Category Archives: Tips Tutorials & Techniques

A teaching or tips and tricks article.

Getting close with your camera

Get Closer

• Get Closer •
Images from the video.

There are few better ways to show your subject…

If getting close to your subject was easy then more photography learners would do it! Strangely very few do get close in to the shot. It is a great way to invigorate your shots and you can find some amazing subjects in the most obscure environments.

Get Closer! Exploring Photography with Mark Wallace

In this simple, explanatory, video Mark Wallace shows us how to get up close and personal with some seemingly bland subjects. When you get down to small-size photography you quickly find a new world that is both unexpected and exciting. Some really ugly subjects come out with some surprisingly beautiful shots. You just need to cultivate the right way of seeing. That is what getting close and thinking about your composition is all about.
Adorama Photography TV  External link - opens new tab/page

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

What good is a lens hood?

Five Types Of Lens Hood

• Five Types Of Lens Hood •
Attribution: Photo of five lens hoods for a mix of lenses; March 2013; Author: Geni; Permission: GFDL CC-BY-SA

Using a lens hood is important.

It is not always clear why we need a lens hood. Why do we need them and what are they for? Actually they are pretty important and can help prevent some nasty visual artefacts.

What is going on in the lens

Normally photographic lenses perform really well. They receive light reflected from your subject as parallel beams. These are focused by the lens into an image formed on the digital image sensor.

When light hits the lens from the side the situation is slightly different. Some of the light is refracted through the lens correctly. Some of the light however, is reflected off the surface and lost. But there is a percentage of light that goes astray in the lens. It can be bounced around in the lens – reflecting around from the surfaces of different lens elements internally. If it does so, on each reflection some of the light will get through to the sensor. Each time that happens there will be a slightly side-shifted ghost image. All sorts of light aberrations can be created by this internal reflection in the lens. It is these that cause the artefacts you see in the image.

Light is also scattered by inconsistencies in the lens glass. Chemical, and structural variations in the glass can impact on the way the light travels through the lens. This scatter contributes to the problem. These artefacts, and often an associated haze, are called lens flare and can be worse the further to the side that the light enters the lens. Flare and haze will not only form a distraction but also act to wash out the colours in your shot and reduce contrasts. These will make your picture look flat and lifeless. Unintended flare can simply kill the effectiveness of the shot.

A sharp angle of side-light can therefore cause all sorts of visual image ghosts which are not there in the scene. You can see a range of different types of flare in this Google image search…
Google images: Example lens flare images  External link - opens new tab/page

In general, poor quality glass and multiple elements in the photographic lens will tend to create more flare. Of course better lenses (read: “more expensive”) can help to reduce the problem. Higher quality lenses will incorporate a range of ways to reduce the problem. These include optimised lens-element design, surface coatings and non-reflective surfaces/parts internally as well as high quality glass. Despite that no lens is immune to flare.

What does a lens hood do?

The most common reason we use a lens hood is to reduce the incidence of a bright light source hitting the lens from the side. This will act to reduce the chance that the lens will suffer from the flare problem. In other words, the hood will help to keep the light coming in from the front of the lens in parallel rays.

It is simple really. Put up a wall at the side and the side light is cut out. However, it is not so simple to design a lens hood that will do that without obstructing the lens. The field of view of the lens cannot be allowed to catch the hood sides. If it does it will leave its mark on the image. So all sorts of hood shapes and sizes are required to match the visual characteristics of the lens. Lens hoods are quirky shapes because they have been designed to optimally reduce the side incidence of light and not interfere with the field of view.

Common design elements include “petal” shaped edges. These allow the corners of the sensor a wide field of view without interference in the corners from the hood. The long petal shape must be along the long side of the sensor (landscape view). If you put it on the other way the side of the picture will show the edge of the hood and light will also get in from the top (or bottom) because the cover is insufficient there.

There are conical shapes and cylindrical shapes too. When these don’t have petals they are designed to accommodate the full field of view of the lens from any angle. You may find that these types of hoods are common on lenses where the front of the lens extends when changing focal length. As the extension of the lens will change the field of view the hood shape must be wide enough for the widest angle of view. But it cannot have petals because they would rotate with the lens and at some focal lengths would interfere in the picture.

Lens hoods do more…

As you can see you should buy a hood for your lens that has specially been designed for it. If you don’t, you risk the hood intruding in your shot, or not providing sufficient protection against flare.

Hoods can help in other ways too. When you have a lens hood on the lens it acts as a primary protection for your vulnerable front element. Once, when I was panning to follow a bird with a heavy/expensive pro-zoom lens I whacked the lens hood off the glass of my car window. I am convinced I would have broken the window and damaged the front lens element if I had not had a lens hood on. It harmlessly bounced. Phew! I use hoods whenever I can these days.

Lens hoods also help to reduce over exposure generally from incident reflected light on bright days. There may be no direct bright light source shining into your lens. But it helps to reduce the high levels of brightness from the side regardless. That helps to reduce the overall high light levels and especially the contrast.

Lens hoods are worth the effort

Lots of learner photographers forget the lens hood. Yet it can have quite a significant impact. Even if it is not significant, when you are trying to get a sharp image and reduce the colour wash-out in bright light every little detail counts. Great images come from the attention to detail.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Visual toolbox for photographers

Sharpen up your creative photography…

It’s easy when starting photography to over emphasis the importance of gear. In fact it’s ‘photographers eye’ that really makes the difference. Your vision and insight into a scene are critical to producing a wonderful image.

Sage advice from a world master

The Visual Tool Box by David duChemin is all about the skills of composition. He goes into depth around the background ideas which help you look at a scene. The ultimate success in photography is to make your image a pleasure to view. Aesthetics rule – it’s as simple as that. This book is dedicated to teaching you the tools you need to develop the ‘eye’.

David duChemin says,

These are the lessons I wish I’d learned when I was starting out.
The Visual Tool Box by David duChemin

This is my kind of book. He writes superbly, in simple, readable form. His examples are excellent and the pictures are just amazing. But most of all the book is organised for learners to extend their knowledge in easy, well structured steps. This book is all about putting new tools in your photographic tool box and it achieves that with an ease that any beginner will find a joy.

Composition

The book is packed with examples of the sort of compositional ideas that really work – for anyone. Just look at some of the topics covered…

  • Manual
  • Optimize Your Exposures
  • Master the Triangle
  • Slower Shutter Speed
  • Learn to Pan
  • Use Intentional Camera Movement
  • Use Wide Lenses to Create a Sense of Inclusion
  • Learn to Isolate
  • Use Tighter Apertures to Deepen Focus
  • Use Bokeh to Abstract
  • Consider Your Colour Palette
  • Lines: Use Diagonals to Create Energy
  • Lines: Patterns, Lead my Eye, Horizons
  • See the Direction of Light
  • Light: Front Light, Side Light, and Back Light
  • Quality of Light: Further Consideration
  • White Balance for Mood
  • Light: Reflections, Shadow, Silhouettes, Lens Flare
  • People
  • Experiment with Balance and Tension
  • Use Your Negative Space
  • Juxtapositions: Find Conceptual Contrasts
  • Orientation of Frame
  • Choose Your Aspect Ratio
  • Use Scale
  • Simplify
  • Shoot from the Heart
  • Listen to Other Voices (Very Carefully)

And there is plenty more content to complement and extends these ideas. What’s not shown in a list is the excellent and sage advice throughout the book. I will let David duChemin have the last word…

Pace your-self. Anyone can master a camera; that just comes with time. It’s the other stuff — learning to think like a photographer — that takes so much work and allows this craft to become the means by which you create art.
The Visual Tool Box by David duChemin

And it is thinking like a photographer that you will quickly learn from reading this book.

How to buy this great book

This book was originally published as an ebook. However, it is no longer available in that form. The book has moved into the real world. It will be available on Amazon as a Paperback From 31 Mar 2015.
The Visual Toolbox: 60 Lessons for Stronger Photographs (Voices That Matter)You can per-order the book from Amazon.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

10 quick hacks that photographers need to know…

Photogs life hacks

• Photogs life hacks •
There are some things which seem so simple once you have been shown how to do them… here are some free hacks for photographers.
Image taken from the video.

Simple and cheap ways to do things in photography…

In every situation there are lots of ways you can cut corners without affecting the outcome. Here are ten “life hacks” that give you something extra in your photography.

10 Photography Life Hacks You Need To Know

Uploaded by DigitalRevTV  External link - opens new tab/page

Of course there are lots of other life hacks that photogs need to know… Do you have a favourite hack? Let us know what it is in the comments so we can all gain something from your idea.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Circular Polarising filters

Polarising filter range

• Polarising filter Range •
The polarising filter is one of the more useful filters in the kit bag.

The polarising filter – one of the more useful filters

Strong Sun, low in the sky, can cause problems. Direct rays of light into the camera, specular highlights and washed out colours create photographic distractions in the image. Here is how to reduce the problem.

Watch for highlights – gain some benefits

Bright spots, difficult reflections and big highlights are a very strong draw for the eye in an image. Try to check around the frame when composing. Find ways to reduce these strong areas in the shot.

If you cannot reduce the reflections, highlights or washed out colours from bright light you should consider using a polarising filter. They are relatively inexpensive and have an incredible impact on the shot. If you use them right polarising filters can…

  • Reduce strong reflections: this gives a deeper, richer appearance to water, allows you to see into water and through glass and brings out strong images reflected in shiny surfaces like mountains etc.
  • Reduces the “washed out” effect of bright light: Colours that are whitened or lose their intensity in bright light can be made richer and more saturated. Skies and water in particular will get more depth of colour.
  • Reduces the intensity of bright light: Polarising filters reduce the total light entering the camera because they reflect/absorb some of the light. This helps bring down the overall levels of light.
Fitting polarising filters

Most polarisers are bought as circular screw tread attachments that screw into the front of your photographic lens. The filter part is mounted in a ring that freely rotates on top of the screw thread. It can turn without tightening or loosening the mount when it rotates. Screw the filter directly to the front filter-screw thread on the lens.

A polarising filter come in multi-filter kits. These can be fitted to the front of your lens. A frame is fitted onto the lens filter screw. Various filters can be slotted into the frame, including polarising filters.

Gentle rotation

To gain a benefit from your polarising filter you need to adjust it to suit the light. You can twist the filter part in the mounting in either direction The rotation of 90° is enough to see the full effect. Twist it gently until the full or desired impact is seen in your viewfinder. You should see slight darkening, increase in colour saturation and reduced highlights, particularly from shiny surfaces.

With a little practice you can easily see the full benefit of the filter. However, some highlights are still strong enough to create white spots and distractions. So still be careful when composing.

As a guide, if your sunglasses are polarised you can look at a scene quickly and see an immediate effect. If they help you to see more colours and reduce reflection and highlight impact then get your polarising filter out and screw it on the lens. Sunglasses help you to make the decision to get out the filter, but obviously they do not have a photographic impact. They will be of a different strength to your filter too. So you will still need to compose and adjust the filter.

How they work

Polarising filters act to filter the incoming light. They allow some specifically aligned light waves to pass through and not others. In so doing the filter effect does two things. First, they reflect or absorb some of the light where the waves are not aligned. Secondly, they allow the aligned light through. This light reduction and alignment is enough to ensure the glare, brightness and strong highlights are weakened.

For a more informed look at the detail of polarisation filters you can get more information here.

Buy now!

If you don’t have a polarising filter for your favourite lens then buy one now. You’ll see an amazing difference.

Buy the correct filter size. Check the thread size of your lens – normally found at the front edge of your lens. A mid-range size would be 58mm. My small lens is 52mm and my largest 88mm. Look for that size on the filter you order.

Have a look at the what’s available…
Circular polarising filters – buy one now!  External link - opens new tab/page.

Recommendation!
Hoya 58mm Circular Polarizing Filter
These are great value polarising filters. Check out the one seen here then search for one the size of your lens.

 

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Can you write? Of course you can!
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Shooting waterfalls and moving water… great for Autumn

Moving water shots

Moving water shots are some of the most romantic landscape shots. They are really easy and fun to do. (Image from the video).

Wow! September already…

With Autumn around the corner I am thinking about great projects for the when the leaves start to turn. Here’s a great idea for you to follow up to make the best of the Autumn colours.

Why Autumn

The summer is great for doing wide open landscapes. Especially around the Golden Hour or at dawn when the light has those wonderful reds, golden or yellow colours.

Autumn is better for doing great shots under the forest canopy and those great shadowy dell shots. The Sun’s lower in the sky and there is reduced contrast with fewer distracting bright spots peeping through the trees from the sky. The light is great and the lower aspect is better for creating contrasts in moving and falling water. On top of that the autumnal colours are exciting. More to the point the range of Autumnal colours create depth and contrast. That is something that uniform green of the summer months tends to reduce.

So think about doing your waterfall and forest shots in the next two months or for your local Autumn. You will really benefit from greater contrasts, colours and light angles.

How to blur water for a dreamy effect

To get you started on great water shots here is an introductory video on the way to slightly blur water in your shots. It helps to make the water take on a more motion-filled ethereal dreaminess.
Uploaded by: Gordon Laing (28 Dec 2007)

A couple of extra tips

Sometimes, especially when working under trees with those hidden waterfalls you will get large contrasts with the surrounding environment. Such contrasts often cause highlights that are distracting. Here are a couple of extra tips to help get past this distraction…

  • If you find you are doing a shadowy moving water shot in the trees but the brightness is still too high try using a polariser filter. This will help to increase the contrasts and overall reduce the incoming light. Polarisers reduce the light by up to about two stops which really helps when working with water. It will also reduce sharp reflections which can be confusing in moving water – especially under trees.
  • If you need to reduce the light even more you can try a Neutral Density filter (ND filter) This type of filter is like sunglasses for your camera. You can find out more here… and here is a range of resources on filters.

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By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.

Can you write? Of course you can!
Write for Photokonnexion...

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Getting the right shutter speed

New Canon Powershot G1X Digital Point-and-Shoot With SLR control

The Canon Powershot G1X Digital Point-and-Shoot With SLR control. Billed by Canon as the “Highest Image Quality Powershot Digital Camera”

Getting sharpness right…

It’s not just about the right camera. It is also about technique and knowing the best way to set up your shot. Getting the right shutter speed takes a little knowledge when you are starting from scratch. Here are some pointers to help you make choices about shutter speed.

Why set your own shutter speed?

Getting full control of your camera is an important aspect of gaining creative control over the outcome of your photographs. Despite what the manufacturers say, you can only achieve so much by messing around with their ‘modes’. Capturing pictures using camera modes other than the basic photographic modes (ISO, aperture, shutter speed) is going to give you a programmed result. In other words ‘modes’ are what some boffin back at the lab has formulated as ‘about right’ for the average photos people take. But, you are not average are you? You want to produce the shot your way. So gaining control over your shutter speed is important.

The long and short of it

Shutter speed gives us creative control in a number of ways. A very shallow depth of field will give great bokeh in the background. But it is difficult to create on a bright day unless you have a fast shutter speed (to reduce the incoming light). Bokeh is created by a wide aperture. A wide aperture lets a lot of light in. If the shutter is open too long the photograph will be overexposed. So a shorter shutter speed is required.

Shutter speed also controls movement blur. If you are taking a photo of a moving object a relatively long shutter speed will create greater blur (example 1/15th sec). A very short shutter speed will tend to freeze the action preventing blur (example 1/500th second).

Sharpness counts

Starting to control your shutter speed is often about finding the best shutter speed that you can handle for a sharp result. So what is the lowest hand held shutter speed you can apply?

Actually, in practical terms, the slowest hand-held shutter speed is reliant on a number of factors…

  • Physical fitness: If you are not strong enough for using your camera weight it is more difficult to hold it steady. Regular practice with your camera will help you build muscles to steady your hand and therefore shoot at lower shutter speeds.
  • Focal length: Longer focal lengths tend to need higher shutter speeds. As you shoot further into the distance the angle of movement seen at the point of focus is more exaggerated.
  • Optical stabilisation: If your lens is optically stabilised this means it will compensate for the tiny movements of your hands. This compensation will help you to reduce hand shake and therefore give you potentially longer shutter speeds.
  • The picture you want to create: Obviously, the picture you want to produce is dependent on how much blur you want in it. So if you want no blur (for the sharpest result) you want a fast shutter speed.
  • The amount of light: Brighter light allows you to have a shorter shutter speed. Knowing when to use a tripod instead of hand-held is the crucial issue here. Most people simply give up if a low shutter speed demands a tripod… For the accomplished photographer many of the best shots are found in low light situations. So shutter speed control is of crucial importance – as important as using a tripod at the right time.
Rule of thumb

Those factors aside here is a rule of thumb. In practice most people do not shoot with a steady enough hand to produce sharp hand-held shots below 1/60th second. Of course, optical stabilisation on the lens will help you get longer shutter speeds. But even then a practical limit of 1/30th of a second is about as low as you can go and be sharp. That is not a shutter speed I would suggest you work with regularly when hand-held.

Best guide to shutter speed

The shutter speed you need to work to is often related to the focal length you are working with. There is a reasonable rule that can help you get a good guide to picking the best shutter speed for your focal length. It is said that the longest shutter speed you can use hand-held for a lens or zoom setting is:

1 divided by the Focal length times 1.5

So, if your lens is a normal lens at 50mm it will have an effective lowest hand-held shutter speed of 1/(50 x 1.5) or 1/75. The nearest (rounded up) setting on your camera is likely to be 1/80th second.

If you are working at 200mm then, 1/(200 x 1.5) or 1/300th of a second will be your lowest working shutter speed. The nearest setting on most cameras will be 1/320th second.

These apply if you are not using optical stabilisation. You can of course work one or maybe two stops faster if you are using stabilisation. You will need to check that figure against your lens specification. Most optical stabilisation systems will give you between one and two stops extra control.

Shutter speed standard

shutter speed is standardized on a 2:1 scale. When you open the aperture on single aperture stop and at the same time reduce shutter speed by a single step the result will be an identical exposure. This table shows the shutter stop standard steps…

  • 1/2000 sec
  • 1/1000 sec
  • 1/500 sec
  • 1/250 sec
  • 1/125 sec
  • 1/60 sec
  • 1/30 sec
  • 1/15 sec
  • 1/8 sec
  • 1/4 sec
  • 1/2 sec
  • 1 sec

The scale extends up above these figures to very high shutter speeds. Up to date DSLRs may allow have shutter speeds of less than 1/5000ths of a second. Very fast indeed. While at the other end cameras will allow long shutter speeds of up to 30 seconds in manual modes (M mode; or Manual) and longer in “bulb mode”.

Each of the steps in the table above will be equal to a change of one stop of light up or down. A change of one stop of light will double the amount of light entering the camera.

As one stop of light is quite a large amount, cameras have become more sophisticated. Most are now marked off with thirds of a stop for ISO, aperture and shutter speed. So your calculations can be quite precise and lie between these values in the table above.

You can read more about stops of light here: Definition: f number; f stop; Stop

Doing it right

Gaining control over your camera is of importance if you want to become a creative master of its full potential. Learning about shutter speed and other aspects of exposure are critical to learning that control. You can have great fun creating bokeh and controlling movement blur. At the same time you can remove that other type of blur – ugly hand-held shake-blur.

Please leave questions and issues for us to discuss if you want to take this further…

By Damon Guy (author and Photokonnexion editor)

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.