Night shots of carnival rides like this are very easy to capture. You will need to mount your camera on a tripod. Set your  DSLR to aperture priority mode and set the f-stop to f/22. Find a good vantage point, compose your image and carefully press the shutter button or use a remote. These images took an exposure time of between 6 and 9 seconds. Someone actually asked me if the rides really go that fast. I hope they were trying to be cute…

Technorati Tags: photo, photgraphy, DLSR, digital camera, carnival, lights, night shots, long exposure, aperture priority

The Sunny 16 Rule:

• In bright sunlight, set the lens opening to f/16 and the shutter speed to the reciprocal of the ISO.

With a digital camera, you may never need to use the manual mode; however, if you really want to take control of your DLSR, manual mode is the best way to take that control. To use the “sunny 16 rule”, you’ll need a sunny day. The following is a table that should give you a better idea of how ISO, f-stop, and shutter speed all work in conjunction for a good exposure:

Another way to move toward using your camera in manual mode is to note settings of photos that you are taking and the conditions in which you took them.

Technorati Tags: exposure, DLSR, manual mode, shutter speed, f-stop, sunny 16, light, camera, photo, photography

 Getting the shot is not always easy in low light (sun was setting) and fast action.  Setting the camera on continuous focus is a must. First of all, it is nearly impossible to manually focus on a fast moving object like a bird in flight. You must pan the camera with the flight pattern of the bird. To add to the complication is the fact the the camera is zoomed out to 200mm. I shot these at 160 second at f/5.6.  This was fast enough to stop the action to an extent with enough depth of field to keep most of the large birds in focus.

Technorati Tags: low light, lighting, action, photo, photography, depth of field, sunset, wildlife, birds

MACRO PHOTO: The classical definition is that the subject projected on the “film plane” or digital sensor is approximately the same size as the subject. Recently, it has been used in advertising as a camera that is able to focus on a subject so that when a 4×6″ print is made, the subject fills the print (or larger).  I have decided that using the term “close-up” doesn’t have to explain itself like the term “macro” does. In either case, it is photography that captures more detail than we are normally used to seeing with our eyes without the aid of an optical device. Generally, the two terms are somewhat interchangeable; however, purists will go on and on about the differences between them.  Semantics have always been a moot point.

Someone recently asked about extension tubes and I created a brief entry on the subject. I also wrote an article relating to DSLR exposure modes.  Displayed below are image comparisons of shots made with macro lenses and extension tubes.  I used a Nikon 50mm f/1.8 lens with the extension tubes  for simplicity’s sake.  I also took several shots using Nikon 105mm and 60mm prime lenses. The idea is to give an idea of the differences by using visual comparisons.  Although this project was not an extremely controlled setup, the criteria was to get as close as I could to the subject, in this case, playing cards, and focus on them. I used several different f-stops and their related shutter speeds.  The extension tubes render the aperture adjustment useless. So when taking closeup shots using the extension tubes, the only critical factors are shutter speed and focus.  The shots will be explained as you scroll down the screen; however, I started with the 105mm micro lens, attached all of the extension tubes with the 50mm lens, and finally, several shots using the 60mm macro lens with various aperture openings.

This shot above shows that at an aperture opening of F/9, the top half of the image is out of focus. Using a smaller aperture like f/22 would make more of the image in focus.

As you can see in this image, stacking all of the extension tubes really gets you close to your subject. Even with good lighting (daylight corrected fluorescent), the exposure time is rather long at 1/4 of a second. A tripod and remote shutter release is necessary to remove as much movement as possible.  In addition, you have to be careful to not move the camera/tripod as the focus point can be lost with only a fraction of inch of movement.

In this project, I connected a laptop to the D70 via USB and was running Nikon Camera Control software. This allows changing settings without touching the camera.  In addition, I have the camera powered with an AC/Adapter charger (EH-5) which allows me to forget about battery charge life during the session.

Extension tubes have no optics. They merely create distance between the camera’s sensor and the lens. The further the lens is from the camera’s sensor, the more the lens is forced to focus much closer to the subject. Since the distance is increased as more of the tubes are added, the exposure time has to be increased to compensate for this added length.

The next image is a crop of the full sized image with no reduction.  Obviously, all the other images have been reduced for browser display.

The image above was made the same as the last; however, the 36m extension tube was taken off the stack and the shutter speed was increased to 1/5 of a second.

The above image was taken with the 12mm extension tube coupled with the 50mm lens. This is the last shot using the extension tubes. Note that the depth of field is not as critical when the subject is shot head-on. This changes when shooting at an angle and across the plane.

The photo above compared to the one below show the effects of aperture size variations. The image point of focus was at the top of the card. In the photo above the aperture is set to f/9 and the foreground is out-of-focus. The 50mm lens is consider the lens that is closest to what the human eye sees.

The image above has the same setup as the previous image, but the aperture size was set to f/22 giving a greater depth of field. Noticed that the foreground is now in focus as well as the top portion of the photo.

The Nikon 60mm  macro (Nikon calls it Micro) lens creates tack sharp images. This image was taken at the closest focus point that I could manage to give an idea of what a photo looks like when you move the camera and lens in as close to the subject as possible. The following images were taken at an angle to emphasize the effects of varying the aperture size - f-stop.

This photo is relatively sharp across the plane. You can see a blurring effect moving up toward the top of the image. The following images will show how the depth of field decreases as the aperture opening increases.

Notice in this final image that the depth of field is so narrow at f/8 that the queen’s nose and mouth are all that are in focus.

Depth of field will allow you to emphasize specific areas in your photograph while making others nearly indistinguishable.

As you can tell from the images, it takes a lot of setup time as well as trial and error to get good images using extension tubes.  Good macro lenses are much easier to use when making close-ups.  However, they are much more expensive.

The 105mm macro lens is very useful for taking photos of skittish things like insects. It also works will as a portrait lens. The 105mm macro lens can focus as close as 1 foot from the subject.  The 60mm focuses as close as 1 7/8″ from the subject for 1:1 (meaning the subject is the same size on the photo sensor as it is in real life. Generally speaking, the shorter the focal length, the less expensive the lens.

The Nikon 60mm and the 105mm lenses are prime lenses. This means that they are a fixed focal length and will not “zoom”.  They are also “fast lenses“.  The speed of a lens is in reference to the maximum size of the opening of the iris in a lens or the minimum “f” number.   Both the 60mm and the 105mm Nikon micro lenses are considered fast lenses as they can open up to f/2.8.  The Nikon 50mm f/1.8 is an even faster lens.

Technorati Tags: macro, micro, closeup, close-up, nikon, lenses, extension tubes, aperture, shutter speed, exposure

Someone recently asked whether extension tubes are worth the expense. My short answer is YES.

For around $100, you can get “several’ lenses in one set. The Kenko extension tube set comes in 12, 20, and 36mm tubes. All of which can be interlocked and create a full 70mm. You can put any two, all three, or each one between your camera and the lens that you choose.  Although these are sold as autofocus, it is near useless as your camera will probably “hunt” when trying to gain focus.  It has been my experience that using manual focus is the only reliable way to achieve satisfactory results.

Macro photography inherently has a very narrow depth of field.  Extension tubes add to the light “fall off” as well and unless you are using additional lighting, such as a macro flash ring, or other lighting device, the exposures will be rather long.

The photo above illustrates how narrow the depth of field can be.  On the other hand, the photo above almost has that “Lensbaby” look to it.

The fun part, in my opinion, it that you can use it with any lens in your toolkit.  There are Kenko extension tubes for Nikon and Canon mounts.  This is a great way to get into macro (or actually close up) photography for much less than the cost of a true macro lens.   Along with the extension tubes, you’ll need a tripod and a remote shutter release mechanism (or the internal time) because the exposures can be quite long. With the extreme narrow depth of field, even the slightest movement can render an image highly blurred.  On top of that, you will have to be very patient as it takes a lot of setup to get good images.

Technorati Tags: macro, micro, closeup, lens, extension tubes, photos, photography

Here are a few points on small venue concert photography.  Here is the gear that I used:

• Nikon D70 w/50mm f/1.8 Nikon lens
• Nikon D80 w/70-200mm f/2.0 lens
• Domke F-2 camera bag (olive)
• Charged batteries in camera, extra in bag
• Extra memory cards (unless you have a large one - obviously we all have various gear and budgets)

Camera settings:

• 1600 ISO
• 1/60th second  - f/8 - set your camera to manual you can move the speed/aperture up and down as needed
• Single spot exposure setting - don’t use matrix it will throw things off
• Auto-focus on continuous - because the band is on the move

NOTES:

• Get close and move around
• Take lots of photos - many do not turn out and you don’t have time to check them on site

• Switch between the two camera/lenses
• Stay on the band and continue to look at them through the viewfinder
  • Look for group interaction
  • Look for expressions
  • Wait for exciting “build-ups” and then take the shots
• The reason that I mentioned the bag was because it does not raise any attention to itself. The shoulder strap allows you to sling it onver your shoulder and do whatever you need to do. The flap can be clipped op at will to allow you to easily switch cameras.

In my case in this shoot, the lights did not vary a great deal. The lighting stayed low and there were few times the band was well lit. I had to wait for the occasional times when the lights “were up”. In my case this was rare.

Post Processing:

• Backup everything to disc right off the bat
•  Mark all of your shots with stars (I use Adobe Bridge).
• Select all of the 3-4 stars or more shots
• You’ll most probably need to run filters to reduce the noise
  • Noise -> Reduce Noise
  • I set my strength at 10, reduce color noise 100%, sharpen details 15%, and set the preserve details based on the image

These are not hard rules, just the ones that I used; however, you WILL need to reduce the noise level.  I do not own Noise Ninja, and you may have this filter/software. I have heard it works very well.  Since these images will end up online, it is not that critical.  Should you make prints, you’ll have to take extra special care as the noise will be much more apparent at full size.

On a final note, using a flash unit won’t work very well in this setting. First of all, if you take a lot of shots, which you should, the flash will drive everyone (in and out of the band) crazy and you will be irritating. Secondly, flash lit shots don’t give the look that you want, which is a natural, “what you really see” look to the images.

Technorati Tags: concert, photography, photos, small venue, music, night, images, imagery, photoshop, reduce noise

 
Before and After (click for larger image)

An easy and very effective way to convert to black and white in PhotShop is to use the channel mixer: 

1. Create a new adjustment layer:  Layer > New Admustment Layer > Channel Mixer

2. Click on Monochrome

3. Use the sliders on each color channel to adjust your image

4. When you have it where you want it, flatten the layers and save

1. Image>Adjustments>Auto Levels
   You could do the levels manually if you want; however, auto seems to work well for this adjustment.
2. Duplicate your layer
3. Image>Adjustments>Equalize
   This adjust the brightest pixels in your image to white. The darkest pixels will go black. After this command is executed, check the histogram. It will appear level almost all the way across
4. Set the equalized layer’s blending mode to Soft Light
   The image should look less harsh and have a better contrast
5. Drop the Soft Light layer’s opacity
   Try dropping it to 30-35%. However, try different opacities to adjust it to what you want in the image.
6. Merge the layers

Technorati Tags: photoshop, filters, photography, digital, image, contrast, post processing, photo, tutorial, tips, techniques

Taken with a $129 Canon PowerShot SD1100 IS camera in macro mode w/flash

I should say, the camera doesn’t matter as much as what (or who) is standing behind it.  People take photos, not cameras.  You can create a great image with a disposable camera and many people have.  Lighting, composition, and a creative eye are more important than megapixels. Most of the point and shoot cameras today will allow you to make great photos.  Chase Jarvis has taken some very compelling photos with his iPhone. Pinhole camera photography is probably one of the most fundamental means of taking pictures and there are some astounding examples of work done with them. Purchasing an expensive camera doesn’t mean you can create outstanding photographs. Good musicians can play on anything and a good photographer can make great images with a disposable camera.  There have been 60 years of improvements and advancements in photographic equipment; yet, the photographs that Ansel Adams took back in the 1940s are still thought to be some of the finest images ever captured. Why is that?

“Quick, grab the camera, there’s a frog on the window”

How do you get to Carnegie Hall?  Practice Man, Practice. 

Some people think that you can fix your camera settings, put it in multiple frame mode and press and hold the shutter down hoping to “accidentally” get that perfect shot.  You may actually luck out and get that one great shot; however, chances are you’ll do much better by using your eye to find a good shot and press once. Practice is very important. Some things work and other don’t and you’ll never know which one is which until you start practicing by taking lots of photographs. Learn your camera. Change the settings. Learn about white balance. Learn about exposure compensation. Since digital photography has come into its own, there has never been a better time to do just that. Once you have purchased your digital camera, the rest is cheap (besides your valuable time).  Keep your camera with you at all times and be ready to take a shot, or two, or three, or hundreds.     Look, that taxi is one fire…    *snap*

Technorati Tags: photography, photo, pictures, cameras, megapixels, learning, basics, composition, tutorial, tips

• Get to the location early - If you haven’t already scouted the wedding location, the dressing and the reception areas, this is a must. Coming in cold a short while before the ceremony is a recipe for disaster.
• Get to know the wedding party as much as you can beforehand - The more your know the wedding party, the more at ease they will be with you and the closer and more comfortable you’ll be with them. Great photos will have a lot to do with how at ease they are with you. It’s nice to be called by your name, instead of “the photographer”.
• You are the photographer - Don’t forget this important fact. Your job is paramount. The ceremony and the reception is for the moment, the images you provide may have to last for more than a lifetime. You are not only creating nice “works of art” for the bride, you are also documenting history for the family. Do your dead level best job at carrying out this important project. You don’t have to be pushy or bossy. Everyone already knows that your job is critical and they want you to succeed.  Your aittitude and demeanor has a directr impact on the subjects of your photos. 
• You must have a flash - Churches can be well lighted and churches can be almost dark. Most of them are relatively dark.  You need a flash and it should be off-camera. 
• You need a powerful flash with a great refresh rate - The majority of church sanctuaries are large. This necessitates a powerful flash. Shooting in RAW may allow you to increase the exposure. However, there is a point of diminishing returns where noise creeps into the image and lots of it. Increasing the ISO helps some; however, the noise factor again becomes apparent.  The refresh rate of the flash has a large bearing on whether you get all of the shots you want or one of the shots that you want. It is difficult to get the exact one you want unless you have lightning reflexes and that is not always as easy as it sounds.
• A tripod is nice and even necessary, but don’t depend on it as a way to overcome darkness in a dimly lit church - Several factors work against the use of a tripod to take sharp shots. Young children are constantly on the move. People blink, move their hands, etc.  A flash and a tripod make a good combination.
• Take plenty of the same posed shot of groups - Eyes close, hands raise to swipe hair or scratch an itch. People are distracted. Make sure you get their attention once you have them in position for the shot. Taking these extra shots of the same pose will increase the odds of having one very good shot of the group. The larger the group, the greater the odds that something will be out of kilter.
• Pay attention to details - Half open zippers, flipped collars, hair out of place, and a thousand other little details can detract from the finished photo. Take the time to notice each individual.  Learn about posing and balance the group. Turn some people, have some stand on the next highest step, and so on. As you pose them, look for that special balance that is needed for a pleasing picture.
• Look for the emotional outbreaks (the good kind) - they only last a few seconds - A hug, a smile, a kiss, a pat on the back can all add human interest to an otherwise hum-drum image. Engage your subjects. Use humor to get them going, even being a little silly can get them rolling. After all, most of the time, your subjects are nervous, tense, or stiff.  They are so absorbed in the moment that they are having difficulty relaxing. A relaxed person makes a much better subject than a stiff or nervous one. I use things like “You’re all movie stars…smiles all around” (and I wave my hand like and Italian chef) or “OK…more fake grins everybody, act like you really care about all of this” (and then I look up and cross my eyes at them or make a funny face).  Anything that is somewhat goofy seems to lighten up an otherwise self-conscious group. Tell them how wonderful they look and the smiles will surface.  Don’t forget that these are people too and they like and dislike many of the same things that you do.

• Keep a mental list of locations that you can use for candid shots  - This comes in  handy once the groom and the bride are available for those special shots of just the two of them.  Find out all you can about how the ceremony is going to process and proceed. This is vital as you have to be where the action is. If you are using limited flash power, find out ahead of time where the subject need to be in the center aisle before you shoot. Also, if your flash has to take a second or two to refresh, make sure you get an idea on timing your shots. You may only get one or two shots of each group that processes down the aisle. You might even start a “clip” book or folder that contains photos that you particularly like. You can attempt to use the same style or even embellish it with your own version to create interesting images. Remember, there is nothing new under the sun. Most of the fantastic photo that you see today were inspired by other great photos.

• Ignore anyone taking snapshots and/or video - Again, you are the photographer.  If someone is holding a video camera and you attempt to avoud their line of sight, your will lose some of your flexibility when it comes to moving around the altar area. - I strongly suggest that you stay on the groom’s side of the  sanctuary so the lion’s share of shots are of the bride. If you are on the groom’s side you will have the bride’s face in view. After all, she is the one that wants the pictures. You can always move over and get shots of the groom. The bride comes first.

• Don’t be afraid to move into the middle of the aisle at important portions of the ceremony to get a shot of both the bride and groom in a more centered, symetrical shot. Even though many of your shots will be from one side of the altar or the other, you still need some of those head on altar shots.

• You’ll need to move in as close as you can when the ring exchange occurs - The suggested minimum distance from the couple is ten feet. Even that may seem a bit close. However, if you want to actually get the rings in a photo, you’ll need to move in fairly close.

• Keep a loose eye on the family members during the ceremony - At important points along the ceremony many of the family members will beam and maybe even tear up during these times. When the minister pronounces the bride and groom as man and wife, when they are called Mr. and Mrs., and so on, these are the times when the family lights up with emotion. It may be big smiles, it may be tears. Regardless of what the emotion brings, it is usually a great shot for you to capture. Don’t forget kids the whole time, they seem to be doing all kinds of funny things that you can get shots of.