Christmas Morning Photos: 19 Quick Tips
22/12/11 23:32
Christmas Morning Photos: 19 Quick Tips
Christmas time is here and I just wanted to share a few quick tips for being able to capture those Christmas morning memories. So, here they are:
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Candid photos are a great way to capture Christmas Memories.
A little blur is not always a bad thing.
Even a shutter speed of 1/125s can freeze the action. She was really ripping the paper off of this present.
After the presents are opened, if the kids want to pose with a few toys then be ready to capture the moment.
Remember that is a big day for your pets too.
I hope you have a Merry Christmas and a Happy New Year.
-- William
Bonus Tip: Don’t worry about the quality of the camera. If you only have an old point and shoot or a cell phone, still get in there and take pictures. The following photo was taken with a 3 mega pixel point and shoot, you can see that the color is terrible and it is grainy and a bit washed out. However, this was the best camera I had at the time. The technical quality of this image does not matter so much as does the fact that I was able to capture the moment.
Christmas time is here and I just wanted to share a few quick tips for being able to capture those Christmas morning memories. So, here they are:
- Charge up your batteries for your camera and put fresh batteries in your flash.
- Format your memory card and make sure to have a backup memory card handy.
- If you have a DSLR and a fast prime lens, then Christmas morning is the time to use them both. A fast lens can really make taking low light photos much easier.
- The night before Christmas be sure to clean up the area around the tree, vacuum or sweep the floor, get rid of piles of magazines, trash or anything else in the background or foreground that might be distracting.
- Talk to the children a few days before Christmas about where you might like them to sit and take a few practice shots. This practice session will help keep kids from sitting with their backs to the camera and will help keep children from sitting in front of one another and blocking your view and ability to take some great candid photos.
- After Santa comes and before you go to sleep make sure and take a picture of the tree. This does not have to be a work of art just a nice reminder of what it looked like before the kids get to the presents.
- Have the kids in modest festive pajamas, or better yet set out some nice clothes and tell everyone to get dressed before anyone can go in to see what Santa left under the tree.
- Get down on the ground and take pictures at eye level with the kids and don’t make the kids look at the camera.
.
Candid photos are a great way to capture Christmas Memories.
- Avoid having a large bright light or window directly behind your subject and be sure to set your exposure metering to center weighted or spot metering, either of these settings will help the camera ignore any back lighting that might occur.
- If you are using an external flash unit then remember to use a flash diffuser or bounce the light off of the ceiling or a white wall.
- If you only have a built in flash then turn it off, or at the very least make sure that the red-eye reduction setting is turned on.
- If you are shooting without a flash then bump up the ISO to ISO 400 or ISO 800. Sure the photos might be a little noisy, but at least they will not be blurry.
A little blur is not always a bad thing.
- Shoot in manual or shutter priority mode and try to get as slow of a shutter as you can that will produce an image without blurring movement. I typically will shoot at about 1/160 of a second shutter speed. If your kids are really tearing into the toys then you might have to bump that up a bit, and if your kids are a bit more methodical then perhaps you could slow it down some. Remember to check a few exposures up front to make sure that you are not getting a blurry mess.
Even a shutter speed of 1/125s can freeze the action. She was really ripping the paper off of this present.
- Shoot lots of pictures.
- After the presents are all open then pose a few shots if you want. Then, while the kids are basking in the glow of Christmas, keep taking a few shots of them playing with the toys. I recommend not using the flash and stay a little further away from the kids. This is the time when they will forget that you are taking photos and you are sure to get some fantastic candid photos that will really tell the story of this special time of year.
After the presents are opened, if the kids want to pose with a few toys then be ready to capture the moment.
- If you have pets be on the lookout for them being curious. Remember, this is an exciting day for them too and they can be the subject of some very memorable holiday photos.
Remember that is a big day for your pets too.
- Get in a few pictures yourself. Don’t worry if you feel fat, old, or ugly, your kids love you just the way you are and they will cherish the photos of you when they are grown.
- Most importantly, remember that you are not trying to create art with these pictures. These are snapshots. They do not need to be perfect, they are to record the moment, not to be hung in a gallery.
- Remember to back up your photos as soon as you get the chance to do so. I recommend printing the best photos and sharing them with family and friends using the internet and social media. One word of caution when sharing, make sure that only the people you want to see your pictures can see them, unfortunately there are people out there that are up to no good and they shouldn’t have access to current pictures of your kids, particularly if GPS coordinates are embedded in the picture file or the included with a post.
I hope you have a Merry Christmas and a Happy New Year.
-- William
Bonus Tip: Don’t worry about the quality of the camera. If you only have an old point and shoot or a cell phone, still get in there and take pictures. The following photo was taken with a 3 mega pixel point and shoot, you can see that the color is terrible and it is grainy and a bit washed out. However, this was the best camera I had at the time. The technical quality of this image does not matter so much as does the fact that I was able to capture the moment.
Vacation Photography: A trip to the Aquarium
10/07/11 16:09
Vacation Photography: A trip to the Aquarium
ISO 800, 50mm, f2.8, 1/20s (Using optical stabilization)
When shooting a moving animal, such as a shark, make sure that you give the animal room to move in the frame. Notice that in this frame the main shark is coming into the frame from the right and is moving towards the left. I have given the shark plenty of space on the left and in doing so I imply movement of the shark.
I recently went to the Newport Aquarium just outside of Cincinnati Ohio in the northern Kentucky town of Newport. Unlike an art museum, at the aquarium the use of a camera is encouraged. Cameras are everywhere; and so are disgusted looks on the faces of the patrons as they look at the image preview screens on their point and shoot cameras. Those disappointed looks are the result of a mixture of unique problems that occur when shooting photographs in an aquarium. The aquarium has the problem of low light conditions such as what you experience in a cave, the “shooting through the glass” problem of a standard museum, and the problem of moving subjects like in sports photography. These are three big obstacles that have to be overcome in order to get any good photograph at an aquarium.
In the tutorial Vacation Photography: Let's Visit a Cave ISO, Aperture, and Shutter speed when shooting in low light are covered in depth. I really wish I could just tell you to read that article and apply everything I say there to aquarium photography. However, I can’t. I can’t because those fish keep swimming back and forth and to and fro. So, I guess I can start at the beginning and work through the particulars of aquarium photography.
Hardware
I took this photo with a cell phone camera at Cabela’s in Lehi, UT.
Camera Settings
ISO 400, 50mm, f1.8, 1/60s
Technique
Taking photographs in an aquarium is not as strait forward as taking photos of fireworks or even as taking photos in a cave. The biggest factor here is not how still you can hold the camera but can you get a fast enough shutter speed to freeze the action of the swimming fish in the tank. Ideally a shutter speed of 1/120s is where action can really be paused and 250/s is even better. Unfortunately those speeds are just not going to happen in the aquarium setting. I generally end up shooting between 1/20s up to 1/80s. With a little planning and study of how the fish move these slow shutter speeds can still produce impressive results. To get an idea of what shutter speeds you will need, it might not be a bad idea to start in aperture priority mode. Set your aperture for around 2.8 and take a few shots. You will see really quickly whether you will be able to hold the camera still long enough to get a shot in the lighting conditions. After you get an idea of the aperture and shutter speeds needed to produce the photograph, switch to shutter priority and enter in the slowest shutter speed that was used in aperture priority mode. Then start taking a few photos and gradually increase the shutter speed until you find the slowest speed that allows you to focus manually and hold the camera still enough not to blur the shot. Make sure that you try both the aperture and shutter priority modes at several different ISO settings. Remember that the higher the ISO, the smaller the aperture or faster the shutter speed that can be used to expose a photo. Also remember that the higher the ISO the more noise in the final image. After you have spent a few minutes taking some test shots in both of these modes, switch the camera to manual mode, enter in the slowest shutter speed that you can hold, the smallest aperture that still exposes the image, and the ISO that gives you the best compromise between exposure and noise. Then start shooting. Please take a while at every tank and look for the way the fish swim. You will see areas of the tank where the lighting is better, you will see areas of the tank where the fish slow down or stop, observation of the subject is of prime importance in taking photographs in an aquarium.
The Magic of Under Exposing
An interesting quirk of the digital camera can come into play when shooting in extreme low light situations. That quirk is that digital images can be severely underexposed and the exposure can be corrected in post-processing to produce some pretty dramatic results. The following is an example of an image that is so underexposed that the frame itself appears to be black, except for two small patches of dark blue and a hint of orange. I could see the image well enough in the eyepiece to focus but the exposure was insufficient to use the final photograph in a professional setting. Notice I said professional setting. You will see below that, after post-processing, the final photograph was good enough to print a 4” x 6” print for an album and certainly good enough for me to post on Facebook to share with others.
ISO 800, 50mm, f1.8, 1/60s (I took this image while I was trying to determine the best exposures to use in the aquarium.) This image is severely underexposed.
The following is the same photograph as the preceding photograph. The only differences between the two photographs are adjustments made to the contrast, color correction, a little dodging and burning, and some sharpening. This is an extreme example of how much information is contained in even a drastically underexposed image. As I said above, the image is not usable for professional purposes but a less underexposed image might have been correctable to the extent that it could be used in a professional setting. While I don’t recommend underexposing an image as much as I did in this photograph, you can rest assured that, if you need to, you can underexpose the image a bit and still get a satisfactory final product. Just in case you think this is some kind of digital trickery, you should be aware that this dramatic result is also possible from film processing in a wet dark room. A good dark room technician has produced great works of art out of images with less than ideal in-camera exposure.
ISO 800, 50mm, f1.8, 1/60s This is the same image as above after contrast and color correction. Note that the image is a bit grainy but to have been essentially a black frame the final results are impressive and demonstrates that a choice to underexpose an image in-camera may be a compromise that has to be made to get the final photograph.
ISO 3200, 50mm, f2.5, 1/50s
Conclusion
The process of taking low light photographs in an aquarium is one of compromises. A professional would bring along light meters and might get permission to shoot inside the tanks while using additional lighting. However, as a tourist you can produce some amazing photographs that will rival the professional, you just need to take your time and determine the best exposure for the situation. It really is trial and error. After a short period of time, you will get a feel for the exposure needed. Practice will help you know how to adjust you shutter speed, aperture, and ISO to accommodate for low light situations coupled with fast moving animals. This process of manually adjusting your camera will make you a better photographer and will do so quickly. Last but not least, the process of manually focusing will also improve your photography very quickly. You will learn to focus faster than the camera can focus and you will add a skill that will help you not miss the important shots when the camera just can’t get the job done by itself. The fact that you will be shooting at large aperture settings, such as f1.8, will really help you become a pro at focusing. At f1.8 you might have a depth of field of only inches, or less, and you will be forced to determine what part of the animal is most important to your final image (here is a hint: 99% of the time it is the eyes).
I hope this tutorial has helped you prepare for a trip to the aquarium and I hope you bring home some great photos.
-- Enjoy
ISO 800, 50mm, f2.8, 1/20s (Using optical stabilization)
When shooting a moving animal, such as a shark, make sure that you give the animal room to move in the frame. Notice that in this frame the main shark is coming into the frame from the right and is moving towards the left. I have given the shark plenty of space on the left and in doing so I imply movement of the shark.
I recently went to the Newport Aquarium just outside of Cincinnati Ohio in the northern Kentucky town of Newport. Unlike an art museum, at the aquarium the use of a camera is encouraged. Cameras are everywhere; and so are disgusted looks on the faces of the patrons as they look at the image preview screens on their point and shoot cameras. Those disappointed looks are the result of a mixture of unique problems that occur when shooting photographs in an aquarium. The aquarium has the problem of low light conditions such as what you experience in a cave, the “shooting through the glass” problem of a standard museum, and the problem of moving subjects like in sports photography. These are three big obstacles that have to be overcome in order to get any good photograph at an aquarium.
In the tutorial Vacation Photography: Let's Visit a Cave ISO, Aperture, and Shutter speed when shooting in low light are covered in depth. I really wish I could just tell you to read that article and apply everything I say there to aquarium photography. However, I can’t. I can’t because those fish keep swimming back and forth and to and fro. So, I guess I can start at the beginning and work through the particulars of aquarium photography.
Hardware
- DSLR camera, bridge camera, or upper end point and shoot camera. You might get lucky and get a good photo with your cell phone or inexpensive point and shoot camera (I have done it), but the inexpensive camera is not ideal for the shooting situation found in an aquarium.
I took this photo with a cell phone camera at Cabela’s in Lehi, UT.
- Fast lens (Exp. 50mm/f1.8) This lens would ideally have optical stabilization in order to achieve the best results. If your camera has optical stabilization built into the camera, then turn it on prior to shooting.
- A flashlight. You will need the flashlight if you need to change settings on the camera and you are not familiar enough to make those changes in the dark.
- Circular Polarizing Lens (See:Using a Polarizing filter to eliminate reflections on glass.)
Camera Settings
- Turn off the flash.
- ISO: 400- 3200
- Aperture Priority Mode, Shutter Priority Mode, or Manual shooting mode.
- fStop: between f1.8 and f5.6 depending on how well the individual tanks are lighted.
- Image stabilization: Turn it on.
- Focus: Manual (You will need to focus manually, in most instances the light levels will be too low to reliably use auto focus.)
ISO 400, 50mm, f1.8, 1/60s
Technique
Taking photographs in an aquarium is not as strait forward as taking photos of fireworks or even as taking photos in a cave. The biggest factor here is not how still you can hold the camera but can you get a fast enough shutter speed to freeze the action of the swimming fish in the tank. Ideally a shutter speed of 1/120s is where action can really be paused and 250/s is even better. Unfortunately those speeds are just not going to happen in the aquarium setting. I generally end up shooting between 1/20s up to 1/80s. With a little planning and study of how the fish move these slow shutter speeds can still produce impressive results. To get an idea of what shutter speeds you will need, it might not be a bad idea to start in aperture priority mode. Set your aperture for around 2.8 and take a few shots. You will see really quickly whether you will be able to hold the camera still long enough to get a shot in the lighting conditions. After you get an idea of the aperture and shutter speeds needed to produce the photograph, switch to shutter priority and enter in the slowest shutter speed that was used in aperture priority mode. Then start taking a few photos and gradually increase the shutter speed until you find the slowest speed that allows you to focus manually and hold the camera still enough not to blur the shot. Make sure that you try both the aperture and shutter priority modes at several different ISO settings. Remember that the higher the ISO, the smaller the aperture or faster the shutter speed that can be used to expose a photo. Also remember that the higher the ISO the more noise in the final image. After you have spent a few minutes taking some test shots in both of these modes, switch the camera to manual mode, enter in the slowest shutter speed that you can hold, the smallest aperture that still exposes the image, and the ISO that gives you the best compromise between exposure and noise. Then start shooting. Please take a while at every tank and look for the way the fish swim. You will see areas of the tank where the lighting is better, you will see areas of the tank where the fish slow down or stop, observation of the subject is of prime importance in taking photographs in an aquarium.
The Magic of Under Exposing
An interesting quirk of the digital camera can come into play when shooting in extreme low light situations. That quirk is that digital images can be severely underexposed and the exposure can be corrected in post-processing to produce some pretty dramatic results. The following is an example of an image that is so underexposed that the frame itself appears to be black, except for two small patches of dark blue and a hint of orange. I could see the image well enough in the eyepiece to focus but the exposure was insufficient to use the final photograph in a professional setting. Notice I said professional setting. You will see below that, after post-processing, the final photograph was good enough to print a 4” x 6” print for an album and certainly good enough for me to post on Facebook to share with others.
ISO 800, 50mm, f1.8, 1/60s (I took this image while I was trying to determine the best exposures to use in the aquarium.) This image is severely underexposed.
The following is the same photograph as the preceding photograph. The only differences between the two photographs are adjustments made to the contrast, color correction, a little dodging and burning, and some sharpening. This is an extreme example of how much information is contained in even a drastically underexposed image. As I said above, the image is not usable for professional purposes but a less underexposed image might have been correctable to the extent that it could be used in a professional setting. While I don’t recommend underexposing an image as much as I did in this photograph, you can rest assured that, if you need to, you can underexpose the image a bit and still get a satisfactory final product. Just in case you think this is some kind of digital trickery, you should be aware that this dramatic result is also possible from film processing in a wet dark room. A good dark room technician has produced great works of art out of images with less than ideal in-camera exposure.
ISO 800, 50mm, f1.8, 1/60s This is the same image as above after contrast and color correction. Note that the image is a bit grainy but to have been essentially a black frame the final results are impressive and demonstrates that a choice to underexpose an image in-camera may be a compromise that has to be made to get the final photograph.
ISO 3200, 50mm, f2.5, 1/50s
Conclusion
The process of taking low light photographs in an aquarium is one of compromises. A professional would bring along light meters and might get permission to shoot inside the tanks while using additional lighting. However, as a tourist you can produce some amazing photographs that will rival the professional, you just need to take your time and determine the best exposure for the situation. It really is trial and error. After a short period of time, you will get a feel for the exposure needed. Practice will help you know how to adjust you shutter speed, aperture, and ISO to accommodate for low light situations coupled with fast moving animals. This process of manually adjusting your camera will make you a better photographer and will do so quickly. Last but not least, the process of manually focusing will also improve your photography very quickly. You will learn to focus faster than the camera can focus and you will add a skill that will help you not miss the important shots when the camera just can’t get the job done by itself. The fact that you will be shooting at large aperture settings, such as f1.8, will really help you become a pro at focusing. At f1.8 you might have a depth of field of only inches, or less, and you will be forced to determine what part of the animal is most important to your final image (here is a hint: 99% of the time it is the eyes).
I hope this tutorial has helped you prepare for a trip to the aquarium and I hope you bring home some great photos.
-- Enjoy
Zeh Bounce
18/05/11 16:09
In an earlier article entitled, Turn off the Darn Flash!, I go in depth about the reasons for not using the flash indoors, at sporting events, and at plays. One really good reason not to use a built-in flash indoors is that, for it to be effective, it has to be close to the subject. Using the built-in flash indoors often causes red-eye and blown out highlights. That is to say, any thing that is white in the image loses all contrast and instead just becomes a glowing white blob on the image.
An example of using a built-in flash indoors.
ISO 200, 28mm (Prime), f3.5, 1/80s
As you can see from the above snap-shot of my cat, the whites are really bright and there is a loss of contrast around the face. I am already using a pretty large aperture and the shutter speed is pretty slow as well. I could bump up the ISO a bit and try to get the image without a flash but that solution would add grain to the photo.
The same scene taken without the built in flash.
ISO 200, 28mm (Prime), f3.5, 1/80s (Pretty under exposed, wouldn’t you say?)
In this type of situation the light from the flash needs to be softened or diffused. A common trick when using an off-camera flash is to bounce the light from the flash off of a white surface like a wall or ceiling. This is done by aiming the flash in the direction of the wall or ceiling instead of aiming the flash at the subject of the photo. Aiming the flash towards a ceiling or wall has the effect of lighting the scene using reflected light instead of direct light.
This same effect of bouncing the light, to diffuse or soften it, can be accomplished with a built-in flash using a new product from Zeh Photographic. This cost effective piece of kit ($10 US) is called the Zeh Bounce. It is simply a small rectangular piece of foam that is notched so as to fit in front of the built-in flash. The foam piece can then be bent easily to direct light in the direction of a ceiling or wall.
The Zeh Bounce mounted on top of a DSLR.
Photo courtesy of Zeh Photographic.
This piece of kit works and works well.
Another snap-shot of my cat. This time using the Zeh Bounce.
ISO 200, 28mm (Prime), f3.5, 1/80s
Left: non-diffused built in flash image.
Right: image using the Zeh Bounce.
ISO 200, 28mm (Prime), f3.5, 1/80s - both images.
Conclusion:
It is clear that the Zeh Bounce works and works well. At the time of this writing, it is available for Nikon, Canon, Sony, and some Panisonic/Lumix cameras.
The Zeh bounce is not without problems. It does have a slight learning curve since using any type of diffuser will throw off the camera’s automatic exposer settings. I also felt like the Zeh Bounce was going to slide off of my camera and in fact did come off the camera while shooting (I wrote Zeh Photographic about this issue and they are aware of the problem, It only occurs on some Sony Cameras and does not occur on Nikon or Canon DSLR cameras). I corrected this by adding a small strip of hook and loop fastener to the underside of the internal flash housing and then placing the other portion of the hook and loop fastener on the bottom of the Zeh Bounce. The small learning curve and the minor modification are not deal breakers.
Overall Grade: A-
You can purchase the Zeh Bounce @ http://zehbounce.com/
Keep reading to learn how to use the Zeh Bounce.
The following instructions come with the Zeh Bounce:
How I used the Zeh Bounce:
Ideally when shooting in manual mode a photographer will use a light meter or at the very least read the histogram on the camera. Since both of these are advanced techniques I thought I would try using the Zeh Bounce in a less scientific way. The first thing I did was set my camera to Program Mode and made sure the flash was up. I then framed up my photo and pushed the shutter button half way down and held it half way down and took note of the recommended exposure settings, note you could also go ahead and take a photo. The purpose of pushing the shutter button half way down or going ahead and taking a photo is to see what exposure the camera thinks will be needed to take the shot. Note: Many cameras will recommend exposure settings in manual mode. I opted to use the Program mode only because I know that this method will work on every major brand of camera. After seeing what the camera recommends, I then entered the recommended settings into the camera after switching to the manual mode. See your camera’s operating manual for instructions on the use of manual mode. I then went ahead and took the photo. Often this will work without further adjustment of either ISO, shutter speed, aperture or flash compensation. Then I reviewed my photo on the camera’s view screen. I noted that the image was slightly under exposed. So, I made a decision to slow the shutter speed down from a recommended 1/120s to 1/80s. I could have just as easily have opened the aperture a bit more, bumped the ISO up to 400 from 200, or increased the power of my flash via flash compensation. That type of decision is dictated by the subject. In this case, my cat was sitting very still and I did not want to sacrifice picture quality or depth of field for the sake of speed. Had this been a photo of my child playing I may have decided to sacrifice the picture quality a bit, by adjusting the ISO, so as to not blur the image or risk taking an out of focus shot. Such are the trade-offs when taking a photo.
Recap of how I used the Zeh Bounce:
Now, get out there and get to shooting.
-- Enjoy.
An example of using a built-in flash indoors.
ISO 200, 28mm (Prime), f3.5, 1/80s
As you can see from the above snap-shot of my cat, the whites are really bright and there is a loss of contrast around the face. I am already using a pretty large aperture and the shutter speed is pretty slow as well. I could bump up the ISO a bit and try to get the image without a flash but that solution would add grain to the photo.
The same scene taken without the built in flash.
ISO 200, 28mm (Prime), f3.5, 1/80s (Pretty under exposed, wouldn’t you say?)
In this type of situation the light from the flash needs to be softened or diffused. A common trick when using an off-camera flash is to bounce the light from the flash off of a white surface like a wall or ceiling. This is done by aiming the flash in the direction of the wall or ceiling instead of aiming the flash at the subject of the photo. Aiming the flash towards a ceiling or wall has the effect of lighting the scene using reflected light instead of direct light.
This same effect of bouncing the light, to diffuse or soften it, can be accomplished with a built-in flash using a new product from Zeh Photographic. This cost effective piece of kit ($10 US) is called the Zeh Bounce. It is simply a small rectangular piece of foam that is notched so as to fit in front of the built-in flash. The foam piece can then be bent easily to direct light in the direction of a ceiling or wall.
The Zeh Bounce mounted on top of a DSLR.
Photo courtesy of Zeh Photographic.
This piece of kit works and works well.
Another snap-shot of my cat. This time using the Zeh Bounce.
ISO 200, 28mm (Prime), f3.5, 1/80s
Left: non-diffused built in flash image.
Right: image using the Zeh Bounce.
ISO 200, 28mm (Prime), f3.5, 1/80s - both images.
Conclusion:
It is clear that the Zeh Bounce works and works well. At the time of this writing, it is available for Nikon, Canon, Sony, and some Panisonic/Lumix cameras.
The Zeh bounce is not without problems. It does have a slight learning curve since using any type of diffuser will throw off the camera’s automatic exposer settings. I also felt like the Zeh Bounce was going to slide off of my camera and in fact did come off the camera while shooting (I wrote Zeh Photographic about this issue and they are aware of the problem, It only occurs on some Sony Cameras and does not occur on Nikon or Canon DSLR cameras). I corrected this by adding a small strip of hook and loop fastener to the underside of the internal flash housing and then placing the other portion of the hook and loop fastener on the bottom of the Zeh Bounce. The small learning curve and the minor modification are not deal breakers.
Overall Grade: A-
You can purchase the Zeh Bounce @ http://zehbounce.com/
Keep reading to learn how to use the Zeh Bounce.
The following instructions come with the Zeh Bounce:
- The bounce is designed for indoor use and ceilings that are less than 12ft are desirable.
- It is best to run in M-mode, but can be used in AV, TV, or P modes.
- Some compromises may have to be made in ISO, f-stop, or shutter speed to add brightness.
- If your images are still too dark, bump up the flash compensation. (see camera’s owner manual for this function)
How I used the Zeh Bounce:
Ideally when shooting in manual mode a photographer will use a light meter or at the very least read the histogram on the camera. Since both of these are advanced techniques I thought I would try using the Zeh Bounce in a less scientific way. The first thing I did was set my camera to Program Mode and made sure the flash was up. I then framed up my photo and pushed the shutter button half way down and held it half way down and took note of the recommended exposure settings, note you could also go ahead and take a photo. The purpose of pushing the shutter button half way down or going ahead and taking a photo is to see what exposure the camera thinks will be needed to take the shot. Note: Many cameras will recommend exposure settings in manual mode. I opted to use the Program mode only because I know that this method will work on every major brand of camera. After seeing what the camera recommends, I then entered the recommended settings into the camera after switching to the manual mode. See your camera’s operating manual for instructions on the use of manual mode. I then went ahead and took the photo. Often this will work without further adjustment of either ISO, shutter speed, aperture or flash compensation. Then I reviewed my photo on the camera’s view screen. I noted that the image was slightly under exposed. So, I made a decision to slow the shutter speed down from a recommended 1/120s to 1/80s. I could have just as easily have opened the aperture a bit more, bumped the ISO up to 400 from 200, or increased the power of my flash via flash compensation. That type of decision is dictated by the subject. In this case, my cat was sitting very still and I did not want to sacrifice picture quality or depth of field for the sake of speed. Had this been a photo of my child playing I may have decided to sacrifice the picture quality a bit, by adjusting the ISO, so as to not blur the image or risk taking an out of focus shot. Such are the trade-offs when taking a photo.
Recap of how I used the Zeh Bounce:
- Determine needed exposure via light meter or built in camera metering.
- Install the Zeh Bounce.
- Enter recommended settings into the camera’s manual mode.
- Take the photo.
- Review the photo.
- Adjust the ISO, shutter speed, or aperture or flash compensation to correct exposure problems.
Now, get out there and get to shooting.
-- Enjoy.
Upgrading to a Full Frame DSLR: The path of least resistance and greatest ROI (Return on Investment)
04/12/10 12:18
Upgrading to a Full Frame DSLR: The path of least resistance and greatest ROI (Return on Investment)
Warning: This article is geared to the new shooter, the intermediate shooter, and the advanced amateur. The working professional has different needs and as such may choose a different path to upgrade.
It is Christmas time*. Time to spend that money that mom gave you or to get Santa to spend a little on you. Well, what would you like Santa to put under the tree for you? If you answered a brand new Canon 5D Mark II, a new Sony A900, or a Nikon D3 then get out your eraser and change that list. For most of you out there, this is the wrong way to go when you are building the ultimate camera rig. I know that a full frame sensor is tempting, but the advantages of the full frame are not as great as you might expect and there are ways of upgrading that will make you much happier over time.
The following is an overview of 12 steps to building a professional grade camera system with the ultimate bang for your buck. The purpose of the list is to provide an overview of upcoming articles and to prevent many of you from dropping some big bucks on a camera body this Christmas.
The List:
1) Basic DSLR Camera and Bag: I make the assumption that most of you already have step number one taken care of and you are ready for step number two. Just in case you don’t have a basic DSLR and bag, here is a quick guide to getting into the DSLR side of the camera hobby. Look for bargains. Often manufacturers will put together basic and intermediate starter packages. These most often will include a DSLR camera body, at least one kit lens, and sometimes will include a basic camera bag. These kits can be found online and at box and warehouse stores for between $400 and $1000. Buy the best you can afford because you are going to be married to the camera body and lens set for some time. However, remember that even entry level DSLR cameras take better photos than most professional 35mm film cameras. The biggest decision you have to make here is what brand to buy. Here is a giant secret, Canon, Nikon, Sony, Olympus, Pentax, Sigma, and a few other brands I am sure I have forgotten: they all make fine cameras. If someone tells you that Nikon or Canon is the only way to go, then just ignore it. Maybe that is true for them, but decide for yourself. Go to the store and handle the cameras. See which camera fits in your hands the best. Look through the viewfinder, play with the focus, ‘kick the tires a bit.’ Then get the camera that fits your budget and your future.
If perchance you already own lenses for an SLR camera then I recommend checking to see if those lenses will work on the same brand DSLR camera and sticking with that brand. Remember, all the major players make fine cameras.
2) Computer and Good Monitor: Over 50% of all photographers use an Apple Macintosh computer. I am not telling you to go buy a Mac, but I am telling you to think about the reason why photographers use a Mac. The primary reason is the monitor. The monitor is key. You need good color reproduction, good screen brightness, and good resolution. The Apple products provide nice monitors across their entire line of computers. If you select a Windows machine don’t skimp on the monitor. A 27” monitor for $300 is not a bargain. Expect to pay around $800 - $2000 for a 27” monitor.
3) Software: If you bought a Mac, then it came with iPhoto. This is the best place to start, in my opinion. A program like iPhoto provides basic workflow control. A year from now I expect that you will have outgrown iPhoto, but it is an ideal place to get your feet wet. If you bought a PC then you need to think about workflow. Workflow is the management of your photo library. The gold standard for this on the PC is a program called Adobe Lightroom. On the Mac, Lightroom or Aperture both are gold standards.
“But wait!!! I thought you had to have Adobe Photoshop!!!”
You don’t need Photoshop. In fact, you might not ever need Photoshop. I know that many pros love Photoshop and can’t live without it. There are just as many pros that rarely if ever use Photoshop. I have Photoshop and I use it on occasion but in reality there are better ways to do most of my daily photo chores than Photoshop.
4) Books and Education: Read everything that you can about your camera, exposure, composition, and lighting. Then practice the things you have read about.
5) Filters: Purchase some basic filters such as, a UV filter, a circular polarizing filter, a neutral density filter, and a warming filter. Companies like Tiffen often offer starter packs with all or most of these basic filters included.
6) External Flash: Buy the flash from the company that makes your camera. Buy the largest guide number flash that you can afford.
7) 50mm sub f2 lens: A nice lens like a 50mm f1.8, f1.4, or f1.2 is the first lens anyone looking to extend the capabilities of their camera should buy. Some people like to purchase only lenses from the manufacturer of their camera, however several lens companies make fine aftermarket lenses.
Items 8 - 11 do not have summaries presented in this article. However, rest assured they will be covered in depth in future articles.
8) Tripod
9) Reflectors and Diffusers
10) Specialty Lenses and Accessories
11) Studio Lighting
12) Full Frame Camera Body: “Why last? It will take me two or three years to get all that stuff! I want one now! I am ready to start shooting weddings and portraits! I am ready, I swear. I have had a weekend course in photography, a kit lens, and I printed my business cards already!!!!”
I put this one last on purpose. I hope it does take a couple of years to get to the point of upgrading the camera body; it should. Cameras follow Moore’s Law. Simply put: the camera you can buy two years from now is going to be tons better than the camera you can buy today and it is going to be tons cheaper. Camera bodies will come and go. They have lots of moving parts and technology is always marching forward. By the time that you have developed a professional skill set and all the accessories a pro needs, you will have worn out the first and possibly a second camera body. However, those lenses and accessories will last a lifetime.
Conclusion
Photography can be an expensive hobby/profession. Great tools exist for people on every part of the learning curve. Be wise with your money and get some bang for your buck.
By the way, I hope that Santa treats you right this Holiday season.
-- Enjoy
* I am aware that many of my readers are not Christian. I use Christmas here as a literary tool and I hope that it is taken in that spirit. No offense is meant or implied.
Warning: This article is geared to the new shooter, the intermediate shooter, and the advanced amateur. The working professional has different needs and as such may choose a different path to upgrade.
It is Christmas time*. Time to spend that money that mom gave you or to get Santa to spend a little on you. Well, what would you like Santa to put under the tree for you? If you answered a brand new Canon 5D Mark II, a new Sony A900, or a Nikon D3 then get out your eraser and change that list. For most of you out there, this is the wrong way to go when you are building the ultimate camera rig. I know that a full frame sensor is tempting, but the advantages of the full frame are not as great as you might expect and there are ways of upgrading that will make you much happier over time.
The following is an overview of 12 steps to building a professional grade camera system with the ultimate bang for your buck. The purpose of the list is to provide an overview of upcoming articles and to prevent many of you from dropping some big bucks on a camera body this Christmas.
The List:
1) Basic DSLR Camera and Bag: I make the assumption that most of you already have step number one taken care of and you are ready for step number two. Just in case you don’t have a basic DSLR and bag, here is a quick guide to getting into the DSLR side of the camera hobby. Look for bargains. Often manufacturers will put together basic and intermediate starter packages. These most often will include a DSLR camera body, at least one kit lens, and sometimes will include a basic camera bag. These kits can be found online and at box and warehouse stores for between $400 and $1000. Buy the best you can afford because you are going to be married to the camera body and lens set for some time. However, remember that even entry level DSLR cameras take better photos than most professional 35mm film cameras. The biggest decision you have to make here is what brand to buy. Here is a giant secret, Canon, Nikon, Sony, Olympus, Pentax, Sigma, and a few other brands I am sure I have forgotten: they all make fine cameras. If someone tells you that Nikon or Canon is the only way to go, then just ignore it. Maybe that is true for them, but decide for yourself. Go to the store and handle the cameras. See which camera fits in your hands the best. Look through the viewfinder, play with the focus, ‘kick the tires a bit.’ Then get the camera that fits your budget and your future.
If perchance you already own lenses for an SLR camera then I recommend checking to see if those lenses will work on the same brand DSLR camera and sticking with that brand. Remember, all the major players make fine cameras.
2) Computer and Good Monitor: Over 50% of all photographers use an Apple Macintosh computer. I am not telling you to go buy a Mac, but I am telling you to think about the reason why photographers use a Mac. The primary reason is the monitor. The monitor is key. You need good color reproduction, good screen brightness, and good resolution. The Apple products provide nice monitors across their entire line of computers. If you select a Windows machine don’t skimp on the monitor. A 27” monitor for $300 is not a bargain. Expect to pay around $800 - $2000 for a 27” monitor.
3) Software: If you bought a Mac, then it came with iPhoto. This is the best place to start, in my opinion. A program like iPhoto provides basic workflow control. A year from now I expect that you will have outgrown iPhoto, but it is an ideal place to get your feet wet. If you bought a PC then you need to think about workflow. Workflow is the management of your photo library. The gold standard for this on the PC is a program called Adobe Lightroom. On the Mac, Lightroom or Aperture both are gold standards.
“But wait!!! I thought you had to have Adobe Photoshop!!!”
You don’t need Photoshop. In fact, you might not ever need Photoshop. I know that many pros love Photoshop and can’t live without it. There are just as many pros that rarely if ever use Photoshop. I have Photoshop and I use it on occasion but in reality there are better ways to do most of my daily photo chores than Photoshop.
4) Books and Education: Read everything that you can about your camera, exposure, composition, and lighting. Then practice the things you have read about.
5) Filters: Purchase some basic filters such as, a UV filter, a circular polarizing filter, a neutral density filter, and a warming filter. Companies like Tiffen often offer starter packs with all or most of these basic filters included.
6) External Flash: Buy the flash from the company that makes your camera. Buy the largest guide number flash that you can afford.
7) 50mm sub f2 lens: A nice lens like a 50mm f1.8, f1.4, or f1.2 is the first lens anyone looking to extend the capabilities of their camera should buy. Some people like to purchase only lenses from the manufacturer of their camera, however several lens companies make fine aftermarket lenses.
Items 8 - 11 do not have summaries presented in this article. However, rest assured they will be covered in depth in future articles.
8) Tripod
9) Reflectors and Diffusers
10) Specialty Lenses and Accessories
11) Studio Lighting
12) Full Frame Camera Body: “Why last? It will take me two or three years to get all that stuff! I want one now! I am ready to start shooting weddings and portraits! I am ready, I swear. I have had a weekend course in photography, a kit lens, and I printed my business cards already!!!!”
I put this one last on purpose. I hope it does take a couple of years to get to the point of upgrading the camera body; it should. Cameras follow Moore’s Law. Simply put: the camera you can buy two years from now is going to be tons better than the camera you can buy today and it is going to be tons cheaper. Camera bodies will come and go. They have lots of moving parts and technology is always marching forward. By the time that you have developed a professional skill set and all the accessories a pro needs, you will have worn out the first and possibly a second camera body. However, those lenses and accessories will last a lifetime.
Conclusion
Photography can be an expensive hobby/profession. Great tools exist for people on every part of the learning curve. Be wise with your money and get some bang for your buck.
By the way, I hope that Santa treats you right this Holiday season.
-- Enjoy
* I am aware that many of my readers are not Christian. I use Christmas here as a literary tool and I hope that it is taken in that spirit. No offense is meant or implied.
Shooting Through Glass: Get up close and personal.
22/11/10 15:32
In the last article I discussed using a polarizing filter to reduce reflection when shooting through glass on a visit to a museum. However, there are times when you don’t have a polarizing filter or you may be shooting with a point and shoot camera or a cell phone. The good news is that even with these limiting factors you can still get a great photo.
The problem: A quick review of the problem of shooting in a location like a Museum or Aquarium.
Notice the reflected ambient light in the photo above. Even with a polarizing filter I might not be able to eliminate all of the reflections in this shooting situation. So, a different approach should be taken.
The Solution: Get up close and personal.
When you find yourself unable to eliminate the reflection, either because the reflection is too large or because you don’t have a polarizing filter it is time to get up as close to the glass as you can. Sure, it will change the type of photograph that you would like to take but in most instances it will improve the quality of your images so much that you will wonder why you wanted the other images in the first place.
This photo is of a model of a prehistoric fish. I shot this through glass with a camera phone.
Steps to getting up close:
As can be seen in this cell phone photo, leaving the flash on will result in a large bright spot in the image.
While not shot through glass, this image was shot in very low light and I used an ISO of 12800. I chose to shoot this image in Black and White to prevent the noise from detracting from the final image.
Notice the magnified area of this image taken with a cell phone. The increased noise caused by the low light conditions can be clearly identified.
Here is the same image converted to Black and White. Notice that the digital noise is not as much of a distraction in the Black and White version.
If you follow these steps you will get some terrific shots. To prove it, here is a recent photo of a pike that I took while visiting the Cabela’s store near my home.
So, get out there and get to shooting, and most of all -- Enjoy.
The problem: A quick review of the problem of shooting in a location like a Museum or Aquarium.
- Most Museums or Aquariums do not allow flash photography, and even if they did the flash would reflect off of glass front displays.
- Most Museums or Aquariums will not allow the use of a tripod or mono-pod. In most cases they want to prevent scarring of the floor and they want to provide a safe and unobstructed walking area for guests.
- When shooting through glass, often ambient light sources are reflected in the glass.
Notice the reflected ambient light in the photo above. Even with a polarizing filter I might not be able to eliminate all of the reflections in this shooting situation. So, a different approach should be taken.
The Solution: Get up close and personal.
When you find yourself unable to eliminate the reflection, either because the reflection is too large or because you don’t have a polarizing filter it is time to get up as close to the glass as you can. Sure, it will change the type of photograph that you would like to take but in most instances it will improve the quality of your images so much that you will wonder why you wanted the other images in the first place.
This photo is of a model of a prehistoric fish. I shot this through glass with a camera phone.
Steps to getting up close:
- Survey the lay of the land. That is: really take the chance to look around and find something interesting about the display. Instead of photographing an entire painting, just shoot a detail. Instead of taking a picture of an entire aquarium, find one fish or groups of fish to photograph.
- Look for objects that are sitting still or moving slowly. Museums and aquariums are notoriously poorly lit and as such it can make photography extra difficult but not impossible. Photographing a stationary object or animal gives you more time to have the shutter open and therefore allow more light to hit the sensor.
- Make sure the flash is turned off.
As can be seen in this cell phone photo, leaving the flash on will result in a large bright spot in the image.
- Turn up the ISO setting. Even most point and shoot cameras allow for the adjustment of the camera’s ISO setting. This will cause the sensor to be more sensitive to the available light and therefore increase the amount of available light in the photograph. A word of caution on ISO adjustments: Increasing the ISO also increases the amount of noise in the photo. An ISO of 100 will produce a very clean photograph whereas an ISO of 1600 will produce a noisy or grainy photograph. If you must shoot with a very high ISO setting, consider shooting in Black and White. Grain in B/W photography is considered “Artsy” whereas grain in color photography can sometimes just ruin a shot.
While not shot through glass, this image was shot in very low light and I used an ISO of 12800. I chose to shoot this image in Black and White to prevent the noise from detracting from the final image.
Notice the magnified area of this image taken with a cell phone. The increased noise caused by the low light conditions can be clearly identified.
Here is the same image converted to Black and White. Notice that the digital noise is not as much of a distraction in the Black and White version.
- Hold your camera with both hands and keep your arms in close to your body. This will help you keep the camera still for longer exposures.
- If your camera or lens has vibration compensation be sure to turn it on.
- Shoot in Aperture priority mode if using a DSLR. Make sure you have an aperture setting that will get the portion of the object you are shooting in focus. This might be an f2 if you only want an animal’s eyes in focus or an f 4 - 8 if you want the entire scene in focus. Just remember the lower the number the longer the shutter speed is going to be.
- If you are using a point and shoot camera, check to see if you can set it for a low light or museum mode in leu of choosing a low aperture number.
- Get right up to the glass, without touching it.
- Use manual focus if available and if it is not, use the focus lock on your camera to select a focus point. To do this pick a focus point and then press your shutter button half way down. This will focus the image. When the spot you want to be in focus is in focus, gently press the shutter button the rest of the way down.
- Take lots of photos. However, be mindful of other guests and don’t hog up the displays.
If you follow these steps you will get some terrific shots. To prove it, here is a recent photo of a pike that I took while visiting the Cabela’s store near my home.
So, get out there and get to shooting, and most of all -- Enjoy.
Using a Polarizing filter to eliminate reflections on glass.
17/11/10 18:55
Summer is filled with trips to the great outdoors. However, summer is over for most of us and we find ourselves looking for other places to visit. A great place to visit in the Fall and Winter is a Museum. I love to go to museums and when I go I love to take my camera. More often than not, museums have some pretty restrictive rules about camera usage inside the museum.
Almost all museums have the same two rules:
1) No Flash Photography.
2) No Tripods or Monopods
These two rules can make it hard on the average photographer. The disadvantages of these two rules can be overcome with the correct camera settings and a lens designed for low light. Even after these two challenges have been dealt with, another problem still exists that many photographers never overcome.
The problem: Shooting Through Glass.
Instead of taking a paragraph to explain the problem presented by shooting through glass I will just show you the result of shooting through glass at a museum.
Any Napoleon Dynamite fan will recognize this as a photo of Shasta the Liger. I took this photo at the Bean Life Science Museum in Provo, UT. Notice the light reflecting off of the glass case in which Shasta is stored.
Here is the same photo with the reflections highlighted.
If you look closely you can see the reflection of the museum lighting on the glass case.
The Solution
The solution is very simple and very old school photography. The solution is a Circular Polarizing Filter. A polarizing filter can reduce reflection of lights on surfaces, it can cause the sky to be more blue and can help in saturating colors. In future articles I will discuss when to use a polarizing filter to darken the sky and when to use it to saturate an image but today I want to concentrate on using it to remove reflections, especially reflections on glass.
A circular polarizer is easy to use. It attaches to the end of your lens and it rotates a full 360 degrees. I find that it is best to first line up my photo, set my exposure and focus and then, while looking though the viewfinder turn the polarizing filter until the reflection on the glass disappears. It is really just that simple and, guess what; it works.
Here is another photo of Shasta to prove it.
This photo was taken from the same distance, with the same exposure and the same focus. The only difference is the use of a polarizing filter.
Buying a Polarizing Filter
When you buy a polarizing filter remember the following guidelines:
1) Buy a filter that fits your lens. Filters are measured in millimeters or mm. If you look at the end of your lens it will have the filter mm number etched in the lens. Look for a number like 49mm, 55mm, 62mm. If you buy the wrong size filter, it will not fit your camera.
2) Don’t go cheap. Buy a reputable brand of filter. Tiffen makes good filters at a moderate price. There are also many other quality filter manufacturers. Most likely the maker of your camera provides their own line of filters.
3) Make sure it is a circular polarizing filter when you buy it. The older style of linear polarizing filter is not suited for general use applications on modern digital cameras. In other words, you are going to get a lot more bang for you buck with a circular polarizer.
I am aware that many of you do not have the money to buy a filter just yet and that many more of you do not have a camera that will accept filters. There is no reason for you to be left out in the cold. In my next article I am going to explain how to make the glass disappear without the use of a polarizing filter. It is simple, fun, and even works with your camera phone. So stay tuned and until then
-- Enjoy.
Almost all museums have the same two rules:
1) No Flash Photography.
2) No Tripods or Monopods
These two rules can make it hard on the average photographer. The disadvantages of these two rules can be overcome with the correct camera settings and a lens designed for low light. Even after these two challenges have been dealt with, another problem still exists that many photographers never overcome.
The problem: Shooting Through Glass.
Instead of taking a paragraph to explain the problem presented by shooting through glass I will just show you the result of shooting through glass at a museum.
Any Napoleon Dynamite fan will recognize this as a photo of Shasta the Liger. I took this photo at the Bean Life Science Museum in Provo, UT. Notice the light reflecting off of the glass case in which Shasta is stored.
Here is the same photo with the reflections highlighted.
If you look closely you can see the reflection of the museum lighting on the glass case.
The Solution
The solution is very simple and very old school photography. The solution is a Circular Polarizing Filter. A polarizing filter can reduce reflection of lights on surfaces, it can cause the sky to be more blue and can help in saturating colors. In future articles I will discuss when to use a polarizing filter to darken the sky and when to use it to saturate an image but today I want to concentrate on using it to remove reflections, especially reflections on glass.
A circular polarizer is easy to use. It attaches to the end of your lens and it rotates a full 360 degrees. I find that it is best to first line up my photo, set my exposure and focus and then, while looking though the viewfinder turn the polarizing filter until the reflection on the glass disappears. It is really just that simple and, guess what; it works.
Here is another photo of Shasta to prove it.
This photo was taken from the same distance, with the same exposure and the same focus. The only difference is the use of a polarizing filter.
Buying a Polarizing Filter
When you buy a polarizing filter remember the following guidelines:
1) Buy a filter that fits your lens. Filters are measured in millimeters or mm. If you look at the end of your lens it will have the filter mm number etched in the lens. Look for a number like 49mm, 55mm, 62mm. If you buy the wrong size filter, it will not fit your camera.
2) Don’t go cheap. Buy a reputable brand of filter. Tiffen makes good filters at a moderate price. There are also many other quality filter manufacturers. Most likely the maker of your camera provides their own line of filters.
3) Make sure it is a circular polarizing filter when you buy it. The older style of linear polarizing filter is not suited for general use applications on modern digital cameras. In other words, you are going to get a lot more bang for you buck with a circular polarizer.
I am aware that many of you do not have the money to buy a filter just yet and that many more of you do not have a camera that will accept filters. There is no reason for you to be left out in the cold. In my next article I am going to explain how to make the glass disappear without the use of a polarizing filter. It is simple, fun, and even works with your camera phone. So stay tuned and until then
-- Enjoy.
Kit Lenses vs. “Good” Glass
20/10/10 22:13
Kit Lenses vs. “Good” Glass
What is the difference between a kit lens and “good” glass? If many ‘would be’ professional photographers and camera store employees (who work on commission) are to be believed, that difference is night and day. They would say that a kit lens is not worth anything and does not even make a good paper weight, and that “good” glass is worth selling your kidney for if your kidney would bring in enough money to buy it.
The Secret
Here is a secret the camera store employee and the “Pro” photographer don’t want you to know. A kit lens is fine. For most people the kit lenses are about all they need for most of their photography. They certainly don’t need a 300mm f2.8 lens that costs upwards of $6000 just to take pictures of their kids at a baseball game.
This image was shot using a 70mm-300mm f4.5/5.5 kit lens. As you can see the kit lens can even be used to take a very artistic photograph.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/west/h33655d47#h33655d47
Prior to the days of modern CNC machining, computer aided design, and photoshop, a really expensive piece of glass was the only way to go if you wanted to take a decent photograph. However, we live in a modern world and lenses have come a long way. The modern kit lens is generally very distortion free compared to its counterpart from even ten years ago. It is safe to say that a modern kit lens is at least as good or better than many of the mid-priced lenses available 20 years ago. The low cost of digital photography and modern manufacturing techniques have worked together to make the economy of scale almost a miracle for the amateur photographer.
Many DSLR cameras come with two lenses or one general purpose lens. These are generally a wide angle zoom lens like a 18mm-70mm f3.5-5.6 and a 70mm-300mm f4.5/5.5 and for a one lens kits a great choice is a 18mm-200mm or similar kit lens. These lenses are good general purpose lenses for shooting out of doors or indoors with the assistance of an external flash. These lenses are not very good at all for low light photography. This does not mean that you need to go out and buy an expensive piece of glass to take photos indoors. A kit lens can be supplemented with a very low cost lens that will step up and fill this hole in performance.
This photo is an example of using a kit lens without a tripod to take a low light photograph (It can be done). This photo was taken using a 18mm - 70mm f3.5-5.6 kit lens. The image was taken in a low light in a gorilla enclosure at the Louisville Zoo in Louisville, Ky. The image is through glass and no additional light was used.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/louisvillezoo/h2b078c77#h2b078c77
50mm Prime Lens
Canon, Nikon, and Sony all have a 50mm f1.8 lens in their respective catalogue of lenses. And in every case the 50mm f1.8 lens is the least expensive lens that they make. They can be found for between $100 and $150 new. A 50mm f1.8 can step up and take the low light photographs that the kit lens just can’t touch and can do it at a fraction of the cost of an expensive zoom lens. Guess what? These lenses are great lenses. Are they sexy? No. Will people look at you and say, look at the size of his lens? Nope. However, adding a lens like this to your camera bag will make you a better photographer and will not break the bank doing it. Your indoor images will be sharp and you can save the money you would have spent on a lens and purchase a nice flash or a good piece of editing software for your computer.
This image was shot using a 50mm f1.8 prime lens.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/templesquare/h39664a0d#h39664a0d
A Word for the Pros
I know that expensive glass is a great thing. I own other lenses in addition to the kit lenses that came with my camera. I also know that it is not the lens or the camera that makes a photographer. I encourage anyone to buy the best glass that they can buy if they need it and can afford it. I also know that for most people an $8000 camera and a $6000 lens is not going to do anything to help them be a better photographer. I want the new and amateur photographer to come to know their equipment. I want them to take their systems to the limit and to make the best of what they have before they rush out and buy a lens that might not fit their needs or their budget. I want them to grow with their hobby and, yes, for most of them they are never going to outgrow the kit lenses and a supplemental prime lens. That is fine and their photos will be fine too. There are few things in this world more frustrating to me than to see a person with an expensive camera and lens trying to take a photo and then looking at the preview of the image and having a look of disgust on their face. I know that look is made worse because of the amount of money they dropped on a camera that they don’t know how to use.
A Final Word for the Amateur
Stick with the kit that you bought. Read everything you can about your camera. Experiment with your camera. Buy a low cost 50mm prime lens for where the kit lens does not work. Learn a good piece of editing software and learn to correct for the few flaws of the kit lens. Most of all, have fun and don’t worry about looking like a pro. Just learn to shoot like one and over time you will come to know what type of photography you really like to do and what type of lens will best suit your needs.
Enjoy
Note:
The following is a good review of the variety of Nikon Kits lenses available.
What is the difference between a kit lens and “good” glass? If many ‘would be’ professional photographers and camera store employees (who work on commission) are to be believed, that difference is night and day. They would say that a kit lens is not worth anything and does not even make a good paper weight, and that “good” glass is worth selling your kidney for if your kidney would bring in enough money to buy it.
The Secret
Here is a secret the camera store employee and the “Pro” photographer don’t want you to know. A kit lens is fine. For most people the kit lenses are about all they need for most of their photography. They certainly don’t need a 300mm f2.8 lens that costs upwards of $6000 just to take pictures of their kids at a baseball game.
This image was shot using a 70mm-300mm f4.5/5.5 kit lens. As you can see the kit lens can even be used to take a very artistic photograph.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/west/h33655d47#h33655d47
Prior to the days of modern CNC machining, computer aided design, and photoshop, a really expensive piece of glass was the only way to go if you wanted to take a decent photograph. However, we live in a modern world and lenses have come a long way. The modern kit lens is generally very distortion free compared to its counterpart from even ten years ago. It is safe to say that a modern kit lens is at least as good or better than many of the mid-priced lenses available 20 years ago. The low cost of digital photography and modern manufacturing techniques have worked together to make the economy of scale almost a miracle for the amateur photographer.
Many DSLR cameras come with two lenses or one general purpose lens. These are generally a wide angle zoom lens like a 18mm-70mm f3.5-5.6 and a 70mm-300mm f4.5/5.5 and for a one lens kits a great choice is a 18mm-200mm or similar kit lens. These lenses are good general purpose lenses for shooting out of doors or indoors with the assistance of an external flash. These lenses are not very good at all for low light photography. This does not mean that you need to go out and buy an expensive piece of glass to take photos indoors. A kit lens can be supplemented with a very low cost lens that will step up and fill this hole in performance.
This photo is an example of using a kit lens without a tripod to take a low light photograph (It can be done). This photo was taken using a 18mm - 70mm f3.5-5.6 kit lens. The image was taken in a low light in a gorilla enclosure at the Louisville Zoo in Louisville, Ky. The image is through glass and no additional light was used.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/louisvillezoo/h2b078c77#h2b078c77
50mm Prime Lens
Canon, Nikon, and Sony all have a 50mm f1.8 lens in their respective catalogue of lenses. And in every case the 50mm f1.8 lens is the least expensive lens that they make. They can be found for between $100 and $150 new. A 50mm f1.8 can step up and take the low light photographs that the kit lens just can’t touch and can do it at a fraction of the cost of an expensive zoom lens. Guess what? These lenses are great lenses. Are they sexy? No. Will people look at you and say, look at the size of his lens? Nope. However, adding a lens like this to your camera bag will make you a better photographer and will not break the bank doing it. Your indoor images will be sharp and you can save the money you would have spent on a lens and purchase a nice flash or a good piece of editing software for your computer.
This image was shot using a 50mm f1.8 prime lens.
Purchase this print here: http://williamburnettgalleries.zenfolio.com/templesquare/h39664a0d#h39664a0d
A Word for the Pros
I know that expensive glass is a great thing. I own other lenses in addition to the kit lenses that came with my camera. I also know that it is not the lens or the camera that makes a photographer. I encourage anyone to buy the best glass that they can buy if they need it and can afford it. I also know that for most people an $8000 camera and a $6000 lens is not going to do anything to help them be a better photographer. I want the new and amateur photographer to come to know their equipment. I want them to take their systems to the limit and to make the best of what they have before they rush out and buy a lens that might not fit their needs or their budget. I want them to grow with their hobby and, yes, for most of them they are never going to outgrow the kit lenses and a supplemental prime lens. That is fine and their photos will be fine too. There are few things in this world more frustrating to me than to see a person with an expensive camera and lens trying to take a photo and then looking at the preview of the image and having a look of disgust on their face. I know that look is made worse because of the amount of money they dropped on a camera that they don’t know how to use.
A Final Word for the Amateur
Stick with the kit that you bought. Read everything you can about your camera. Experiment with your camera. Buy a low cost 50mm prime lens for where the kit lens does not work. Learn a good piece of editing software and learn to correct for the few flaws of the kit lens. Most of all, have fun and don’t worry about looking like a pro. Just learn to shoot like one and over time you will come to know what type of photography you really like to do and what type of lens will best suit your needs.
Enjoy
Note:
The following is a good review of the variety of Nikon Kits lenses available.