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Anti-Shock

Last week we talked about Image Stabilization, also variously referred
to as Vibration Reduction, Anti-Shake and Anti-Blur. This week let's
look at a different feature that is often confused with Image
Stabilization. Its name may sometimes sound similar but its function is
completely different.

This menu option, which is available only on SLR cameras, may variously
be called Anti-Shock, Mirror-Lockup or some other such thing. The
terminology depends on the manufacturer but the functionality is
universal.

When turned on, Anti-Shock delays the shutter opening for some preset
time (usually 2-5 seconds) after the shutter button is pressed.

Why would you want to introduce a lag time between when you press the
button and when the picture is actually taken?

With SLR cameras, there is a mirror which sits between the lens and the
"film plane". You can see it when you remove the lens and look into the
camera body through the flange. This mirror is hinged on most cameras
(a few models have been tried over the years which use translucent
mirrors that remain in place.) The mirror swings up out of the way
while the exposure is being made.

The Anti-Shock delay is to allow vibrations from the mirror movement to
dampen before the exposure is made. While this function is not useful
for any kind of action shots, it can be very useful for landscape
photos, macros and other cases where the subject is not moving and you
want maximum sharpness.

Anti-shock is not available on point-and-shoot, rangefinder or other
types of cameras without a mirror. And although it can be used at any
time, anti-shock is only effective when the camera is on a tripod or
other support.

One final thing to watch out for is that Anti-Shock is usually not
self-resetting. Once you turn it on it remains on until you turn it off
again. If you forget, you may find yourself trying to grab an action
shot only to miss it because of a delay you weren't counting on.

Want to learn more about your camera's advanced features?

Understanding Your Camera's Settings-

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Posted in Understanding Your Camera |

Image Stabilization

Does your camera have image stabilization (sometimes abbreviated as
"IS")? It's becoming more common, even among compact point-and-shoot
models. It may sometimes be called something like anti-shake, anti-blur
or vibration reduction (look for "VR" on your lens.) But do you know
when and how to use it? Do you know what it does? Do you know when it
can make your pictures better and when it can actually make them worse?

There are three main types of image stabilization:
* In-camera stabilization actually moves the sensor inside your
camera in response to small movements and vibrations in an effort
to counter those and capture a sharper image.
* In-lens stabilization performs a similar function within the lens.
In-lens stabilization is available only on select (usually
expensive) lenses for SLR camera systems with interchangeable
lenses.
* Software stabilization attempts to interpret and clean up
blurriness using software in the camera.

In all cases, image stabilization works only when shooting handheld and
can actually make your pictures worse when using a tripod or other
solid support. The reason is that when image stabilization is turned
on, the camera assumes there is some shake. If you are using a solid
support which prevents camera shake, image stabilization may actually
introduce some shake that otherwise wouldn't exist!

There are other situations where image stabilization is
counter-productive, such as when you are deliberately moving the camera
during exposure. You might do this, for example when panning to follow
a moving subject or zooming to add an explosion effect. There is even a
whole genre in artistic photography which aims to reproduce the effect
seen in impressionist paintings. (Achieving this effect is a topic all
in itself and will not be covered here.) Or an even more extreme genre
in which the camera is set on a timer and tossed into the air to make
the exposure. (Note: This poses a serious risk of damaging your camera
and we do not recommend trying it.)

Some more advanced cameras have multiple image stabilization settings
which may take deliberate camera movement into account. For instance,
vertical stabilization will help control up/down movement but will not
attempt to correct for side-to-side movement. This will allow you to
pan, for example on a racecar whizzing past, while still getting some
benefit from increased sharpness. Horizontal stabilization helps
correct for side-to-side movement while allowing up/down panning, such
as when following a rocket launch.

It's important to know that even the best image stabilization will not
correct for extreme camera movement. The purpose of these settings is
to counteract the tiny vibrations that are a natural part of muscle
shake. Your body's muscles are actually designed to tremble a little
with use. This trembling can cause vibration in your camera, leading to
slightly blurry photos. Zooming in or using a long telephoto lens
magnifies this camera shake and is when image stabilization shows its
greatest benefits.

Want to learn more about lenses, stabilized or not? Check this out!

How to Choose (and Use) Lenses-

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Posted in Choosing the Right Lens |

Noise Reduction

Some cameras have a menu setting to turn noise reduction on or off.
"Noise" is the random white or colored specks you sometimes see with
long exposures. Noise may sometimes be referred to as "artifacts",
though technically these are something different.

The technical name for the noise reduction process is called "Dark
Field Subtraction". (Clearly, its clever marketing name is an
improvement.)

Here's how it works:
* With noise reduction on, your camera follows each exposure with
another exposure of equal length. (With some cameras this only
happens on exposures over a certain length, as long exposures are
the ones that benefit most from noise reduction.)
* The second exposure is made by the camera with the shutter closed.
It is a pure black exposure and is not saved.
* The camera analyzes this pure black exposure looking for any
non-black specks (pixels).
* It then compares the location of any non-black pixels it finds to
the same location on the previous exposure.
* If the pixel there is the same color, the camera analyzes the
surrounding pixels and automatically cleans up the offending pixel
based on the colors, brightness and tones of the surrounding area.

Noise reduction is not magic so it may not be able to clean up 100% of
all noise, but it can make a notable difference.

As noted, noise reduction usually has little beneficial effect on
exposures of less than one minute. That's because you generally only
get noise on longer exposures. It's caused by your digital sensor
heating up from prolonged use and some of the pixels registering "false
positives".

That is, some pixels report seeing light that they don't really see.
Once the sensor has cooled, the pixels will correct themselves.

Noise reduction also applies only to digital cameras. Film had its own
equivalent but only certain types of film were affected and the
exposure time thresshold was much longer. (Typically over an hour.)

If you want to really understand the mechanics of how your camera
works, check out our ebook on the topic:

Understanding Your Camera's Settings-

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Posted in Understanding Your Camera |

Rule of Thirds

The rule of thirds is perhaps the most basic and most often quoted of
compositional rules, as applied to photography. It's very easy to
understand, remember and use.

Rule of Thirds

Imagine there's a tic-tac-toe board superimposed over your viewfinder
or LCD screen (some cameras actually have this as a feature). When a
scene is divided into thirds in both directions, as in a tic-tac-toe
board, all significant elements in your picture should fall on one or
more of the dividing lines.

Generally speaking, boundaries (such as the horizon) are less static
when they fall on one of the 1/3 lines. "Power Points" mark the
intersections of the 1/3 lines and are compositionally the strongest
places in the image.

So, in the example shot shown here, moving the camera so that the
flower was placed in the lower-right corner made for a much stronger,
more interesting image than if it had been placed right smack in the
center of the frame.

Note too that a small portion of the flower was allowed to run off the
edges of the frame; another very powerful compositional tool.

Ready to learn more than two dozen rules of good composition? Look no
further...

More Satisfying Photographic Composition-

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Posted in Composition |

Painful Crops

It's almost a stereotype to see someone with a camera stepping back and
trying to zoom as wide as possible to get it all in. Especially while
on vacation with the family lined up in front of some famous landmark.
My advice is to not always try to cram every bit of information into
your photo.

A tighter cropping that leaves elements out can say just as much while
also yielding a more powerful image. Also, letting some of your subject
run off the edges of the visible frame can be a very powerful
compositional tool.

Of course this assumes you are doing it the right way.

Yes there is a right and a wrong way to crop, whether you are doing it
in camera or during post processing.

You especially want to to beware when cropping people's limbs; crops
which occur at the joints (knees, elbows, wrists, etc.) often have a
slightly creepy look. In the photography industry these are referred to
as "painful crops".

Since the joint is a natural termination point, when you crop at the
joint a viewer's eye (and mind) doesn't automatically continue on to
mentally fill in the rest of the missing limb.

Crops that fall between the joints (mid-thigh, mid-calf, etc.) tend to
look more natural.

Crop comparison

Each of the photos in the pair above was cropped from the exact same
original. Both have exactly the same dimensions and exactly the same
degree of magnification. The sole difference between them was placement
of the crop frame.

Note that, in the picture on the left the crop is right at both knees
and at the left elbow. In the one on the right, the crop was moved so
that it wasn't directly on any of the joints.

For more than two dozen more quick tips for better composition, check
out our ebook on the subject:

More Satisfying Photographic Composition-

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Posted in Composition |

What Kind of Camera Should I Buy?

Perhaps the question I am asked more than any other is some variation
on "What kind of camera should I buy?" The question below, found on one
of the message boards I participate in, is one such question.

I am an amateur photographer based in the US. I need to make a decision
between the Nikon D7000 vs Nikon D90. Please help. Also please suggest
what lens should I buy.

What follows is a response from one of the other active members of the
same forum.

If video isn't important in your SLR, buy the absolute nicest lens you
can buy, leaving just enough to buy a body. If you have enough, then
get the best body you can on your budget. Within one company's lineup,
you are pretty safe to assume if it's more expensive it's either
better, has more features, or usually both. Not always the case, but
generally true.

Which lens, is a big question. Assuming anything but the top of the
line full frame SLR cameras, I think a good lens focal length for the
average person is in the range of 15-85mm zoom, or a 35mm prime. The
faster the better, and IS [image stabilization] is a big plus.

If more cheap is the name of the game, everything changes...

I agree with a large part the answer given, but only up to a point.
Definitely choose glass over body. It matters a lot more.

The first point I disagree on is making a blind recommendation on lens.
What do you want to do with your camera? What do you most like to take
pictures of? If that's birds in the wild, then a wide angle zoom will
do you no good. You'll need a long telephoto. If it's just about
anything in low light, fast maximum aperture is important. If it's
scenic landscapes in wild places like the American west then even 15mm
may not be wide enough for you. It depends a great deal on what sort of
pictures you take and what you need the lens to do.

The second point I disagree on is format. Everyone talks about "full
frame" as though it were the holy grail of photography. It isn't. ALL
cameras are full frame. Every single one of them. They simply have
different frame sizes. One side effect of that is magnification.
Smaller sensors (APS-C, 4:3, etc) effectively magnify the image over
what you'd get from the same focal length on a so-called full frame
camera. This can actually be a benefit for certain applications, sports
and wildlife being chief among them.

In nearly 30 years of taking pictures, I have never met a photographer
whose skill was so exceptional that he was being held back by the
equipment he was using. Never. Not even once. No matter what you pick,
the gear you hold in your hands will always be capable of delivering
more than you will ever be capable of getting out of it. This is even
more true now when cameras are so capable. At the DSLR level, there is
no such thing as a bad camera. In fact, unless there's a reason to --
for instance, if you already have an investment in good glass or other
accessories -- don't just limit yourself to Canon and Nikon. (That's my
third point of contention.) There are plenty of other manufacturers who
make wonderful cameras that take beautiful pictures. One of those may
serve your needs better or give you more bang for your buck.

Food for thought.

If you're in the market for a camera, we offer a free buying guide that
will help you in deciding what to get. We also have an extensive ebook
on the subject of choosing and using lenses.

How to Choose (and Use) Lenses-

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Posted in Choosing the Right Lens | Tags camera, Canon, digital camera,
dslr, lens, Nikon, Olympus, Panasonic, Pentax, slr, Sony

The 5 Minute Facelift [how-to]

Reader ML posted a question on our web site recently. "Can you take
pictures to make people look younger?"

What an interesting question.

The not-so-straightforward answer is YES. Sort of.

A lot depends on the subject, the setting and how much post-processing
you do. There are not really any quick or simple tricks.

With that caveat in hand, let's look at a handful of tricks you could
try.

1. Soft Focus - Soft focus lenses have long been a favorite of
moviemakers and are still widely used to this day. Among photographers,
they enjoyed a brief heyday in the late 1980s and throughout most of
the 90s but have since fallen from favor.

Nowadays the vogue is for the most tack-sharp images possible. While
there is something to be said for perfectly sharp images, some subjects
may be better rendered with a bit of softness. This is especially true
with feminine glamour shots.

Don't mistake soft focus for out of focus! A true soft focus picture
taken with a soft focus lens or filter is in perfect focus. It just has
a bit of softness which lends a flattering effect to certain subjects.

Soft-focus as a means of making portrait subjects look younger

2. Soft Light - If you have control over the light, the softer the
better. Imagine holding just a single flashlight near your face as in
old horror movies. The shadows would bring out every contour but they
would also highlight every line and wrinkle.

If instead you had a huge bank of soft lights that created little or no
shadow at all, lines and wrinkles would blend right in. After all, they
are the same color as the surrounding skin so it's only light and
shadow which makes them visible.

3. Good Make-up - Celebrity news magazines make a big deal out of
catching glamorous starlets looking less than flattering. The plain and
simple fact is that they look like that all the time! (So do you and I,
for that matter.) They only look glamorous thanks to hours spent with
professional make-up artists.

Brides glow on their wedding day for the very same reason. In fact,
just about anyone fresh out of the salon or who has just walked away
from the makeover station at the make-up counter will look equally
fabulous. Why do you think cosmetics companies offer free makeovers?
Because you'll look so good that the cosmetics sell themselves!

4. Judicious Post-processing -Trying to make someone look younger in
post-processing takes a great deal of both skill and subtlety. It's
also a double-edged sword. You don't want to make the person look
vastly different from how they look in everyday life and yet you want
to make them somehow look better than they do in everyday life.

Kim the toe-ring lady Young version of Kim

Here are two shots shown side-by-side. The shot on the left is straight
out of the camera. For the shot on the right, I literally set a timer
and allowed myself only 5 minutes to make her look as young as possible
while still maintaining a realistic look to the portrait.

So what did I do?
* Create a duplicate copy of the photo on its own layer. (Learning to
work with layers is perhaps the single most effective thing you can
do in post-processing.)
* Set the layer type to "screen". This vastly lightens the image.
* Reduce the opacity to 22%. (I did this by eye; there is no
scientific formula to it.)
* Add a layer mask filled black for full opacity.
* Set an extremely soft-edged brush.
* Brushed white back onto the layer mask where shadows brought out
wrinkles and other signs of aging.

That's it! Simply by lightening some of the shadows, I took a couple of
years off my subject in under five minutes. Sure, I could have spent a
great deal more time and gotten a more dramatic result but
MoreSatisfyingPhotos is all about keeping things quick, simple and
accessible.

I hope this helps, ML!

If you'd like to learn the secrets of portraiture, check out our ebook
on the subject.

MoreSatisfyingPortraits-

Want to get down the fundamentals of post-processing? Watch for our
forthcoming ebook that will give you a quick list of edits you can make
to get any decent photo 75% perfect in 15 minutes or less!

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Posted in Photo Editing, Portraits |

Digital Underwater Camera

Some of you may have heard of Nikonos underwater cameras. They were
made for many years by Nikon and are widely considered to be the best
line of underwater cameras ever made. While many cameras have long had
underwater housings available, Nikonos was specifically designed to be
natively waterproof. Alas, the Nikonos cameras were all film cameras
and Nikon never commercially produced a digital version.

Since the Nikonos had interchangeable lenses (of course you couldn't
actually change the lenses underwater!), many hobbyists and inventors
tinkered with adapting the old Nikonos cameras to the digital age. Some
have tried adding a digital back to the original body. Others went a
different route and adapted a standard digital body in a waterproof
housing to use the Nikonos lenses.

Enter the new generation of small bodied interchangeable lens cameras
such as the Olympus EPL1 and Olympus EPL2. These innovative little
cameras sport two features absolutely crucial to the search for a
digital body that can take Nikonos lenses:
1. They are designed to shoot using live view. Live view is the LCD
screen on the back of the camera. While many interchangeable lens
cameras let you compose and use the LCD, it's really a supplement
to the optical viewfinder. Long term use of the LCD screens on
those cameras often drastically shortens battery life. Not so with
the Olympus cameras, which don't even have an optical viewfinder.
2. Because of sensor size, cameras like the Olympus EP-1 require
legacy film system lenses to mount farther away from the camera
body in order to maintain the ability to focus to infinity.
Perfect. That allows enough room to insert an adapter which is also
part of a waterproof housing, such as an Ikelite housing.

Some such housings are even rumored to natively support using the
original Nikonos lenses. These are world-class optics for underwater
photography. Of course you can also find an underwater housing for
Canon, Nikon, Sony, Pentax and just about any other brand of camera out
there.

Having a new generation of digital underwater cameras is good news for
underwater photography, divers and other water sports enthusiasts.

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Posted in Sports and Action, Travel Photos |

Mailbag - July 2011

This is the first installment of what may or may not become a
semi-regular thing. I've collected a handful of questions over the last
couple of months so I'd like to address them as best I can now. (If you
have a question you'd like answered specifically, contact us here.)

1. Why is it so hard to find a DVD explaining what F-Stops, shutter
speeds, and ISO to use when taking photos with DSLR cameras?

The short answer is because it's essentially an impossible task. What I
mean by that is that all of these things are variable and changing any
one of them has two effects:

a) it requires an offsetting change in one or both of the others in
order to maintain proper exposure,

b) each change of setting will change the appearance of the photo you
take. For example, closing down the f-stop (higher number) will
increase your depth of field while opening it will decrease depth of
field. A faster shutter speed will freeze motion better while a slower
one will allow for motion blur (deliberate or otherwise). Lower ISO
will yield less grain and more saturated colors while higher ISO will
give more grain and generally more muted colors.

So while it's theoretically possible for me (or anyone else) to tell
you exactly what settings to use, that may not give you the picture you
want. For example, suppose I say to use ISO100, 1/60th second and f8.
If shallow depth of field is important to you, f8 won't accomplish that
but the only way you'll know that is if you more deeply understand the
exposure triangle.

With those same settings (ISO100, 1/60th, f8), if your subject is
moving and you want to freeze blur, then 1/60th second is likely too
slow. Again, you'll have to understand the exposure triangle to realize
that and to know what to do about it.

Now that I've given all the caveats, let me say that I have created a
simple one-page cheat sheet that does exactly what is being asked. It
tells you precisely what settings to use in more than 30 different
shooting scenarios and even lets you choose from 7 different ISO
settings in each of the scenarios outlined.

This easy-to-carry, simple-to-use reference tool can be downloaded
right now for only $3.97. Like all our products, it comes with a 100%
money-back guarantee.

2. I'm looking at purchasing a DSLR, either a Nikon or Canon. No one
ever wants to say and list why either is better. What do you think?
Also, I've heard lately that you should invest in lenses rather than a
camera body. What type of lenses do you think are the best quality?

Another trick question. First of all, this question has built into it
the common belief that there are only two camera brands worth
considering. Hogwash! I've written many times before about how terrific
many of the "off" brands are. In fact, most of them tend to offer more
for the money than either Nikon or Canon.

There is one -- and only one -- reason not to consider alternative
brands. If you already have an investment of lenses or have access to
lenses (i.e. a close friend or relative has some you could freely
borrow) then the choice of brand is already made for you and you should
read no further.

Lenses, if well cared for, will last a lifetime and can even be passed
down from one generation to the next.

Assuming you're not "locked in" because of a significant investment in
glass, try this experiment. Go to flickr/cameras/ and
spend some time browsing around there. You can look at samples of
photos taken with essentially every brand and model of digital camera
that's been on the market in at least the last 10 years.

Let me spare you a lot of confusion. You are certain to find absolutely
gorgeous pictures taken with every single one of them. Every one.
Without exception.

I know photographers who take stunning photos with cheap cell phone
cameras.

It isn't the tool, it's the 12'' of grey matter behind it that counts
most.

You want to buy a Nikon? Good choice. You want to buy a Canon? Good
choice. You want to buy a Sony, Pentax, Olympus or Fuji? Excellent
choice!

Some might say "Oh but brand x has 8,000 lenses whereas brand y only
has 400." Are you planning on buying all 8,000 lenses? Are you even
planning on buying 400 lenses? Chances are, you'll never own more than
3 lenses so it really doesn't matter how many lenses are available for
a certain brand.

Again, every single camera brand -- bar none -- has a full range of
lenses from the widest wide angle to the longest telephoto. Every zoom
you could ever ask for and every price range you could ever wish for.

Now let me get to the second part of the question. What type of lenses
are the best quality?

Every single camera manufacturer makes more than one grade of lens.
Price is absolutely a reflection of quality. You can pay more without
getting more (if you're dealing with a disreputable dealer) but to get
more you will absolutely have to pay more.

A $2,000 lens will definitely take better quality photos than a $300
lens. The real question is whether you actually need and can afford
that difference in quality. Will you ever even see it?

What do you do with your pictures? 99.9% of mine are used in electronic
form only (on this and other web sites, on my computer, in email, etc.)
No matter how great my lenses are, your computer monitor will not
really show much of a difference.

Consequently, I do not own any lenses that cost more than $300. I
salivate over several high dollar lenses but nothing I do with my
photos warrants the cost for me right now. There is also the option of
renting.

Boy, did this turn into a rant I hadn't anticipated. Still, I hope it
was helpful.

Before buying any lens, you should understand how to choose and use the
right lens for your style of shooting. Fortunately, we have an ebook
dedicated to that very subject.

How to Choose (and Use) Lenses-

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Posted in Choosing the Right Lens, Understanding Your Camera |

Photography Lessons from my Mom's Funeral

Strange as it probably seems, I learned some interesting photography
lessons at my mother's funeral earlier this month.

First, let me back up a bit.

I had heard and read about funeral photographers before, so the concept
wasn't new to me. Still, I had never actually seen one in action.
(Technically, I still haven't.)

I am blessed to have not been to very many funerals so far in my life.
I did go to the funeral of a family friend who succumbed to cancer a
couple of years ago. I had just recently learned about funeral
photography at that time so it was kind of fresh in my mind.

While I was at the service, I couldn't help but have a photographer's
eye. I remember looking around and mentally composing pictures from the
scenes before me.

Not just idle thoughts. I actually figured out what lenses I would use,
angles of view, camera settings. I actively looked for photo
opportunities.

This may seem a little callous but no one knew I was doing this. It was
a mental exercise meant just for myself.

What I learned was that funeral photography seems very similar to some
aspects of wedding photography or corporate event photography. There is
a bit more of a somber atmosphere and it would be highly insensitive to
ask people to pose for pictures. That means you must be very good at
anticipating and taking candids.

Fast forward a couple of years. My own mother died recently and her
funeral was held earlier this month. Without any input from me, my
brother and two sisters -- none of whom is a photographer or has any
special interest in photography -- got together and decided to have a
photographer at the memorial service.

The person they got was a young kid who is a friend of my youngest
sister. I could tell that he didn't have a lot of experience. Not only
was this very likely his first time doing funeral photos, but it may
have been one of his first few times doing photos of any kind
professionally.

He did things very differently from how I would have.

That, in and of itself, is not necessarily a bad thing. Lots of people
have a different style from mine and I have seen many of them produce
work to be envied and admired.

The big thing in this case was that he did ask us to pose. He took a
lot of what I would call "Senior Graduation" pictures. When the actual
service started, as far as I know (he moved to the back and I was in
front) he put away his camera and did not take any other pictures.

I wasn't the one who hired him and he didn't actually ask for any money
but I did pay him a nominal fee and gave him my address. I asked if
he'd send me digital copies of the pictures he took. I'm still waiting.

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Posted in Event Photography |
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