photography experience level.
• The photographer will be interacting with your guests at your wedding. Does the photographer have an outgoing personality? Does he/she present themselves well in special events?
• Please explore the photographer’s portfolio. Would you be happy having your wedding coverage done in a similar style? Many photographers provide various styles such as photojournalism, formal, classic candid, and so on. Are you happy with your photographer style of photography?
• Is this the photographer that will be photographing your wedding or will they send in whomever is available. Don’t be shocked, this happens more often than you can imagine. Be certain that you know which photographer is going to be there and that you see his/her work and meet with that individually face to face. Many photography studios will send whichever photographer that is available during your wedding day.
• Although the last thing you want to do is shop by price, you must consider if the price is within your budget? If not, is he or she worth the price difference? Make sure you understand what everything costs, including reprints and albums. Be sure to explore the different packages and select according to your budget.
• How long does it take to get your proofs back, thank you cards, online albums, your finished print album, your bridal portrait, etc.?
• Whether it’s a la carte or a package, do you understand what you are getting? Is there any room for changes and will it cost to do so? Sometimes the packages are fixed, sometimes they can be customized, in any case, ask. How much time will he/she spend? What if you need more time? Make sure that you know what’s coming.
• Personal reference is always the best and people love to talk. Get a list of references from the photographer and see what they had to say. A photographer who doesn’t have references or is afraid to give them to you may not be the person that you need to hire.

It is important to meet the photographer ahead of time and discuss any important times during the ceremony. If they have an assistant, it would be great to coordinate so they are not in any of the photographs. It is also important to ensure that the photographer is dressed well and blends in with the crowd. If the photographer is planning to come earlier to take photographs of the venue, please make arrangements so that they have access.

If you have considered these points, you should feel comfortable that your photographer will do their best on your wedding day. So relax and focus on having a good time on your special day.

Lighting is one of the most important aspects of photography. The lighting you use will determine the entire mood of your end photograph, whether it is playful, serious, dramatic or somewhere in between. This is the aspect of photography that most allows for creative freedom on the part of the photographer. With the way you use light, you have the ability to make your photographs a true reflection of your personality.

There are no right or wrong ways to use light, only certain given facts about various situations. For example, taking a direct picture of metal or glass is going to cause the resulting picture to have a reflection of the flash, or flare as it is called. To avoid this flare, it is suggested you aim your flash at a forty-five degree angle to the surface of metal or glass. However, you might feel the flare will add something to your picture. Allowing the flare to exist is not wrong, it is your choice in this particular situation. That, in essence, is the point of learning certain rules on light, to give you the freedom of choice in your final outcome.

The basic rule is pictures taken in diffuse light will be softer and have fewer shadows. Harsh, direct light increases the number and depth of shadows and also adds drama to a photo. The first thing you must consider is which type of light is best for the look you are trying to create. Portraits are most often taken with soft light. Bouncing whatever light you use off a backdrop or ceiling will soften it before the light reaches your subject.

Softer lighting adds a dreamy quality to your photograph. Soft, natural light such as found in the early morning or early evening hours is ideal. We can not always choose these ideal times for our sessions, however, and must make do with what we have available. Indoors, you can use candles as a light source or drape a sheer scarf over your flash to produce this softer look. Outdoors, try waiting for an overcast day, if possible or place your subject in the shade and use fill flash.

There are times when you want to present a dramatic statement with your photograph. Direct, bright light will produce many deep shadows on your subject that, if worked with, can create a very dramatic impression. In landscapes, deep shadows can create a sense of danger in cliffs and rocky areas. A chasm filled with the black of shadow produces an image of danger and mystery. Even a portrait can be done with harsh light. Work with the angle of the light, taking several poses. A face partially obscured in shadow can appear mysterious.

Another situation that many people avoid is shooting into the sun. If detail is what you are seeking, keeping the sun at your back is a good rule to follow. Shooting into the sun will render anything other than the background as silhouette. This can work in your favor if the landscape is your main focus. In regards to high impact, a well placed silhouette can speak volumes in a photograph. Experiment with this one for a bit and see what you can come up with.

I must make one last note in regards to light. The human eye is accustomed to light coming from above a subject. Any time you want the light to go unnoticed, have it coming from above your subject. Using side or back light will be fine, as long as the main source is above. On the other hand, you can use this knowledge to get people to take a second look at your photograph. Anything out of our usual sense of normal causes a reaction to check again. Using a light source coming from anywhere other than above will create this reaction. Try it and see how people notice.

Light is one of the most versatile and fun aspects of photography. Play with it. Experiment and see what you can come up with. Light can be a photographer’s best friend so learn all you can about it, then go out and break all the rules and see what you create. That next award winning photograph could very well be yours.

Written by Joyce Anthony