Tag Archives: Lenses

How to buy a new camera…

Posted on April 20, 2013 by Damon (Editor) | 5 Comments

Buying a new digital camera

Buying is a big decision.

Photographers should be wary of the simple answer. Buying a camera is a deeply personal matter and a big investment. You live with the consequences for a long time. Look carefully at considerations that really matter to you and your performance as a photographer. Impulsive buys may spoil your photography. If you’re comfortable with your buy you will be more likely to get to know it, use it and have fun with it.

1. Work out what you need

Impulsive buying means something will not match your need, then you won’t get the use you want. The points below will help refine your thoughts. Write down your ideas to ease your research later.

Budget: Fix a budget – it may define the type of camera you can buy. So write down what you want to spend before starting. Change your mind later, but start with an idea to guide initial research.

Usage: What type of photography will you do? There are broadly two types of photographer…
The ‘point-and-shooter’:

Interested in recording fun, family, events and memories.
Love things they do when they have a camera around.
Take pictures as reminders. (Holidays, family, fun, action, friendship).
The camera is an accessory to the activity.
The camera is easy to use, probably in auto mode.
Simple controls – lighter, lifestyle-type design.
Less interested in the art of photography, more the style of life.

The ‘photographer’:

Take pride in every shot.
Indulges other passions through photography.
Wants more equipment.
Interested in “functions” and “controls” – technical cameras/DSLRs.
Camera is an essential part of the activity. (Landscapes, macro, action, nature, still-life, fine art…).
Loves photography for its art, technology, skills and techniques.
Documents passions and communicates interests through photography.
Take pride in camera control.
Enjoys the technical aspects of the capture as much as the images.

Each has an associated type of camera. A heavy DSLR is not well suited to the carefree life of the point-and-shooter. A compact, colourful, wrist-strap camera is not suited to landscape shots and large prints. Preferences and lifestyle should be shorted out early on. Are you are a point-and-shooter or a committed photographer (DSLR style)?

Conditions: Indoors/outdoors, weather, underwater, holiday, abroad, air travel? The situations in which you use the camera affects what you buy. Consider protection, travel, camera size and special equipment needs.

Experience: Skill level affects purchase – your aspirations for your future photography will too. If you’re just starting out, buying a camera with a bewildering range of functions is daunting. Take simple steps. Entry level DSLRs provide for years of growth into your hobby and produce great images. This allows you to develop skills without confusion.

Features/flexibility: Spending more on a camera means more features and flexibility. However, while this gives more control it increases cost for relatively little increase in picture quality for starters. Don’t waste your money. Focus on what you need, not “feature bloat”.

Physique/fitness: When buying you don’t get a feel for using a camera. Little, disabled, or not very fit people may find big cameras unusable. Fit, but not shooting daily? You might struggle to hold up a big camera for long periods. Buy a camera you can hold steady and use all day (if necessary). I know people who bought great cameras and had to sell them again to buy another great, but lighter, camera. Also ensure you can grip it properly and comfortably. Can you reach all the buttons easily?

Size of prints: More megapixels is NOT a better camera today. Good quality cameras have sensors to produce great images. High megapixels are only necessary for high resolution pictures – mostly for large prints. You pay a lot of money for top-megapixel cameras. Only buy them if you frequently do big prints in high definition. Don’t worry about megapixels in the market mid-range.

Lenses: To a committed photographer lenses are key. Buying the right lenses is more important than a camera body. Lens investment pays you back for a lifetime, or many camera bodies. Spend less on the body than you intended and save money for better quality lenses (not more lenses). Consider retaining at least half your budget for lenses.

Other equipment and accessories: New cameras require other items affecting your budget. Consider…

Lenses (Wide angle, Zoom, macro etc)
Camera/equipment bag
Tripod
Spare batteries (two)
Light modifiers (diffusers), filters, reflectors
Specialist equipment for specific interests
Memory cards (at least two – eg. 2×16 Gb not 1×32 Gb – cheaper and more secure)
Off-camera flash (pop-up flash is rarely useful)
Remote trigger to fire the flash/camera

There may be other things too.

Compatibility: Is your existing equipment compatible? Buying a camera could mean buying those extras again, straining your budget. Consider the camera brand you want to buy. That may affect the other equipment you buy later. Lenses are a particular consideration. Top brands make good lenses, but other brands may not. That could be important for your buying strategy.

Picture quality: Quality digital cameras produce great picture quality. However, large, high resolution images (especially for printing) may need larger digital-sensor size (cropped or full frame?) and type of lens and lens quality. Buy up-market lenses as far as you can. For a point-and-shoot camera consider the quality of zoom. ‘Optical zoom’ is best, the lens does the enlarging. The quality will be better with a good optical zoom. With a large digital zoom component expect lower quality prints. Digital zooms crop the picture in-camera to make the picture appear bigger. You will see more detail, but the picture may be a lower definition/resolution.

More after this…

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2. Research

Now look at what is available. examine a range of reviews on different websites. Check out what’s popular around the web and get a “best fit” camera to your specification from above. Talk to experienced photographers. Join a club. Leave questions on Internet forums. Ask in shops.

Be prepared for this stage to take quite a long time. You may be committing to a brand for a quite a few years, or your career. Take it slowly so you can understand all implications. Keep notes and be prepared to check definitions and learn about features.

3. Try it out

Once you have identified your dream machine, see if you can try one out. Beg, borrow or hire. You will be unlikely to try everything but spend a weekend or week with it to really get a feel for it. That will help you to feel confident about your ideas or start new research. Ensure you are on the right track.

4. The purchase

From a shop: Local camera shops often have deals and committed staff. They will have knowledge and experience too. Remember they are on commission and a different focus to you. So go to a shop with a really good knowledge from the above before you buy.

Online: There are some great deals but also a lot of scam artists. Consider…

Who you are buying from.
Does the site cover losses?
Is delivery and packaging good?
Delivery times?
Are there proper cancellation and returns procedures?
Transit/purchase insurance (the company or your credit card)
Is the online store reputable and well known?
Do not click from email ads to the site – insecure.
Check with friends to see which online stores they used.

If it sounds too good to be true, it probably is. A reputable company will have protections built into the purchase and made clear on the site.

When you are ready consider negotiations. Lots of websites will do deals. Shops will too. Make sure you get the right deal, but don’t compromise security or safety.

5. After purchasing

Check your purchase properly – has everything arrived? Retain all paperwork and orders for future reference, returns and insurance. Test to see that it works properly. Get signed receipts and correct paper work for returns, delivery shortages or damage.

Satisfied you have the correct equipment and it works? Put it through its paces in a logical way. In Getting started with a new lens I show how to work through testing and getting to know new lenses. Many of the principles apply to the purchase of a camera and help you get to know your camera properly.

Other ideas?

Please share your other ideas, tips or experiences on buying a camera with us below in the comments…

By Damon Guy (author and editor)

Damon Guy (Netkonnexion)

Damon is managing editor of Photokonnexion.com with professional experience in photography, writing, image libraries, and computing. He is also an experienced, webmaster and a trained teacher. Damon runs regular training for digital photographers who are just starting out.
See also: Editors ‘Bio’
By Damon Guy :: Profile on Google+

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Posted in Background Info., Camera control, Disability & Access, Equipment, How to..., Opinion, Photography, Shooting specific subjects, Technology

Tagged Accessories, Buying, Buying a camera, Buying a camera lens, Buying equipment, Camera, Camera Body, DSLR, Features, Flash, Flexibility, How it works, Ideas, Lenses, Point-and-shoot, purchase, purchasing, Technology, Tripod

Inexpensive Close-Up Photography – Reverse Rings

Posted on March 30, 2013 by Katie McEnaney | 3 Comments

Green bubble wrap shot with Canon 50 mm f/1.8 lens reversed.
Hand-held to the camera body.
• Bubble Wrap • By Archaeofrog on Flickr

Anyone can use reverse rings.

Close-up or macro photography is something every photographer should try. However, a macro lens can be an expensive investment. This series covers inexpensive ways to get great close-up results. The first article “Inexpensive Close-Up Photography – close-up rings” discussed using close-up lenses that attach to your existing photographic lens. A second way to achieve close-up results, surprising as it may sound, is to reverse your DSLR camera’s lens by mounting it on backward.

It is possible (but awkward) to simply handhold your lens backwards against your camera body, as in the top photograph. I don’t recommend it, as it can allow dust or other debris into your camera that may affect the sensor. The inexpensive alternative is to purchase a reverse ring camera mount adapter that fits your lens (based on its diameter) and the make and model of your camera body.

Canon 50 mm f/1.8 lens attached backwards to a Canon T1i body using a reverse ring. The depth of field preview button is visible underneath the lens release button.
Click image to view large
Canon lens attached in a reversed position by Archaeofrog (Flickr)

How to use the reverse ring

First, remove any filters you have on your lens. To use a reverse ring, screw the ring securely on to the front of your camera lens filter thread. Hint, it is easiest to screw the ring on while the lens is in the camera body. After attaching the reverse ring to the lens, remove the lens from the camera body. Now reverse it and fit the lens-mount side of the ring into the camera body and lock it in place. You will no longer be able to use the autofocus function of your camera or adjust the aperture of the lens once it is reversed, but you will be able to adjust the shutter speed and ISO. Your camera may display an aperture value of F00 or other default. I recommend that you change the shooting mode on your camera to aperture priority or manual. In aperture priority mode, the camera will calculate and set the shutter speed for you, while in manual, you will set it yourself. Now you are ready to use the lens.

• Origami Crane •
Click image to view large
Origami paper crane folded from a bite-sized Hershey wrapper.
Captured with a reverse-mounted Canon 50 mm f/1.8 lens
Origami Crane • By Archaeofrog on Flickr

A reverse ring gives better results when used with a prime lens rather than a zoom lens. Prime lens are often faster, which means that they have a wider maximum aperture and can use a faster shutter speed, even in lower light.

You can use any type of lens, although light lenses are recommended. Very heavy lenses may damage the reverse ring mount adaptor or the lens filter thread.

Using a zoom lens, particularly when fully zoomed out, can be awkward to support. Because the lens is reversed, zooming the lens requires you to be further from the object you are photographing and does not give such a close-up view of the subject. The working distance (distance from the lens to the object in focus) is about five inches with the Canon 50 mm f/1.8 lens reversed. Using my Tamron 18-270 mm zoom lens at 18 mm, I have to be within about two inches to get an object in focus, while it is greater than six inches at 270 mm.

Adjusting the aperture

When your camera lens is not attached to a camera, its default position is to be open to its widest aperture. So, for the Canon 50 mm f/1.8 that would be f/1.8, which results in a very shallow depth of focus. In the crane picture above, the neck of the crane is in focus, while the beak and tail are not. When I reverse this lens on my camera, the aperture will still be f/1.8, and I will be unable to adjust the aperture value after the lens is reversed on the camera. But there is a work-around.

Most DSLR cameras have a ‘depth of field preview’ button. The purpose of this button is to allow you to look through the viewfinder and see exactly what your camera will see at the aperture that is set. When you press that button, the blades inside the camera lens close down to the selected aperture. This will allow you to set the aperture for your lens. (Please note: not all DSLRs have a depth of field preview button).

• Carnation at F22 •
Click image to view large
Carnation at F22 By Archaeofrog on Flickr

Here is the procedure. Using aperture priority or manual mode on your camera, dial in the aperture that you want to use for the shot. Next, depress and hold the depth of field preview button. While still holding down the button, press the lens release button and remove the camera lens. Then you can mount it on your camera body using the reverse ring. The camera lens will maintain whatever aperture you had selected. If you want to return to the default position or change the aperture again, simply put the lens back on the camera the regular way and repeat the process. Tip: if working outside, you may want to set your aperture first and reverse the lens indoors, to avoid dust getting into the camera body and on the sensor.

Advantages and limitations of reverse rings

The reverse ring is a fun and easy way to experiment with close-up photography. The ring itself is very inexpensive, usually less than $10 USD (around £7-£8 UK), and is small enough to fit in a purse or pocket. Depending on the lens that you reverse, you can get very close to macro-level results.

• Ruler •
Click image to view large
This photograph of a ruler demonstrates the scale of a reverse-mounted Canon 50 mm f/1.8 lens, which gets down to an image of about an inch and a quarter wide and has a working distance of about five inches.
Ruler • By Archaeofrog on Flickr

Like other close-up techniques, using a reverse ring does require you to be physically close to the objects you are photographing. Depending on your lens and your comfort level, however, you may still be able to capture detailed shots of slower moving insects, such as the bee below. A reverse ring is also ideal for indoor shots or other stationary details.

• Bee •
Click image to view large
Bee photographed using a reverse-mounted Canon 50 mm f/1.8 lens.
Bee • By Archaeofrog on Flickr

You will lose some of the automatic functions of your camera, including autofocus, with a reverse ring. The electrical contacts that normally carry signals to the lens are not in contact with a reversed lens. This is not that much of a disadvantage. Generally, with close-up shots, you get better results when using manual focusing.

While you can adjust the aperture (on some cameras), there is an additional step of setting the aperture using the ‘depth of field preview button’ before reversing the lens.

As with any close-up or macro technique, the depth of field (area in focus) will be very shallow. You can maximize sharpness by keeping the camera lens parallel to the object being photographed. In the photograph of the bee, above, the body of the bee is parallel to the camera lens and stays in focus. The flower is perpendicular to the lens and falls out of focus quickly.

Another technique to maximize sharpness is to use a smaller aperture like f/22, but this may require a longer shutter speed than you can easily hand-hold. You can solve this problem by using a tripod for stationary objects, which allows you to use a longer shutter speed to achieve the desired sharpness.

All close-up techniques benefit from the additional stability of a tripod. Although, as you can see from the shots above, you can get effective results from hand-held techniques.

A flexible option

Overall, a reverse ring is an inexpensive and portable way to use your existing lens for close-up photography. Depending on the lens you reverse, there is enough working distance to photograph insects, flowers, or any other small subjects that interest you. There is flexibility to adjust the aperture value before reversing the lens, which gives you a little control over the depth of focus. It is an inexpensive option to get you started in the tiny world of close-up photography.

Buyers guide

The inexpensive nature of these rings makes a quick purchase worthwhile. Remember that you will need to buy the ring that suits your specific camera mount (eg. Canon, Nikon etc). The size of the filter thread on your lens is important too. On the following link you can find a range camera mount types as well as thread sizes…
Reverse ring camera mount adapter products

A great lens for doing close-up work is a 50mm prime lens. More information on buying 50mm prime lenses including product links can be found in…
Are your pictures distorted? Considered a 50mm?

For general reference: 50mm Prime lens product listing

• Lego •
Click image to view large
Lego explorer mini-figure.
Using a reverse-mounted Canon 50 mm f/1.8 lens at f/1.8.
Lego • By Archaeofrog on Flickr

Articles on Close-Up and Macro Photography
by Katie McEnaney

Part 1 of this series focused on using close-up lenses. Part 3 will cover extension tubes, and Part 4 will bring all these techniques together with a range of close-up ideas and tips.

Inexpensive Close-Up Photography – close-up rings
Inexpensive Close-Up Photography – Reverse Rings (this article)
Inexpensive Close-Up Photography – Extension Tubes
Inexpensive Close-Up Photography – Tips and Tricks

By Katie McEnaney (contributing author)

Katie is an elementary school teacher in Wisconsin, USA. She is an avid photographer with wide interests. She is always interested in learning more and growing in her photography. Katie is in the third year of her 365 project as ArchaeoFrog (profile) . Her 365 project can be found at 365Pproject.org and she has a growing body of work on Flickr .
By Katie McEnaney :: Profile on Google+

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Posted in Camera control, Guest Contribution, How to..., Insights, Shooting specific subjects, Things to try, Tips Tutorials & Techniques

Tagged Accessories, Aperture, Approach, Buying equipment, Close-up, Depth of Field, exposure, How to Shoot, ISO, Lens, Lenses, Light, Lighting, Macro, Macro lens, Macro tubes, Manual, Manual Control, Maximum aperture, Minimum aperture, Prime, Prime lens., Products, Reverse ring camera mount adapter, Shutter, Shutter Speed, Tripod

Why pro-photographers insist on using lens hoods

Posted on March 29, 2013 by Damon (Editor) | 2 Comments

Lenses

Lens hoods are all about control.

The control of your lens, control of difficult light and control over lens damage. Yes, believe it or not even pros make mistakes with flare and break or damage lenses. Lens hoods provide cover for you and perform a specific and important control function over the light that can create ugly flare or the sheen of overexposure.

In the video Phil Steele looks at the way that lens hoods help your shots get properly exposed. Remember, the best shots are taken by the photographer finalising every last detail in the chain of events that lead to releasing the shutter. Knowing about lens hoods is one of those shot makers-or-breakers. Get it right and the blacks in your picture will show just that little extra saturation and contrast that intensifies the shot bringing out depth and realism.

Lens Hoods – Why, When, and How to Use Them

SteeleTraining

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Finding lenses and buying to suit your needs

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Finding lenses and buying to suit your needs

Posted on March 19, 2013 by Damon (Editor) | 4 Comments

Mixed lenses

Searching for lenses can be a hard task.

Knowing what lens to buy is a challenge, but is can be made simple if you have a few ideas. It is all about understanding your needs and making sure you fit the lens to a budget. First, some general advice about buying lenses.

Are you happy with the camera brand you own?

After a line of different cameras SLRs and different brands, my first digital camera was a Canon. It was my first Canon and I was impressed. Well, they told me that Canon lenses were the best in the world! So I stayed with Canon.

I know, I know… you don’t agree with me on the best lenses. Whatever the outcome of that argument, I am not going there. That’s the whole point. Buying lenses is a personal decision. It relates to a range of needs and understandings you have about your photography.

You need to be completely happy with your camera brand before you buy lenses. Otherwise you will be stuck with a camera brand you don’t like and lots of money invested in lenses. Love the brand, then look for the ‘glass’.

Next… Things to consider

Usually the budget is fairly clear. However, I have one word of advice. Make sure you buy lenses at the upper range of your budget where the quality will be better. Don’t cut corners, quality lenses don’t come cheap. There are lots of cheap lenses around, but you get what you pay for with lenses. They are expensive, but they are also high precision instruments. If the lens is cheap it probably will not be very robust and the quality of the optics will tend to be low.

After budget the next most important thing is to define your needs. It may be lovely to have a 500mm behemoth of a lens weighing two kilos and costing thousands. But if you are only in a position to use it once a year then it will not be worth investing. Far better to buy a more general purpose lens of higher quality to benefit your general photography and will use often. Focus on your regular photography action and expand your lenses around those activities.

Defining your ‘needs’ is often confused with defining your ‘wishes’. Try to be realistic. Only go for a lens that will be of practical use on a regular basis. Do not define your needs based on your wish to pursue a dream. Most types of photography can be performed with a pretty straight forward set of lenses. Get good with those, buy good quality lenses to replace them when you can afford it. And, when you have the mega-once-in-a-lifetime trip actually planned, then factor in the specialist lens (if you really need it for most of the trip).

Of course the focal length and how ‘fast’ the lens is are both important. Also important is the type of lens – zoom, telephoto, prime, normal, wide angle and so on… However, most of these will come out in your decision around why you need the lens.

There are other considerations that are a little less obvious when buying lenses…

Weight – Some people simply cannot hold up a big camera and a big lens. Be realistic about what you can handle.
Size – especially for travel purposes, big lenses are a complication and a problem.
Image stabilisation – Modern lenses usually have stabilisation – consider its weight, availability, cost and if you need it or not (large lenses are normally where there is an option).
Glass quality – with professional grade lenses the glass is usually of very high optical quality. However, it is also expensive. So consider the importance of glass quality and overall lens quality for your budget and use.
Brand name – Are you paying for a manufacturers reputation, or is the lens equalled by a third party manufacture – check the review websites. Ask around to see what other photographers think.
Suitability for purpose – does the lens you want to buy actually suit your intended use. Check on the manufactures website, review sites or on discussion forums to get more information about the best type of lens for your use.

Buying your lens

The sheer number of lenses available is bewildering. I suggest starting with a lens finder. The recent addition of a great Lens finder on Amazon has made lens searches much easier.

Lens Finder – Click to view the actual tool.

The tool allows you to enter the factors that you consider important and will return you a list of the available lenses to suit that purpose. After years of buying lenses I find this an invaluable tool for helping to me to find a range of lenses from which to choose my ideal purchase.

If you want advice on what to do once your new lens arrives, check out this post: Getting started with a new lens.

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Tagged Buying equipment, Buying lenses, Camera brand, Focal lenght, Glass, Lens, Lens finder, Lens glass, Lens quality, Lenses, Macro lens, Telephoto lens, Wide angle lense, Zoom lens

Twelve Simple tips for atmospheric candlelight shots

Posted on February 26, 2013 by Damon (Editor) | Leave a comment

• Burning the midnight oil •
Click image to view large
• Burning the midnight oil • By Netkonnexion on Flickr

Candles put out a wonderful light…

Everyone feels the atmospheric impact of candlelight. The colour and the low light seems to draw you in. Capturing that light is easy with a few simple hints. Lets look at what is needed…

Tripod…

There is nearly always low light associated with candle photography. That means working with longer exposures. A tripod is excellent for that. Indoors, beware of a wooden floor, any move you make can be transferred to the tripod. Floor vibrations can ruin a shot or make it soft. For sharpness remember to use the camera timer for the shot or a remote shutter release.

Lighting…

The best way to view candles is by their own light. Because they don’t use a tripod many people are tempted to use flash. Unfortunately flash will over-power the candlelight. It will take out the colour from the light and tend to create hard, sharp shadows. It will ruin the atmosphere of the candlelight. Make sure you switch off your flash. If you need more light the you can use as many candles as you need to raise light levels. They don’t need to be in the shot, but they will keep the light the same throughout the shot.

Composition…

First decide if your candle or candles are the subject or are props. This decision will affect your focus and how you lay out your scene. Candles can create a strong bright spot in the scene. If it is too bright the flame will form a burnt out white spot. Once you have arranged your scene, ensure that the candle will only draw the eye a small amount unless it is the subject. You should consider the placement of the candle in a way that might minimise the impact of the bright flame spot.

Positioning…

If all your candles are close together the light will tend to act as one light source. This will tend to act as a hard light creating more defined shadows. If you want the light to be softer and the shadows with less well defined edges set your candles further apart. If the light is to be cast on a face then soft light will be more flattering.

Movement…

One of the peculiarities of working with candles is that the flames are subject to the slightest air movement. Unfortunately candle flicker is attractive to the eye in real-time; but looks like a loss of sharpness in a still image. It is quite useful in close focus shots with a candle to use an air break of some kind nearby to stop air movement. In a table-top study use a large sheet of card to one side out of shot. That will help prevent air movements. If not, keep an eye on the flames when shooting. Try to capture the flame upright or, if using more than one flame, make sure they are all going the same way. They look more natural that way.

Since candle light is low intensity, make sure you also prevent other sources of movement in the shot. They will inevitably be blurred as the shot will be using a long exposure. This will look like a distraction against still flames.

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Light intensity…

The light from a candle can be made much more intense if you use something to catch the light from the candle. A face, hand or other objects bring alive the picture and complements the candle. The presence of the object acts to reflect the candlelight. Light flesh tones are particularly good in this respect since the flesh colour is tonally close to the candlelight hues and they act as a reflector to bring out the light.

From “Candle Series” by Spicedfish
From “Candle Series” by Spicedfish on Flickr

Using reflectors in a candle scene is a great way to raise the light intensity. You can find other types of surface than the one in this picture in most scenes. Walls, ceilings and even off-shot reflectors are all good. Be careful to use neutral colours. Colour reflectors will affect the colour of the scene. If you are using a big card out-of-shot make it white. This will reflect the same colour light back into the scene, filling in the light.

Shadows…

The other side of light intensity is the shadows. The darker tones and strong contrasts of candle shots create most of the atmosphere. Spend time studying the shadows created in your scene. Strong contrasts are great subjects. If you create shadows that fall badly across your scene it will impact on the overall effect. The best use of shadows is often to the edges of the shot. If the light fades out to edges this holds the scene into the shot – naturally focusing the eye. Work with shadows to ensure the mood is harmonious.

Additional lights…

If you want to use fill light in the scene try to match the quality of light from your candles. Use soft light sources and natural light with hues matching the candles. Natural light will fill the scene well but tend to neutralise the colour of the candle light. The warm glow of candles is a great mix with evening, low-intensity light.

Some people use light with gels to give a warm glow. Warming gels can also be used with a flash. However, beware the power of flash. The candles will lose their soothing effect if all the shadows are taken away around the base of the candle and harsh shadows are introduced from one side. Typically use a diffused flash on the lowest setting – it also helps to be a distance away from the candles as well.

Multiple candles…

When working with one candle as subject the main focus of the shot is clear. However, there is a lot of scope for creativity. Consider two main issues. How to layout your candles and how to use the overall light with the layout. Using candles for making patterns is great fun and can produce excellent shots.

Making patterns with candles
Click to view Google Images “Candle Light” search

Try to keep the scene simple. Overlapping candles or indistinct objects in the pattern are confusing. Work with the sharp contrasts and keep your pattern well defined.

Exposure…

How long should you make your exposure? This depends, like any scene, on your light levels. To get more light in the exposure a long shutter speed is suitable for most candle shots. A range of 1/15 second down to 2 seconds is a good starting range with an ISO of 100. Camera settings vary significantly with reflectors, multiple candles or fill lights. Experiment to get it right. Aim to make the shot moody or atmospheric while providing detail for the eye to look at around the candle flame(s).

The main exposure concern with dark or shadowy shots is digital noise. If ISO is too high you will get more noise. It is better to use a low ISO, say 100 and have longer shutter opening. This reduces noise and means more detail is visible.

Lenses…

A fast lens allows a wider aperture. Faster lenses will allow a quicker exposure than a smaller aperture. Nevertheless, when experimenting check the depth of field. With big candle patterns, or larger subjects, a very wide aperture will give a very shallow depth of field. Too shallow and you will lose a lot of detail. On the other hand, lots of candles in the background with a shallow depth of field will produce pleasing bokeh. For choosing your lens, more than other aspects of your set-up, you need to have a clear vision of what you want your final shot to look like. Then do some “Chimping” to check results.

Prime lenses, especially the 50mm, will give an approximation to the human eyes. To capture the mood of a scene a 50mm will help. A wide angle lens close-up can provide great exaggerations of candle tallness or broadness – depending on lens orientation. There is great scope for artistic interpretation. Also remember that zoom lenses tend to foreshorten, reducing the apparent depth of the shot. With a zoom lens place your candles to give an impression of depth.

White balance…

The warm glow of candles is attractive. If you change the white balance you will change the characteristics of the warm glow. Candlelight shots are about moodiness and atmosphere. It is worth playing with the white balance to influence the shot and increase moodiness, but be careful you don’t remove it. You only need to adjust white balance when shooting in *.jpg as it will be fixed once the shot is taken. If you are shooting in RAW you have more flexibility with settings in post processing to control colours and the final exposure. If you cannot shoot in RAW then, again, make sure you do some “chimping” to get the colours right.

Being safe…

Although fun, candles are naked flames. It is all too easy in low light to leave something close to the candle. Fires start quickly and spread fast too. Feel free to experiment but make sure you don’t accidentally knock over candles, touch wall paper with one or do something else to set off a fire. Never leave candles alight and unattended. Always blow them out and wait for the smoke stop raising before leaving.

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Posted in Camera control, Composition, Equipment, How to..., Insights, Light and Lighting, Post Processing, Things to try, Tips Tutorials & Techniques

Tagged Accessories, Air break, Aperture, Atmosphere, Camera, Candle, Candlelight, Composition, Darkness, Depth of Field, exposure, Flame, Flash, hard light, Health and safety, ISO, Lens, Lenses, light and lighting, Light intensity, Manual Control, Moodiness, Movement, Pattern, Position, Positioning, Safety, shadows, Shutter Speed, soft light, Time, Tripod, White balance

How to make a digital camera

Posted on December 11, 2012 by Damon (Editor) | Leave a comment

How to make a digital camera

A lot goes into making a digital camera.

Canon have made this video to explain the key processes and ideas that lie behind camera design and production. The video is Canon focussed, but the concepts apply to any digital camera.

All the key processes are mentioned in the video. It is particularly interesting to see the considerable technology that backs the manufacturing itself. Camera production is very high tech and the degree of precision involved is considerable.

Despte the complexity of the actual technology the video is a simple and easy watch. The ideas are explained in easy steps and the diagrams make it easy to see what is going on. No mad scientists were involved in making this video! Simple clear ideas and demonstrations are used throughout.

I found this a very useful video to watch. I am sure you will find it interesting and eye opening. Enjoy!

Published on 13 Apr 2012
You can see original video from this website:
http://www.Canon.com/premium-lib/

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Posted in Background Info., Insights, Technology, Video included

Tagged Camera, Camera Body, Canon, Digital Image Sensor, Image Sensor, Lenses, Manufacture, Production, Sensor, Video

Are your pictures distorted? Considered a 50mm?

Posted on October 18, 2012 by Damon (Editor) | 4 Comments

Patterns – Winchester Cathedral taken with a 50mm lens. The lens sees a very close approximation to the way the human eye sees the world.
Best viewed large. Click image to view large.
“Patterns” By Netkonnexion on Flickr

There is a very good reason why the 50mm is so popular.

The 50mm may seem a plain and simple lens. Believe me it is actually a great addition to any camera bag. When you need to see with clarity – it’s the best.

As lenses go the very best of them are found in your eye. The human eye is an incredible organic machine. It does more than any mechanical device can do in terms of seeing. But then, the eye has been in development for the last 350 million years (give or take). Humans have been making quality lenses for about 350 years. So there is a little way to catch up. However, jokes aside, the 50mm comes close to the best that we can do with lenses. Not because of the quality, but because the 50mm represents most closely what the human eye sees.

All lenses have their own unique signature in terms of what they actually display. A wide angle lens distorts the image sideways. A long-telephoto takes you into a scene and flattens the depth of the shot. A fish-eye exaggerates the importance of the centre ground and elongates the scene around it. All these things and more affect the way any particular lens sees a scene.

The 50mm lens is special. Its signature view of the world is about as close to that of the human eye as any standard lens. The distortion that the lens creates approximates the same view as our eye. This makes it a very special vessel for conveying human perspective.

Of course, you argue. You have a lens with 50mm in its range. True I answer. But the telephoto plane will foreshorten the shot. It is not a true foreshortening. It is a metaphysical one. You have to get the shot – but you don’t get it like the eye does. Instead of walking to take the 50mm position, you will take the shot where you stand on one of an infinite range of shot positions. Lets say, between 24 and 200mm. In addition, a lens is made to cope with a range of conditions across all its focal lengths. Inevitably some of the purity of the fixed, or prime, 50mm lens is lost in that accommodation. Your telephoto makes you see differently and it actually sees differently too.

Experienced photographers will tell you that the 50mm prime (fixed focal length) lens is unique in its vision. If you want to make sure you get the shot the way the eye would see it then there is no substitute for using one. You do a lot more walking to get the shot. But you also get much more realism. Prime lenses like the 50mm often have a very wide aperture. They are therefore very fast lenses. The wide aperture also gives wonderful control of ‘depth to field’ too. 50mm lenses are much prized by wedding photographers because they often have a very wide aperture compared to many other lenses. The shot above was taken using a Canon EF 50mm f/1.2L USM Lens. It was hand-held in the early evening with no flash – brilliant. Wedding photographers love the wide aperture because the lens is perfect in churches and the party afterwards – both are low-light situations.

You can buy 50mm lenses quite cheaply without compromising quality. They are so popular that the manufacturers can keep the prices low. The majority of photographers will want to go for this flexible and reasonably priced 50mm lens. Lenses in this range are certainly among the most popular available.

The fast Canon 50mm F1.4 lens is photographically versatile and technically excellent. It is at a very reasonable price too…

The Canon EF 50mm – f/1.4 USM Lens

It is a top quality lens. Great for portrait work, great with landscapes and excellent for urban candid shots it is a wonderful all-round lens. As an EF lens, it’s compatible with a full-frame camera and it’s on special offer at present [Oct 2012]. It is a very fast lens with excellent control of depth of field. This is definitely the most flexible and reasonably priced 50mm on the market for Canon cameras. It has top reviews all over the internet.

The very fast 50mm that comes for the Nikon range is equally versatile. A stunning lens in an affordable price range…

Nikon AF-S NIKKOR 50mm f/1.4G Lens

The Nikon F1.4 50mm is an excellent performer. It provides the fast, wide aperture, and exhibits has superb control of focus. The sharpness of this lens is outstanding and, as expected, the low-light performance nothing short of excellent. As another great all-rounder this lens is well reviewed and the price is reasonable. A great buy for Nikon owners. Not to be missed!

It is possible to get a very fast professional level Canon EF50mm. And what a wonderful piece of equipment it is….

Canon EF 50mm f/1.2L USM Lens

As one reviewer on Amazon says, this lens is “A very special piece of optics”. I agree. The control, depth of field and colour reproduction is excellent and the sharpness is brilliant. It is a professional lens and is premium priced, but you cannot beat its quality. There is nothing on the market to beat it in low light situations.

Tag Archives: Lenses

How to buy a new camera…

Buying is a big decision.

1. Work out what you need

2. Research

3. Try it out

4. The purchase

5. After purchasing

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Advantages and limitations of reverse rings

A flexible option

Buyers guide

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Lens hoods are all about control.

Lens Hoods – Why, When, and How to Use Them

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Searching for lenses can be a hard task.

Are you happy with the camera brand you own?

Next… Things to consider

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Twelve Simple tips for atmospheric candlelight shots

Candles put out a wonderful light…

Tripod…

Lighting…

Composition…

Positioning…

Movement…

Light intensity…

Shadows…

Additional lights…

Multiple candles…

Exposure…

Lenses…

White balance…

Being safe…

By Damon Guy (author and editor)

How to make a digital camera

A lot goes into making a digital camera.

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Are your pictures distorted? Considered a 50mm?

There is a very good reason why the 50mm is so popular.

The Canon EF 50mm – f/1.4 USM Lens

Nikon AF-S NIKKOR 50mm f/1.4G Lens

Canon EF 50mm f/1.2L USM Lens

By Damon Guy (author and editor)

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Articles on Close-Up and Macro Photography
by Katie McEnaney