MyTracks offers efficient way to track where you took photos

    My first tip on this blog was using an old cellphone to generate a GPS tracklog for tagging your photos.

    At the time I wrote it, I was using GPSLogger II on a BlackBerry Bold.

    Since then, the BlackBerry finally got to the point where it won't run most apps anymore because its operating system is antique (in computer terms). I switched to using my regular phone, until my wife upgraded our phones and I retired my Samsung Galaxy J3 to GPS logging duty, which it does quite well.

    But in recent months I switched over from GPSLogger II to MyTracks.

    MyTracks, by Daniel Qin, is available on both Android and IOS, and has a companion desktop app for the Mac. I've found it better than GPSLogger for a few reasons.

    First, starting and ending a track is a one-click operation. I've lost a few tracks on GPSLogger because I forgot to click the dialog box asking for the track name. Likewise, GPSLogger asks if you really want to stop.

    Second, I found it has tracked well, whether I'm inside a building or outdoors. I've been able to generate decent tracks in the basement of the county jail.

    Finally, exporting the track file is much simpler with MyTracks.

    I can simply export the track directly into Google Drive, where I can access it from my photo-editing software.

    GPSLogger, on the other hand, did not offer a simple export to my Google Drive. Instead, I had to email it to myself, then transfer the file from my email account to the drive and extract the track from the zip file before I can use it.

    It's a lot of work.

    The only drawback is that if you use the free version of the program, you have to watch a video ad before you can export once the trial period is over. But the features still work, and it's something I can live with for the time being.

   

Washer simple key to attaching quick-release plates to cameras

     While some of the newer quick-release plates on tripods have a little handle for turning the bolt, some still rely on a slotted screwhead.

    In these cases, a multi-tool or Swiss Army Knife can help you get the plate securely attached to your camera.

    But what if you are somewhere that bars your pocket tool, or you may have forgotten to pack it. (I go to courtrooms so often it's too easy for me to leave my pocket knife and Leatherman at home.)

    But Scott Eggleston, The Frugal Filmmaker, has a suggestion for keeping a tool on you, even in place where you might be restricted in what you carry.

    In the video below, Eggleston suggests putting a small metal washer on your keychain to use as a makeshift screwdriver. Not only can it help with tripod bolts, it can also tighten other similar sized screws.

Keep yourself hydrated, and your camera steady

    The tripod is usually considered the ultimate standard for keeping your camera steady.

    But there is a way to make it an even more rock-solid way to keep your camera from shaking: Hang extra weight from it.

    Many of the newer tripods have a hook on the bottom of the center column. It will either be permanently out or one that retracts inside the column when not in use, but the purpose is the same: To provide extra stability to the tripod.

     In an ideal situation — read in a studio or indoors with few people around — a tripod's three legs provide significant stability for a camera. But outside, there's wind and other things that can cause shaking or movement.

    Plus, if you have to raise the center column, that adds a measure of instability as you are putting a large amount of weight up high on a narrow column.

    The hook at the bottom fixes that, to a major degree.

    One of the things a weight at the bottom does is lowers the tripod's center of gravity. Instead of being top-heavy with a camera and lens at the top, there's more weight lower on the tripod, making it more stable.

    The extra weight also pulls down on the legs, further stabilizing the legs.

    Some photographers will hang sand bags from the hook to provide that stability, others use it for their camera bags.

    I was going to shoot fireworks on the Fourth of July, and with a slight wind I thought I might want to put some weight on my tripod to keep it still. But my camera bag weighs in more than the tripod's total weight capacity.

    Instead, I took my water bottle, which holds 24 ounces of liquid — about 1.5 pounds — and hung it on the hook with the carabiner I used to attach it to my camera bag when I travel.

  

    I could clip a second bottle on to it, giving additional weight and stability. And the carabiner's short enough to keep it from swinging wildly in the wind.

    In case you're wondering, here's one of the fireworks photos I took with the stabilized tripod.

    If you're looking for tips on how to shoot fireworks, Digital Photography School has some tips here.

Video can help when your motor drive isn't fast enough

    Back in the days when cameras would take only one picture when you pressed the shutter, you wound up missing a lot.

    It took time and good reflexes to capture a particular point in fast-moving action back in the film day. I remember going through more than a few takes trying to get a photo of a dart hitting a balloon for a photo class project on "hard and soft."

    While there were motor drives back then, three shots per second was the usual speed, which meant you'd burn through a 36-shot roll in 12 seconds.

    Today, even so-called "entry level" cameras can fire off six frames per second when in drive mode, and with memory cards that hold far more data than the computers that guided the Apollo Moon missions, you can shoot for a while.

    But sometimes that's even not fast enough, as Sony has now got some of its cameras operating with drive speeds of almost 50 frames per second — if you're willing to invest a couple thousands dollars just for the body alone.

    But if you want to get to that speed, there's a way to do it, even with a cell phone. Shoot a video instead.

    A couple caveats first: You're likely not going to get the full pixel count your sensor normally gives you since video is cropped to either a 720 or 1080 format. You might get closer if you're using a 4k video resolution.

    You'll also have an image that's in a 16:9 aspect ratio, but that's not a deal breaker. And you'll most likely be working with a jpg image, which hobbles some post-processing options you would have if you were shooting raw instead.

    But this is a cheap, effective way to get even higher motor-drive speeds than your camera can produce. Some cameras will let you shoot video at 60 frames per second (that's the speed that makes professional and college sports coverage on TV look crystal clear).

    I actually discovered this trick while shooting video of training a National Guard brigade was doing at the Yakima Training Center, a sprawling military installation in Central Washington*. One of the things I shot was a crew firing a howitzer.

    I wanted to send a picture to one of my sons, so I scrubbed through the video to find a picture of the smoke coming out of the gun's muzzle block. I found my frame and did a capture with the editing software I was using, and then processed the photo.

    It was at that point that I discovered I had something incredible. In the photo below, you can see the artillery shell coming out of the cloud of smoke at the end of the barrel.

    I doubt I would have got that if I were shooting stills with the drive running (for that camera) at its full speed of 6 fps.

    It's not something I would do every day, but if you have a situation where you need that extra bit of speed in the number of frames you're shooting to catch some fast-paced action, your camera's video function is a great tool to have in your box.

    (*The Yakima Training Center is where they also filmed the combat scenes in Audie Murphy's "To Hell and Back.")

Know your flash's guide number at a glance

    If you aren't using your flash in automatic mode, you're going to need to figure out things like aperture and power levels on your own.

    But first you need to know how much power your flash has, and for that you need the guide number.

    The guide number is a figure that shows you the flash's power, based on a formual of distance times aperture. The higher the number, the farther away a subject can be and still illuminated adequately.

    In the old days, we would have to do some math to figure out the aperture setting for a subject at a particular distance, or use a table on the back of the flash that would tell you what settings to use for a subject at varying distances.

   Today, if you want to use your flash manually, there are calculators you can use on your phone, such as the one in the Photographer's Companion, where you input a few variables, such as the guide number, flash power and either aperture or distance, and it will do the rest of the work to find the right camera settings.

   If you don't know the flash number, you can look it up in the flash manual, which you can also upload to your phone so you'll have it at all times.

    If you have just one flash, remembering the guide number is simple enough. But what if you use more than one flash, and they have different guide numbers.

    What I have done is made a label showing the guide number that I affix to the side of each flash unit, so I can tell with a quick glance what the guide number is when figuring either how far away to put the flash, or what aperture I'm going to need to get the right look.

    When I made my labels, I used a word processing program and set it for an inverted output, with white numbers on a black background, making the label look inconspicuous, even more than the old tables that used to be on flash units.