Wes Kauffman is the President and Lead Technician at Perfect Image Camera, an independent camera repair center located in Lancaster, PA. Perfect Image has been providing professional camera repair service to the amateur, advanced amateur and professional photographic community for over 30 years.

“There are only two guarantees in life, Death and Taxes.” – Ben Franklin

I could not disagree more with the above statement. There are three guaranteed things in life. Death, taxes, and the fact that 90% of the lenses you buy will not focus properly on your camera. As a camera repair technician I am continuously hearing photographers complain about soft images. Either their lenses used to be sharp and now are not, or they just never performed up to their expectations. The truth is they are right, their lenses are not sharp, no matter how expensive, how new, or how well they take care of their lenses. Taking a camera and lens off the shelf, putting them together and getting perfectly sharp images is just not likely.

The reason is simple. Manufacturing relies on producing a high quality product, not a perfect product. Could Canon and Nikon produce perfectly matched cameras and lenses? Yes, but none of us could afford them. So in order to keep cost down they manufacture equipment to fall within “Allowable Tolerances”. In other words if a lens back focuses just a little, or a camera front focuses a tiny bit that is ok, because the amount of time and money it would take to get things perfect is just not worth it.

So, what’s a photographer to do? Thankfully the answer is really quite simple, Micro-Adjust (for the Canon lover), and AF Fine Tune (for all you Nikonians out there). Essentially what the manufacturers have come up with is a software solution. The process goes like this. We take a camera and lens that are having front or back focus issues, test them on an AF adjustment tool, enter the correct adjustment into the camera and voila we have a camera and lens combo that focus correctly. Now in real life it takes a little more work than that, but you get the idea. In my opinion the most practical and well thought out feature in newer DSLR’s is the AF Calibration feature. Very few technical advances have had such a profound impact on image quality as this one tool.

Now I’m going to be honest with you. Calibrating your camera is something you can do yourself, some of my customers do, and some of my customers try. The truth is a qualified repair tech can do it faster, and probably more accurately. They will have the correct tools and more importantly the experience. You also need to keep in mind that not all camera models have the AF Calibration feature built in. Here is a list of current cameras that can be calibrated.

Canon and Nikon

Sometimes calibration is not the answer to focus issues you might be having. Often times, (especially in Canon lenses) the USM (ultrasonic motor) unit in the lenses can go bad. If you have a Canon USM lens and the focus “seeks” (goes in and out without locking focus), or is very erratic (i.e. will back focus one moment and front focus the next) you need a repair not just a calibration. Nikon lenses don’t have the problem as frequently, but it still does occur. I always check a lens for these problems before I even begin the calibration process. If your lens does need repair please keep in mind that once the repair is complete it should still be calibrated with your camera.

So to wrap things up, your images are soft, guaranteed! Well 90% guaranteed anyway. Thankfully there is a solution and I can help you with it. Check out my website www.perfectimagerepair.com or click here to order your calibration service today.

Perfect Image is committed to being the solution to all your camera repair or professional sensor cleaning needs. Use the following code: “tiffinbox” and receive a $5 discount off of calibration or sensor cleaning from Perfect Image Camera.

Stuart Little, is a Photographer, Writer, Blogger and Photoshop Educator with over 18 years experience in the field. Stuart has been teaching both Amateur & Professional Photographers since 1998 and he is based in the Scottish Coastal Town of Ayr in the West of Scotland. Visit Stuart’s website http://www.alittlephotoshop.com. Read his first post about creating rounded corners in Lightroom 3.

Thanks once again to Seshu for inviting me to create another LIghtroom video tutorial for your viewing pleasure. Today I am going to show you how to fake a Tilt n Shift lens effect directly within LIghtroom 3. Now I am not going to bore you with the history of this very popular style of image processing but needless to say there are 3 ways you go do this effect.

1. In Camera
2. In Photoshop
3. In Lightroom – Which is the way we are going to do it today.

There are two main reasons for doing this effect in Lightroom and Photoshop. 1) Shallow Depth of Field and 2) If you have an image taken from a high vantage point, then you can make it look like a miniature model partly because of the shallow depth of field blur and partly because of the subject and angle of the image.

In this video tutorial I show you how to create the effect from a shallow depth of field point of view which is how I mainly use the technique in Lightroom. If you want to go down the faking a miniature model look, then in my view you are better doing it in Photoshop. I have that very video tutorial over at alittlephotoshop.com if thats of interest to you.

Learn more about Tilt Shift Photography.

If you have examples of tilt ‘n shift work, please share them as links in the comments section. We'd love to see how you have used Stuart Little's technique, or your own.

This is a guest post by Paul Gero, a wedding photojournalist based in Orange County. Paul is also known for being a terrific writer, speaker and teacher. He, his wife Nicki and now two kids are wonderful people to know.

Having been in photography for a little while, I find that the work falls down into basically two approaches: Control and Chaos.

Doing Control type work is about setting up, posing, lighting and forging a bond that elicits the desired response.

Much of the commercial world and a lot of the wedding and portrait world is in that category of Control.

A few reasons why it might be so popular:

a) The desire to create an image that looks familiar (and with the web more images are shown and seen than ever before).

b) The desire to create an image that you know will be client pleasing and you know will sell.

c) A newer photographer with new found skills and less certain about capturing things “on the fly”.

The Chaos approach has been around for decades practiced by many of the greats including Henri Cartier-Bresson, Josef Koudelka, Larry Towell and others.

Many of the great photographers from the famed photo agency Magnum work in this manner. These are some of my favorites primarily because of the way the see the world, the moments they capture and the way they structure their photographs.

It’s a style that takes practice to master. It's about looking, watching, spending time in the field with a camera, and anticipating — it's not always reproducible, but it will always be interesting. Serendipity is a huge part of the equation of Chaos photography — that can be scary but also hugely rewarding.

It takes thinking about how you'll approach a situation from where you position yourself in relation to your subject, where they are in relation to the background and what focal length you'll use to make this type of photograph.

I recommend to my students is they watch people especially as they gather at a mall, for example. Notice how they stand, how they greet people (and cultures are different).

Then when watching those interactions think about where you would need to be to make a great photograph of that situation. What lens would you use? How far would you be from the subjects?

Selecting a spot to stand in relation to your subject in the Chaos realm is important. This location along with your focal length determines how much context will be revealed in the photograph. And typically you’ll want to see that subject’s face in order to capture emotion (the eyes reveal the soul, as they say). That often means being in front of or to the side of your subject.

When I worked in Washington DC and covered events with the President, it was interesting to watch how the Associated Press determined their coverage and would station a photographer front and center of the President. That was a safe angle, and often times the best angle.

They would position another photographer off to the side for most events — that 45 degree or called the “cut away” angle.

This angle adds depth to the photo as the subject to the right or left of the President would often be slightly out of focus (with a telephoto lens). It would be a good angle if the President was looking in the camera direction, and perhaps less successful if he were to look to the opposite side.

Selecting the angle behind your subject is a lower percentage choice, but can be useful as this position gives the viewer a sense of “walking into the sunset”, or leaving. That aspect makes it useful and can help creating a natural looking end to a story.

While observational skills and camera position are critical to successful Chaos photography so is being in control of your technical skills.

Knowing light, knowing exposure, knowing when to trust or not trust your meter all play into that role.

Many photographers use the auto modes on a modern camera to “set it and forget it” and while that can work and does in many cases, there are times when it can get you in trouble especially if you’re not paying attention to the choices made by the camera or get sloppy in where you meter and hold the exposure value.

When I choose my working settings, I start from selecting aperture first, in order to create the look and depth of field on the scene (especially using wide or normal lenses).

My shutter speed choice then coincides with a good exposure for that scene based on the ISO (typically using the lowest ISO for optimum quality while still being able to get the desired shutter speed). I also consider the amount of movement in a scene in order to select the appropriate shutter speed to stop the action.

Lens selection is critical for Chaos photography.

Much of what I call the inspirational photography in this genre is often made with simple focal lengths, either slightly wide or normal (i.e. 28mm, 35mm, 50mm lenses on 35mm cameras). Rarely do you see a lot of this work done with extreme wide angles and extreme telephotos.

These lens choices also force an intimacy with your subjects in terms of your position to them. It’s much tougher to hide when you’re using a wide or a normal focal length lens, as is possible when using long zooms or telephotos.

When you’ve become really disciplined using one, two or three focal lengths, you begin to see the world taking place on the stage for those lenses. You get comfortable framing with the the imaginary lines of those focal lengths.

Zooms are popular and can be useful tools, though I find that primes often help photographers hone their vision especially when learning. It forces you to move to frame, rather than zoom to frame.

I know for me when using zooms I have to be very disciplined to not just zoom out when I should be moving my feet to frame. In fact, I try to use the zoom like a prime and determine the focal length I want to use, set it on the zoom and then move to frame but not zoom unless I absolutely must (especially with a zoom such as the 24-70mm; less so with a long lens such as the 70-200mm).

Metering light which then translates to a great exposure is critical especially in fast-moving situations.

I find that using an old school incident meter is great in this area. It allows me to dial in the exposure so that helps exposure consistency from frame to frame. Even if you only use an external meter for a while as you learn the patterns of lighting, I think it can be extremely useful.

This gives you one less thing to think about because you’ll know that exposure is handled.

Look at the scene and anticipate what would happen if you change position or your subject’s change position. Think ahead and pre-visualize where the subjects might go can help you successfully handle any change in exposure.

I can’t stress it enough: Exposure is a critical component to successful photography — and especially digital photography.

To paraphrase my instructor, famed National Geographic photographer William Albert Allard: You have to get your exposure dialed in because you’d hate to lose a portfolio photograph due to a lousy exposure.

He was right when he told me (and we were shooting transparency film) as he is today if you’re shooting digital.

What I enjoy most about Chaos photography is that it’s more about capturing life as it happens, as opposed to having it set up by me. It takes more time for this to work, because you have to be able to witness things — having a five minute window with a subject often precludes that and reduces you to do Control work.

I find that life is so much more fascinating and people do much more interesting things than I could ever set up.

I loved to be surprised when looking through the lens and use that as a guide to know if I'm in the presence of an interesting photograph — if it moves me, excites me, or causes an emotional response in me while I'm photographing, it will usually translate in the actual photograph.

Perhaps folks who prefer Control photography are not certain that good or great photos will even materialize therefore they want to ensure that they do.

All I can say from years of experience is to trust that they will — if you have time. Wherever people gather there is a potential for great photographs. And you will often be surprised by the photographs these subjects give you.

The human element makes that happen. The energy from an event makes it happen. You just have to have faith that you’ll see those moments when they happen and using your skills acquired from practice and observation, you’ll be in the right place at the right time.

Knowing how to create nice Control images is a part of the modern photographer’s tool box, no doubt, but I think it should be a piece of the box, not the whole thing.

Practice your observational skills and your technical skills and be prepared to be surprised with the beautiful and incredible chaos that is life and then capture that feeling with your camera.

What kind of photography do you practice? Do you agree or disagree with Paul? Your comments below will create a dialogue that I will welcome here on Tiffinbox. So please take a moment to tell us what is on your mind. We're listening to you!