11/26/2011 7:01:59 AM
Topic:
My 3 Favorite Places in the US
Bert Sirkin
Administrator
Posts: 41
|
Lucee wrote:
HI Bert, Just wanted to drop in and let you know how much I like the CheatSheet I just got from you. It's a great help for learning a new camera...didn't know where to post this... is there a 'getting acquainted' forum? Can we post photos? If so, how?
Glad you like the CheatSheet!
Unfortunately, there's no "getting acquainted" forum. You can attach small files by clicking the "attach files" link just below the area where you type your message.
best regards,
bert
|
|
|
11/25/2011 4:14:53 PM
Topic:
My 3 Favorite Places in the US
Lucee
Posts: 1
|
HI Bert, Just wanted to drop in and let you know how much I like the CheatSheet I just got from you. It's a great help for learning a new camera...didn't know where to post this... is there a 'getting acquainted' forum? Can we post photos? If so, how?
|
|
|
9/15/2011 8:45:47 PM
Topic:
Tripod alternatives
Larry Saxton
Posts: 1
|
A handy tripod alternative that is new is HandlePod. It is a rotating camera mount fixed to a comfortable handle that you can hold against any solid object for tripod-like stability. You can also attach it to supports with the supplied elastic cord. It has many other uses that you can see at www.handlepod.com.
|
|
|
9/13/2011 10:22:46 PM
Topic:
Blury pictures and shutter speeds
Pete4750
Posts: 6
|
Another useful rule of thumb.
Thanks.
|
|
|
9/13/2011 9:57:28 PM
Topic:
Tripod alternatives
Bert Sirkin
Administrator
Posts: 41
|
Pete4750 wrote:
Now you tell me! I just bought an expensive tripod because my sturdy (Tiltall - remember those?) is too bulky to carry around. We'll see how the monopod does on the next expedition but keep the SteadePod in mind.
Never enough of the right kind of gadgets....
Well, I'm sure you'll get good use of your new tripod! A sturdy tripod is always best, but not always practical. As carpenters say, "the right tool for the job"!
bert
|
|
|
9/13/2011 9:54:13 PM
Topic:
Depth of Field
Bert Sirkin
Administrator
Posts: 41
|
<<What focal length to use with camera when the camera is a something like the Rebel, which has the smaller than 'normal' sensor and for which the effective focal length is 1.6x the stated focal length on the lens?>>
A given lens on a APS (smaller) sensor (like the Rebel) or on a full-frame sensor will have the same focal length, thus the same depth of field -- but there's more to it! Given the smaller sensor size on the Rebel, less of the image will be captured, thus, its as if you had a longer (by 1.6) focal length. The smaller-sensor camera has to be further from the subject to capture the same image size as a fulll-frame camera would with the same lens, so given the greater camera-to-subject distance, the depth of field will be greater. Since the focus distance is critical in depth of field, the smaller-sensor camera appears to have greater depth of field.
<<How do you suggest the DOF calculator be used with a zoom lens?>>
I don't! There is no depth of field calculator that you can use in the field effectively - with a prime or zoom. The BEST way to understand depth of field is to take lots of images and review your images and settings afterwards. If you understand the basics of DOF (how camera-to-subject distance, focal length and aperture affect DOF), you will gradually understand the best settings to use when taking pictures.
Zoom lenses definately complicate DOF - if you learn and understand the basics of DOF, you will quickly become proficient at selecting the correct apertures when shooting, regardless of the lens you're using.
bert
|
|
|
9/13/2011 9:37:25 PM
Topic:
What f-stop to use for the sharpest pictures
Pete4750
Posts: 6
|
I like simple to remember rules of thumb like this. Thanks.
Now, if I can just remember it....darned old age...
|
|
|
9/13/2011 9:34:41 PM
Topic:
Tripod alternatives
Pete4750
Posts: 6
|
Now you tell me! I just bought an expensive tripod because my sturdy (Tiltall - remember those?) is too bulky to carry around. We'll see how the monopod does on the next expedition but keep the SteadePod in mind.
Never enough of the right kind of gadgets....
|
|
|
9/13/2011 7:58:21 PM
Topic:
Depth of Field
Pete4750
Posts: 6
|
Bert, just one question. Maybe two.
What focal length to use with camera when the camera is a something like the Rebel, which has the smaller than 'normal' sensor and for which the effective focal length is 1.6x the stated focal length on the lens?
How do you suggest the DOF calculator be used with a zoom lens?
I'm doing mostly landscape photography and the biggest problem I'm having is with unsharp pictures due to DOF issues, so this is a subject I want to master.
Thanks.
|
|
|
9/13/2011 5:43:31 PM
Topic:
Is image stabilizer in Canon IS lens working?
Pete4750
Posts: 6
|
I put it on a tripod to hold the body steady, then did as you said. I guess the trick is in the 'subtleness' of the movement. At first I was wiggling it too vigorously and I didn't see any effect from the IS. But then, realizing it isn't designed to cancel out large movements, I used the type of movement the camera is likely to experience when I'm hand-holding and trying to be steady. Those subtle movements did get noticeably reduced with the IS engaged.
Thanks; I feel better about the investment I made, knowing the feature is working as it should.
I still don't quite understand how it works; I can't hear anything from the IS - obviously not a motor at work in there - is it more like a gyroscope? It's okay if you tell me that's beyond the scope of this forum.
Bert Sirkin wrote:
The easiest way to test it is to shut off the IS and focus on something close. While holding the shutter half-way, wiggle the tip of the lens up and down, holding the body relatively steady - the up/down movement should be very subtle. You should see obvious motion thru the viewfinder.
Then turn the IS on and do the same thing - there should be significantly less movement.
IS can help with slow shutter speeds, but don't expect it to be a "cure" for blurry pictures.
bert
|
|
|
9/11/2011 8:53:28 PM
Topic:
Is image stabilizer in Canon IS lens working?
Bert Sirkin
Administrator
Posts: 41
|
IS does use power from the battery, but typically only uses battery power when the shutter is pressed half-way.
The easiest way to test it is to shut off the IS and focus on something close. While holding the shutter half-way, wiggle the tip of the lens up and down, holding the body relatively steady - the up/down movement should be very subtle. You should see obvious motion thru the viewfinder.
Then turn the IS on and do the same thing - there should be significantly less movement.
IS can help with slow shutter speeds, but don't expecct it to be a "cure" for blury pictures.
Let me know how you do!
bert
|
|
|
9/11/2011 11:32:07 AM
Topic:
Is image stabilizer in Canon IS lens working?
Pete4750
Posts: 6
|
I'm gradually upgrading my Canon Rebel system as I go along and bought an IS lens to help with hand-held and slow-shutter situations. I don't notice any difference in operation between IS on & IS off, so can't tell if it's working. I'd certainly want to get it fixed if it's not (I waited too long and now it's out of warranty). What can I do other than pay a repair shop to check it out?
Also, does this feature draw on the battery power? I'm not sure how it works exactly.
Thanks.
|
|
|
1/31/2011 11:03:46 AM
Topic:
Improve your landscape images!
Bert Sirkin
Administrator
Posts: 41
|
There is one very simple concept that you can use to help improve your landscape images. It’s called “Isolation”. It’s where you use composition to isolate your subject and/or to evoke strong emotions. When you isolate your subject, you don’t leave any question in the viewer’s eyes as to what your subject is, making for a more pleasing image.
You can isolate your subject in several ways:
1) Light Contrast
You can use light and dark to highlight your subject. This means that either your subject will be well lit and the background will be in shadow or your subject will be in shadow and the background will be well lit (silhouette).
2) Color
Contrasting color can evoke strong emotions in an image. Placing your subject on a background of a contrasting color – i.e., warm tones on cold tones or visa versa – can provide an emotional “kick”. This can be easy close to sunrise or sunset. Place your warmly lit subject on a background of a cool shadow and you have instant emotion!
3) Focus
You can easily use focus to isolate your subject if you understand the concept of “depth of field” and how to manipulate it. Longer focal length lenses and larger apertures help reduce depth of field. When shooting a small object (flower, etc.), you can easily improve your image by selecting the appropriate focal length and aperture so only your subject is in focus. This clearly isolates your subject and can make for a much more pleasing image.
4) Get close
Sometimes it makes sense to just take PART of your subject. In the case of a person, consider a head-and-shoulders portrait rather than the full body. When shooting flowers, consider just part of the flower, rather than showing the whole flower, which, frankly, can sometimes be boring, no matter how pretty the flower.
See the attached images for examples.
edited by admin on 1/31/2011
|
|
|
1/24/2011 10:41:53 AM
Topic:
Getting good Snow-Scene Landscapes
Bert Sirkin
Administrator
Posts: 41
|
When you “expose” an image, your camera tries to determine how much ambient light there is on your subject. It is this ambient light that is lighting your subject that determines the proper exposure – i.e., aperture and shutter speed. Your camera measures how much light is reflecting from your subject and uses this to make an assumption of how much light there is.
Just for demonstration purposes, let’s make up a make-believe system of quantifying light – let’s call it the “AmbLi” unit (for ambient light).
Now, you want to take some pictures on a sunny day. Let’s say, there are 100 AmbLi units of light (remember, this is a make-believe unit of light!!). Now you are taking a picture of a very dark object in this light. How much light does the camera measure that is reflected from that subject. It’s less than the 100 units, because your subject is very dark and isn’t reflecting much of the light. Maybe it’s only 2 or 3 AmbLi units of the light. A light-colored subject may reflect 70 AmbLi units.
So, how is your camera to know just how much light there really is??
The answer is, it really can’t. Your camera is calibrated to expect about 18% of the light to be reflected back to the camera. If your subject reflects 18% of the ambient light back to the camera’s exposure system, than your camera will get the exposure correct. But if there’s more or less reflected back to the camera, the exposure system will underexpose (for more light reflected) or overexpose (for less light reflected). It does this because if more light is reflected, your camera thinks there’s more light than there really is and it will reduce how much light reaches your sensor, thus your picture will come out underexposed (dark).
How do you correct for this? You use the “Exposure Compensation” feature on your camera. We’ve never seen a digital camera that doesn’t have this feature (except for some phone-cameras).
If you are taking a picture of a very bright object (snow, for example), you need to dial-in a “plus” (overexposure) exposure compensation to compensate for the underexposing your camera will be doing since it thinks there more light than there really is. For snow scenes, you may need to dial in -2 EV of exposure compensation – if you don’t, the snow will be underexposed and look “gray”.
You need to do just the opposite for really dark objects – a really dark-colored object may need -2 EV of exposure compensation, otherwise it will come out overexposed. Of course, there may be times you WANT this. For example, if you are photographing a dark-colored shirt that you want to sell on an on-line auction, you may want to shirt to come out lighter than it really is, to help show some of the detail in it. In this case, you may need to use PLUS exposure compensation – if you do, the shirt may come out looking gray, but you will capture more detail in the shirt itself (pocket detail, etc.).
So, remember, when photographing snow scenes, you may want to use exposure compensation to improve your images! When shooting light or dark subjects, get in the habit of checking your images on the LCD after you take them and use exposure compensation as needed to improve your images.
bert
edited by admin on 1/24/2011
|
|
|
12/30/2010 1:35:19 PM
Topic:
How ISO Speed affects your images
Bert Sirkin
Administrator
Posts: 41
|
ALL digital cameras only have ONE "native" ISO Speed. Digital cameras use "amplification" to increase the ISO speed. So, if your camera has a native ISO speed (usually the lowest speed) of 100, to get ISO 200, an amplification process increases that ISO 100 to 200. Since amplification introduces "noise" (called the Signal to Noise ratio), the ISO 200 image loses some quality. The higher the ISO speed, the more loss there is. As a rule, the larger the sensor, the smaller the loss – thus point-and-shoot cameras have the greatest loss. Full-frame DSLRs have the least loss.
But, sometimes you need to increase your ISO speed to get a non-blurred image, so, even though there is some loss, you may need to increase your ISO speed at times.
Most digital cameras default to an "AUTO ISO" setting - this means that the camera will increase the ISO speed as it thinks necessary, to help assure you don't take a blurry picture. But most digital cameras often increase the ISO speed un-necessarily. If you consciously set the ISO speed based on what you think is best, you can increase the quality of your images.
The attached image shows 4 images taken at various ISO speeds. Although these images were cropped to show the center of the image and reduced in size, no other editing was performed on them. The inset picture shows a full-size (100%) portion of the image.
As you can see, there can be a SIGNIFICANT difference in quality based on nothing more than the ISO speed!
edited by admin on 12/30/2010
|
|
|
12/13/2010 10:18:05 PM
Topic:
High-speed Flash is great for outdoor portraits
Bert Sirkin
Administrator
Posts: 41
|
I almost always use a flash when shooting “people” pictures outdoors. Flash helps fill in harsh shadows that the sun can create on people faces. “Auto FP High Speed Sync” on a Nikon camera or “High Speed Sync” on a Canon camera can make outdoor portraits much better. (Note: most other DSLR cameras also have similar functions, but they may be called something different).
Without getting too technical, this mode allows you to shoot at higher shutter speeds than the “normal” flash shutter speeds. What’s normal? Well, depending on the camera, normal flash sync can range from 1/60 second to about 1/320 second. But, there’s a “cost” to using these higher shutter speeds. Because of the way the focal plane shutter on a DSLR works, the only way to “sync” the light from the flash with the shutter at high shutter speeds is to reduce the flash output. So, when you use “Auto FP High Speed Sync” on a Nikon camera or “High Speed Sync” on a Canon camera, you’re basically telling the flash to “adapt” itself to the shutter speed – i.e., at slower shutter speeds to fire with full power, but at higher speeds to “sync” with the shutter so the image is properly illuminated, but to use less light output.
Why would you want to use less output and higher shutter speeds? Well, when shooting an outdoor portrait, you would ideally want to use a somewhat-wide lens opening, so the subject is sharp, but the background is blurred. On a sunny day, when shooting at ISO 200, the proper exposure would be f16 at 1/200 second (sunny-16 rule). But, f16 would give lots of depth of field, keeping the background relatively sharp. So, let’s say you want to use f5.6 to give the background a nice soft blur – then you’d need a shutter speed of 1/1600 second – way too fast for “normal sync”. That’s where “Auto FP High Speed Sync” or “High Speed Sync” becomes useful. Turn it on thru the camera menu on a Nikon or from the flash menu on a Canon and now you can use 1/1600 second (or faster if you need it!). You’ll get less light output, but you’re only trying to fill-in shadows, so if you keep your subject reasonably close, you can get some really great results!
bert
edited by admin on 12/14/2010
|
|
|
12/11/2010 10:07:17 AM
Topic:
Improving Flash Pictures
Bert Sirkin
Administrator
Posts: 41
|
Flash pictures, especially of people, can provide an unflattering light, creating harsh shadows and high contrast. You can "tame" your flash by putting a diffuser over it. There are many commercially available diffusers - some are made for external flash units while others are made for internal flash units.
In a pinch, if you don't have a commercial diffuser, you can always do it the "old fashioned" way - drape a clean white handkerchief or a Kleenex over your flash. Either one of these will diffuse the flash sufficiently to help improve your images. Just be careful as speedlights can generate a lot of heat - be careful when using Kleenex!!
Just be aware, that when you diffuse a flash, you are reducing the amount of light. Be sure you are close enough for the diffused flash to illuminate your subject.
Here's a before/after image showing the subtle differences between a straight flash and a diffused flash. Note how the shadows are softer, and the skin tones and contrast are more pleasing in the diffused image.
bert
|
|
|
10/10/2010 10:27:34 PM
Topic:
Location, Location, Location (applies to YOU)
Bert Sirkin
Administrator
Posts: 41
|
YOUR location can make all the difference in the world. Each time you take a picture, you have an almost infinite number of choices of WHERE you can shoot from. You can shoot from where you're currently located. You can move to the right, left, up or down. You can usually walk around the object and shoot from just about anywhere. Your vantage point makes all of the difference in the world! So, THINK of WHERE you want to be before you shoot. Think of what you want your foreground, and background to look like.
In the following three simple images, the same small clump of flowers were shot from 3 different perspectives.
The first, and in my humble opinion, is the worst vantage point. The background is bright and colorful - very distracting from the subject. My eyes want to wanter to the brightest part of the image - the background!
The second is better. The background is less distracting.
I feel that the third image is the best as it really focuses your attention on the flowers. By positioning myself so the clump of flowers had a shady area for the background, the limited dynamic range that photography imposes on us becomes an attribute by removing almost all detail from the background.
One subject; Three vantage points - all withing a few feet of each other; Three completely different images.
|
|
|
10/2/2010 11:29:12 AM
Topic:
JPEG vs RAW with and without a polarizer
Bert Sirkin
Administrator
Posts: 41
|
I could go on for hours (well, that may be a slight exageration!) about why you should ALWAYS shoot RAW images with your DSLR. There are SOOOOOOOO many reasons.
But, for the sake of brevity, here is an image I took this AM from my bedroom window. It's of a dogwood tree starting to change color. It was taken at about 11am on a sunny day in full shade. It was taken with a Nikon D700 at ISO 400 with a 70-200mm/2.8 lens on a tripod. There are two things to look for here:
1) first is the difference between the camera processed JPEG image and the RAW image. To create the RAW image, I used Photoshop (could have been any other post-processing program) and clicked ONE BUTTON (kind of kills any argument that it's too hard to process RAW images!!) to do the processing on my desktop computer that the camera does when creating a JPEG. Obviously, the desktop comptuer does a MUCH better job of this than the camera.
2) second, see what the polarizer filter does for color in this - polarizers can be best used to ENHANCE COLOR - most people don't realize this, but the reflections from just about anything is a COLOR KILLER. Polarizers can, if used right, reduce these reflections. Look at the background (out of focus) green leaves as well as the enhanced red.
Here are the specs of these images:
1) JPEG image - no polarizer (no computer processing) - Tripod mounted Nikon D700 - 1/30 sec - f7.1 ISO 400 70-200mm/2.8 at 200mm
2) JPEG image - WITH polarizer (no computer processing) - Tripod mounted Nikon D700 - 1/13 sec - f7.1 ISO 400 70-200mm/2.8 at 200mm
3) RAW image - NO polarizer (one-button "Auto" adjustment in Photoshop Camera Raw - no other computer processing) Tripod mounted Nikon D700 - 1/30 sec - f7.1 ISO 400 70-200mm/2.8 at 200mm
4) RAW image - WITH polarizer (one-button "Auto" adjustment in Photoshop Camera Raw - no other computer processing) Tripod mounted Nikon D700 - 1/13 sec - f7.1 ISO 400 70-200mm/2.8 at 200mm
The first and third images are the same image taken without a polarizer. The first is the JPEG and the third is the RAW.
The second and fourth images are the same image taken WITH a polarizer filter. The second is the RAW and the fourth is the JPEG
edited by admin on 10/2/2010
|
|
|
9/20/2010 10:56:56 AM
Topic:
Traveling in Hot and Humid places
Bert Sirkin
Administrator
Posts: 41
|
Just getting back from steamy Florida and was reminded of the issues of shooting in a hot, humid climate. The hotel room was comfortably air conditioned, but the temp outside was in the low 90s F and high humidity. These are ideal conditions for Lenses, viewfinders and mirrors to fog-up and make shooting outside a real pain. The best solution is not to let fog build up in the first place. When taking a cool camera out in the humidity, try to leave it in a sealed bag - a well-sealed self-sealing plastic kitchen bag works fine. Then let the camera bag warm-up to the outside temperature - this can take a while, so you might want to think-ahead and put your camera in your vehicle an hour or more before you plan on shooting. You can also try to warm up the camera while still in the air conditioning - if you're careful, a hair dryer on a low setting can warm the camera up to the outside temperature
While on the topic of putting your camera in your vehicle, always be aware of the security of your camera gear when traveling. When I have camera gear in my car and I'm heading somewhere where I will need to leave the gear in the car, I stop a mile or more from where I'm going and put the gear in the trunk - then I head to my destination. That way, nobody will see where you're storing your expensive gear when you park your car.
Do you have any hot-weather travel tips?
edited by admin on 9/20/2010
|
|
|