Basic knowledge of the lens that you want to know before starting the camera
When I start to investigate to buy a lens of a digital camera, various manufacturers make various kinds of lenses, and I do not know which one to buy. In addition, the storm of unknown terminology such as OSS and SSM … … There is no reason to think that it is good on a smartphone anymore.
Nonetheless, it is true that cameras made exclusively for photography are superior in various aspects over smartphones, and it is possible to obtain high quality photographs that cannot be photographed with small sensors of smartphones. It is not too difficult to figure out the lens to buy if you understand what you want and understand what each manufacturer calls each function with their name. If you learn a little technical term, you can decide which function is necessary for you and which function is not necessary.
“Aperture” of the camera lens is a function to adjust the amount of lighting the camera sensor. The open aperture value is determined for each camera, and it is defined by a unified standard called F value. Depending on the camera, the aperture is somewhere in the range F1.0 to F22. There are several notation methods of F value, for example F 2.8 may be written as “1: 2.8”. In any case, the same numbers have the same meaning and represent “open aperture value”.
The smaller the number of F values is (for example F1.8) the more diaphragm the more light will pass through the lens. A lens with a small F value (that is, a lens with a large amount of light striking the sensor) can create an effect called “blur”, so it is ideal for portrait photography. On the other hand, for the zoom lens, the range of the open aperture value is displayed as “F 3.5 – 4.5”. These two numbers are the open aperture values in the zoom range of the camera. The smaller number becomes the open aperture value on the zoom in side (F4.5 in this case).
The focal length of a lens is the distance from the lens to the sensor when focused, and is defined in millimeters. A lens without a zoom function (such as a 35 mm focal length lens) has a single focal length. On the other hand, with zoom lenses the focal length is shown in the range (18-55 mm, for example). The shorter the focal length is, the wider range can be included in the picture. Wide angle lenses usually have a focal length of 10 mm to 33 mm, and for most cameras the focal length is displayed next to the F value.
If you attach a filter to the lens, you can produce effects such as reducing glare and changing color. To use a filter, you must know the filter diameter of the lens. The filter diameter is defined in millimeters as well as the focal length, and it is displayed together with the “ø” mark. Usually it is engraved on the front of the lens or on the side of the side (the part where the filter is attached).
Autofocus and manual focus
With the auto focus lens, you can automatically focus on the subject without manually adjusting the depth of field. If there is a switch written “AF / MF” on the camera, it means that you can switch on / off this function quickly. By turning off autofocus it is possible to take pictures of the aimed atmosphere or to control the depth of field freely so that you can shoot in the studio.
Brand specific term
Other interesting lens functions are brand-specific terms and are a bit confusing. Do not get confused by the alphabet ‘s acronym. Even if the terms differ by brand, the technology used is almost the same.
Optical camera shake correction
Optical image stabilization is a function that is mounted on both the lens and the camera body, which suppresses shaking and vibration and prevents photographs from blurring. If you have camera shake compensation, you can take sharper pictures, especially with shooting with wide aperture . Terms by brand representing this function are as follows.
The full size camera has a large full size sensor, so you can collect more light and shoot high quality photos. In order to take full advantage of the performance of this sensor, a full size lens is necessary. There is also a full size sensor corresponding to lenses that are not full size, but the resulting photos will be those that do not use the whole sensor. Full size lenses are usually more expensive than lenses that are not. If you want to take high quality pictures, we recommend you to check about full size camera and full size lens.
Lens for compact sensors not full size
Small size sensors that are not full size are installed in cameras for consumers and photo enthusiasts. You cannot get the same quality as a full size sensor, but you can take pictures of higher quality than a smartphone.
Ultrasonic autofocus motor
Ultrasonic motors allow for a quieter and faster focus adjustment. Compared to inexpensive electric motors, you can continue to focus more accurately on subjects.
Professional grade lens
Professional grade lenses are designed to be incredibly accurate and sturdy compared to consumer grade lenses. Using high-quality glass, equipped with a high-speed autofocus motor, it is mostly waterproof and dustproof. Professional grade lenses are usually made for full size cameras and can make full use of full size sensors.
Low dispersion lens
Low dispersion lenses are made to solve the problem of chromatic aberration. Chromatic aberration is one of the camera’s characteristics that the color of a photograph is shifted due to incomplete refraction of light. Usually it occurs at the edge of the picture. Although there is software that corrects chromatic aberration, basically, unless you are professional, you will not notice that the color is misaligned. Low dispersion lenses solve this problem with special manufacturing techniques.
The benefits of manual settings
Have you tried to photograph with manual settings, but given up because the result did not get close to what you expected? Or have you never tried to try this creepy setting where everything is left to yourself and where you get the least of help from the camera? Do not fear! It’s not as scary as you would think, and with some general information about how this works, and a little bit of clarity, you’ll see that you’re also fine manually photographing, so it’s you who takes control and not the camera.
When I got my first SLR camera, a Nikon D40, I started on auto. All I had with me was that the indoors were much better by shooting the flash right up in the ceiling because I had heard this from others, but otherwise I had very little knowledge about photography. I took (as everyone else guess) very many pictures at the start, and some of them became as I hoped. But it also happened quite often that the camera did not fully understand what I wanted and I soon began to read up on how the camera worked to get as good photos as possible.
One of the first things I discovered was how the shutter, blender and ISO work together. If you do not know these terms, it’s an advantage that you read about it in this article first: ” What is shutter, blender and ISO? ”
Shutter and blender priority
When you know a little more about how shutter, blender and ISO work, it’s a little easier to move away from auto and into other modes. Although I did not go directly to manual, but started with a blender priority. It works to set the blender you want to use, it’s also the camera that determines the shutter speed to get the correct exposure. There is also a mode called shutter priority, which then works opposite. Here you choose shutter speed, even the camera will find the right blender.
The reason I chose a blender priority at the start is because I mostly took pictures of people and often the children in different activities. In most cases, I would have a big blender to get as much light as possible, so I could have a quick shutter to freeze any movements, and that’s usually a lot of when photographing children. Another reason for this choice was because I preferred to have a blurred background on my photos so that there was more focus on the subject.
For example, if you take some pictures of sports or other things that move very quickly, it may be a good idea to start shutter priority instead, because you are sure that the shutter gets fast enough. Then you choose shutter speed yourself, eg 1/500, the camera will also choose the right blender for you.
Keep in mind that using the shutter or aperture priority, the ISO will not change. So, for example, if you need as fast shutter as 1/500, you may also need to set up ISO for the image to be properly exposed.
The light gauge tricks your camera
Shutter or blender priority works as auto, good in some situations, but the major disadvantage of photographing this way is that the camera remeasures the light every time you take a new picture. This means that if you have taken multiple pictures from the same place and / or the same angle, but moving a little bit or just pointing the camera in a slightly different place, the camera may give you too bright or dark images because the light has changed a little. The camera will never know what you want to photograph, so the light meter in your camera tries to reproduce everything in 18% gray, which is in the middle of black and white.
If you used manual settings and still used the settings from the previous image, this image would be too bright. But then you could take a quick look at the image on the screen of the camera and then adjust either the blender (to a larger number to drop in less light) or the shutter (for a faster shutter, eg 1/250) your mate properly exposed. It may seem difficult to have a look at the pictures and then adjust before taking a new photo, but once you get a little bit photographed in manual, this is pretty good at your fingertips, and it is better to take two pictures one of which one gets very good, versus taking only one picture, but coming home with an “useless” picture.
The problem I mention here can also be avoided fine even if you shoot in shutter and aperture priority using spot spotlighting, but I have taken the starting point in photographing with matrix / evaluating measurement of light, which is very common to use at first.
The transition to manual
After taking some photos and experimenting with a blender or shutter priority, the road to manual settings is not very long. If you are out to photograph, you will soon remember that, for example, an ISO of 100-400 works very well. If you also know that you want a blurred background on your photos, you know that you need a big blender. You set the blender to f / 4, so you only have the shutter you need to adjust. Should you shoot indoors, you know that you need a large blender (low f / tall) and a shutter speed of eg 1/30 – 1/60. You also often have to go up to ISO 400-1600 because for a camera it becomes dark indoors.
Once you’ve done this a few times, you’ll quickly learn a few “rules of rules” that make the camera no longer become a guess leak, but something you’ll get in just a few tries. You will then have full control over your camera and avoid changing settings for you when it was not really necessary.
The example of shooting first in the shade and then in the sun is a rather extreme example, often it will be much less before the camera gets fooled, thus changing settings and giving you worse pictures than you could imagine yourself with some exercise.
7 Steps to How to Take Good Perspective Without Photoshop Cheating
When we travel, it’s fun to think a little outside the box and take holiday pictures a bit out of the ordinary. Here’s a fun photo technique you can use to resize people and impress friends and family.
Have you ever thought that the camera has no deep view and produces everything two-dimensional? We can exploit this weakness by making optical illusions that make objects larger or smaller than they actually are, or melt them together.
In English, the technique is called forced perspective, something that can be translated into something like a forced perspective. You have most likely already seen the technique in practice on pictures where people stand and push the crooked tower of Pisa or hold the top of the Eiffel Tower. Perhaps you have also tested it yourself on famous landmarks?
The challenge is nevertheless to make the images so realistic that people almost think it’s real. In this post you will get my best tips on how to get this done!
Salar de Uyuni, the world’s largest salt lake in Bolivia, is one of the most popular places to take perspective – so popular that it has become a compulsory part of your group trips there. It’s also here I’ve been playing around with the camera. The reason that salt lacquer is perfect for perspective images is that it is incredibly large, very flat and that it is far to the nearest mountains. It lets you completely lose your depth of mind and can play freely with perspectives.
Here’s my recipe for successful perspectives:
- Location and props
The most important thing you need to create cool and realistic perspective images is a suitable location and some elements that can be used as a reference point to each other. An open space or a plain usually works well, but it’s about finding a location that is not too crowded by other objects. If the site already contains many items, they will quickly reveal the aspect ratio and destroy the image. You may want to photograph from ground level in the bird’s eye to get a lot of heaven. It rarely creates a sense of depth.
Our driver at the desert in Bolivia, Louis, had done this many times before. Soon he was promoting with a frying pan, a toy and a spray bottle.
- A good idea
The cool of such perspectives is that it is only imagination that sets limits. You have guaranteed some items with you that can create fun effects, otherwise it is also possible to use each other.
One tip is to produce large items as much less than they usually are, or small items that are much bigger than they are. It will give a comic effect like being in a world of war.
After hitting a fun idea, set the subject / person to look closest to the camera. How far behind you have to ask item / person number two depends entirely on how small you want it to look. The greater the difference between the actual size and the way you want the item to look, the longer distance you also need between the two objects.
- High Blender Number
A camera technique we often use to create the feeling of depth is to let something in the picture be blurred. However, that is not what we want when we are going to take perspective images since blurred, the objects get to work farther apart.
For best results, therefore, you should set the manual settings on the camera so that everything is as sharp as possible. And you do with the blender count. Proceed like this:
Set the program wheel on the camera to A (blender priority). On Canon cameras it is Off.
Adjust the blender number to at least F20 by pulling one of the reels on the camera. This means that most of the image will be sharp as long as you use a wide-angle lens.
If you bring more cameras, you should choose the camera with the least sensor (mobile phone or compact camera), since they make all the elements in the image easier.
- Proper focus
Even though a high blender number is used, one of the elements in the image may be slightly less sharp than the other. However, this can be improved by selecting the image in which the camera should focus. To select a specific focus point within the frame, enter the focus settings on the camera and select single point, preferably in the middle.
When you turn the camera toward the subject, you can lock the focus between the two elements instead of one of them. For the sharpest possible result, lock the focus point about 1/3 behind the nearest object . To lock the focus, press the shutter button halfway down to bring a red or green focus edge to the desired location.
- Timing and precision
When the aperture and focus point are set (and you still hold the shutter button halfway down) it is time to fine-tune the objects to each other. Move the camera to the side or up and down so you have the items exactly where you want them and take a photo.
- It is allowed to try several times
I would also recommend taking more than one photo per idea. Micro adjustments can have a lot to say here. With hope pictures, it is especially important to try several times to make the situation look realistic.