Tag Archives: Aperture

Correct snow scenes using exposure compensation

Posted on January 16, 2013 by Damon (Editor) | 4 comments

Bright snow scenes create a problem with the auto-settings for exposure
Click image to view large
Green shoots through the snow By Netkonnexion on Flickr

Snow reveals a problem with auto-modes.

The brightness of a snow scene throws off exposure. Cameras in auto-modes work to a “normal” type of scene. When unusually bright scenes are encountered the camera cannot compensate. It leaves the scene grey. This is because the camera is calibrated to work with a mix of colours, light and darks that represent the sort of scene we encounter every day. It senses the luminance levels in the scene and sets exposure to the middle of the range between light and dark.

If the camera senses an unusually bright scene, like the snow scene above, it is unable to compensate properly. The brightness is outside its normal range of compensation. The camera responds by underexposing the shot, and the snow turns grey. The photograph above shows the scene as shot in the right hand panel. It is grey. The left hand panel shows the correct exposure after the underexposure is compensated by an exposure compensation of 1.66 stops (one and two thirds stops). (See: Definition: f-stops)

Photographers are more accurate than camera auto settings

In these bright (or dark situations) we can dial in exposure compensation to manually set the scene to be brighter. Using the exposure compensation we can increase the exposure to brighten the scene (+ settings) or even darken the scene (- settings) as appropriate. Then, we take another picture. By looking at the screen on the camera (“Chimping”) we can get the exposure correct by adjusting the exposure compensation to correctly whiten the scene.

This exposure compensation principle applies to the camera modes which are automatic or semi-automatic. In full auto, the camera calculates the exposure by balancing the ISO, shutter speed and aperture settings. However, in the semi-automatic modes the photographer changes one of the settings while the camera changes the other. In these modes, as in full-auto, the camera can still make the mistake of under-exposing (or over-exposing). Only the photographer can judge the exposure correctly.

When using aperture priority mode, you the photographer, makes the decision on the aperture size (f-stop setting). The camera calculates the appropriate shutter speed. If your camera cannot correctly interpret the scene, as with snow for example, then you will need to dial the exposure compensation to correct for the under-exposure. If you are using shutter priority, same again, the camera calculates the aperture (f-stop) setting. If the camera makes a wrong exposure decision, you can manually set the exposure compensation to over-ride the f-stop setting the camera would set.

Full manual mode, where the photographer sets all the settings directly, cannot use exposure compensation. In this mode the photographer makes all the decisions. The camera does not interfere with the exposure settings. In this case the photographer is free to make decisions to fix the exposure setting for all three factors of exposure – ISO, aperture and shutter speed. There can be no element of compensation for a failed camera decision. The photographer stands by their own settings and has full discretion to control the exposure as they wish. Deliberate over or under-exposure as well as accurate exposure are all possible. It is for this reason that I urge you to work in full manual where you can. You have far more control over the outcome of the shot. You also as a consequence have more artistic control over your image.

If you are working in RAW, the native data mode of image files in camera, it is possible to correct for camera exposure errors in post-processing. As I have argued elsewhere it is better to try and get all the settings correct in camera than to spend time processing afterwards for a number of reasons. So, no matter what file type you are using, try to set the shot up correctly from the start.

There you have it. Exposure compensation is a camera setting which is wholly dedicated to compensating for the mess-ups that the camera makes with its exposure calculations in auto or semi-auto modes. But when using auto-modes, and/or using *.jpg files, it is essential to be able to compensate for the cameras’ failings by using exposure compensation – otherwise your snow will be grey!

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By Damon Guy (author and Photokonnexion editor)

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’.

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

Tagged Aperture, Colour, exposure, Exposure Compensation, Exposure tips, F-Stop, How it works, ISO, Light, light and lighting, Lighting, Manual Control, Over-exposure, Overexposure, Shutter Speed, Under Exposure, Underexposure

What is the aperture range of a lens?

Posted on January 14, 2013 by Damon (Editor) | 1 comment

Photography phactoid number 004

We are used to working with apertures in the range of f16 (small aperture) down to say f3.5 (large aperture). These are commonly available on many consumer lenses. But what sort of aperture range is there for camera lenses?

Working ranges

Some consumer lenses have begun to show quite big ranges. The really popular Canon EF 70-200mm F/2.8 L IS II USM Lens is a great example. I just love that baby! Wow! Excellent definition and clarity and brilliant control of aberrations. An incredible lens – no wonder it is so popular. Well, that lens shows an upper aperture range to f45 on my version (I think the latest version is f32). Now that is a small aperture. That sort of small aperture is used only for very, very bright conditions and long exposures. I don’t think I have ever used such a small aperture.

Pro lenses and specialist lenses

The reasonably priced nifty fifty Canon EF 50mm – f/1.4 USM Lens is another really popular lens. For aperture size however, it is beaten by another Canon lens that is also a 50mm, the extraordinary Canon EF 50mm f/1.2L USM Lens. An amazing lens, the depth of field on mine is so controllable you can focus it so that a wedding ring, looking through the hole, is in focus from front to back. Nothing else in the picture is in focus. Wonderful, but essentially a pro-lens.

Specialist lenses go further. On the minimum aperture size the smallest I have heard of is an f64. I am not sure how practical that is for a lens in the modern digital context. Has anyone some knowledge of that sort of aperture? Please comment below.

In the making of the film in this post: “How good is your exposure?”, they used ex-NASA lenses that were rated at f0.7. Now that is a wide aperture. Talk about a fast lens! Again, probably not practical for most purposes on a modern still digital camera.

In effect then, for modern every-day photography, an aperture range of f2.8 to f32 is acceptable and reasonable. In the pro-lens domain some exceptional lenses might stretch to f1.2 at the wide end. For other lenses, the aperture may narrow as far as f45. Outside of those boundaries you are talking specialist applications and big, big money… barrow loads of it!

Some links about lenses after this…

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Posted in Camera control, Equipment

Tagged Aperture, Buying equipment, F-Stop, Lens, light and lighting, Mamimum aperture, Minimum aperture, Telephoto

Six things to consider for starting portraiture

Posted on January 11, 2013 by Damon (Editor) | 1 comment

• A dear friend •
Click image to view large
• A dear friend • By Netkonnexion on Flickr

Portraiture – the photographers passion.

Starting in portraiture can be daunting. We are going to look at the important things to consider when getting started with photographing portraits. There are also links to some of the portraiture resources available on Photokonnexion.

This post is aimed at introducing the portraiture resources found here…

Location

Choice of location can make or break a portrait. If you choose an outdoor location you have to consider a range of issues like the weather, how to pose your subject and exactly what you will be putting in the background. The problem with outdoor portraits is that there is potentially a huge number of composition decisions to make. Taking the shot can be quick. Deciding on what background is right can take a lot of effort and research.

If you are just starting out with portraits it might be better to focus on indoor shots. The environment and light is potentially simpler and the lighting more controllable. The essence of good indoor shots is to reduce the composition to a very simple background and lighting and to focus your attention on the subject. This gives you time to practice the posing, including expressions, and the lighting set up.

Lighting

Light and Lighting can be as simple or complicated as you make it. My advice is to make it as simple as possible. Most great portraits are done with one simple source light. Working with one light gives you the ability to try out shadow casts and hard light vs. soft light. Practice with simple ideas will help develop your skills more than working with confusing multiple light sources.

Background

This is not the same as the location (which is really more about the surroundings). When you are considering the background this could be as simple as a blanket suspended behind your subject. It could also be as complicated as a workbench that your subject works at. What you have to do is decide how to set it up, how to light it and how to place your subject in front of the background. You have to make a decision as to whether you are taking an environmental portrait (a large amount of the background is visible) or a simple portrait where the background is a minimalist setting, where you show very little of the environment and make it as simple as possible.

It is better to start simple. Placing your subject in front of a coloured, white or black background is a great way to get started. You will be able to focus on posing your subject and spend less time worrying about what to include or exclude in more complex backgrounds.

Posing

The best advice for starters is to work with your subject. He or she will be comfortable with certain poses. Get them to start the posing. Then, when you see how they like to pose, you can ask them to vary it to get your light right and get them showing their best side (the left side of the face is best).

Remember that that definition of the features of the face are defined by light and dark. Your poses should be aimed at using the shadow/light relationship to bring out your subjects facial and body features.

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Props

It is difficult to provide resources about props. There are as many props as there are things people can hold, wear, sit on, stand next or or play with. Yes, props can be pretty much anything you want. However, one thing is certain. Your portrait subject will suddenly come alive when they have a prop to distract them from the daunting prospect of the camera. Try to get them to work with a prop they are familiar with – get them to tell you about it or show you how they use it while you photograph. These things will make the comfortable and help them to relax. It will also show you the character of the person they are.

Camera settings and lenses

Some people will tell you this is the most important point. Others will say the posing, still others will focus on the other things above. How you set up your camera, and how you place your subject are very closely related. But there is a lot to learn here. Start simple so you can feel in control. If you are not yet working with manual controls then be comfortable with auto mode – try to become aware of the types of settings that seem to work.

Exposure settings are an important study. There are some exposure links in the link box below. However, you should be concentrating on natural colours. The type of light you use is important to your exposure. I have one piece of adice on this. Beginners at portraiture almost always over-light. Keep your lighting soft and your exposure moderate and not over-bright to start. If you are using flash, turn it down. Bright flash always washes out flesh colours and sometimes causes nasty highlights on the face. It is worth reading up about how you can ruin your shots with flash.

I hope that this article has provided you with some options for getting started in portraiture. Please spend some time going through the links on the portraiture resources page to get more detailed information.

Related articles/links:
Start Photokonnexion email subscription now!
Photokonnexion Photographic Glossary – Definitions and articles.
Light and Lighting – Resource pages on Photokonnexion
research
Hard light
Soft light
light sources
the left side of the face is best
Definition: Exposure
Definition: Aperture
Definition: f number
Definition: ISO
Definition: Shutter Speed

By Damon Guy (author and Photokonnexion editor)

Damon Guy (Netkonnexion)

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Posted in Camera control, Composition, How to..., Insights, Light and Lighting, Shooting specific subjects, Things to try, Tips Tutorials & Techniques

Tagged Aperture, Background, Camera, Composition, Depth of Field, Expression, F-Stop, hard light, How to Shoot, Light, light and lighting, Location, Manual Control, People Shots, Planning, Portaits, Portraiture, Posing, soft light, Street portraiture, Technology, Vocabulary

Getting started with a new lens

Posted on December 8, 2012 by Damon (Editor) | 2 comments

Got a new lens? Or perhaps you want to buy one?

• Got a new lens? •
Or, perhaps you are thinking of buying one?
How do you start using it?

Getting a new lens?

The most important items that photographers own are lenses. It is best to approach a new lens with a method in mind. That way you will get more out of the lens. In this article we are going to look at learning about your new lens.

A new friend

You are probably going to spend a lot of time with your new lens. It will become like a friend to you. Treat it well, and with respect, it will last a lifetime. Abuse it and you will lose it.

To get to know your new lens you need to make its acquaintance. Here are some suggestions as to how you should get to know it.

Read the manual: You would be surprised how many people pop the lens on and disappear over the horizon. Then they get into trouble and wonder what to do. My dad used to say “If all else fails, read the manual!”. Well, I prefer to do it the other way around. Read it first. Stop, think, and read. I find that a quick skim is usually enough. Lens manuals are usually pretty thin. Then, as I slip out the door to try my new lens I pop the manual in my bag so it’s on hand in case I need to solve a problem.

Make sure you find out where the various controls are located and what they do. It would be tragic to miss a good shot because you did not know which vibration compensation mode to select for example!

Shoot off about ten shots: You probably won’t achieve much, but it will make you feel better. I always feel better once I have used a new lens, then I can concentrate on learning it properly.

Minimum focusing distance: Get in close to a test subject. Take a shot. Take a step back and take another. Repeat this a few times until you are well into the normal operational zone for the lens. Do the same for a few other angles on your subject. Now go and download the pictures. How does the new lens cope with close ups? Does it do a good job or does it need a little separation from the subject before it comes into its own?

Testing its zoom ability: Zoom lenses make it too easy to shift up and down focal lengths at will. It’s great for getting the view you want. But it is terrible for understanding how the new lens performs at each focal length. Try setting the focal length in one place then leaving it fixed in position. Don’t shift up and down when taking shots. Walk back and forth so that you get a feel for the lens at one fixed focal length. After taking say, twenty shots, at one focal length, try a slightly longer one. Take another set of shots at that one, then move up the scale again. Try to build up a picture of how your lens behaves at each focal length. The pictures will enable you to see the photographic quality and lens effect at each point in the zoom range. This exercise shows you what sort of perspectives the new lens will give you.

Aperture effects: Change of aperture has a big impact on a picture. In particular the depth of field is affected. Get a feel for the Depth of Field expressed by the new lens. Start by taking a few pictures with the aperture open wide. Then, work through the different F-stops (f4, f5.8, f8, f11, f16 etc) taking pictures each time to get a feel for the different depths of field this will give you.

The depth of field is affected by three factors…

Aperture.
Distance-from-subject (or “focus distance”).
Focal length.

You should test the impact of your aperture at a range of “Distance-from-subject” points. You should also do so at various focal lengths. Then you will have a good idea of the way that depth of field behaves with all aspects of the lens.

One other point on depth of field. Check your sensor size. A small sensor will give you sharpness right through the picture at larger aperture sizes than a large-sensor camera. Large format cameras will need much smaller aperture sizes to get the same right-through sharpness. If you are swapping your new lens between cameras this will have an impact. I use several of my lenses on a small format Canon and a full frame Canon. Be aware they will behave in a different way on each camera.

Testing the telephoto capability: If your lens has telephoto components then you should look to doing a few longer distance shots or landscapes. Repeat the telephoto shots at different apertures and focal lengths. You are looking for how the wide-angle shots compare to the long focal length shots when the field of view is narrow. When you examine these on the computer check for any distortions and check to see how the background comes out.

Auto-focus: It is difficult to test the auto-focus control without setting up instruments to calibrate it. Most of us don’t have those. So what I do is focus along things. For example, I put my test subject next to a wall so I have to look down the wall to shoot it. Try the auto-focus out on each of the focus points. If they focus accurately on the subject and are not confused or affected by the wall then what is the quality of the result in the final pictures. Do it first on one side then the other so all the focus points get a go at being next to the wall.

Another test for the auto-focus is to try and focus on something tiny like a bird at twilight. Auto-focus finds low contrast light situations difficult. So test them out. When will it hunt rather than focus? At what sort of light intensities will hunting begin? Also, try out any auto focus modes to ensure you know, for example, how your autofocus will behave when panning compared to a still subject.

Beyond the start tests

Getting to know your new lens takes more time than a few tests. Honest appraisal requires continuous use in lots of different situations. When I buy a new lens I shoot with it every day – sometimes for months. This really gives you the feel for what it can do. And, you will be learning to rely on it. Once you can rely on it, that will be when your best pictures will come – because you will be using it instinctively.

If you are looking for a new lens, here’s how to do it… Amazon’s lens finder . The lens finder is a great tool. Use the selection boxes to set up the sort of lens you need and it will return suggestions for you to choose from. It is a great way to refine the ideas you have to identify the perfect lens for your needs.

By Damon Guy (author and Photokonnexion editor)

Damon Guy (Netkonnexion)

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

Tagged Aperture, Auto-focus, Depth of Field, F-Stop, Panning, Telephoto, Testing, Zoom

How to take a test shot

Posted on December 6, 2012 by Damon (Editor) | 5 comments

• Cornish Dusk – Test shot •
Underexposed, over bright at the top, over dark in the foreground, poor focus… the test shows a need to do some work…

Click image to view large final version with corrections
• Cornish dusk • By Netkonnexion on Flickr

Ever taken a shot without thinking?

…And regretted it later. We all have. Yet it’s simple to run through a simple check list and do a few test shots. In this article we look at setting up that procedure.

What needs doing?

I will assume you are in the right place and have your camera out of the bag, ready to go. The first thing to do is work the scene and try to see what sort of shots will serve your subject best. Find which angle looks the best through the viewfinder. Your subject is the critical item to focus on, so walk all around to get a full range of ideas of how best to frame it. Then, when you have composed and decided on your shot, you need to start considering your settings.

Approaching the settings

You will be working with the idea of ‘chimping’ now. If you don’t know what that is then read this first.

Here is the list of adjustments you need to make…

The first thing to consider is focus. If that is wrong you are in trouble from the start. So make sure that you can get a good focus.
White balance – It helps to have your white balance correct even if shooting raw.
ISO – Set your ISO for the light levels you are experiencing as your ambient light. If you don’t know about setting the ISO correctly then read ISO: get control of your sensitive camera!
Next select the mode you want to work in. You should select for…
- Shutter speed if you want to adjust exposure length.
- Aperture if the critical issue is depth of field (DoF).
- Full manual if you want to work with both, or have more control overall.

Next you need to decide if you are going to work with the DoF or the shutter speed as your main consideration…

If working with DoF set the aperture you want to work with now. DoF is one of the primary considerations when composing a shot. Where you want your image to be sharp and where you want it to be unsharp. So play around with aperture for a while. Take a shot, chimp it, adjust the aperture, take another and so on. Once your DoF is correct.
If you are working with shutter speed as your main control then you need to adjust this instead of your DoF first. Again, shutter speed is a primary consideration in your shot. A long exposure will get more blur if there is any movement in the field of view. The shorter the shutter speed the more the shot will appear frozen, movement blur will tend to be eliminated.

As you set up each setting you can take a test shot of your subject. Then, by doing a bit of chimping, you can work out if you have your setting correct. You may need to take one, two, or maybe three shots to get your setting correct.

Once you get experienced working with these settings you will do them in seconds. Two things helps to achieve that. First, you will become familiar with which settings are appropriate for the conditions you are working with. Secondly you will be more sensitive to what you need to think about as you set up your shot. In particular the type of light is the main consideration. That in turn leads you to get a feel for what settings you need.

Some issues to note…

If you are working with landscapes you will need to do a bit of ranging to get your focus right. When working with longer distances the DoF and the focus vary. As your focus point gets further away from you the distant edge of acceptable sharpness rapidly goes into the distance. It is not always easy to determine DoF control precisely at long distances. There are methods but I will discuss them in another article. Just remember that from f11 you will effectively get sharpness right through the shot.

If you are working with an on-board (pop-up flash) then the camera will sync automatically to your camera settings. When working with off-camera flash, adjust that at the same time as the shutter speed. Normally your camera will have a ‘sync-speed’ to work with your flash – it maybe 200ths sec or 250ths sec depending on the camera. So you will need to consider that too.

Working with a tripod? Make sure you turn off all electronic motors in your camera to prevent tripod vibrations (Vibration compensation, auto-focus). This means you will have to manually focus the lens.

By Damon Guy (author and Photokonnexion editor)

Damon Guy (Netkonnexion)

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Posted in Background Info., Camera control, Composition, Equipment, How to..., Starters School, Tips Tutorials & Techniques

Tagged Ambiant light, Aperture, Depth of Field, exposure, F number, Full manual, ISO, Shutter Speed, White balance, Work the scene

Don’t get lucky, get great photographs

Posted on November 21, 2012 by Damon (Editor) | 2 comments

Random or ‘splatter’ tactics when shooting are not going to make you lucky.

Ever taken a few more shots, just for luck?

I think we all have if we are honest. We know that approach is really about random shooting and not about getting good shots. Here are some ways to help you get over blasting off shots just for luck.

The tell-tail signs

You always come back from a shoot with hundreds of shots. A high percentage of them are throw-aways. It’s difficult to know what to point your camera at when shooting. Your shots appear to be random. It is difficult to know what settings to use… feel uncertain while out shooting. You suffer photographic stress. Simple, you need to get organised about your shoots.

Here’s a plan…

To move forward, you need work on a plan to get past the randomness and work toward taking consistent shots.

Increase your confidence: Low hit-rates are pretty demoralising. You need to find ways to increase the successes. Go back to basics. BUT, you need to do it in a way that will help you move on. When in a new situation set your camera to auto-settings. Take a few test shots. Note what settings your camera uses. Once you have the measure of things, swap back to the settings that give you creative control. You will be more confident – you know what settings to return to if your settings don’t work out on a shot.

Learn about light: Light is a very fickle entity. Just when you want great light it’s not there. Other times it’s there but you are not sure how to use it to best effect. Well, here are two pieces of advice. First, shoot late or early – long shadows help define your subject and with better colours in the light. Second, learn the difference between hard light and soft light. Hard, harsh light will tend to be less forgiving and less aesthetically pleasing. Once you know these things, you are on the path to improvement. Check over our other Light and Lighting resources on light to continue your improvement.

Learn about settings on your camera and exposure: The most important ideas in photography rest on getting a good exposure. Start with simple shots, simple light. Learn the settings on your camera, in particular about ISO, Aperture and Shutter speed. Together these form a golden triangle for photographers. Read your manual so you know how to control them. Then read up on exposure. Here are a range of links to get you started on exposure…
Definition: Exposure
Definition: Aperture
Definition: f number
Definition: ISO
Definition: Shutter Speed

Portraiture: Friends or family expect you to do it right and you are under pressure. To make the situation more controlled ask a supportive member of your family, or a good friend, to try out a few poses. There are quite a few posing guides in books. Here are a list of books on Amazon that I have found particularly useful to get you started…

Start simple and work on a set of poses to commit to memory. Memorise about five or six poses for a male and the same for a female. These will let you get a session going. After that you rely on your intuition while working with your subject – work out what will suit them. Watchwords here are: Keep it simple; keep it well lit. To get under way read this article to get you thinking about portraiture… Simple positions for classic portrait work.

Finger off the trigger: I know it is easy to punch away at that button and hope something comes out. Take it from me you need to do just the opposite. Stop. Consider. Compose. Frame. Fire. Make sure you get into the habit of thinking each shot through before you push the button. Visualise your shots so you have a good idea for your picture before you even raise the camera to your eye. Pre-visualisation in most pursuits is how you can focus your energy and skill. It is no different in photography. Try improving your stance too. Most people improve their shots a huge amount if they take time to get the stance right. I have a system I teach my students. Read about it in: Simple tips for a good stance.

Composition: There are simple things you can do to improve immediately. Here are three posts on the fundamentals:

Follow up with more composition reading: Composition – resource pages on Photokonnexion.

Planning your shoot and being productive: It is best to do a bit of planning. Get some ideas going before you start shooting. Read about planning a shoot without the scatter-gun approach: Shoot Less – Keep More.

Putting it all together…

That is the fundamental plan. To do it you need to work on one bit at a time. Practice the simple principles above, work with the camera, make sure you look at good photographs daily. Oh! And, one further thing… you are not alone. We all went through this stage. With practice you will soon be making great images regularly.

By Damon Guy (author and Photokonnexion editor)

Damon Guy (Netkonnexion)

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

Tagged Aperture, Composition, Getting started, Horizon, ISO, Rule of thirds, Shutter Speed, Stance

New verses the old – photography in flux

Posted on November 18, 2012 by Damon (Editor) | 4 comments

The photographs of the past have suffered from lack of contrast depth, but they are still precious.

Photographs of the past are still precious. Old style photography has given way to the great technology of today. We should want more for the future of photography. However, we should not forget the roots of our skills.

Photography has changed a lot in a short time.

As a result there has been a global image revolution. Photography is the latest form of communication that has moved into the public realm. Sometimes we need to be careful about what we have lost as well as what we have gained.

Contrast depth

For many years I waited for digital to become a reality. I have been doing computerised image editing since 1988 and photography for much longer. Waiting for digital camera technology became frustrating. Today, digital is here to stay, but it still suffers from its problems. Readers of this blog will know that I am concerned about the poor contrast depth in digital cameras. Digital image sensors are getting better. Nevertheless the eye is still better than the camera for seeing into the depth of a scene.

Today manufacturers want to keep selling on the basis of real improvements in the technology. They sell the latest upgrades on the basis of technical steps forward. In my opinion most of the technology upgrades in the last two years have been about tweaks, not real technology leaps. What we need the manufacturers to do is tackle the real problems. More realistic photographs will have to come from getting pictures that more closely resemble what the eye sees. for that reason contrast depth is something that will have to improve. It is one of those problems never solved by film, it is still weak in digital images.

Great new technology

We have seen some wonderful leaps forward. Night-time photography has seen the biggest improvement over film. The digital sensor is a great improvement over early photographic night work. The ability to produce images using incredibly low levels of light is a real leap forward. Its a pity that most people don’t do more night photography.

Another great leap forward in modern photography equipment is auto-focus. While I personally enjoy using manual focus it is not very often that I have to resort to doing so. In the main macro photography is best done with auto-focus. When you are working with a very shallow depth of field you should be careful to ensure that what you want in as the subject is where the focus is centred.

Auto-focus has its problems. On a tripod the action of the auto-focus motor actually creates movement and vibration. The vibrations reverberate up and down the tripod and cause movement-softness while the shutter is open. So beware of this issue and work with manual focus on a tripod.

In general auto-focus, for me, beats manual focus for most things. It is with the thorny issue of poor contrast that forces me to use manual focus. Sensors are so poor at reading contrast in a scene (which the eye can see easily) they often hunt for a focus match in twilight. Of course that is prime shooting time. So the issue is something of a problem.

Often forgotten from past photographic experience is the single focus point in old film SLRs. The big round circle where the focus point lay has now been replaced by a range of pinpoints where we can arrange the focus to be placed. This has been a revelation for the improvement of composition, especially for amateur photographers. Being able to focus off centre and control the focus to meet the need of the shot in that area is excellent. Many digital photographers without the experience of the old SLRs may not recognise this issue, so just rejoice in the AF points array.

What have we lost?

I am for learning and changing with the technology if it improves the shot, but definitely go for the old school where digital cannot cope. Are there places where we can still be better off using the old skills?

Once upon a time photographers were limited by their equipment so they could control only three things. The depth of field, the length of exposure and the sensitivity of their film. Keen photographers know these today as Aperture, Shutter Speed and ISO. They are the key components of exposure. Despite those being so important in the past, today the vast majority of people taking pictures have probably never heard of them. If they have they do not know what they mean. I am talking here of your average happy snapper. They will probably never read this blog or any like it. They just get pictures they like from a camera that is pretty automatic. People are right to be happy with that if that is as far as they want to go.

For me, the expression of my photography is in the power of the images I produce. If I enrich my viewer through an image, then I have succeeded in communicating. I personally don’t feel that using the automatic functions of a modern camera can help me much. I believe they are set up to please the person who expects a picture to be representative. I want my images to go beyond representative. I want them to be individual, the result of what I see, an expression of the way I see the world.

To meet my personal aspirations for an image I want to have control over the elements of exposure. That means falling back on those old settings… Aperture, ISO and Shutter speed. If I succeed in mastering these essentials of exposure then I can make my image fit the vision I have for it. I don’t want to ‘snap’ and get just a picture. I want to breath life into an image so it tells a story. Only the old skills can really do that.

Tag Archives: Aperture

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