Taking Real Estate Photos? Try This Trick.

Hat Tip: Shutterbug

A Florida couple trying to sell their home may have accidentally hit gold with their real estate photos.

The couples' 15-year granddaughter was taking the photos when she had the inspiration to include her grandmother.  The results are priceless.

MY GRANDMA IS TRYING TO SELL HER HOUSE IN FLORIDA AND THESE ARE THE PICS I AM LAUGHING SO HARD pic.twitter.com/rONaIUyevS
— makenzie (@asapmakky) March 26, 2015

This does suggest something for those taking real estate photos, including professionals.  Nothing beats staging when it comes to real estate, and the ultimate in staging is apparently an 86-year old grandmother.


Honestly, these photos scream "You too could be enjoying yourself in this home."

That is the goal of real estate photos.

Tips on Dealing With Stolen Photography Equipment

PetaPixel has an article today on a woman dealing with having her camera stolen.  The camera has been tracked to a local Pawn Shop, which refuses to turn the stolen property over absent payment or an arrest warrant for the thief.

So, how exactly do you deal with a situation like this?


The first step for dealing with theft needs to occur in advance: keep the proper records.

Keep the sales receipt.  If you use a credit card, keep the statement that shows purchase.  When you fill out the manufacturer's registration form keep a photocopy of the form.  The form probably has a spot for the equipment's serial number.  Write down the equipment's serial number if there is no other record of it.

Take pictures of the equipment.  You can include a a picture of the equipment next to a newspaper for date purposes.  Including a picture of yourself holding the equipment helps establish ownership if questions arise in that area.  If the equipment is a camera and you don't have another one, try using a mirror.  (This will only capture the front of the camera, but will show you holding it.)

Make sure to capture legible photos of the serial number.

Records need to be kept separate from the equipment.  They don't help if the thief takes them.

Keeping the records in your home is fine for dealing with theft.  Store records off-site if the equipment is covered by fire insurance.  (You don't want the fire to destroy the records along with the equipment.)

Digital copies can be stored online.  Digital records should be in addition to the hard copies, not substitutes.  (There are websites that offer a service storing equipment information.  Try Lenstag.com.)  


When the equipment is stolen take all the above records with you when you file a stolen property report with the local police.  Make sure to get a copy of the report when it is filed.  You'll may need this later.

Contact the Insurance Company if the equipment is insured against theft.  You'll need the police report when doing this.  (Note: you may not want or be able to file an actual claim at this point.  You'll still need to give them notice as soon as possible.)

Contact the credit card company if a card was used to purchase the equipment.  Credit Card companies may offer coverage for theft if it occurs within a certain amount of time following the purchase.  The police report will be needed if the company offers this type of coverage.  The card company may prove a valuable ally when attempting to recover the stolen property even if the theft isn't covered.

Try an Internet Search for the stolen property.  Include the serial number in the description.  You can also use a free equipment database site like Lenstag.com.


But What if You Find it and the Person Won't Return it?

The actions you can take if the equipment is actually found in someone's possession is going to depend on the exact circumstances.

Think about getting legal advice.  Paying for legal advice from an attorney may be worth it when dealing with expensive equipment.  It makes less sense if the equipment is of moderate value.  (At a certain point, the legal fees will be higher than simply purchasing a replacement.)

You can always try doing things yourself, relying on the free advice that can be obtained online.  There are legal sites that will offer advice.  Photography forums are another potential avenue for free advice.

If you want one-on-one advice, try the local law school.  Third-year law students may be allowed to engage in pro-Bono legal work as long as they are monitored by an attorney licensed in that jurisdiction.  This includes oversight by faculty member at the law school.  This provides the student with valuable experience and provides a service to those unable to afford legal fees.

Talk to the police department.  They may be able to walk you through the steps needed to recover the goods yourself.  They may also be in possession of information you will need to recover the stolen equipment.


One step that will probably be mandatory: establishing "Notice".  Notice means that the person in possession of the goods knows that the goods are stolen property.  You may have to contact that person and give them notice before taking any legal actions.

(There is something called "Constructive Notice".  This means there is evidence that the person knew or should have known the goods were stolen.  In the article, the Pawn Shop bought the camera from a person with a felony record and the Pawn Shop had that person's fingerprints.)


Bring in the Big Guns

Contact the Insurer or Credit Card company and give them all the relevant information.  The Insurer has a vested interesting in the stolen goods being recovered.  That prevents them from having to pay a claim.


Contact the media.  (Why do you think you're reading this?)

No business wants bad publicity.  In the case of the Pawn Shop, there is a chance people will stop shopping there because they realize the goods may be stolen.  Nobody wants to get a visit from police because the bought stolen property.  Plus there is a chance they will be forced to turn the property over to the rightful owner.

Threaten to contact the media first.  Then actually do so if the threat fails to work.


Threaten to sue.

Lawsuits are expensive to defend.  If the cost of the equipment is low, giving it back may be less expensive than paying an attorney.  A letter threatening to sue, with all the relevant grounds, my result in quick return of the property.

Make sure all potential legal claims are spelled out to the person holding the equipment.  Remind them that Intentional Torts carry the possibility of punitive damages.

Off-hand, I can name two Intentional Torts that the woman involved in the PetaPixel article could use as legitimate threats when negotiating with the Pawn Shop for the return of the camera.  I believe Florida caps damage for Intentional Torts at $125,000.


If you're a Pawn Shop and you're told you face a potential $250,000 legal judgement if you don't turn over property you paid $190 for, have been informed was stolen (and probably knew was stolen when you purchased it), what would you do?


If all else fails, file a lawsuit.

This gets the defendant's attorney involved.  If there is a chance of the defendant facing a large settlement or large fees, the attorney may advise to settle by turning the equipment over.

Filing a lawsuit does require filing fees which may make this step impractical unless dealing with expensive equipment (or outrageous behavior by the defendant that could result in large punitive damages).

Free Photography Course Material From MIT

Hat Tip: DP Review

MIT has an OpenCourseWare program where materials related to various courses can be downloaded free of charge.  Individuals can study those materials to educate themselves on a subject.

The program is for people wanting to learn a subject, but not working towards a degree.  (You're still going to pay tuition fees and learn on campus in order to get an MIT degree.   They're not giving those away.)


Photography courses are offered as part of the program.

The material available varies depending on the course.  Additional material not included in the download package may be available on the MIT website.

Tip on How to Use Filters With Fisheye Lenses

Hat Tip: DIY Photography


This tip initially comes from Cheesycam.com and is the source of the YouTube video.



It's a remarkably simple tip, but promises to be very useful in certain situations.  (Shooting in bright light or when wanting some motion blur for artistic effect.)


The Cinegel Swatchbook is fairly inexpensive and offers a large number of gels that can be used. 

(The link URL is from the cheesycam website.  If you follow it to Amazon and purchase the Swatchbook, I think the writer will get a commission.  It's a way to show a little appreciation.)


Larger sheets can be purchased from B&H Photo.

Producing Panoramic Images Using Anamorphic Lenses

Hat Tip: PetaPixel


So what is an anamorphic lens?

It's a lens designed to "squeeze" an image horizontally.  The image is then stretched when processed.  The result is a panoramic image with an aspect ratio that varies greatly from the aspect ratio of the film or sensor used by the camera.  (The camera may have a 3:2 or 4:3 ratio.  The image may have ratio ranging from 4:1 to 9:1 depending on the anamorphic lens used.)

Basically, the lens takes this:

And turns it into this:

This approach has advantages to the alternatives typically used to create panoramic images.

The first advantage is that the images use the entire vertical capacity of the camera.  To put this into perspective I've taken the above image (created using my camera's panoramic feature) and a normal image and placed them in front of a black background.

Using a camera's panoramic mode results in images with a lower resolution.  The panoramic image is 4832x1280 (6.2 megapixels).  The normal image is 4320x3240  (14 megapixels).  That makes the resolution for the non-panoramic image more than 4 times that of the panoramic version.

(The same goes for film cameras that offer a panoramic feature.  If you look at the  negative they look a great deal like the above panoramic image.)

The same panoramic image produced using an anamorphic lens would be 3240 pixels tall.  The original image would be 4320 wide.  Correcting the "squeezing" caused by the lens would require stretching the image horizontally to over 12,000 pixels wide.  The end image would have a 40 megapixel resolution.


You can produce full height panoramic images without using an anamorphic lens, but that requires taking several overlapping images with the camera being repositioned in between images.  The images are then stitched together using software.

This requires more time and effort than simply taking a single image and using image editing software to stretch it horizontally.



The main drawback with using anamorphic lenses is that are primarily designed for use with video cameras. 

This limits the number of lenses available and means that an adapter is necessary to use the lens with a DSLR.  The lenses are about the same price as a good camera lens.  A photographer that only wants to produce an occasional full height panoramic image is probably better served just taking multiple images and using software to stitch them together.


The tutorial and related information on the PetaPixel blog appear originally  on Photographer Sam Hurd's website.  Check the article out for examples of images actual taken with an anamorphic lens and some related videos.

Reworking Tips and Tutorial Page

I have decided to rework my Tips and Tutorial page.


Instead of link to sites that offer tips and tutorials, I have decided to link to individual pages or articles with links sorted by category.  This should vastly improve the usefulness of the links.

It shouldn't take long to build up a large number of tip and tutorial links.  I usually have multiple tip or tutorial articles show up every day in the rss feeds I keep track of.

7 Simple Camera Hacks

The Cooperative of Photography has uploaded a video of 7 Simple Photography Hacks.




Most of these are easy with little risk involved beyond bad photographic results.

The vaseline trick is an old one my father told me about.  (That's at least two decades ago.)  That one you need to be careful with.  Vaseline can get everywhere if you're not careful when using it.  There are few things worse than getting vaseline on your camera's lens, or worse, on the sensor.

Make sure you wash your hands thoroughly after applying it to the filter.  You don't want any getting on the rest of the camera.  (And isolate the filter after removing it from the camera to keep it from contaminating the rest of your gear.)


A large Styrofoam cup works as an alternative to the plastic bin used as a DIY flash diffuser in the video.  This trick is useful if you happen to find yourself needing a diffuser when at an event with concession stands.  The cup does need to be large enough to fit over the flash unit, and preferably white.


The ND filter/welder's glass trick might depend on the type of lens hood involved.  The shape of the one in the video provides a secure location for the rubber bands.  A smooth lens hood won't provide as secure a connection.  (The worst case here is either a ruined picture or a broken piece of welder's glass.  Neither are major disasters.)


Hat Tip: Reframe

DIY Wood Project That Makes Use of Your Photographs

Hat Tip: PetaPixel

The original post for this comes from Wood Working for Mortals.  The author of that blog has a quick method for transferring photo prints onto wood (or other porous surfaces.)  All it requires is an inkjet printer and a non-porous surface to print on.

He uses a label sheet that has had the labels removed in this video.





Viewing the video on YouTube's site will bring up a list of related videos, including videos with alternative techniques for transferring images to wood.

This techniques seems to be the quickest method.


Transferring images like this seems ready made for DIY gifts and craft projects.  Those projects don't need to be limited to wood as the technique used in the video should work with other surfaces.

Camera Hacks and Firmware Updates

Sometimes digital cameras just don't offer the functionality a photographer is looking for,  Sometimes, there are ways to add that functionality.


Firmware Updates

Firmware updates are one of the easiest methods of adding functionality to a digital camera. 

Firmware is basically the computer program used to control the digital camera.  Firmware is stored in the computer's flash memory.  This is similar to the type of memory used in modern memory cards.  The memory configuration can be altered to change the information stored on the card.  Changes made to the memory are permanent as long as no further alterations are made.

(This is unlike the memory used by computers to run software.  That type of memory is reset to a blank state whenever power is no longer being supplied to the memory.)

Updating firmware requires downloading the required update.  The method of applying the update defers depending on manufacturer.  (Saving the update on a memory card is a common requirement.)


There are a couple of drawbacks with firmware updates.

1)  The firmware has to be compatible with the camera.  This usually limits the firmware to that supplied by the camera manufacturer. 

Camera manufacturers do offer firmware updates that fix bugs and sometimes offer firmware updates that expand camera features.  Sometimes the only reason a more expensive model offers more features than less expensive models from the same manufacturer is the firmware used.  Manufacturers may expand the features of the less expensive models after a product line is replaced.


There are options for some models.  Some Canon models offer the option to run software stored on the camera's storage card.  This approach allows Canon owners to extend camera functionality without having to touch the camera's firmware.

There are also custom options for some Panasonic and Nikon cameras.  Note: Using custom firmware with Panasonic or Nikon may void your warranty.

Canon, Panasonic and Nikon are apparently the only models for which custom firmware is available, and only certain models are covered.

2)  The lack of options is the only drawback.  Updating firmware carries some risks as well.  Improperly applied updates can cause a camera to become inoperable.

Re-installing the pre-existing version can (sometimes) fix the problem.  That's assuming you remembered to create a backup copy of the firmware before applying the new version.  (Or that you were able to create a backup copy.)

A bad firmware update can cause the camera to become incapable of loading the program necessary to update the firmware.  (Congratulations, you have "bricked" your camera.)  This may require sending the camera back to the manufacturer in order to have the mainboard replaced.

(Digital Photography School goes into firmware updates in some length.)


Camera Hacks 

If  updating your camera's firmware isn't enough for you, PetaPixel has some additional hacks for you to try.

Some of these hacks require disassembling the camera in order to alter or remove parts.  These are definitely not recommended for use with expensive digital cameras.  Pick up a cheap digital camera if you want to try these hacks out. 

There are a couple of examples that can be used with more expensive cameras.  One shows a Lumix G1 with an antique lenses mounted to it using velcro and leather.  (This approach expands the lens options.)  Another shows a DIY tilt-shift lens using an old lens.

Then there are the camera mounting devices, used to control the camera during long or multiple exposures.


The DIY examples show how certain effects can be achieved on a budget.  It's worth reading the article for that alone. 

 

Lyrid Meteor Shower Should Peak Tonight/Tomorrow

Hat Tip: SLR Lounge

The peak of the Lyrid Meteor Shower should occur sometime tonight or tomorrow morning.  (The Lyrid meteor shower is somewhat unpredictable and the peak could occur anytime the next thee days.)

The Lyrid shower should by visible in the northeastern portion of the night sky, near the Lyrid and Hercules constellations.


The SLR Lounge article is fairly long with a great deal of advice on how to shoot meteor showers.  The advice applies to future showers as well as to this week's event.  The article also includes a couple of videos.

Photographing Tonight's Lunar Eclipse

For those of you thinking about shooting tonight's lunar eclipse, I suggest you check out Imaging Resource's Moon Photo 101 article and the Moon Photography blog post by photographer Ryan Zimmerma.

The eclipse itself last from 1:00 to 6:00 am (Eastern Time).  The full eclipse occurs roughly 3:00am.

The Zimmerman post suggest how you can prepare in advance using an OpenSource software program, Stellarium.  The Imaging Resource article gives some additional tips on using the software.


Of course, neither can help much if the weather fails to cooperate.


The forecast for my area calls for clear skies.

And freezing temperatures.


P.S.  DP Review has some tips for shooting the eclipse as well.

Using a Digital Camera to Convert Slides into Digital Images

I see articles covering this subject on a fairly regular basis.  Many photographers that were active before digital became common have large numbers of slides and/or negatives that they would like to convert into a digital format.  (Or their like me and they inherited a lot of family photographs from their parents, including old slides and negatives.)

The options for converting these old slides has seemed to diminish recently.  I have an old flat-bed scanner with a slide attachment, but the software is incompatible with any Windows operating system written this decade.  It will work as a basic scanner, but the light used for scanning negatives or slides won't work with the basic driver currently offered.  (There is third party software that will allow the scanner to scan slides or negatives.)  I have looked for a replacement but few stores offer scanners with slide attachments anymore.  They only offer multifunction office equipment with scanner, printer and fax machine combined.  These don't offer the ability to scan slides.

This leaves conversion services, dedicated scanners or do-it yourself methods involving a digital camera.

Using a service to scan your slides can be expensive if you have a large number of slides to be scanned.  You also give up quality control.

This leaves do-it-yourself options consisting of dedicated negative/slide scanners or using a digital camera.

Dedicated Scanners
Dedicated scanners that will convert slides or negatives into digital files are available,  for a price.  The price is directly related to the resolution produced by the scanner.  There are fairly inexpensive units available at places like Best Buy.  These are fine for smaller prints (8" x 10" or less) or for viewing on a computer screen.  Larger resolution scans require more expensive scanners.

After a quick check, the lowest price unit available right now sells for just over $50 and produces 9MP images.  Batch scanners go for up to $2,000.  (This particular unit also scans 120 film as well as 35mm negatives and slides).

Then there are the drum scanners used by those scanning services you can send your negatives off to.  Those go for $25,000.

A dedicated scanner might be worth the investment for someone with a large number of negatives or slides to scan.  Just make sure to thoroughly research he options available before purchasing one.

Using a Digital Camera
If you carefully examine the specifications for some of those film scanners you might notice terms like "14 MP CMOS Sensor."  That means that the scanner is using the exact same technology utilized by your digital camera.

A digital camera is perfectly capable of capturing images from a film negative or slide.

The only requirement is that the camera be capable of capturing images in macro mode.  Even point-and-shot cameras can capture images from a slide using certain procedures.  Various web sites offer methods for pulling this off.  These varying setups work as long as they meet the key requirements:

1) The camera and the slide must remain motionless while the shot is being taken.

2) The camera must be capable of shooting in macro mode.  (DSLR cameras with excellent macro lenses work best but I have used an auto-focus bridge camera with a fixed lens).

3) The slide must be lit from behind in a way that does not create an image visible through the transparency.

Here's the result using a slide of a shot my father took of me when i was a child:

This was shot using a 14MP GE X5.

My setup?

I attached the camera to a tripod.  The tripod then rested on a pair of jack stands placed on a table.  This results in the camera facing straight down.

The slide was then placed on a light box positioned below the camera.  (The light box had a few marks on it which are visible in the end image.)

I then turned all the lights in the room off to prevent light reflecting off of the slide. 

The end image is only 2MP, but that's due to the limitations of the camera used.  A better camera would be able to focus closer to the slide or zoom in.

Slide Holders
The method set out above seems to be the simplest approach that can be used with any digital camera.  Some cameras are capable of using a slide holder that screws onto the front of the camera (like a filter).  The camera just needs to be pointed at a strong light source once the adapter is attached and a slide or negative is mounted.

Try an internet search for "slide copier attachment" or similar terms.

DIY Photography has an article using a little more complex setup than the one I used.  It also has a couple of useful hints not listed here.  (I'm not going to post someone else's ideas as my own.  That doesn't mean I won't use them myself.)

Night Photography: Results Versus Human Perspective

I ran across an interesting article on Space.com on the difference between human vision at night and the results produced by the camera.  The article is by Scott Taylor and ititled How Cameras Reveal the Northern Lights' True Colors.

His aurora and other night photographs can be seen at his smugmug portfolio.  Some of his aurora photographs are extremely impressive.  (Prints can be purchased from the smugmug link if interested.)  Taylor also offers photography workshops.  Keep an eye on his blog for his 2013 schedule.

Now, back to the article.

It points out that auroras seen be the naked eye lack the strong color often seen when photographed by a camera.  The human eye contains two types of structures for capturing light.  One captures color and works best in strong light.  The other works in low light conditions, but can't capture color only value.

Digital cameras, on the other hand, are capable of capturing color even in low light conditions.

 The sensor used by digital cameras technically isn't capable of capturing colors at all.  It can only capture value (dark/light).  Color is produced by filtering incoming light to exclude all but certain wavelengths of light.  Some parts of the sensor detect green light, another red and a third blue.  Combined, they produce full color.

It's like having three eyes designed for low light conditions, filtered for color and then combined by the brain into a single image.


The article gives some practical advice when taking aurora photographs.  Presumably, the advice should apply to other low light conditions.

Photography Tips - Cropping Images

As the old saying goes "Less is More."

This is certainly true when it comes to certain images.  Cropping an image can eliminate distracting elements, improve composition or even shift the focal point to a different area of the image.  Today's image editing software makes cropping images relatively painless.  An image can be quickly copied and cropped.  Any cropping applied to the copy can be quickly undone as long as the copy has not been saved.

This process can be repeated to create any number of images, each with an alternative crop.


Tips for Cropping Images

1)  Use an image program with transparency and layering capabilities.  
This allows you to place a cropping stencil above your image.  This stencil is basically a frame with a transparent square or rectangle cut out of the middle.  The part of the image visible is what will remain after cropping.

2)  Prepare stencils with desired aspect ratios in advance.
Start with an image equal in size to images produced by your camera.  (This does presume you want to crop photos.)  Fill with a single color, black works well.  Enable transparency if not already enabled.  Create a second layer on top with a different color.

Decrease the scale of the top layer.  The aspect ratio can be altered if desired.  Merge the shrunk layer with the first.  Use the color selection tool to select the middle area and cut.  (The editing software I use places the layer in the middle of the image when shrunk.  If second layer is placed at a corner you will have to move it.  The placement does not have to be precise.)

3)  Save file using format that preserves transparency.
Saving using the editing software's native format should do this.  Exporting to png format is an alternative as this saves transparency settings.  Other formats will result in the transparent area being replaced with the background color.

Stencils with different aspect ratios can be saved as different files or images.  They can also be saved in a single file as different layers.  Make sure each file or layer has a description of the aspect ratio.

Using a crop stencil
1) Import Stencil
Open the image you want to crop in your image editing software.  (Again, it needs to support transparency and layers.)  Follow by importing the appropriate stencil.

If you saved the stencil as as individual files, just open the desired stencil as a new layer.

If all stencils are saved in one file, open that file then copy the desired stencil.  Paste this on top of the image as a new layer.

The stencil can be moved around once it is on top of the image to be cropped.  This helps give a good idea of what the cropped image will look like.  The stencil can also be rotated to change orientation or scaled up or down to change how much of the image will remain after cropping.

2) Select Transparent Area
Use an area selection tool targeting the transparent area of the stencil.  Make sure the selection tool is set to select transparent areas.

3) Use Selection to Crop Image.
The quickest way to do this is simply selecting "Crop Image to Selection."  The image can be saved with a different name after this so that the original image remains unaltered.  Of course, the quickest way is not always the best way.

An alternative method is to copy the selected area and then paste as a new image.  This image will have a different name from the original so there is no chance of overwriting the original file.  The copy and paste method works well if uncertain that the selected area is the best choice.  The original file still has the stencil in place and this can b quickly altered if the crop is not quite correct.

The stencil can still be used if the software refuses to select transparent areas.  Select the colored portion of the stencil instead.  Switch to the image's layer.  Then invert the selection.


Why Not Just Use a Rectangular Selection?

This may seem like unnecessary work when you could just use a rectangular selection tool to select the area you want to keep.  There are some reasons to use a crop stencil when cropping images.

First, it's easier to tell what the end result will be when using a stencil to block out portions of the image.  Using a selection by itself will require a certain amount of guessing as to how the crop will turn out.

Second, using a stencil results in an accurate aspect ratio after the crop is applied.  This is useful in some circumstances.  The most obvious reason for using a specific aspect ratio is because the image will be printed and framed.  The aspect ratio changes based on the size of print desired.


A 4" x 6" print requires a 3:4 aspect ratio.  An 8" x 10" is a 4:5 ratio.  Compare the lengths as percentages to understand what that means.  The first ratio results in the short side having a length 75% that of the longer side.  The second result in the shorter side having a length 80% as long as the longer side.

Using an image with a 3:4 ratio to print an 8" x 10" requires one of two options.  First, the image can be stretched in one direction.  Second, the print can have blank borders along two edges.

Cropping the image before allows the image to be printed without choosing one of those options when printing at a specific print size.

Photography Tip - Limiting Camera Movement

Limiting camera movement is key to producing clear, crisp images.  Camera movement while taking a photograph causes blurred images and can even render the contents unrecognizable.  Photographers have various tactics that can be utilized when attempting to deal with camera movement.

1)  Increase Shutter Speed
Decreasing the amount of time the shutter is open will also decrease the effect of camera movement.  Decreasing shutter speed requires increasing the ISO setting used or increasing the amount of light available (or a combination of both).  Increasing the amount of light available is usually not a viable option, which leaves increasing the ISO setting.
Increasing the ISO setting has its own drawback.  High ISO settings can lead to grainy images.  This effect can lead to interesting results, but can also lead to unacceptable images.  Still, this may be the only way to successfully take some pictures when dealing with low light conditions.

2)  Get Closer
Using a telephoto lens (or the zoom feature) increasing the effect of camera movement to an extent equal to the amount of magnification.  This magnification effect can make taking photos using telephoto lenses difficult in low light conditions, even using higher ISO settings.  Move closer instead of zooming in whenever possible.  "Whenever Possible" being a key operative phrase.  Don't place yourself in a dangerous position just to get a better picture.  Moving closer also assumes the photographic opportunity will last long enough for you to move.

3) Brace the Camera
The most obvious method is utilizing a tripod.  These are specifically designed to limit camera movement.  Using a tripod is a perfectly viable option when taking photos at home or a scheduled event, but who wants to lug one around all the time?  Even light weight, aluminum frame tripods can seem heavy when walking long distances.
Try resting the bottom of the camera on a flat surface instead.  Tables, chairs and ice coolers all offer flat horizontal surfaces to rest a camera against.  Walls work well when taking vertically oriented pictures.  Flat surfaces aren't always available or may not be properly oriented, but work well when they are.
The ground can also be used when it is flat enough.  This may require tilting the camera upwards to avoid the ground taking up half the picture.  This increases the likelihood of camera movement.  Rest the camera lens on your left hand to provide support for the elevated lens.  Rest it on your fist for greater elevation.  This does require laying on the ground.  Be prepared to get dirty.

4)  Brace Yourself
Bracing yourself against a stable vertical surface will aid in limiting camera movement.  The surface does not need to be flat for this tip, nor does it need to be properly oriented.  A rounded surface, like a post, will work when bracing yourself as well as a wall angled away from the subject.  This also allows you to use a vertical surface as a brace when taking horizontally oriented pictures.

5)  Use Correct Posture
This tip applies when you are unable to brace the camera against something while standing upright.  This can be the vast majority of the time for some people.  Stand straight with feet placed a comfortable distance apart.  Keep arms tucked against the body.  Arms should only be extended to the extent necessary to view the LCD.  Extending the arms away from the body increases the strain on your arm muscles, which increases movement.
Use the viewfinder if you camera has one.  (Remember to keep your elbows tucked into body.)  Pressing the camera against your head slightly will add stability and limit camera movement.

Note: some photographers suggest a less orthodox stance as an alternative.  This stance starts with the left hand placed on the right shoulder.  The left arm is raised horizontal to the ground and the lens of the camera is placed so it rests on the upper part of the left arm.  The right arm goes over the left.
You will need to use your left eye if using the viewfinder instead of the right when using this stance.

This leads to a related tip: try using your left eye when looking through the viewfinder instead of the right. Keep the left elbow tucked into the body.  Try this with the camera held a little to your left side instead of directly in front.

6) Use Light Pressure on the Shutter Release
Using light pressure on the shutter release limits the chance that it will cause movement.  As an alternative, try using the self-timer.  Any camera movement occurring as a result of triggering the shutter will occur before the picture is actually taken.

7) Breathe
Don't hold your breath when taking a picture.  This causes extra tension and can exacerbate camera movement.  Time your picture to occur between breaths while breathing normally.  Exhale, hit the release and then inhale.  (This may be a bit problematic when combined with the tip about using the self-timer above.)


If you need some visual aid when it comes to the above tips, try these articles:
How to Properly Hold Your Camera
How to Avoid Camera Shake