Now that we've talked about wide angle lenses and telephoto lenses, lets discuss "normal" lenses. The normal lens for a camera is the one that closely matches the angle of view of the human eye --- 50 to 55 degrees. The focal length of such a lens is also approximately the length of the diagonal of the film format. A photograph created with a normal lens will look very much as your eye sees the scene.
As you might have realized, the normal lens varies for each film format, but the relative angle of view remains ths same. For a 35mm camera, the normal lens has a focal length of 50mm, my 120 format Hasselblad system has a normal lens with a 80mm focal length. Those photographers using the 4x5 format have a 150mm normal lens focal length.
Many photographs are created with normal lenses because they look like your eye sees the scene. However, this doesn't allow for the creativity of the effect of different lens focal lengths. Using a lens with a focal length greater or less than the normal lens lets you see a little differently: Using a short focal length can exaggerate close objects and make distant objects appear small and even more distant than they really are. Using longer focal lengths magnifies objects and very long focal lengths have the effect of compression --- objects appear closer to each other than they really are.
Experiment! Try photographing a scene with different lenses (or different focal lengths if you have a zoom lens) to see the effect.
Light from distant subjects will be in sharp focus in a plane a fixed distance behind the lens. The focal length of a lens is the distance between the lens and the plane of sharp focus. Also, this is where the film would be in order to record a sharply focussed photograph.
Choosing the correct focal length can make or break a photograph. For example, wide-angle lenses (those with short focal lengths such as 28mm), distort near objects, especially at the edge of the photograph. Therefore, you would probably not want to use a wide-angle lens for a close-up portrait of uncle Bob (unless you really want his nose to look unusually large and distorted!). In a landscape photograph, a wide angle lense can exaggerate the size of a foreground object, creating visual impact. Long focal length lens, or telephoto lenses, magnify images at a great distance and help to isolate smaller elements of complex scenes. Very long focal length lenses have to ability to make a scene look "compressed" or all on one plane. In addition, these lenses have very limited depth of field at large aperatures. Using a long lens with a large aperature setting can help isolate a subject by throwing all but the subject out of focus -- eliminating distracting foregrounds or backgrounds.
One of the easiest ways to ruin an otherwise good photo is to suffer the consequences of lens flare. Lens flare is usually visible through the viewfinder as a bright area when creating a photograph, and can usually be easily prevented. Here's how.
Flare is most often caused when sunlight strikes the lens directly or by reflection off a bright object such as snow or water. It can also be caused by light reflecting inside the lens itself. Lens manufacturers work hard to prevent flare by coating the inside of the lens barrel with noreflective coatings. Glass lens surfaces also often have a special coating to reduce glare and reflections. However, when sunlight strikes your lens, no coating will completely eliminate flare.
So how do you get rid of flare? Use a lens hood! A lens hood surrounds the lens and protrudes outward to block sunlight from striking the lens surfaces. Don't have a lens hood? Use your hand, a hat, umbrella, or whatever else that you have nearby. While looking through the camera viewfinder, move your improvised shade around until the glare is eliminated. Of course, the best thing to do altogether is to change your position (if possible) so that the sunlight is behind or to the side of the camera.
The benefits to your photography will be immediately noticeable: no more sun spots, improved contrast, and improved color saturation will make your photographs stand out!
Click here to go to the tip. Use your browser's Back button to return.
Click here to go to the tip. Use your browser's Back button to return.
If you haven't guessed by now, I take a camera with me wherever I go, including biking and mountain biking trips. I have found this to be one of the most difficult sports to bring a camera on, especially when mountain biking. The need for mobility, and the constant bumps make wearing a pack uncomfortable and placing equipment in a pannier or caboose pack that attaches to your bike requires extremely good padding. Although, riding on pavement is much smoother I would still recommend padding equipment well and placing it in a caboose pack.
When bicycling, the weight of your equipment is even more important than in other sports. For that reason, I often use my Pentax 90WR point and shoot camera, or only the essentials in an SLR outfit when bicycling. Padded well in a backpack or "fanny-pack," my camera will stay safe and will be with me when I want it. If there is a chance of your equipment getting wet, pack it in plastic zip-lock bags.
If you're like me and can't seem to confine yourself to just one outdoor pursuit to which you just have to bring your camera, this one and Tip 23 will probably be especially useful.
The general idea when bringing a camera afield is to ensure its protection while allowing for access to your equipment when it's wanted or needed. When dealing with water, ease of access is compromised in order to properly protect your equipment (with some exceptions of course).
The easiest thing to do in the event that you want to take a camera out on canoe, kayak, or rafting trip is to buy a waterproof or water resistant camera. Water resistant cameras vary from the $15.00 disposables, to models like the Pentax 90WR that I own which is water resistant to 12 feet, all the way to full-blown underwater cameras like the Nikonos that are designed to be used at great depths.
All right you say, I'm not in the mood to buy a new camera right now and a disposable just doesn't cut it. Several manufacturers, such as EWA Marine, make waterproof "housings" (more like giant zip-lock bags) for many different kinds of cameras, including video cameras. These housings allow you to use the camera, while protecting it from water.
If you won't need frequent or immediate access to your camera during your travels, a hard-case is the way to go. Cases such as those made by Pelican, provide complete waterproof protection in hard-plastic cases with built-in divider systems. If you are using a canoe, access to your equipment from these cases is relatively easy. Only the very smallest models would be practical for use in a kayak. Kayakers may also want to consider some of the "soft" cases that are available for smaller camera models. These resemble inflatable air-mattresses in their design.
The common and popular "dry bag" is also an option. These are generally made of a heavy vinyl with a roll-down top and can be found in most any sporting goods store. However, there are two problems with using dry bags. First, they don't have any padding to protect your equipment. If you have a padded camera case that fits inside the dry bag, you may be all set. Second, dry bags are not really designed to hold heavy equipment like cameras. If you only have a small point-and-shoot camera, or an SLR and lens combo, you may be alright. If you have anything more than that, you should consider a hard case.
If totally waterproof protection is not necessary for your purposes (let's say your traveling on the unsinkable Titanic for instance), there are even more options. Plain old Zip-loc bags in a padded camera case will provide general protection from non-soaking spray or paddle drips. Garbage bags and other plastic bags can also be put to use for protection. Caution: don't rely on Zip-locs or other plastic bags to provide leak-proof protection. Camera equipment that has gotten wet, especially through immersion, generally cannot be repaired and will have to be replaced.
Oh, if you are planning on a voyage on the Titanic, buy a hard case! :-)
Now that the weather is better, we will be spending more time outside than before. That means carrying your camera around so that you can create photos to remember your journeys by. Most cameras are pretty rugged, but some general precautions need to be taken to protect the camera and ensure your comfort in carrying it.
Many people with smaller, lighter cameras, will carry them on a strap around their necks. I personally find this uncomfortable, but if it appeals to you, find a camera strap that is wide and shock-absorbing. Manufacturers such as Op-Tech and Tamrac make very comfortable straps that will fit the bill here. If the side-to-side swaying of the camera bothers you, there are strap systems that have a neck and a chest strap to reduce camera motion when you are moving.
If you are carrying you camera in a pack, be sure that your equipment is padded and protected from other items in the pack that may cause damage. Several manufacturers are making packs specifically designed to carry cameras afield. These packs have built-in divider systems to organize and protect your gear. If you are using a standard pack, wrap your equipment in commercially available padded wraps, pieces of foam, or in extra pieces of clothing.
No matter which way you decide to carry your equipment, remember to pack protection from wind and rain. Zip-lock style bags (the heavy duty "freezer" types are best) work very well. Coated nylon "stuff sacks" are good, but may not be totally waterproof. If you are looking for the ultimate in protection, especially from rain, invest in a "dry bag" like those used by paddlers. These bags are very rugged and totally waterproof.
Selective Focus is briefly discussed both in the April 1999 Image of the Month and in Tip 20 - Depth of Field Preview, but here are some more details.
As the name implies, the idea is to focus on "selected" objects while leaving others out of focus. Most often the technique is used with the focus on a foreground object with the background out of focus. I find this to be particularly useful when there is a distracting background. However, don't let that stop you from experimenting. The technique emphasizes the object in focus and takes attention away from the objects that are out of focus.
The way to apply the technique is to use a shallow depth of field by using a large aperature (f-stop) on your lens. Remember that the smaller the f-number (such as f2.8), the larger the opening is when compared to a larger f-number (such as f16). If you have trouble visualizing this, detach a lens from the camera body and look through it while you change the aperature. Or, think of the f-stop as a fraction: 1/f2.8 is greater than 1/f16.
Also remember that depth of field is affected by the focal length of the lens being used. A wide angle lens has a much greater depth of field than a telephoto lens at the same aperature. For example, take the following two lenses, a 28mm and a 200mm lens for a 35mm camera system; both are focused on an object at 10 feet with the lens set to f2.8. The 28mm lens will have a depth of field (focus) of over 8 feet (2.5 meters), while the 200mm lens will have a depth of field (focus) of only 1.6 inches (4 cm) !! You can also affect the depth of field by using an extension tube to move the lens farther from the focal plane of the camera and increase image magnification.
Visualize your final image and allow just enough depth of field to acieve your goal. If you are experimenting, try changing the aperature to see what affect it has on the final image. See which one you like best.
If you look at the technical data accompanying my photographs, you'll notice that almost all of them are created using a tripod. That's because a tripod is one of the best tools that you can use to improve the quality of your photographs.
Using a tripod helps in several ways. First, it virtually eliminates vibrations caused by your hands (using a cable release for exposure control reduces vibrations even further). Vibrations are one of the most common causes of unsharp images. Second, using a tripod slows you down somewhat. How, you ask, does that help to improve your photos ?? Well, taking the camera out of your hands makes you pay more attention to composition and camera settings such as shutter speed and depth of field, making you less prone to errors. Also, let's not forget that when the camera is on a tripod, any shutter speed, no matter how slow, is possible, provided that your subject is not moving. This makes low-light photography possible with even the slowest of films. And, since that slow shutter speed is not a problem, you are free to maximize your depth-of-field by using a small aperature such as f22 or f32.
When a tripod is not practical for weight or space considerations, think about using one of the following gadgets:
Related Tips:
No, we're not talking about opening night for a new Kevin Costner movie here! Depth of field preview is a valuable photographic tool. That is, if you're lucky enough to own a camera with this feature.
Depth of field is the range, or depth, of objects in focus within your image from near to far. It is affected by the focal length of the lens in use and the aperature that you have selected. Wide angle lenses have greater depth of field than longer focal length lenses. Also, the smaller the aperature that you use (such as f16, f22, f32, etc.), the greater the depth of field.
During normal operation of your camera, you view an image through the lens while at its largest aperature (f-stop). So, if you have a 50mm, f2.0 lens, you focus and compose your image at f2.0. The depth of field of the image that you see in the viewfinder will not match the final image if you are using an aperature smaller than the largest available (f16 for example instead of f2). In order to better see what the final image will look like, use the depth of field preview. This feature "stops down" the lens to the aperature that you set so you can preview the image and see the range of focus. The only drawback of the feature is that the smaller aperature decreases the light that reaches the viewfinder...you may have to cup your hand around it to shield it from outside light to better see the image, or simply allow a few seconds for your eyes to adjust to the darker image.
One of the best uses of this feature is when you want to selectively focus on an object using a larger aperature to throw the rest of the frame out of focus. If you just want all the depth of field that you can get, use the Hyperfocal Distance method (see Tip #16).
For many die-hard photographers, a camera just isn't complete unless it has a mirror lock-up mechanism. Others are thinking, "what the heck is it?"
In single-lens reflex (SLR) cameras, a mirror is used so that you can see an image of what you are photographing through the lens. When the shutter release is pressed, the mirror swings up and out of the way so that the film can be exposed. The action of the mirror swinging out of the way temporarily blocks your view of the scene until it returns to position. This motion also causes minor vibrations in the camera body.
In most cases, the vibration caused by the mirror is not significant enough to affect your photographs. However, there are situations when you might want to prevent it, mostly when using high magnification such as when using a very long focal length lens ( such as a 800mm) or when making macro photographs. In these cases, the magnification of the optics increases the apparent effect of the mirror movement.
For those who have a camera capable of it, mirror lock-up locks the mirror up and out of the way so it doesn't move during the exposure. Obviously, if the mirror is up, you can't see to compose your image, so that has to be done first. This limitation makes it necessary to limit your use of mirror lock-up to objects that don't move (or very patient people subjects!).
Many newer cameras, especially those not intended for professionals, don't come with a mirror lock-up switch. Also, I've noticed it to be missing on many plastic bodied cameras, possibly due to the fact that mirror lock-up is an all-mechanical operation and these cameras are heavily electronic. (?) In either case, if you are interested in a camera with mirror lock-up capabilities, either be prepared to spend extra for a high-end camera, or look for an older style camera from an era when this feature was more important to manufacturers (the Nikon F3 is a good example).
