Wednesday, February 29, 2012

Expose / Focus / Compose

So I have answered a few questions about exposing, focusing, and recomposing recently when talking to budding photogs and I wanted to tell everyone how I handle this. This is one of the first things in digital photography you have to know or you will not be shooting to your full potential. There are 3 very important parts to a shot. There is focus. This is what will be sharp (or not sharp) in your image. Then there is exposure. This is how light/dark your image will be. Finally, you have your composition. This is what you choose to include (or eliminate) from your frame. In most situations, you need to get all three of these right to make a good image. Obviously rules were meant to be broken and I've seen great images that don't have perfect exposure or focus, or have awkward composition, but these are usually still conscious decisions by the photographer and not accidental. (most of the time) Before you depress your shutter fully to expose your image, all three of these things should have run through your head.



The problem is, When you depress the shutter, all three of these things are determined at the same time and place if you are just shooting normally. When you depress the shutter your camera exposes whatever is in the center of your frame and focuses on whatever is closest usually if you are using default settings. That means in a scene where the closest thing to you is not what you wanted to focus on, you miss focus.  Or in a scene where the center of the image is not what you want to be exposed correctly, you miss exposure.  If you adjust  your camera to expose that different part of the image, you just changed your composition. But there is an easy way to fix this. What I will try to explain in this tutorial is a three step process to making sure all elements in a picture are how you want them without having to manually focus and manually expose. Sure, you can just manually focus and manually expose every image you take, but that takes a long time and in a lot of situations is not the best way to do things. Some people will tell you to focus-recompose, but that doesn't take into account exposure. You should address all three. First you lock exposure. Then you set your focus. then you compose. THEN you take the picture. Let's get started. I will use all weird shots from Philly (why not) to explain this.

First, put your camera in center point AF. This can only be done in P, TV, AV, or M modes. You should be shooting in one of these modes anyway. I have a 5DMKII and 30D (Canon) so I will you show you on my 30D. If you have a Nikon, these things are basically the same on both cameras, get out your manual and try to follow along by cross referencing.  It's raining and I don't feel like setting up off camera strobes and what not, so we are gonna be shooting with the good low light one. The 30D has probably the worst low light performance of any camera, but since it came out in 1922 I'll forgive it. Anyway, this is what you need to use- These two buttons.



The button on the right with the plus sign inside of the box is what lets you set the AF point. Scroll with the wheel until the red light illuminates the center point. If you have another camera, it's basically the same thing, you look up how to change your AF point and scroll till you have selected the center point. Now you are ready to begin the process. I just found another light, so this picture is of my 5DMKII and is of which AF point I use.



You see the button with the asterisk? That is your Exposure Lock Button (AE Lock). Instead of metering on where you focus, this lets you set a different point. What's metering you ask? It's how your camera tries to make the image look like it does in real life by measuring reflected light.  It tries to make an image match "middle grey",  this is a grey that reflects 10-18% of light. It's like halfway between white and black on grey or any other color. This is why if you meter on snow it looks darker, it tries to make it a middle grey.  Or when you meter on something darker, it tries to make it lighter. This could be a whole another tutorial in itself.  Anyway hitting this button locks the exposure in the camera until you take a picture (or a certain amount of time has passed but nothing you should be worried with) usually this happens when you press the shutter button halfway. You use this button if the thing you want to meter (expose for) is different than the thing you want the focus to be on.  This takes some getting used to and experience helps. If you have a bright part of the image and a dark part, try to meter on the spot between them to get a good average. Or if one part is more important, meter on that. This helps with people who are backlit, I meter on an area of their body that is not silhouetted against the sun, like maybe their waist or feet if it is below the horizon.

Once you have locked your exposure for the image, you then identify what you want in focus. You point your center AF point on that object and depress your shutter button halfway and keep your finger on it. this just locked in your exposure. You can now move your viewfinder to compose your image anyway you please, with your exposure and focus set independently of your composition. depress the shutter completely and you now have a well thought out image. Here is an example.



Notice I exposed and focused for the pole in the first image in the same spot  but it was too bright. I then metered for the background in the next image but kept focus on the pole.

The way I kept focus on the pole was I aimed the center AF point on the right side of the background and hit the AE Lock button. This locked exposure. I then depressed my shutter halfway on the middle of the pole, which locked my focus on the middle of the pole. I then kept my finger halfway pressed down on the shutter and adjusted my viewfinder until it was in between the background and focus point. This is not going to be hanging in any museums any time soon, but it illustrates this point very well. You see now you have the ability to creatively compose your image on the fly without wondering why the image looks off or is not in focus. If you try and follow the rule of thirds, you have to use this or all of your subjects will be dead center and boring.



There are more many more things to go over with this technique but it would take a long time and involve me actually speaking to you and showing you real scenes. A few pointers though to help you along: You need to not re-compose up or down to far if your subject is close or you will miss your focus. Side to side movement is fine.  You also need to be wary of what metering more you are in. I use evaluative metering more most of the time, so when I AE Lock, I don't do it directly on the spot I want exposed for. I just nudge it closer to that spot than the area I don't want to expose for. If you use Spot metering, just plop it right on the area you want to expose for and you are golden.  Make sure you are in the right auto focus mode also. You should be in one-shot AF mode, if you are in AI Servo mode your focus will change as soon as you recompose. These things come with experience, so go out and shoot! You should aim to be able to do anything on your camera without looking at it. If you can't...figure it out. Many a shot will be missed until you can. It's fun to shoot around and get good images by accident (How I did it for a long, long time) or through a little knowledge, or maybe pushing things with photo software, but if you make the jump into being a professional and are being paid to do something and you are presented with a situation you do not know how to handle... you look like an idiot and there is no excuse.


Read your manual.





Tuesday, February 28, 2012

Monday, February 27, 2012

Winter Beach Portraits

Had some brave souls bear the cold today for an awesome beach session!

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Manually blended multiple exposure from High's Beach. Lately I've been drifting towards manually blended multiple exposures in place of HDR software because of the more natural look it gives you, especially in a coastal shot like this where they are easy to blend together. I like how the light almost wraps around the wood on the beach.

Sunday, February 26, 2012

Sunset

From High's Beach, a 3 exposure HDR. With exposure times of 5 seconds, 1 second, and 20 seconds, I'm shocked you can't see more movement in the scene, but I guess I'm lucky. It always helps to have a good dose of that.

Friday, February 24, 2012

Exfiltration

So yesterday I was talking about how I was at High's Beach at the oyster farm and got a little wet. Here is the shot from the back of the quad as we were rolling through the water on the way back to the beach. A lot of fun, not everyday do you get to shoot from the back of a quad going through the water with a perfect sunset. These are the times I'm very happy I know how to shoot in manual and can change settings on the fly without looking at my camera. It's so important to be able do those things or you will miss the most important shots. I had no strap on my camera, was holding on to the quad with the other hand, and there was water flying around, in very low light, and had  to change setting as we drove around.

Thursday, February 23, 2012

Golden Hour Portrait

Shot at High's Beach today, had a good time and got some great shots of the sunset, and even shot some images from the back of a quad driving through the water. A quad? Water? Images up tomorrow from that.

Wednesday, February 22, 2012

Scotland

After the nice day today, here's a nice green one to get everyone excited:

Monday, February 20, 2012

EF-S 10-22mm Review

The EF-S f/3.5-4.5 10-22mm lens is Canon's wide angle lens for crop body (7D, 50D, T2i, etc) cameras. When using this lens on a crop body (It is unable to be mounted a full frame body) the effective focal length is 16-35, similar to other wide angle lenses. If you have a crop body camera, one of your first impulses is to go out and buy this lens. (It was mine) While this is a good lens, remember that you cannot mount this to a full frame sensor. Not even 6 months after I bought this lens I bought a 5DMKII, which rendered this lens obsolete. It also is not the highest quality wide angle lens. It has good distortion correction and the horizon is always straight, but overall sharpness at most f/stops, save the small sweet spot, and especially the corners is not that great. That said, it is still a solid lens and if used correctly can do wonderful things, considering how hard it is to go ultra wide on a crop body.



First and foremost, Let's look at image quality all the way zoomed out at 10mm, for this focal length is why most people will be interested in this lens. Overall, sharpness at this focal length is good, but not great, or even very good. I mounted the lens to an EOS 30D, set it for 160 ISO, then mounted it to a tripod, and then utilized mirror lockup and used a cable release. This way, we can be sure only the lens could affect image quality and not motion of the camera/user. (For the sharpest images, always use a tripod with mirror lockup and a cable release. You will be shocked to see the difference between that and handholding your camera.) These are 300 pixel cut-outs at 100% magnification. Go ahead and download this to your computer and open them up at 200% or more to see the difference easily. As you can see, f/3.5 is not as sharp as f/5, 8, or 11. Then after f/11, f/16 and f/22 start to degrade visually. the latter is due to diffraction in which light bends like a wave through a small opening. I can't tell you anymore than that unless we delve into quantum mechanics and magic. At the larger apertures like f/3.5, the image becomes soft because of limitations on lens design called aberrations. From using this lens, I can say f/8-f/11 is probably the sharpest stop to be shooting on. If you can use that f/stop, get it on a tripod and use a low ISO (which should not be a problem because of the tripod) you will be ok. Many people will be using this lens for many different things, so why don't you look at these sample XXXXXXXX images and see for yourself. Download them and drop them into your favorite pixel editor and take a look at 200% magnification or greater.



One of the biggest issues with super wide angle lenses are horizon distortions, chromatic aberration, and corner softness. Some lenses have a habit of bending the (normally) straight horizon and make it seem like the you were drunk (were you?)when you took the image. This lens does a good job of straightening that bad boy out. In regards to chromatic aberration, you can see for yourself in the above examples. they are the purple and cyan colors on the edges of lines in your photo. They are small, but can be a problem at larger apertures. They are definitely noticeable at larger apertures around the corners on this lens. lastly we arrive at corner softness. This is a big problem with all but the most high quality wide angle lenses, and this lens suffers from it like most. You will see quite easily at larger apertures the corners of the image (these are 500 pixel cutouts from the bottom left of the full image) that the image is extremely blurred. Not until f/8 do we approach acceptable levels of corner softness. It only becomes "sharp" at f/11 or higher. You can also download this if you want to see it even closer.



Zoomed in at 22mm, we see improvement in the angular resolution (sharpness) of the image at almost all f/stops. Lens aberrations are not as noticeable when zoomed in and the largest available f/stop, 4.5, is noticeably sharper than the largest at 10mm. But, do you see the problem we have here? The largest f/stop at 22mm is f/4.5, while at 10mm it is f/3.5. This makes a big difference as that is quite a jump in sharpness, as most lenses have dramatically sharper images 1-2 stops up from the largest, this one included. The lens is pretty sharp at all f/stops up to f/11, but then diffraction rears its ugly double head of wave-particle duality. As you can see, at f/22 the image is again very soft. Check out all the images taken at this focal length in this gallery.



Remember: to even get this level of sharpness, always at least use a tripod and low (200 or less) ISO, if not also using a shutter release and mirror lockup. If you don't have a shutter release, use your self timer. I would not recommend hand holding this lens on any camera aside from ones with very good low light images (a 7D) because you have to shoot at f/8-f/11 on the wide end and if you aren't in ideal conditions it will be hard to get that without pushing your ISO up. My 30D is worthless past 640 ISO, but my 5DMKII looks like it's on low ISO at 1250. These differences in images because of aberration, diffraction, corner softness, and other black magic only make a difference if you are blowing these images up large (like more than 18 inches on the longest side) or enjoy looking at pictures only at 400% magnification and sitting 2 inches from your monitor. (like me) If you are just taking snapshots, getting a family portrait, or just don't give a !@#$, then at least this article will put these thoughts in the back of your mind, because now you know, and knowing is half the battle.


"The Show"

An older shot reworked with new software and techniques. Taken at the top of Cadillac Mountain at sunrise, these people were obviously here for the same reason I was. You can even make out the tripod.

Thursday, February 9, 2012

Cape May Country Art League Art Show at Kindle Auto Plaza

Come out and see some great work by the Cape May County Art League (including myself) at the Kindle Auto Plaza next Friday! The reception will be Friday, February 17th from 6pm to 9pm at the Kindle Showroom. Light refreshments and drinks will be provided. I will be debuting 3 brand new limited edition prints, all local images of Cape May County, in addition to another limited edition print that started it's run late last year. From the top right, going clockwise: "Trees" 2/9 24x16 inches, "The End" 1/25 30x20 inches, "Another Day" 1/25 18x12, and "Atlantus" 1/25 30x20. All are framed and printed on Metal.



Wednesday, February 8, 2012

Windswept Sky

Another shot from Higbee's, the barren trees there in the dunes always make for great shots, especially under moonlight.

Monday, February 6, 2012

Photography Club of Cape May

A huge thanks goes out to the Photography Club of Cape May for letting me speak at their monthly meeting. I hope you guys all learned a lot, and if you have any other questions feel free to email me with anything, whether I went over it at the meeting or not.

Waterfall

A quick one from Colorado I re-did in Black and White.

Saturday, February 4, 2012

Twilight

There's something about twilight... I find it much more enjoyable to capture images at twilight than before a sunset/ after a sunrise. At sunet the light is still a bit harsh and too golden... I love the pinks, purples, dark reds and dark blues that come after the sun is down. It's also darker, and allows you to be more creative with your shutter speeds. A lot of photographers shoot the sunrise a few minutes before the sun comes up and do their bulk of shooting post sunrise. I like being there 2 hours before sunrise, capturing colors as they appear in the sky before your eye can even see them.

Thursday, February 2, 2012

Danger Close

So, I was walking in Switzerland and I looked up along a trail and see these cacti hanging off the edge. I thought it was great that the sign made it seem like you were supposed to watch out for falling cacti.


This one is really awesome big, click on the image for the Hi-Res pic.

Wednesday, February 1, 2012

Star Trails at Higbee's

15 minute Star Trail from Higbee's Beach- Click on the image for Hi-Res!

Nightime at Higbee's Beach

Night is definitely my favorite time to shoot.