Friday 29 January 2010
Thursday 28 January 2010
Experimenting
After an evening at College I now have some (a lot of) practising to do to get my head around ISO's, f/stops and shutter speed. Will put my results in an album for all to see. Am looking forward to seeing what all the settings show.
- Posted using BlogPress from my iPhone
- Posted using BlogPress from my iPhone
Shutter Speed
As well as helping you to achieve correct exposure, the shutter speed of your camera also controls the way that movement is recorded. fast shutter speeds will freeze movement, but slower speeds will record blur, which can be highly effective. You also need to consider camera-shake, which is caused if you try to take a handheld picture with a shutter speed that is too slow, causing blur to be created when you don't want it.
Beating camera-shake
To combat camera-shake, the rule-of-thumb is to make sure that the shutter speed you use at least matches the focal length of the lens - so 1/60 sec for 50mm, 1/250 sec for 200mm and so on - though much depends on the steadiness of your hand as you take the picture. You may find that you need to use faster shutter speed than is normally recommended to ensure a sharp picture, or, if you have a particular steady hand, that you can successfully handhold at slower speeds.
Freezing moving subjects
If you want to freeze a moving subject, there are three important factors that must be considered: how fast your subject is moving; how far away it is from the camera; and the direction it is travelling in relation to the camera. If your subject is coming head-on, e.g., you can freeze it with a slower shutter speed than if it is moving across your path. Similarly, a faster shutter speed will be required to freeze a subject that fills the frame than if it only occupies a small part of the total picture. A shutter speed of 1/1000 sec or 1/2000 sec is fast enough to freeze most action subjects. Unfortunately, however, light levels won't always allow you to use such high speed - even with your lens set to its maximum aperture - so you need to be aware of the minimum speeds required for certain subjects. See the table below for a guide.
Digital ISO (International Organization for Standardization)
In digital photography ISO measures the sensitivity of the image sensor. The same principles apply as in film photography - the lower the number the less sensitive your camera is to light and the finer the grain. Higher ISO settings are generally used in darker situations to get faster shutter speeds (for example an indoor sports event when you want to freeze the action in lower light) - however the cost is noisier shots.
I will have a session playing around with ISO settings and put the results in a album that you can see by clicking HERE
Reflectors
Reflectors in photography are simply any item used to reflect light towards your subject. Reflectors can be used with a flash or in lieu of a flash. If you do not have the option of using an off camera flash, or a flash with swivel head, reflectors are an excellent way to achieve a professional lighting effect without professional equipment. Reflectors are either placed on a stand or other support, or held by an assistant to direct light onto a subject. Reflectors are generally held at an equal angle from the light source and the subject.
Reflectors vary in size depending on the amount of light needed and the size of the subject. There is also no set shape of reflectors. Some are round and some are square or rectangle shaped. Although there are numerous reflectors manufactured for photography, many photographers use homemade ones. These can be as simple as a piece of white paper.
Reflectors are also used to change the quality of light in photographs. The colour of the reflector will show up in the light reflected onto the subject.
Reflectors and Light
- Gold - creates warm tones
- White - neutral colour effect
- Silver - creates neutral tones but brighter than white
- Black - reduces the amount of reflected light
These changes in light tones are based on colour temperature and white balance.
An example of how to use a reflector can be seen by clicking HERE
Please click HERE to view an album of photos that show examples of using reflectors. They will include a few examples from the internet but mostly examples of my own.
Metering Patterns
Although the job of your camera's metering system is to produce correctly exposed images, it may do so using a range of different metering 'patterns'. These patterns vary the way in which light levels are measured by the camera in order to determine correct exposure, and some are more accurate than others.
Centre-weight average
This used to be the standard metering pattern found in cameras, and is still an option in the majority of SLRs. It works by measuring light levels across the whole image area, but preference is given to the central 60% because it is assumed that that is where the main subject will be in the image. For typical well lit subjects, a pattern based on centre-weighted average can be relied upon to give accurate exposures, but it can also cause exposure error in uneven lighting situations.
Multi-zone / multi-pattern metering
These 'intelligent' metering patterns - technically referred to by the manufacturers Nikon and Canon as 'Matrix' and 'Evaluative' respectively - are the most sophisticated patterns available and make taking perfectly exposed pictures easier than ever. They work by dividing the viewfinder into various 'zones' and measure light / brightness levels in each. The zone readings are then analysed by a microprocessor and an exposure reading is set based on comparisons to model lighting situations. By doing so, the exposure reading is not overly influenced by bright or dark areas in the scene - such as brilliant blue sky - so the risk of exposure error in the image is drastically reduced.
The number of zones in the pattern varies from 4 to 16, depending on the model of camera that you are using - the more zones there are available, the more accurate the system is likely to be.
Partial / selective metering
This pattern measures light levels in a small central area of the view finder - usualy 6 to 15% of the total image area - and in doing so allows you to meter from your main subject, or a specific part of the scene, without excessively bright or dark areas influencing the exposure obtained.
Spot metering
This pattern is similar to selective metering, but it measures light levels in a tiny central area of the viewfinder - anything from 1 to 5% of the total image area. Consequently, you can use it to take meter readings from small areas of a scene, and in experienced hands it is the most accurate and useful system around.
Multi-spot metering
Some cameras allow you to take a series of individual spot readings, store each one in the camera's memory and then average them out to establish the best exposure. This is ideal in situations when you are not sure where to meter from; by metering from the lightest and darkest areas and then averaging them, you will obtain an exposure that makes a good starting point for a successful image.
Centre-weight average
This used to be the standard metering pattern found in cameras, and is still an option in the majority of SLRs. It works by measuring light levels across the whole image area, but preference is given to the central 60% because it is assumed that that is where the main subject will be in the image. For typical well lit subjects, a pattern based on centre-weighted average can be relied upon to give accurate exposures, but it can also cause exposure error in uneven lighting situations.
Multi-zone / multi-pattern metering
These 'intelligent' metering patterns - technically referred to by the manufacturers Nikon and Canon as 'Matrix' and 'Evaluative' respectively - are the most sophisticated patterns available and make taking perfectly exposed pictures easier than ever. They work by dividing the viewfinder into various 'zones' and measure light / brightness levels in each. The zone readings are then analysed by a microprocessor and an exposure reading is set based on comparisons to model lighting situations. By doing so, the exposure reading is not overly influenced by bright or dark areas in the scene - such as brilliant blue sky - so the risk of exposure error in the image is drastically reduced.
The number of zones in the pattern varies from 4 to 16, depending on the model of camera that you are using - the more zones there are available, the more accurate the system is likely to be.
Partial / selective metering
This pattern measures light levels in a small central area of the view finder - usualy 6 to 15% of the total image area - and in doing so allows you to meter from your main subject, or a specific part of the scene, without excessively bright or dark areas influencing the exposure obtained.
Spot metering
This pattern is similar to selective metering, but it measures light levels in a tiny central area of the viewfinder - anything from 1 to 5% of the total image area. Consequently, you can use it to take meter readings from small areas of a scene, and in experienced hands it is the most accurate and useful system around.
Multi-spot metering
Some cameras allow you to take a series of individual spot readings, store each one in the camera's memory and then average them out to establish the best exposure. This is ideal in situations when you are not sure where to meter from; by metering from the lightest and darkest areas and then averaging them, you will obtain an exposure that makes a good starting point for a successful image.
Depth of Field
Whenever you take a picture, an area extending in front of and behind the point which you actually focus upon will also come out sharp in the image. This area is known as 'depth of field', and it is one of the most important variables in photography, because it allows you to control what will be in- and out-of-focus in your pictures.
There are three basic factors that determine how much - or how little - depth-of-field there will be in a photograph, as follows.
1. The aperture set on the lens
The smaller the lens aperture (the bigger the f/ number), the greater the depth-of-field, and vice versa, for any given lens.
2. The focal length of that lens
The shorter then focal length (the wider the lens), the greater the depth-of-field is at any given aperture.
3. The focusing distance
The further away the main point of focus is from the camera, the greater the depth-of-field will be for any given lens and aperture setting.
Maximising depth-of-field
If you want to achieve maximum depth-of-field so that everything is recorded in sharp focus from the immediate foreground to infinity - which is normal when shooting landscapes - use a wide-angled lens such as 28mm or 24mm and set it to a small aperture such as f/16 or f/22.
Remember that the smaller the aperture is, the slower the shutter speed will be and the risk of camera shake is increased - so try to keep your aperture as large as possible at all times. Ideally you should also focus your lens roughly a 1/3rd into the scene, as this will help accentuate the sense of depth-of-field in the image.
Minimising depth-of-field
If you want minimal depth-of-field - which would result in little more than the main point you have focused on coming out sharp and everything else in the image being thrown out-of-focus - use a telephoto lens in the range of say 200mm to 300mm set to a wide aperture such as f/4 or f/5.6.
This is common practice with subjects like portraits, candids and sports action, in which you want the background to be out-of-focus so that it does not compete with your main subject.
Minimising depth-of-field also creates a strong three-dimensional feel, as it makes the main subject stand out in the image.
There are three basic factors that determine how much - or how little - depth-of-field there will be in a photograph, as follows.
1. The aperture set on the lens
The smaller the lens aperture (the bigger the f/ number), the greater the depth-of-field, and vice versa, for any given lens.
2. The focal length of that lens
The shorter then focal length (the wider the lens), the greater the depth-of-field is at any given aperture.
3. The focusing distance
The further away the main point of focus is from the camera, the greater the depth-of-field will be for any given lens and aperture setting.
Maximising depth-of-field
If you want to achieve maximum depth-of-field so that everything is recorded in sharp focus from the immediate foreground to infinity - which is normal when shooting landscapes - use a wide-angled lens such as 28mm or 24mm and set it to a small aperture such as f/16 or f/22.
Remember that the smaller the aperture is, the slower the shutter speed will be and the risk of camera shake is increased - so try to keep your aperture as large as possible at all times. Ideally you should also focus your lens roughly a 1/3rd into the scene, as this will help accentuate the sense of depth-of-field in the image.
Minimising depth-of-field
If you want minimal depth-of-field - which would result in little more than the main point you have focused on coming out sharp and everything else in the image being thrown out-of-focus - use a telephoto lens in the range of say 200mm to 300mm set to a wide aperture such as f/4 or f/5.6.
This is common practice with subjects like portraits, candids and sports action, in which you want the background to be out-of-focus so that it does not compete with your main subject.
Minimising depth-of-field also creates a strong three-dimensional feel, as it makes the main subject stand out in the image.
Wednesday 27 January 2010
My New Reflectors
Having just received my free gift of a 5 in 1 reflector set from my magazine subscription I have looked online this morning to see how best to use them. After the initial research it says that experimentation is one of the best ways to learn how to use the different colours.
I am looking forward to testing this new piece of kit, especially as it was free, and will record my experiments later this week.
- Posted using BlogPress from my iPhone
I am looking forward to testing this new piece of kit, especially as it was free, and will record my experiments later this week.
- Posted using BlogPress from my iPhone
Tuesday 26 January 2010
Looking at the Professionals - Mark Cleghorn
Biography
Mark Cleghorn's distinctive images have won hundreds of awards since he started professionally in 1983, including the Kodak European Gold Award 17 times, as well as being awarded four Fellowships for his outstanding images. In 2009 Mark launched PhotoTraining4U.com, an online training resource for photographers using streaming video in its knowledge bank to show photographers not only him at work but a vast selection of teaching and technical films.
Mark was one of the first in his field to fully embrace digital technology in the late 1990's and has not shot film since 2001. His digital workflow methods have helped to get photographers back behind the camera instead of sitting at a computer.
Mark has written books on lighting, portraiture and wedding photography asa well as Photoshop. He has judged photographer's work in print competitions all over the world and is considered to be one of the major influences of style and technique in the wedding and portrait industry today.
Introduction from Mark
What I love about portrait photography is that every shot I take is different. Even though my lighting and other equipment may stay the same and be set up in a similar way, it is the subject in front of my lens that makes the difference to the portrait. This is exaggerated when I turn my camera away from the studio and point it at a wedding, as none of the elements are ever really in my control on the day.
When I prepare for a shoot, I have to take into account not only who the subjects are and what they are like, but also where the location is and the timing of the event. A winter wedding brings far more flash into the variety of images than a summer wedding does, due to the lower light levels and darker nights, both inside a church and during the reception, as well as outside in the elements.
The great thing about shooting a wedding or a portrait with a DSLR is that there are no boundaries for creativity. I can see instantly if an idea has worked or not, allowing me to re-shoot or change the set up dramatically for even more creative effect, or (more often than not) to bring the image back down to earth and shoot something more tame.
From the start of a wedding day, with all the chaos of the preparation, there is never a dull image, as around every corner there seems to be a better photograph to be take. However, the most important part of my job is to make sure that I capture the wedding how the bride wants it to be captured and don't just shoot what I want to - that's the big difference between doing a wedding for fun or for profit.
There are some key secrets to posing and lighting a subject, however they are preceded by familiarity with my equipment combined with my speed and efficiently during the shoot. making best use of the location and its natural light, where possible, gives an instant variety to the images, not only through the backhground but also in the variety of the poses and the expression of the subjects.
A relaxed subject is always a happy subject and this, I promise you, always shows in the portrait. The secret to a natural expression is just keeping the portrait simple; by that I mean minimising the complexity of the pose and the subject's animation. This also applies to the equipment - keep it simple to reduce the likelihood of technical problems and so that you can focus on the portrait instead of the chosen camera, lens or flash.
Equipment
Camera ~ Canon EOS 5D; Canon EOS 5D Mark II
Lenses ~ Canon 24-100mm f/4L; Canon 70-200mm f/2.8L; Canon 28-70mm f/2.8L; Sigma 12-24mm f/4
Lighting gear ~ Canon Speedlite with radio triggers; Quantum T5-D portable flash; Bowens Esprit Studio Flash; Quantum Turbo batteries; softboxes
Accessories ~ Lexar cards; Manfrotto tripod; Sekonic light meter; Lastolite reflectors and TriGrip reflectors; diffusion screens; backgrounds
Bags ~ Lowepro; Billingham
What Mark says about Equipment
The right equipment is essential if you want to simplify the task of shooting portaits and weddings. A fast lens is essential in low light otherwise every other shot may have to have flash applied just to capture something. The 24-105mm lens is wide enough for me to get in close to a group without being in their faces for both formal and candid shots and with the telephoto element at the long end, I can shoot three-quarter length shots at a reasonable distance. The 70-200mm lens allows me to work at a distance and for the depth of field to be crushed for a blurred background.
My camera needs to fire when I tell it to and without any delay if I don't want to miss the expression or moment. A range of ISO settings, especially at the high end, is invaluable to allow me to work in low light without flash. I upgraded to the Canon EOS 5D Mark II, which has an ISO of 6400, and the noise level at 1600 - the maximum of the 5D - is much less obvious. It also has 21 megapixels, giving me a much bigger file.
When I want to use flash it should, again, be instant with enough manual control to look subtle in the photograph without dominating the scene unless required to. When I use Speedlite flashguns, perhaps dotted around the reception room in winter, I have radio triggers, so the sensor sits on the camera's hot shoe and each of the receiver units is attached to the Speedlites. It doesn't make use of the through-the-lens (TTL) function of the flash; I set them on manual so they give an accurate output of flash each time.
Another valuable piece of kit is a double-sided silver/white reflector, which can completely change the look of an image with very little work. The Lastolite TriGrip is a great piece of kit designed to be held in one hand, with the camera in the other. When not in use, it folds neatly into the side of the bag.
My thoughts I what I've read
I can really concur with what Mark says about portrait photography in that every shot you take is different, the equipment stays the same but the subjects are always different. I ave only completed a few portrait sessions for friends and family but each one was as different as the subjects. Whereas Mark it at ease with his equipment and lighting it is the complete reverse for me. Having only been shooting portrait photography for about 4 months everything is stil really new for me and although I'm coming to grips with shooting portraits with my camera, the use of flash and lighting is sometimes a little overwhelming. I relish the thought of being confidence, or at least more confident, in the use of my equipment. Mark stresses the importance of having a relaxed model, that is something that I do feel a little more confident with as I feel my friendly, relaxed personality put people at ease and having a laugh at the same time makes it less of a ordeal, that and bribing the kids I found very useful.
I am hoping to learn some useful trick of the trade from reading Mark's website and books as he must be good at his job to have won so many awards. I think it is important when setting off on a new project that you use those who have gone before me to help me become the best photographer that I can.
Although Mark's equipment will be of a much higher specification that mine I did take some confidence from looking at his equipment list in that I have some similar types of equipment so eventually when I get to grips with how to get the full potential from all the different components I might be able to produce some quality prints like him.
The thing that struck me most from reading about Mark's photography is the importance of having equipment you can rely on and knowing how to use it effectively. That and the importance of the relationships you have with your subjects. These are all areas I am going to work hard at improving.
Mark Cleghorn's distinctive images have won hundreds of awards since he started professionally in 1983, including the Kodak European Gold Award 17 times, as well as being awarded four Fellowships for his outstanding images. In 2009 Mark launched PhotoTraining4U.com, an online training resource for photographers using streaming video in its knowledge bank to show photographers not only him at work but a vast selection of teaching and technical films.
Mark was one of the first in his field to fully embrace digital technology in the late 1990's and has not shot film since 2001. His digital workflow methods have helped to get photographers back behind the camera instead of sitting at a computer.
Mark has written books on lighting, portraiture and wedding photography asa well as Photoshop. He has judged photographer's work in print competitions all over the world and is considered to be one of the major influences of style and technique in the wedding and portrait industry today.
Introduction from Mark
What I love about portrait photography is that every shot I take is different. Even though my lighting and other equipment may stay the same and be set up in a similar way, it is the subject in front of my lens that makes the difference to the portrait. This is exaggerated when I turn my camera away from the studio and point it at a wedding, as none of the elements are ever really in my control on the day.
When I prepare for a shoot, I have to take into account not only who the subjects are and what they are like, but also where the location is and the timing of the event. A winter wedding brings far more flash into the variety of images than a summer wedding does, due to the lower light levels and darker nights, both inside a church and during the reception, as well as outside in the elements.
The great thing about shooting a wedding or a portrait with a DSLR is that there are no boundaries for creativity. I can see instantly if an idea has worked or not, allowing me to re-shoot or change the set up dramatically for even more creative effect, or (more often than not) to bring the image back down to earth and shoot something more tame.
From the start of a wedding day, with all the chaos of the preparation, there is never a dull image, as around every corner there seems to be a better photograph to be take. However, the most important part of my job is to make sure that I capture the wedding how the bride wants it to be captured and don't just shoot what I want to - that's the big difference between doing a wedding for fun or for profit.
There are some key secrets to posing and lighting a subject, however they are preceded by familiarity with my equipment combined with my speed and efficiently during the shoot. making best use of the location and its natural light, where possible, gives an instant variety to the images, not only through the backhground but also in the variety of the poses and the expression of the subjects.
A relaxed subject is always a happy subject and this, I promise you, always shows in the portrait. The secret to a natural expression is just keeping the portrait simple; by that I mean minimising the complexity of the pose and the subject's animation. This also applies to the equipment - keep it simple to reduce the likelihood of technical problems and so that you can focus on the portrait instead of the chosen camera, lens or flash.
Equipment
Camera ~ Canon EOS 5D; Canon EOS 5D Mark II
Lenses ~ Canon 24-100mm f/4L; Canon 70-200mm f/2.8L; Canon 28-70mm f/2.8L; Sigma 12-24mm f/4
Lighting gear ~ Canon Speedlite with radio triggers; Quantum T5-D portable flash; Bowens Esprit Studio Flash; Quantum Turbo batteries; softboxes
Accessories ~ Lexar cards; Manfrotto tripod; Sekonic light meter; Lastolite reflectors and TriGrip reflectors; diffusion screens; backgrounds
Bags ~ Lowepro; Billingham
What Mark says about Equipment
The right equipment is essential if you want to simplify the task of shooting portaits and weddings. A fast lens is essential in low light otherwise every other shot may have to have flash applied just to capture something. The 24-105mm lens is wide enough for me to get in close to a group without being in their faces for both formal and candid shots and with the telephoto element at the long end, I can shoot three-quarter length shots at a reasonable distance. The 70-200mm lens allows me to work at a distance and for the depth of field to be crushed for a blurred background.
My camera needs to fire when I tell it to and without any delay if I don't want to miss the expression or moment. A range of ISO settings, especially at the high end, is invaluable to allow me to work in low light without flash. I upgraded to the Canon EOS 5D Mark II, which has an ISO of 6400, and the noise level at 1600 - the maximum of the 5D - is much less obvious. It also has 21 megapixels, giving me a much bigger file.
When I want to use flash it should, again, be instant with enough manual control to look subtle in the photograph without dominating the scene unless required to. When I use Speedlite flashguns, perhaps dotted around the reception room in winter, I have radio triggers, so the sensor sits on the camera's hot shoe and each of the receiver units is attached to the Speedlites. It doesn't make use of the through-the-lens (TTL) function of the flash; I set them on manual so they give an accurate output of flash each time.
Another valuable piece of kit is a double-sided silver/white reflector, which can completely change the look of an image with very little work. The Lastolite TriGrip is a great piece of kit designed to be held in one hand, with the camera in the other. When not in use, it folds neatly into the side of the bag.
My thoughts I what I've read
I can really concur with what Mark says about portrait photography in that every shot you take is different, the equipment stays the same but the subjects are always different. I ave only completed a few portrait sessions for friends and family but each one was as different as the subjects. Whereas Mark it at ease with his equipment and lighting it is the complete reverse for me. Having only been shooting portrait photography for about 4 months everything is stil really new for me and although I'm coming to grips with shooting portraits with my camera, the use of flash and lighting is sometimes a little overwhelming. I relish the thought of being confidence, or at least more confident, in the use of my equipment. Mark stresses the importance of having a relaxed model, that is something that I do feel a little more confident with as I feel my friendly, relaxed personality put people at ease and having a laugh at the same time makes it less of a ordeal, that and bribing the kids I found very useful.
I am hoping to learn some useful trick of the trade from reading Mark's website and books as he must be good at his job to have won so many awards. I think it is important when setting off on a new project that you use those who have gone before me to help me become the best photographer that I can.
Although Mark's equipment will be of a much higher specification that mine I did take some confidence from looking at his equipment list in that I have some similar types of equipment so eventually when I get to grips with how to get the full potential from all the different components I might be able to produce some quality prints like him.
The thing that struck me most from reading about Mark's photography is the importance of having equipment you can rely on and knowing how to use it effectively. That and the importance of the relationships you have with your subjects. These are all areas I am going to work hard at improving.
Looking at the Professionals
Listed below are some of the professional portrait photographers I have decided to look at for the purpose of this course. If you click on the names below it will take you to their websites where you can see the types of work they do.
Mark Cleghorn
Matt Hoyle
Eamonn McCabe
Steve Shipman
Bjorn Thomassen
In other posts I will be writing about the photographers in more detail - looking at them, their equipment and photos they have taken.
Mark Cleghorn
Matt Hoyle
Eamonn McCabe
Steve Shipman
Bjorn Thomassen
In other posts I will be writing about the photographers in more detail - looking at them, their equipment and photos they have taken.
Monday 25 January 2010
Experimenting in Cannock Chase Evaluation
I have edited the photos from 17 January 2010 (shot in RAW) and the series of shots do show that changing the f/stop from f/5.6 to f/20 does have an effect on the clarity of focus on the background, something I was hoping to show. The background gets clearer the higher the f/ stop number, i.e. the f/20 shot has a clearer background than the f/5.6 one.
What I wasn't expecting from the photos but is evident in all the shots is that the model isn't in clear focus, but the tree she is leaning against is. I thought that I had focused on the models eyes but aparently not. Focusing is obviously something I will need to work on to improve the quality of my photos, i.e. I need to ensure the subject is sharply focused.
Any comments or advice/tips would be greatly appreciated.
What I wasn't expecting from the photos but is evident in all the shots is that the model isn't in clear focus, but the tree she is leaning against is. I thought that I had focused on the models eyes but aparently not. Focusing is obviously something I will need to work on to improve the quality of my photos, i.e. I need to ensure the subject is sharply focused.
Any comments or advice/tips would be greatly appreciated.
Click HERE to see the photos
Sunday 24 January 2010
Practicing with Two Flash Guns
I tried using my two flashguns for portrait shots today for the first time and am not sure if I'm doing things right but some of the shots look well lit upon first inspection. I will post some of the results once I've had chance to edit them as they are saved in RAW. Hopefully when they gave been processed they will look ok. I have to admit that although I have read about using two flashguns in my shoot I feel a little lost and unsure if what I am doing is right or producing well lit shots. Any comments for development will be gratefully received.
- Posted using BlogPress from my iPhone
- Posted using BlogPress from my iPhone
Thursday 21 January 2010
Understanding Exposure
Getting the right amount of light for a correct exposure is like filling a car up with fuel. Just as the car won't run properly if you don't put in enough of the right substance, an exposure will fail if there is too much or too little light - and if the light is the wrong kind, as well.
Lens aperture settings and shutter speeds
Every time a photo is taken a photographer has used an aperture (f stop) setting and a shutter speed to control the amount of light making the exposure; the aperture governs the quality of light admitted and the shutter speed controls the length of time for which that light is admitted.
Both controls are directly related, so they can be used in different combinations and achieve exactly the same exposure. Basically, each time you set the lens aperture to the next biggest f/number in the scale - e.g. f/11 to f/16 - you are halving the size of the aperture and therefore halving the amount of light admitted. Conversely, if you set the lens aperture to the next smallest f/number in the scale - e.g. from f/8 to f/5.6 - you are doubling the size of the aperture and doubling the amount of light admitted.
The same principle applies to shutter speeds. Each time you double the shutter speed number - e.g. going from 1/60 sec to 1/125 sec - you have the length of time for which the shutter is opened. However, if you halve the shutter speed number - e.g. 1/15 sec to 1/30 sec - you will double the amount of time that the shutter remains open.
Stops
These units are referred to as 'stops'. One stop represents a doubling or halving of the exposures and can be achieved by adjusting the aperture, the shutter speed, or both.
To understand this relationship more fully, imagine you are filling your car with fuel. The amount of fuel required (correct exposure) is provided by opening the valve in the hose (lens aperture) for a certain length of time (shutter speed). If the valve in the hose is small it needs to be kept open for much longer to fill the tank, whereas if the valve is large the tank will fill up very quickly. Either way you will end up with the same amount of fuel in the tank.
Exactly the same principle applies to photography. If you set the lens to a small aperture (big f/number) you need to keep the shutter open for longer, whereas if you set a wide aperture (small f/number) you can open the shutter for less time and still admit the same amount of light. E.g. if your camera sets an exposure of 1/60 sec at f/11, you could use any of the following combinations to achieve exactly the same exposure -
- 1/8 sec at f/32
- 1/15 sec at f/22
- 1/30 sec at f/16
- 1/60 sec at f/11
- 1/125 sec at f/8
- 1/250 sec at f/5.6
- 1/500 sec at f/4
- 1/1000 sec at f/2.8
Wednesday 20 January 2010
Lens Usage
DSLR cameras enable you to change lenses to achieve a variety of effects. The camera's standard lens will give an angle of view roughly similar to that we perceive with the naked eye, a wide-angle lens enables you to get more into the frame, while a telephoto magnifies distance objects.
Uses for Standard Lenses
Uses for Standard Lenses
- Standard Prime lenses are good for full-length portraits, because you stand far enough away to prevent distortion but not so far away that you run out of space when working in small rooms.
- The large maximum aperture of a standard prime lens will make it ideal for taking pictures at parties and celebrations where you don't want to use flash, which could disturb the subjects
- A standard 28-90mm zoom lens (or its digital equivalent) is perfect for everyday photography, because its compact and light and you will seldom need focal lengths outside this range
- Standard zooms are perfect for travel photography as well, in situations where there is often little time to change lenses or viewpoints. For this kind of work, a slightly longer zoom range (28-135mm, for example) can be an advantage
Uses for Wide-Angled Lenses
- Huge sweeping landscapes can only be captured with a wide-angled lens. With longer focal lengths you are restricted to picking out interesting details
- Domestic interiors can be quite cramped, making photography difficult. A wide-angled lens will make a room look larger and enable you to get more people into the shot
- Landmarks and tourist attractions are often hemmed in by other buildings, leaving you no room to stand back to take the picture unless you have a wide-angled lens
- The big difference in size between close and distant objects enable you to produce surreal compositions in which everyday objects take on a monumental and dramatic appearance
Advantages of Telephoto Lenses
- Wildlife photography is difficult or impossible without telephoto lenses, since animals and birds frighten easily if you get too close
- Many sports are impossible to photograph successfully without a telephoto lens because spectator areas are a long way from the action
- Telephoto lenses can produce striking landscape shots, since they enable you to pick out distant details and 'flatten' perspective
- Portrait shots can be improved by throwing backgrounds out of focus. This requires shallow depth-of-field, a characteristic of telephoto lenses
Disadvantages of Telephoto Lenses
- Telephoto lenses appear to 'compress' perspective. Unlike wide-angles, they reproduce subjects and their backgrounds at their true relative sizes, or at least closer to them
- This effect will become obvious if you attempt to photograph a tree, for example, against a distance mountain. If you fill the frame with the tree in both cases, the wide-angle lens will make the mountain tiny, while the telephoto will make it look much larger
- Telephoto lenses also make objects at different distances look closer together
Uses of Extreme Lenses
- Due to its scale, architectural photography can be quite a challenge. An ultra-wide-angle lens may be the only way to capture the subject in its entirety from the viewpoint available
- It is very difficult to fully capture the interiors of buildings - whether they are small or large - without an ultra-wide-angle lens. Other lenses can only capture sections or details
- In the case of sports that take place on a large pitch, such as football, you will need an ultra-telephoto lens to fill the frame with individual players
- At air shows, the public is kept well back from the display areas, so if you want to photograph aeroplanes in action, an ultra-telephoto lens will be essential
My Tripods
I have two tripods that I use. The first is a very basic one which I use to attach one of my flashguns to. It has limited adjustments but does what I need for mobile lighting.
My main tripod is a Camlink TP2100 which I use to keep my shots steady and also allows me to use slowing shutter speeds in low light.
Camlink TP2100 Features
* 3 section channel legs (21mm)
* Three way friction pan-and-tilt head
* Bubble level included
* Includes carrying handle and hook
* Geared, braced central column
* Maximum height 145cm
* Folded length 55cm
I have only used my tripod a few times when shooting portraits and I am looking forward to finding more creative ways of using it within my photography shoots.
My main tripod is a Camlink TP2100 which I use to keep my shots steady and also allows me to use slowing shutter speeds in low light.
Camlink TP2100 Features
* 3 section channel legs (21mm)
* Three way friction pan-and-tilt head
* Bubble level included
* Includes carrying handle and hook
* Geared, braced central column
* Maximum height 145cm
* Folded length 55cm
I have only used my tripod a few times when shooting portraits and I am looking forward to finding more creative ways of using it within my photography shoots.
Tripods
You should use a tripod to prevent camera-shake in poor light or when taking photographs with long exposures. However, tripods have other less obvious but equally important uses. They keep the camera locked in a fixed position while you make careful adjustments to the composition and arrangements of subjects in the frame, and they leave your hands free for adjusting props, handling accessories or directing your model.
Tripods come with either ball-and-socket heads or pan-and-tilt heads. Those with ball-and-socket heads are the lighter and more compact of the two types, and very much quicker to use. However, they are not very good when you need to make careful adjustments, or if you need to pan the camera to follow a moving subject.
Tripods come with either ball-and-socket heads or pan-and-tilt heads. Those with ball-and-socket heads are the lighter and more compact of the two types, and very much quicker to use. However, they are not very good when you need to make careful adjustments, or if you need to pan the camera to follow a moving subject.
My Jessops 360AFD Flashguns
Specifications
Guide Number (ISO 100) - 36m at 50mm position
Flash Zoom Head - 24 / 28 / 35 / 50 / 70 / 85mm
Power Source - 4 x 1.5v AA batteries
Flash Duration - 1/1000 ~ 1/20000 seconds
Recycle Time - 0.5 ~ 9 seconds (depending on battery condition)
Finance was a deciding factor in my choice of flashguns and again I went for ones that had very good reviews and gave me the most flexibility in use. I have two of these flashguns to give me as much creative lighting options as possible. The flashguns work with my off camera cable and wireless system and connect with my light stands and tripods giving me even more creative options.
I am really looking forward to learning how to use my flashguns in my photography to enable me to produce quality portraits.
Guide Number (ISO 100) - 36m at 50mm position
Flash Zoom Head - 24 / 28 / 35 / 50 / 70 / 85mm
Power Source - 4 x 1.5v AA batteries
Flash Duration - 1/1000 ~ 1/20000 seconds
Recycle Time - 0.5 ~ 9 seconds (depending on battery condition)
Finance was a deciding factor in my choice of flashguns and again I went for ones that had very good reviews and gave me the most flexibility in use. I have two of these flashguns to give me as much creative lighting options as possible. The flashguns work with my off camera cable and wireless system and connect with my light stands and tripods giving me even more creative options.
I am really looking forward to learning how to use my flashguns in my photography to enable me to produce quality portraits.
Flash Power Values
A flashgun's power is quoted as a 'Guide Number' (GN), usually set at ISO 100. This offers a useful, standardised measurement of flash power, and this number can also be used for exposure calculations. To work out the lens aperture to use, you divide the Guide Number by the subject distance, in metres.
A typical built-in flash might have a GN of 12, so for a subject 2 metres away the aperture should be 12 divided by 2, or f6. If this sounds complicated, the good news is that in practice modern flashguns carry out these calculations automatically.
A typical built-in flash might have a GN of 12, so for a subject 2 metres away the aperture should be 12 divided by 2, or f6. If this sounds complicated, the good news is that in practice modern flashguns carry out these calculations automatically.
Flash
A separate flash has more creative options and advantages over the built in flash option.
Built in flashes have to be used with care. When set on auto the camera will be using the flash in all kinds of pictures whilst it tries to produce the uniform 'normal' picture every time - not helpful when trying to be creative. The 'fill in' flash does work work well in automatic when it supplements the existing (ambient) light.
In addition to the built in flash there are separate dedicated flashguns available. 'Dedicated' means that when they are attached via the cameras hot shoe they can be controlled from it, working with the Through The Lens (TTL) automatic exposure. It is important to look through your cameras user guide to find its maximum shutter sync speed. Using slower speeds will be fine but exceeding the maximum speed will reduce the quality of the image.
The very short flash duration is so quick it will freeze almost any moving subject. The flashgun has its own power source so is more powerful than the built in ones which drain the main camera battery. The movable head can be angled to bounce the light off walls or ceilings which can help produce lovely soft lighting. Be careful to use neutrally coloured surfaces to bounce the light off otherwise there is a chance that the colours will be picked up and cast onto the subject.
Accessories like diffusers, reflectors and colour filters are available for most flashguns. These accessories help turn your flashgun into a creative, flexible and adaptable light source. It becomes even more adaptable when you use an off camera cable which connects the flashgun to the camera through the hot shoe, which enables the subject to be lit from different angles with the flash still dedicated to the cameras automatic exposure.
When confidence grows with using the dedicated flash you can experiment using the flashes manual mode. Using the flashguns user guide and its guide number you can calculate which f- number to use. You can also change the power setting on a lot of the flashguns giving more creative control.
Built in flashes have to be used with care. When set on auto the camera will be using the flash in all kinds of pictures whilst it tries to produce the uniform 'normal' picture every time - not helpful when trying to be creative. The 'fill in' flash does work work well in automatic when it supplements the existing (ambient) light.
In addition to the built in flash there are separate dedicated flashguns available. 'Dedicated' means that when they are attached via the cameras hot shoe they can be controlled from it, working with the Through The Lens (TTL) automatic exposure. It is important to look through your cameras user guide to find its maximum shutter sync speed. Using slower speeds will be fine but exceeding the maximum speed will reduce the quality of the image.
The very short flash duration is so quick it will freeze almost any moving subject. The flashgun has its own power source so is more powerful than the built in ones which drain the main camera battery. The movable head can be angled to bounce the light off walls or ceilings which can help produce lovely soft lighting. Be careful to use neutrally coloured surfaces to bounce the light off otherwise there is a chance that the colours will be picked up and cast onto the subject.
Accessories like diffusers, reflectors and colour filters are available for most flashguns. These accessories help turn your flashgun into a creative, flexible and adaptable light source. It becomes even more adaptable when you use an off camera cable which connects the flashgun to the camera through the hot shoe, which enables the subject to be lit from different angles with the flash still dedicated to the cameras automatic exposure.
When confidence grows with using the dedicated flash you can experiment using the flashes manual mode. Using the flashguns user guide and its guide number you can calculate which f- number to use. You can also change the power setting on a lot of the flashguns giving more creative control.
Tuesday 19 January 2010
Cleaning Equipment
You must take care to keep your equipment protected from dirt, water and abrasive substances like sand. A simple carrier bag is a cheap (if not free) item to have in an emergency.
I always make sure that I carry at least one carrier bag with when shooting outdoors.
A dirty lens covered with fingerprints and grime can act as a diffuser and hamper the quality of your images. Ideally keep your lens protected from harm using a UV filter, much cheaper than having to buy another lens. The UV filter doesn't affect exposure but will reduce haze.
At present I do not have a UV filter but having done this research it will be added to my wish list.
To clean the lens, use a blower brush first to remove any dust and grit and then carefully clean it with either a lens cleaning pen or microfibre lens cloth. You can use dedicated lens cleaning solutions if required. Never scrub the lens, only use gentle strokes to avoid scratches.
Since having my lens cleaning pen for Christmas I have ensured that I keep both my lenses clean by regularly making sure they are clear of dirt.
The image sensor is vulnerable to dust spots. When changing the lens always ensure the camera is turned off and do your best to stop dust getting into the sensor area. There are specialised sensor cleaning equipment available to allow you to clean your own camera sensor. If you are not confident about cleaning your sensor you can always take it to your local camera service department.
As of yet I haven't cleaned my sensor. I don't think it needs cleaning yet but I will keep my eye open for any spots on my images that may mean there is dust on the sensor. My cameras sensor does repel dust automatically so hopefully I'll be ok for now.
I always make sure that I carry at least one carrier bag with when shooting outdoors.
A dirty lens covered with fingerprints and grime can act as a diffuser and hamper the quality of your images. Ideally keep your lens protected from harm using a UV filter, much cheaper than having to buy another lens. The UV filter doesn't affect exposure but will reduce haze.
At present I do not have a UV filter but having done this research it will be added to my wish list.
To clean the lens, use a blower brush first to remove any dust and grit and then carefully clean it with either a lens cleaning pen or microfibre lens cloth. You can use dedicated lens cleaning solutions if required. Never scrub the lens, only use gentle strokes to avoid scratches.
Since having my lens cleaning pen for Christmas I have ensured that I keep both my lenses clean by regularly making sure they are clear of dirt.
The image sensor is vulnerable to dust spots. When changing the lens always ensure the camera is turned off and do your best to stop dust getting into the sensor area. There are specialised sensor cleaning equipment available to allow you to clean your own camera sensor. If you are not confident about cleaning your sensor you can always take it to your local camera service department.
As of yet I haven't cleaned my sensor. I don't think it needs cleaning yet but I will keep my eye open for any spots on my images that may mean there is dust on the sensor. My cameras sensor does repel dust automatically so hopefully I'll be ok for now.
Monday 18 January 2010
Usings the Kit Lens That Came With My Alpha 200
Having my chosen area of interest being Portraiture and having done a little research I was a little worried that my lack of a dedicated portraiture lens, with a very open aperture, would lessen my results. I was really pleased that in my february issue of Digital Photo there was an article on using your kit lens for different photographic genres. I have tried to summarise the advice from that article below.
Portraits taken with a kit lens
The key to a successful portrait is isolating your subject from the background, so it doesn't become a distraction. This is normally done with a 'fast' lenses with large maximum apertures, allowing lots of light through the lens and ensures that the plane of sharp focus drops off very quickly. This makes it possible to keep the subjects sharp whilst blurring the background.
Shoot at 55mm
Kit lenses do not have large apertures but that doesn't mean it isn't possble to isolate your subject - you just have to approach it differently. Getting your model to stand as far away from the background as possible and then shooting at the long end of the focal range - 70mm for my kit lens - the background will be far enough away so not to appear sharp in the shot. The further away from the background the subject stands the more defocused the background will become.
Shooting at 70mm also has the effect of compressing perspective in the shot a little and that will further help to blow the background out of focus. The longer focal length also ensures your subject's featues are kept in proportion, too, so you won't get the distortion that occurs when shooting portraits using lenses at wider focal lengths like 18mm.
Step by Step Guide
1. Zoom in to the longest focal length setting - 70mm in my case - to compress the perspective and help blur the background. Now in Aperture Priority Mode, set the lens aperture to its maximum setting - f/5.6 in my case
2. Get your subject to stand as far away as possible from the chosen background, but make sure you leave enough room to actually include the background in the shot! The greater the distance between subject and background, the more blur you'll get, but aim for around three metres as a minimum.
3. Now compose your portrait and shoot. If you've not been able to position the subject very far from the background then a good trick is to try a tighter composition with the model close to the lens. This will crop out some of the background and the closer you can focus, the softer it will appear.
After all this advice all I need to do is to give it a go. (results to follow)
Portraits taken with a kit lens
The key to a successful portrait is isolating your subject from the background, so it doesn't become a distraction. This is normally done with a 'fast' lenses with large maximum apertures, allowing lots of light through the lens and ensures that the plane of sharp focus drops off very quickly. This makes it possible to keep the subjects sharp whilst blurring the background.
Shoot at 55mm
Kit lenses do not have large apertures but that doesn't mean it isn't possble to isolate your subject - you just have to approach it differently. Getting your model to stand as far away from the background as possible and then shooting at the long end of the focal range - 70mm for my kit lens - the background will be far enough away so not to appear sharp in the shot. The further away from the background the subject stands the more defocused the background will become.
Shooting at 70mm also has the effect of compressing perspective in the shot a little and that will further help to blow the background out of focus. The longer focal length also ensures your subject's featues are kept in proportion, too, so you won't get the distortion that occurs when shooting portraits using lenses at wider focal lengths like 18mm.
Step by Step Guide
1. Zoom in to the longest focal length setting - 70mm in my case - to compress the perspective and help blur the background. Now in Aperture Priority Mode, set the lens aperture to its maximum setting - f/5.6 in my case
2. Get your subject to stand as far away as possible from the chosen background, but make sure you leave enough room to actually include the background in the shot! The greater the distance between subject and background, the more blur you'll get, but aim for around three metres as a minimum.
3. Now compose your portrait and shoot. If you've not been able to position the subject very far from the background then a good trick is to try a tighter composition with the model close to the lens. This will crop out some of the background and the closer you can focus, the softer it will appear.
After all this advice all I need to do is to give it a go. (results to follow)
Sunday 17 January 2010
Experimenting in Cannock Chase
Took my camera out with me walking today and experimented taking portrait photos outdoors in sun light playing around with with different depths of field and apertures. Will put pictures up when had chance to edit them but on first glance I've got a long way to go.
- Posted using BlogPress from my iPhone
- Posted using BlogPress from my iPhone
Having looked at the images from my shoot they have not really shown what I was hoping to achieve with depth of field so I will have to have another go when next out walking and put any new ideas or ways of working into practice.
Added 21 January 2010
To see the pictures from this session Click Here
Friday 15 January 2010
Why I bought my Sony Alpha 200
If I am perfectly honest my camera selection was restricted to my tight financial budget. I did a lot of internet research looking at review sites and came to the conclusion that the Alpha 200 had the best reviews of the cameras I could afford.
I am pleased with how my Alpha works and the pictures I have taken so far and I'm looking forward to seeing the improvements throughout this course.
The only downside I have found to this camera is the price of accessories for the Sony. This is mainly because the Sony cameras have unique fittings that are different from other models so there is no cross usage of equipment.
Overall, I like my camera and hopefully will see its full potential this year.
Bought May 2009
I am pleased with how my Alpha works and the pictures I have taken so far and I'm looking forward to seeing the improvements throughout this course.
The only downside I have found to this camera is the price of accessories for the Sony. This is mainly because the Sony cameras have unique fittings that are different from other models so there is no cross usage of equipment.
Overall, I like my camera and hopefully will see its full potential this year.
Bought May 2009
My Photography Equipment
Camera
- Sony Alpha 200
Lenses
- Sony 18mm-70mm f3.5-5.6
- Tamron 70mm-300mm f4/5.6 DI LD Macro
Flash
- Jessops 360 AFD Digital (Sony and Nikon)
- Cobra FL-MX29
Bag
- Kata Digital Torso Pack 213
Tripod
- Camlink TP-2100
- Basic used for flash only
Lightstand
- KONIG KN-LS10
Wireless Flash Trigger and Receiver
- Yongnuo CTR-301P
Assessories
- Silver Umbrella
- Ball Head Hot Shoe 360* Swivel Bracket Mount
- Hama Remote Shutter Release Cable
- Off Camera Flash Cable 1.8m
- Cream Backdrop Cloth
- Polarising Filter (Circular)
- Lens Cleaing Pen
Thursday 14 January 2010
My Sony Alpha 200 Technical Specifications
Technical specifications
Lens MountSony α mount | YES |
Compatibility with A-Mount bayonet lenses from Minolta and Konica Minolta | YES |
All types of Sony α lenses | YES |
Minolta & Konica Minolta α/MAXXUM/DYNAX lenses | YES |
Image sensor type | CCD Sensor |
Image sensor colour filter | R, G, B, Primary color |
Size (mm) | 23.6x15.8 (APS-C size) |
Total sensor Pixels (megapixels) | 10.8 |
Effective Pixels (megapixels) | 10.2 |
A/D Conversion (Bit depth) | 12 |
Automatic White Balance | YES |
White balance: preset selection | Daylight, Shade, Cloudy, Tungsten, Fluorescent, Flash |
White balance: custom setting | YES |
White balance: types of color temperature | 2500 - 9900 k with 19-step Magenta / Green compensation |
White balance bracketing | 3 frames, Selectable 2 steps |
ISO100 - 3200 equivalent |
System: Sensor-shift mechanism | YES |
SteadyShot INSIDE scale (in viewfinder) | YES |
Camera-Shake warning (in viewfinder) | YES |
SteadyShot INSIDE capability | Approximately 2.5 EV - 3.5 EV decrease in shutter speed (varies according to shooting conditions and lens used) |
SteadyShot INSIDE compatibility | All Sony DSLR lenses and A-Mount bayonet lenses from Minolta and Konica Minolta |
*SteadyShot INSIDE was previously known as Super SteadyShot |
TTL phase-detection system | YES |
Sensor | 9 points with centre cross sensor |
Sensitivity Range (at ISO 100 equivalent); EV | 0 - 18 |
Eye Start AF System (on off selectable) | YES |
AF Area: Wide focus area | YES (auto with 9 areas) |
AF Area: Spot | YES (center cross sensor) |
AF Area: Local focus area selection | YES (9 local areas) |
AF Modes | Continuous, Single Shot, Automatic, Manual Focus |
Predictive Focus Control | YES (with moving subjects in AF-A and AF-C) |
Focus Lock | YES (with Shutter button or AF button) |
YES (with built-in flash) | |
AF Illuminator range (meters) | 5 |
Light metering type | TTL |
Light metering cell | 40-segment honeycomb-pattern SPC |
Light metering: Multi segment | YES |
Light metering: Spot | YES |
Light metering: Center weighted | YES |
Exposure: Automatic | YES |
Exposure: Program Auto | YES (with Program Shift) |
Exposure: Shutter priority | YES |
Exposure: Aperture priority | YES |
Exposure: Manual | YES |
Exposure: Scene selection | YES |
AE Lock | YES |
Exposure compensation | YES (+/-2.0 EV, 0.3 EV step) |
With 0.3 EV / 0.7 EV increments, 3 frames; (in "Drive mode setting") |
Type | Electronically-controlled, vertical-traverse, focal-plane type |
Shutter Speed Range (seconds) | 1/4000 - 30 and bulb |
Flash Sync Speed (With Super Steady Shoot Off); second | 1/160 |
Flash Sync Speed (With Super Steady Shoot On); second | 1/160 |
Built-in-Flash Guide Number (in meters at ISO 100) | 12 |
Flash Metering System | ADI / Pre-flash TTL flash metering |
Flash Compensation | +/-2.0 EV (0.3EV steps selectable) |
Built-in-Flash Recycling Time (approx. time in seconds) | 4 |
Autoflash, Fill-flash, Rear flash sync. High Speed sync. with optional compatible accessory flash | |
YES (with optional compatible accessory flash) | |
Slow Synchronization | YES |
Red-Eye Reduction | YES |
Flash Popup | Automatic in Auto and Scene selection exposure modes. Pop up by pression flash button in other modes |
Automatic Flash | YES (with AUTO, P and Scene selection mode) |
Type | Fixed eye-level system with roof mirror type |
Focusing Screen | Spherical Acute Matte |
Field of View (%) | 95 |
Magnification (with 50mm lens at infinity) | 0.83x |
Eye Relief | Approx. 17.6 mm from the eyepiece |
Diopter Adjustment | -2.5 to +1.0 diopter |
Drive Mode | Single-frame advance, Continuous advance, 10 seconds and 2 seconds Self-timer, Single-frame advance AE bracketing, Continuous-advance AE bracketing, White Balance Bracketing |
Continuous-Advance Rate (approx. frames per second at maximum) | 3 fps |
Number of Continuous Advance | RAW: max. 6 frames; RAW+JPEG: Max.3 frames; JPEG Fine and Std: No limit (performance depends on media write speed and shooting condition etc) |
Recording Media | Compact Flash Type I / II / MicroDrive slot. Memory Stick Duo / MS Pro Duo and MS-PRO HG with optional adaptor |
Recording Format | Jpeg, RAW, RAW+JPEG, 16:9 selectable |
RAW (pixels) | 3880 x 2600 |
Image Size L - JPEG (pixels) | 3872 x 2592 |
Image Size M (pixels) | 2896 x 1936 |
Image Size S (pixels) | 1920 x 1280 |
Still Image quality | RAW, RAW+JPEG, Standard (JPEG), Fine (JPEG) |
Noise Reduction (Long exp.NR) | On/Off, available at shutter speeds longer than 1 second |
Noise Reduction (High ISO NR) | On/Off, available at the ISO set to 1600 or above |
Delete Function | Single, multiple, or all frames in a folder |
Color Space (sRGB) | YES |
Color Space (Adobe RGB) | YES |
Color mode/DEC/Creative styles | Standard, Vivid, Portrait, Landscape, Night view, Sunset, B/W, AdobeRGB |
Dynamic Range Optimizer | Off, Standard / Advanced |
Date/Time Print | With PictBridge |
Information Display | YES |
White/Black Out Alert | YES |
YES (9 or 5 last frames filmstrip) | |
Enlarge (Maximum magnification) | x13(L) x10(M) x6.7(S) |
Image Rotation | YES |
Auto Image Rotation | YES |
Battery Remaining Indicator | YES |
InfoLITHIUM Battery Indicator | YES (in %) |
Histogram Indicator | YES |
2.21 | |
Exif Print | YES |
PictBridge | YES |
Menu Language | English / French / German / Spanish / Italian / Portuguese / Dutch / Russian / Swedish / Danish / Norwegian / Finish / Polish / Czech / Hungarian |
Zone Matching | NO |
Depth-of-Field Preview | NO |
PRINT Image Matching III | YES |
Remote Release Terminal | YES |
IR Remote Control | NO |
DPOF(Digital Print Order Format) | YES |
Indicator of remaining memory space (CF) | YES |
Beep Sound | On/Off selectable |
File Number Memory | On/Off selectable |
Folder Name Mode | Standard and Date |
Operating Temperature (degrees C) | 0 - 40 |
Battery System | NP-FM500H |
Supplied Battery | NP-FM500H |
Stamina (battery life in CIPA condition) | 750 |
Weight (g) | Approx. 532 |
Width (mm) | 130.8 |
Height (mm) | 98.5 |
Depth (mm) | 71.3 |
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