Tips and Tricks is back

Just wanted to pass along a new link where you can find a resurrected version of Tips and Tricks. I am hosting it now through my Photo Trek II journal, and you can find my tutorials here. I hope to see you soon!

Greg

Lens Choices for SLR's

Welcome to another installment of Photo Trek's Tips and Tricks, where we take on a topic related to photography. In these tutorials, we have discussed things like composition, exposure, and even how best to get your equipment to the location. Based on a recent poll, I have decided to cover an equipment tutorial this month. For those of you who are point and shoot users, I apologize, as this might not interest you very much. However, if you are an SLR/DSLR user, you might just find some very beneficial information within this tutorial. As a side note, most of the information here is geared toward the Canon user, since that is what I have for illustration purposes. However, all camera brands share the same basic fundamentals in their lenses with some slight differences in nomenclature.

It is a complete shame that the vast majority of SLR/DSLR buyers will leave the supplied kit lens attached to the camera body, with little to no thought about purchasing additional lenses. The kit lenses that come with most bodies are limited in focal length (customarily 18-55mm), and are usually on the low end of the manufacturer's quality spectrum. This is not to say that the kit lenses are bad. Actually the optics are usually quite good. However the build quality is on the cheap side. For instance, many kit lenses have plastic lens mounts, and rotating front elements which make for difficult use of many filters. By upgrading lenses, you will get a much wider range of coverage from wide to telephoto, and will see the opportunity to get much higherquality build.

Basic Types of Lenses

For the most part, lenses can be divided into two major categories...Prime and Zoom. A prime lens is a fixed focal length lens, which means that you can not zoom in or out with the lens. A zoom lens on the other hand will have a range of focal lengths that can be utilized by the photographer. This type of lens gives you much more control over the composition by allowing you to frame the image exactly how you want it. The prime lens, on the other hand, is typically a bit better optically since there doesn't have to be any compromises in optics to render a good image over a range of focal lengths.

Whether we are talking about prime lenses or zoom lenses, all lenses will fall into three basic focal length categories. They all center around the "normal" focal length of 50mm. Anything wider (numerically smaller) will be a wide angle lens, while anything numerically larger will be considered a telephoto lens. One thing to keep in mind is that on many digital SLR cameras, the sensor is smaller than a frame of 35mm film which introduces a slight difference in the marked focal length on the lens. For instance, if you had a 50mm prime lens and attached it to a cropped frame camera like a Canon Rebel XSi, or 40D, there would be a 1.6x conversion factor applied which would make that 50mm lens the functional equivalent to an 80mm lens. All of a sudden, your "normal" lens just became a telephoto. You would actually need a 31mm lens to correctly achieve a "normal" focal length on a cropped frame camera.

Getting to Know your Lens

Regardless of the lens manufacturer, you can find the same information about the lens somewhere on the lens. In most cases it is on the front element framework. In this image, the top shows the manufacturer of the lens (Canon), as well as the lens mount designation (EF). This comes in handy to make sure that the lens will fit your camera body. The focal length will also be listed so you know what focal lengths the lens will cover. In the case of this lens, it will cover 24mm-70mm...but remember that if you are using a cropped frame body, this is actually 38-112mm in 35mm film terms. Beside the focal length you will find the maximum aperture of the lens, in this case 2.8. This tells you the speed of the lens (meaning how much light it will allow to pass through). The wider the maximum aperture, the faster the lens, and the better able to capture images in low light. The last label on the lens that you will find important is the filter diameter, in this case 77mm. This simply refers to the size filter is needed to fit the lens.

HOLY COW!!!! that is a lot of stuff on that lens!!! This is the most complex lens that I have, and is great for showing the majority of features that can be found on a lens. From front to back, you will find the focusing ring (some makers put this to the rear). This is for when you decide to use manual focus, or if you want to fine tune the auto focus a bit. The distance scale (in the window on top) shows the approximate distance that the lens is focused to. This is good for a reference, but is not a replacement for visually checking focus.

This lens has several toggle switches that are designed to fine tune the lens for your specific purpose. At the top, you will find a focusing distance switch which tells the auto focus if it will be focusing up close, or further away. Below that is the toggle switch that selects between auto focus and manual focus. The next two switches control the image stabilization by turning it on or off, and which mode it will operate in.

The next large ring to the rear of this lens is the zoom ring (not found on prime lenses), which controls the focal length of the lens. By turning the ring, or zooming the lens, you are selecting the focal length which you will use. There is a scale near that ring that will tell you what focal length (in 35mm terms) the lens is set at.

Here is another view of a different, simpler lens. You will see that the lens description is also found on the body of the lens to be viewed with the lens cap in place. This is the "formal" lens description, and reads "Canon Zoom Lens EF 24-70mm 1:2.8 L USM". This tells you everything that you need to know about this lens.

Make: Canon

Type of lens: Zoom

Mount: EF

Focal Length Range: 24-70mm

Maximum Aperture: f/2.8

Special codes: L (Canon code for pro quality), USM (Ultra Sonic Motor, auto focus drive), another code might be IS (Image Stabilized).

The focal length, or range also appears in large print on the side as an easy visual reminder of what lens you have in your hand. Since SLR lenses are removable, they not only come with a front lens cap (all cameras have these), they also come with a rear lens cap to protect the rear elements and connectors for the auto focus and other necessary communications between the body and the lens. In this picture, you can see the focusing distance scale a good deal better, and you will see that the distances are marked in both feet and meters.

Special Types of Lenses

Superzooms...These are the all in one lenses that cover a very wide focal length range. A great example is the Nikon 18-200mm which is one of the most popular superzooms out there. Many purchase a Nikon body just to be able to have that lens. The theory is sound, since you would not have to change your lens often, if ever for many different subjects. This keeps the sensor clean, which is a very good thing. However, the trade-off is that superzooms typically perform worse optically than regular zoom lenses. A superzoom has not yet been able to match the optical quality of a prime lens. There are some regular zooms that do match primes...something to consider in your purchasing decision.

Macro Lenses...These lenses are specifically designed to focus sharply up close, and reproduce images either life size or larger. Macro lenses will tell you the minimum focusing distance somewhere on the body, in this case 1.3ft is as close as you can get and still be in focus. Macro lenses are some of the best optically, because at close distances, details are very visible. Macro lenses can still focus out to infinity, so they are a good choice for a multipurpose lens, but are usually more expensive than a non-macro equivalent lens.

Mirror Lens...These are on the very long end of the telephoto range, usually 500mm and up. They are built with mirrors inside, to allow the lens to be more compact. However, they are usually a fixed aperture which takes away all control of depth of field, and it also has a unique effect called doughnuts around out of focus highlights.

Perspective Control Lens...This is a tilt and shift lens that allows very precise perspective control. It is great for architecture where you want to keep walls straight up and down, and not converging. They are also the best thing for depth of field since it will actually change the focusing plane. You can get true sharp focus from near to far without having to stop the lens down to the point of diffraction.

Fish Eye Lens...This is the ultimate wide angle lens, and will allow for a 180-degree field of view for some very unique perspectives. While the image is optically distorted, it is a great choice for creative photography. The focal length in 35mm terms is usually around 15mm.

Lens Accessories

Depending on how your lens is packaged, you might want to consider a few accessories for it. Canon, in its infinite wisdom chooses to only include a lens hood in its "L" series lenses. On all other lenses, the hood is an accessory to be purchased separately. As you can see from the picture above, the hood does an excellent job at protecting the front element of the lens. Not only does it shield it from the bright sun (which will cause lens flare), it will shield it from physical damage (like bumping the lens on a rock).

On longer lenses, a tripod collar is a nice addition too. Some of the really big lenses come with the color already included, the medium sized lenses it is left to the buyer if they would like to have one. I am an avid user of the tripod collar and find it quite useful. Not only does it distribute the weight of the camera/lens combo on the tripod, it also allows for very easy switching from landscape to portrait orientation without shifting the lens to one side or another.

When purchasing lenses, be aware that you will more than likely get a sales pitch about a protector, or UV filter. There are several schools of thought on this, and no clear evidence either way as to which is best. It is up to the buyer as to what they would like to do. Personally, I don't use a UV filter, as I don't want to have a layer of glass that performs no specific role to interfere with the optical quality of the image, but that is just me.

Purchasing Considerations

You are well versed on lenses at this point, but there are still a few more things to go over before you make your decisions about what lens is right for you. The main consideration is the focal length. You need to decide what you are wanting to use the lens for, and decide the best focal length range for the use. Personally, I like to stick with smaller ranged lenses to keep the best optical quality I can. This does get expensive because I need several lenses to cover same area as a superzoom would. However, I know that the optical quality throughout the focal length range is on par with many prime lenses. I recommend getting lenses that overlap a little if possible so you have a bit more flexibility as to which lens you want fitted at the time. For instance, I have a 17-40mm as well as a 24-70mm. The "normal" focal length is present in both of these lenses, but one is more suited to wide angle photography, and the other is better at telephoto photography. It keeps me from switching as much if I didn't have that overlap at the "normal" range.

You also need to ask yourself how large you intend on making your photographic prints. The larger you intend to print, the higher quality lens you will need as the larger the print, the more flaws in optics are brought out. If you are content printing 5x7in prints for a photo album, you can use a budget lens with great success. Even 8x10in prints will be fine, but any larger, and the lens will be a limiting factor.

Third party lenses are also a consideration. Brands like Sigma, Tamron, and Tokina are well respected, and usually produce very good quality lenses, at prices less than the proprietary brands (Canon, and Nikon for instance). If you are a careful shopper, you can get a higher level third party lens for just a little more money than a budget lens from your camera manufacturer. There are other brands out there that are not near as respected for their quality. Many camera stores have their house brands, which have a high markup, but very low manufacturing price. The consumer thinks they are getting a decent deal, but they are getting a very low quality item, for just a little less than a name brand. Buyer Beware.

Well, that about wraps up another Tips and Tricks. I hope that the information presented here is useful, and will help you in making your own choices about lenses. Maybe this provided enough information to help you chose if you are ready for an SLR camera or not. At any rate, thank you for taking the time to read this, I look forward to next month when we tackle another topic.

Written by Greg A Kiser

Tags: Tips and Tricks, Lens, DSLR, wide angle, telephoto, zoom, prime

Photography 101

Photography 101???  Yep, we are going to be covering some of the basics of photography in a way that can be printed out and used as a field guide (I would recommend removing the pictures before printing to save ink and paper).  This topic has been suggested by a couple of my readers recently, and I thought that it would be a great idea for a tutorial.  As I discuss the different steps, it is going to seem like a very long and drawn out process, but in all actuality the whole process can take as short as a couple of minutes, but can stretch out as long as your patience will allow.  As you read through this tutorial, you will find links that will take you to other tutorials that I have written on the particular concept/skill that I am mentioning.  The links are there for you to review if you would like since I will not be able to go into that great a detail with this article.

 

First step, find a subject....

How the Mighty Have Fallen

This step seems simple enough....What would you like to take a picture of?  However, it goes a bit more in depth than that.  After you have found that subject, or that scene that draws your eyes, you have to make some decisions about that subject.  Is there a better location that you could be to photograph what you are looking at?  Are there things like power lines, fences, cars, or other objects in the way?  The idea here is to make your subject really stand out in the picture and not get lost in a sea of unrelated clutter.  The position of the camera has a lot to do with how a subject is captured, so don't forget that in addition to being able to move left and right, and forward and backward, you also have the ability to move up and down.  Find that perfect position that shows the subject in the best possible light, with the least amount of distractions.  You can read more about previsualization of a photograph in this tutorial.

 

Compose the shot...

Prominent

You have found the location that you want to photograph from, so now it is time to think about the composition.  For the most part, the more simple the composition, the more effective the photograph.  Early in this process, you need to decide what focal length you would like to use.  A wide angle will include a very large view of the scene, and allow you to emphasize any foreground objects to show the depth of the scene.  A narrower focal length (telephoto) will compress objects and keep background to a minimum, which is beneficial if there is a lot of clutter behind your subject.

Another consideration at this point is where do you want to place the subjects in the frame?  A good starting point is the rule of thirds.  Simply put, try to keep the main focus of the photograph outside of the middle of the frame.  This is just a guide, so if you have a specific reason for placing the important element in the middle of the frame go for it.  Ideally though, you want to keep the horizons at either the top or bottom third, and main elements offset from the middle.  This adds visual tension and can make the difference between a snapshot and a photograph.

Again, it is important to isolate the subject when composing the picture.  Keep an eye out for objects along the sides of the frame, that might distract from what you are wanting to capture.  Power lines are a big distraction in photographs, but careful composition can usually minimize their intrusion.  Other distractions to watch for are trash, people walking in the background, traffic, signs, etc...  It is this step that should take the most time as it is the one that is more trial and error.  You will find that you are constantly moving trying to get things just the way that you want them.  You will likely find that you are better off trying several different compositions rather than putting your faith in just one and moving on. 

 

Select the Exposure...

Boat Launch

If you are shooting in Full Auto Exposure Mode, then your decisions will be made by the camera at this point.  This is arguably the easiest mode to shoot in, but allows very little control over the final product.  I would recommend switching to Program Mode if you are currently an Auto Shooter.  You will have all the same benefits of Auto, but will have the option of selecting your ISO, White Balance, and Exposure Compensation.  The shutter speeds and aperture will be selected by the camera so you don't need an in depth knowledge of either of these functions to use the Program mode.

In all modes except Full Auto, you will have the choice to select your ISO (film speed).  The best rule of thumb is to go as low as you can for the lighting that you have.  The lower the ISO, the less grainy the image will be, and the more saturated the colors will be.  The tradeoff is that it will ultimately slow your shutter down which makes hand holding the camera difficult at best under many lighting conditions.  Fortunately, the newer DSLR bodies do a remarkable job of controlling noise at ISO's up to and above ISO400 which makes hand holding possible again, even in low light. However, generally speaking, the lower the ISO setting the higher quality image you will be able to capture.

The Exposure Compensation is a facility that allows you to adjust the exposure of the image to be captured.  This allows you to darken, or lighten the image.  The internal meter on a camera is set to expose for a nice middle tone which is equivalent to an 18% gray card.  In any mode except for Full Manual, the camera will adjust the exposure (shutter and aperture speed) to render everything as a middle tone.  That is great if the scene you are capturing is a middle tone, but that is not always the case.  Here is where you learn to read the light meter.  The meter looks something like this....

-2 -- -1 -- 0 --1 -- 2

               /\

If the scene that you are photographing is not made up of middle tones, you might need to adjust your exposure either up or down to make for a correct exposure.  This is accomplished with the Exposure Compensation facility on your camera.  It is represented by an icon that will look something like this... EV+/-.  For more information on how to properly set the exposure, read through this tutorial.  Generally speaking though, if you are photographing something that is darker than a mid tone, you will give the exposure a negative value (-1.3EV). If the exposure is brighter than a middle tone, such as snow, you will want to boost the exposure to the positive (+1.0EV).

 

Decide if you need any creative flexibility...

The Aqua Falls

In relation to exposure, you will also find that shutter speed and aperture lend themselves to some creative elements in a photograph.  Shutter speed will control motion either by freezing it, or blurring it (as in the above photograph).  Aperture will control depth of field, allowing you to control what is in focus and what is blurred...and how much.  You can seize control over these settings by using either the Shutter Priority (S or Tv) or Aperture Priority (A or Av) modes on your selector dial.  By using either of these modes you lock in either the shutter speed or aperture value and the camera automatically adjusts the other value to maintain the proper exposure.  Of course, you will have the ability to fine tune the exposure by way of the Exposure Compensation function that we have already discussed.

For those that are ready to shoot in manual mode, you get to make all the decisions about the exposure of the shot, while referring to the light meter.  You can go for a wide depth of field and slow shutter speed for a waterfall, or a narrow depth of field, with a faster shutter speed to isolate a small object.

Wooden Gargoyle

Regardless of the mode that you choose to shoot in, exposure should be a primary concern for you.  While software makes it possible to "fix" exposure problems after the fact, you will always get a higher quality picture from one that was exposed correctly from the beginning.  In a perfect exposure, there are no blown out highlights, nor any blocked up shadows.  There will be times that this can't be avoided, or is actually wanted as part of the vision of the photograph.  That is the nice thing about shooting in manual mode...all of these decisions are made by the photographer, and not the camera.

 

Choosing your focus point...

Portage Glacier

Well, lets see...we have found our subject, a place to photograph it from, the exposure has been set, and any creative variables have been addressed.  Its now time to take the picture.

WHOA!!!  Hold on for just a second.  You have this much energy, thought, and time invested in the picture, don't waste it by not having your focus point set.  Sure, Auto Focus is great...it is quick and convenient for getting the focus sharp.  However, it is like doing surgery with a chainsaw.  You see, your camera has no idea what it is you are wanting to focus on.  It finds either the most prominent object, the closest object, or the one with the most contrast to focus on.  That could spell disaster depending on your composition.  Again, this is a decision that the photographer should be making not the camera.  Only you know what is important in the photograph.  Maybe it is your son at his first football game.  What a shame that the camera focused on the guy's head sitting in front of you, and your son is so blurry you can't make out the number on his jersey.  What a pity that the mountain in the background didn't photograph sharply since it was the main subject of the photograph.

Whether you prefer using auto focus or manual focus, I suggest that you tell the camera what to focus on.  Most cameras will let you activate only one of the AF zones so you can point at exactly what you want to be in clear focus and let the camera dial in the focus for you.  Personally, if the subject isn't in motion, I prefer using manual focus so I don't have to alter the composition any.  Plus, I can pick out the hyperfocal distance easier.  All this means, is to get the largest amount of a scene in focus (within restrictions of selected aperture) I select a point roughly 1/3 of the way into the scene.  In the photograph above, I set my focus on the chunk of glacier ice just above the most prominent dark rock in the water.  With a narrow aperture (I think around f/16), I was able to render the entire scene in crisp focus which is desirable in landscape photography.

 

Now can I take the picture??????

Twisted Ladder

Yes, you have found the location, composed the photograph, set the exposure, and told the camera what you want to focus on.  It is now time to press the button and release the shutter.  In 1/25th of a second you have captured what has taken probably 2-5 minutes to prepare for.  My recommendation at this point is to find a different composition and repeat the above steps.  I will normally have anywhere from five to twenty photographs of the same subject just so I can try different compositions.  Sometimes my favorite is the first from the series, and sometimes its the last.  Often, I find that perfect harmony somewhere in the middle and can't find a way to improve on it, but I always try.

 

Thank you for joining me once again for another installment of Tips and Tricks.    I do hope that this particular lesson ends up in many camera bags so it can be of use to the photographer out in the field.  After going through this work flow a few times, it will become a quick and automatic part of the process.  It takes much longer to explain and read than it does to actually do.  Most everything here can be accomplished whether you are using a point and shoot, or an SLR camera, so get out there and give it a try.

 

Written by Greg A. Kiser

Tags: Tips and Tricks, Photography 101, Field Reference, Photography Guide

LCD, the photographer's friend

Thank you to all that cast your vote for this month's Tips and Tricks.  It was a close call between two of the choices, but in the end a discussion about the LCD on a digital camera won out.  If you are a film photographer then this installment will hold very little interest for you....or will it?  The LCD on a digital camera has revolutionized photography and might just make the die hard film fanatic reconsider their choice.  Before I really get into this tutorial, I would very much like to thank Maria, author of The Little Things for asking about this topic.  She wanted to know specifically about viewing the LCD in the sunlight which can be difficult to say the least.  However, there is so much else that can be said about this feature that I figured I could really dig into it here.  So, here we go!

A Basic Overview of the LCD

As I am sure everyone knows, LCD stands for a Liquid Crystal Display and is basically a digital viewing device on the rear of our digital cameras.  When digital cameras were first released the LCD was a low resolution tool that was there to review pictures for content and composition, but was primarily designed for menu items that the digital camera needs to operate.  It was the primary user interface between the photographer and camera.  Many point and shoot cameras didn't even have an optical viewfinder and relied completely on the LCD...many are still like that today.  Technology has improved allowing the LCD to become more useful and user friendly over the years.  To illustrate that fact, look at the latest generation of DSLR cameras that are being released.  For the first time ever, a live view LCD is becoming a much sought after option on even the low end DSLR cameras.  Why is that?

 

LCD Uses

As I mentioned, from the very beginning LCD's have been used as an interface between the camera and the photographer.  They provide information through menus about the operation of the camera, allowing the photographer to fine tune the image taking parameters.  It is also used for framing the picture on a point and shoot digicam.  I think that one of the best uses of this tool is for reviewing your images directly after the capture.  While color rendition might not be all that accurate on some models, you can accurately asses the content of your photograph, checking composition, focus, and to an extent exposure.  That last part has become so much easier in the past few years with the introduction of the histogram.

As you can see above, upon review of an image, the photographer can opt to use the histograms which are a wonderful tool to help check exposure.  Here you can see that I have both an RGB histogram as well as an overall exposure histogram.  Using these two tools as part of my review process helps me to be sure that my exposure is where I would like it to be.  This is one of those areas where digital is quite different from film.  With film, you had to guess at the exposure and hope it worked out.  While this feature might not make digital better than film (I really think it does though), it does make digital a much better learning tool that you can use in real time.

Most LCD's have an option of zooming in to review an image.  This is particularly useful when checking focus.  As the LCD resolution gets higher and higher this is becoming much easier than ever before.  The standard DSLR LCD screen size is now 3in...that is HUGE.  Resolution is up there too, with many models being at full VGA resolution....that is computer monitor resolution just for comparison sake.  Looking at a photograph at 640x480 pixel resolution is an incredible sight, and really allows you to look over every aspect of your photograph before leaving the scene.  If you don't like what you see...change something and try again.

Until recently, the only cameras with a "live view" LCD were the point and shoots.  This wasn't because they were more advanced, its just that they didn't have a mirror between the lens and the digital sensor like a DSLR does.  The "live view" was seen as the simplest way to frame a shot since the sensor was picking up exactly what the lens was seeing.  An optical viewfinder was not 100% accurate since it was not on the same plane as the lens itself (think rangefinder camera).  What photographers (including myself) eventually realized was that having the image from the lens presented in such a way that showed your exposure choices in real time was a very nice thing.  In fact, this was the main reason I didn't move into a DSLR until recently with the advent of the live view LCD for DSLR's.  Now you can view the image before releasing the shutter with 100% accuracy for composition right on the LCD.

So why is a live view so nice to have?  Simple, just look at the above picture.  I regularly take photographs in very awkward positions much like this.  At those times it is not easy, or even possible to look through the viewfinder.  My Canon 40D is one of the new generation DSLR cameras with a live view LCD.  Without having that feature, there is no way I would have been able to get this shot of the Cascades.

Shrouded in Greenery

 

The Negatives of Using the LCD

While the LCD is a great tool to use before, after, and during the exposure there are some drawbacks that warrant mention.  They draw a lot of battery power which reduces the time between charging or getting new batteries.  Careful use of the LCD will extend the battery life a bit.  Try not to use it any more than you have to, and turn the point and shoot camera off between shots if you can.  LCD's have never been good in "live view" mode when it comes to action shots.  Since this is a digital image, there is some lag time while the sensor refreshes the images.  that makes it hard to keep up with the subject using the LCD.  The optical view finder will always be the best choice in this type of photography.  The biggest drawback to using the LCD is the reason that this particular topic was asked about...viewing the LCD in bright sunlight.

Photography takes light, so it is not out of the question that you might be taking a picture in the daytime...with sunlight.  Front light is a typical formula for many shots which puts the sun at your back...and shining right on the LCD itself.  I imagine that everyone has been in a situation where the glare from the sun, or just the bright light of being outside is more than the LCD can cope with.  While there is no absolute solution to this, there are a few things that you can do to make it easier to see in these conditions.

The easiest thing that you can to is to shade the LCD from direct light.  You can use your hand, or possibly your own shadow.  This will only work in some conditions so don't count on it.  If you wear a hat (I wear a boonie hat for this very reason) you can use the bill to provide a bit more shade over the LCD than a hand could provide.  There are also aftermarket products that are available from companies like Hoodman that will protect and shade the LCD for easier viewing.  I have not used any of these products as of yet, but the theories are sound.  The most simple and versatile design is a flip up cap that fits over your LCD.  There is a panel that flips down to protect the LCD itself, and flips up to allow you to view the now shaded LCD.

There are some LCD's that have brightness controls, as well as contrast controls.  These are very nice to use if the camera is equipped with them.  It will take a bit of experimenting to determine what setting works best for your conditions, but you can improve the viewability of the LCD under any lighting condition by using these controls.  Since glare is one of the biggest enemies of contrast on the LCD, you might want to look into an anti-glare applique that will fit over the LCD and reduce much of the glare.  It will also protect the LCD from scratches as well.  Keeping those thumb prints (and occasionally nose prints) off of thescreen will help with this problem as well.

The most effective solution is also the most involved and embarrassing.  Think back to the days of the old View Cameras that have been around for centuries.  The photographers would typically attach a black sheet to the rear of the camera that was draped over their heads.  This cut out all outside light from interfering with the viewfinder.  the same thing can be done with a point and shoot, or DSLR camera.  Like I said, this is cumbersome, and you will look funny (which is why I haven't done it yet), but it is the best way to use your LCD.  With some simple tape and a thick, dark color sheet, you can duplicate this effective accessory.  Just tape the sheet over the top and sides of the camera (still allowing access to controls, of course), and drape the thing over your head.  It should be large enough to at least reach your shoulders.  You can view the LCD in complete comfort at this point.  I would, however, recommend against this if you are into photographing bears or other large and hungry wildlife.

The main thing to remember is do what is convenient for you when it comes to viewing the LCD.  For me that is using my hat, or hands to shield it.  I find that as much as I can, I use the viewfinder as that is much easier to see in bright conditions.  Plus, on an SLR, the viewfinder needs to be covered up anyway during the exposure to keep light from entering into the camera.  Having my big head right there at the eyepiece provides plenty of shade for the viewfinder.  It is the review of the image where I really have to see the LCD screen, and this is where the hat comes in nice.  The lack of visibility is also one of the resons that I rely so heavily on my histograms when I review my images.  It is hard to see the exposure on the LCD in the bright light, but I can make out the histograms which tell me where the exposure values fall.  If it is over/underexposed, I can make changes and reshoot the frame.

Thank you again to Maria for suggesting this topic.  Remember, if you have an idea for Tips and Tricks, don't be afraid to ask.  I'm always looking for new ideas that people actually want tolearn about.

 

Written by Greg A. Kiser

Tags: Tips and Tricks, LCD, digital photography, tutorials, live view

Using a split ND filter

Welcome back for another installment of Tips and Tricks, a Photo Trek exclusive where I discuss a photography related topic.  Each month I try to pick out a topic that has recently come up in my email communications.  Over the years I have tackled topics as broad as what makes a good picture, and as detailed as how to effectively use a remote shutter release.  I strive to teach with every entry and share some of what I have learned in my short tenure as a photographer.  This month we will be dealing with a question that was brought up some time ago and deals with the use of an often misunderstood, or even forgotten filter.  I am speaking of a split ND filter, or otherwise knows as a graduated neutral density filter.

I have discussed this filter briefly in a previous Tips and Tricks, but have not really given it its fair shake.  Much like the polarizing filter, the split ND filter is invaluable in landscape photography and is one of the must haves in my book.  It is the use of this filter that allows the photographer to keep a nice and even exposure between the ground and the sky.  I'm sure that we all have taken what we thought was going to be a great picture, but it turned out that the sky was featureless, or the ground was so dark we couldn't make out any features.  There are also times that neither the sky nor the ground are exposed correctly and the picture turns out to be a complete flop.  Through the use of a graduated ND filter, this problem can be rectified to a large extent.

So, what exactly is a graduated ND filter?  Quite simply, it is a filter that has a clear half, and a tinted half that adds density without color to your image.  The tinted half is much like a regular neutral density filter in that it reduces the amount of light that is able to pass by without adding any color to the recorded image.  It is the clear half that provides the key to this filter.  By placing the clear half over the ground, and the dark half over the sky, you are reducing the difference in exposure between the two elements.  The filters come in different strengths for different applications with the most popular being a 2-stop filter which reduces the light by a full 2 stops where the dark half is.  Below you will see an example of how this works.

This is an unedited photograph straight from the camera which was exposed for the ground.  You will notice that the sky is completely blown out in the upper left, and the mountains in the distance are a bit overexposed as well.

This is the same composition, with the same camera settings taken mere seconds later after the addition of a 2-stop soft edge gradual ND filter.  You will notice that the ground is largely unchanged, but the distant mountains as well as the sky are all much more accurately exposed.  This is the better photograph.

While this effect can be duplicated in Photoshop or other similar image editor, it takes time. Also, if the original photograph is badly blown out as in my first example, you won't have the needed information for the software to recreate the detail.  You can bracket your exposure and merge several frames into one later during post processing, but do you really want to spend that kind of time in front of the computer when you can use a simple filter and get it right in the field?

There are two main types of split ND filters, the screw on, and the slot-in filter.  Both have their positives and their negatives.  The more common is the screw on type and I have mentioned these filters many times in previous tutorials.  The benefit here is simplicity.  When you need the filter, you take it out of the case and screw it on the front of the lens.  This is a two piece filter that works a lot like a polarizer with one ring that screws onto the filter mounting threads on the lens, and another ring that houses the actual filter.  With this design, you can rotate the filter to keep the dark section where you want it (usually the sky).

As you can see from the bottom right, the filter is divided in half with a gradual transition between clear and tinted.  This represents a huge compromise you have to make in composition.  As you will recall, it is usually not a good idea to place the horizon in the dead center of the frame, but with this filter, you are limited to just that type of composition.  This is a huge drawback to this type of filter, but I was able to make one work for a couple of years, so it is not insurmountable by any means.

There has to be a better option than having the dividing line smack dab in the middle...right?  Well, there is, but it requires a bit more effort, as well as expense.  This is the slot-in filter.  Basically, this is a sheet of glass, resin, or plastic that is treated with the tint on one half and left clear on the other half.  The dividing line can either be gradual, or a hard edge.  Yes, I know, the dividing line is still in the middle.  How is that going to help my composition?  Well, remember this is just a sheet, not a screw on filter.  There is a holder which mounts to the lens of the camera which holds the filter sheet.

Here you can see the whole contraption attached the end of my 17-40mm f/4L lens.  It is most definitely more cumbersome than the screw on filter, but so much more flexible when it comes to compositions.  What this starts with is the basic filter mount, which in this case is provided by Lee Filter Systems.

You can see the slots where the filters slide into the holder.  They are held in place by friction and are quite secure.  The basic filter holder is equipped to hold three slot filters and one screw on filter.  You can modify this by removing slots, or adding more.  There is a primary ring that is screwed onto the lens as a screw on filter would.  The holder is then clamped onto this ring in a way that allows it to be rotated independent of the mounting ring itself.  The rings are purchased separately and can be had for a multitude of different filter diameters.  They all step up to the same size for the filter holder.  This allows you to keep one size holder, and one size filter for all of your lenses...you just need to invest in the different adaptor rings.

The brass pull is the release that allows you to remove the entire filter holder with filters attached.  This leaves the mounting ring which has threads for a screw on filter if that is what you need for the current shot.  Also visible in this shot is the length to which the slots protrude beyond the lens.  This can potentially cause vignetting (dark corners) with extreme wide angle lenses.  If you have a problem with vignetting, it is simple to remove the last slot from the housing without any ill effects.  I have only seen a problem with my 10-24mm f/3.5-5.6 lens, and only at the widest setting.

With the filters inserted into the housing, you can now control where the division line is in relation to your composition.  Since they are held in by friction, you have total control over where the filter is placed, and since the housing rotates, you can alter the effect from the standard horizontal as well.

 

There are quite a few filter systems out there to choose from.  Cokin is probably the most popular with their Z-Pro and X-Pro line.  The sell the holders as well as the filters.  It is my opinion that the Cokin holder is not of the same quality as the Lee holder, and there have been many negative reviews on the Cokin system when it comes to vignetting on the wide angle lenses.  The Lee holder seemed to do the best in this regard, and offered much more flexibility over the Cokin.  The filters themselves are another area where it pays to do your research.  Cokin uses resin filters which might not be optically perfect (up for debate).  Lee uses glass filters and are generally regarded as very good filters.  However, for my money, Singh-Ray makes the best filters around, and they are custom made per your order.

I am using Singh-Ray Split ND filters and could not be happier.  Lower quality filters have a tendency to introduce a slight color cast to the scene...the Singh-Ray filters do not.  They are available in different strengths, as well as hard or soft edge.  I have found that most situations can be covered with either a 2-stop or 3-stop filter.  For further flexibility, I use both the hard and soft edged versions.  The hard edge is good for anything with a straight horizon like the ocean, while the soft edge is better for horizons with varying terrain like a cityscape, or mountains.  Because of the filter diameter on my lenses (up to 77mm) I was forced to get a large sized slot in filter set.  I have found the 4x6in filters work great with the Lee holder.  The extra length allows me to place the dividing line of the filter anywhere within the frame of the picture, for ultimate control over composition.

 

The actual use of these filters is pretty straightforward once you have them fitted to the lens.  Your first step is to compose the picture in your viewfinder the way you would like it to look.  Check the difference in exposure with your internal light meter to see how much you would like to reduce the exposure of the sky.  After you know this information, you will be able to select the strength of the filter that is needed.  You will then rotate (and slide your slot in filter) to place the dividing line on your horizon.  You will need to pay particular attention to whether you need a hard or soft edge if you have a choice.  Once you are satisfied with the placement of the filter, you will take your meter reading as you would normally.  Your exposure should be much more even between the ground and the sky.

The split ND filter is not just used for evening out the exposure, it can also be used creatively to really saturate the sky during a sunrise or sunset by underexposing without penalizing the ground exposure.  Two different split filters can be used at once as well to amplify the effect or apply it differently across the scene.  Regardless of how you choose to use this filter, keep in mind it takes a bit of getting used to before you become proficient with it.  However, it is very much worth getting familiar with because it can really play a large part in the success of your landscape images.

Written by: Greg A. Kiser

Tags: Tips and Tricks, Split Neutral Density, Graduated ND filter

Handheld Photography

It is the end of yet another month, and is once again time to discuss a topic in photography.  There are so many things to learn about photography which is one of the things that keeps me fascinated with it.  At every turn I am either learning something new, or tweaking a skill I already have.  That is what Tips and Tricks is all about.  I hope to share things that am, or have learned so as to keep everyone thinking about their own skill set.  By doing this, not only do I improve as a photographer, I hope to have an impact on your photography as well.

This month I would like to discuss a skill that I have not been too concerned with over the past few years...hand held photography.  Sure it sounds simple enough, but everyone has taken a blurry picture before and wondered what happened, and how not to make the same mistake again.  So, here we go...put away the tripods and monopods for a while and grab your camera, lets take some pictures!

I still say the best way to achieve a nice and sharp image (especially when printing large) is to use a tripod, mirror lock up, and remote release when taking a picture.  However, there are plenty of times when a tripod is just not an available option.  For instance on my recent Trek to Alaska, I went on a day cruise where the papers specifically said "No Tripods".  There was also a trip to an aquarium where it was just not an appropriate thing to do, nor was there time.  Many of you may take most of your photographs of friends and family in candid moments where a tripod would just get in the way.  regardless, there are times that you have to, or want to just hold on and snap away.  We are going to spend some time looking at the settings, some of the optional camera features, and ways to hold the camera that will make this type of photography more successful.

Basic camera settings for handheld photography

There are some things that you do on most any camera to give yourself a better chance at success in handheld photography.  Your first consideration is the shutter speed.  If you are shooting auto, this will be decided by the camera, but if you would like a bit more control over things you can take the initiative and choose your own.  The best rule of thumb is you want to keep your shutter speed faster than the reciprocal of your focal length.  All that I'm saying is if you are using a 125mm (in 35mm format) focal length for your shot, you will need to keep your shutter speed at 1/125 sec or faster.  The wider angle you go, the slower your shutter speed can go, but the tighter a shot (zoomed in) the fast it needs to be to avoid that blur.

One of the best ways to speed up your shutter speed is to open up your aperture.  This will allow more light in so the shutter doesn't have to remain open as long.  The tradeoff here is you will lose your depth of field as the f/number gets smaller.  If that is not an option and you need the depth of field for your particular purpose, then the other setting that is available to you is your ISO setting. 

 

On a DSLR camera you will usuallyfind the ISO selection button on the exterior of the camera.  This is done to allow you to change this valuable setting easily.  One thing to keep in mind about the ISO is the higher you go, the more noise that is generated in the picture.  Digital noise is rarely desired in a picture, but sometimes the tradeoff is worth it.  Keep in mind also that each generation of camera that comes out is better able to handle the higher ISO's.  Actually, digital has suppressed film in this area for the first time, and will create usable images well up over ISO3200 now on some models.  For the most part DSLR cameras will snap noise free up to around ISO800.

For those shooting with a point and shoot, you also have the ability to change the ISO, although you have to do that by going into the menu for the most part.  Also keep in mind that point and shoot cameras are much more susceptible to digital noise because of their smaller sensors.

 

Optional Camera Features to Look For

One of the newer technologies to hit the consumer marketplace in the last few years is Image Stabilization.  This is called different things by different manufacturers, but it all does pretty much the same thing.  Both DSLR's and point and shoots can benefit from this feature.  With DSLR cameras, the IS can be found in either the lens (as in Canon and Nikon), or in the body of the camera directly on the sensor (as in Sony, and Pentax).

What Image Stabilization does is to detect subtle camera movements (called camera shake) and correct for it either by moving the optics in the lens, or moving the sensor to counteract the slight movement.  Depending on the manufacturer, you are looking at a safety net of sorts of 1-4 stops of shutter speed.  Using the IS feature you can now use that same 125mm lens and shoot as slow as 1/64 second.  That is a powerful tool to have when it comes to handheld photography.

As you can see above, on an SLR lens that has the IS feature, there will be a button to turn this on or off.  When hand holding go ahead and leave it on, but be sure and turn it off if used on a tripod since you will actually get some blur as the IS works on a steady platform.  The other button that you might also see is the Mode selector.  If you have this option, it tells the IS how you want it to work.  With this Canon 70-200mm f/4L IS option #1 will allow the IS to correct for both horizontal and vertical shake.  This is how you will most likely want to use the IS.  However, if you are panning on a subject (moving the lens to track a moving object) you might want to use option #2 which will only correct for one axis and not the other.  This will give you a better background blur which is desired in panning.

If you are shooting with a point and shoot camera that has IS, then you will have to access this feature by the menu more than likely.  Depending on the camera, this could be easy to find or difficult.  This Canon A720IS is pretty simple and the IS facility is located in the first menu screen.  You can change the modes by toggling it here.

For those using IS with a point and shoot camera, you should have some sort of icon on the LCD screen that shows the status.  It will come on automatically if theshutter speed drops too slow due to lighting conditions.  It will usually show red, or possibly green when it is activated to let you know that you are in IS mode.  This is a nice reminder because it will tell you when you are in danger of developing camera shake in your pictures and you might want to change some of your settings (from above).  If you are shooting with an SLR camera, you will not get a visual warning that IS is active.  It will be active when you turn it on regardless of your shutter speed.  The only indication that you will have is a hum, or vibration coming from the lens.  Those cameras with the sensor based IS will operate much like the point and shoot that I just described above.

One final equipment consideration to keep in mind is the use of a "fast" lens.  What I mean is by having a wide aperture of f/2.8 or larger.  The faster the lens is, the wider you can open the aperture which allows faster shutter speeds.  There is a tradeoff here as well. Those faster lenses are usually twice the cost of the slower versions, and your depth of field will be very, very small with your aperture opened up to f/2.0, or even f/1.0.  But, you might find that these tradeoffs are worth it when you get that shot that nobody else can get with "regular" lenses.

 

How to Hold the Camera

No matter what you do with your equipment choices, you will still get blurry pictures if you don't know how to hold your camera.  This plays a very important part in the whole picture taking process.  Your ideal stance would be to have your feet about shoulder width apart, leaning slightly forward to distribute your weight evenly on your feet.  You will hold the camera with your right hand, thumb behind, index on/near shutter button, and remaining fingers along the front grip (if available).  This hand needs to be held firmly, but not too tight.  The left hand will either hold the lens (controlling the zoom and focus), or the left side of the camera body for point and shoots.  While not as firm as the right hand, you also want to have a good solid hold with this hand as well.  Your elbows should be tucked in tight to your sides, pushing up on the camera.  The viewfinder should be planted under the top of your eye socket, or firmly against your glasses.

As you can see from the above picture, my body has just become a tripod for the camera.  This is a very stable way to hold the camera that requires nothing at all special in terms of equipment or props.  All you need is you and the camera.  If by chance you don't have a viewfinder on your point and shoot camera, then you can still achieve most of the same results by skipping that part of the stance.

Here is something that they don't always tell you in the photography books, and it deals with your breathing.  This is something that I learned when learning how to shoot (pistol, not camera), but it applies here as well.  Right before taking your shot, you want to inhale normally, and then only partially exhale (about 1/3) and hold it.  Right after you hold your exhale is when you need to press the shutter for the final exposure.  This is when your body is the most calm and still.  However, if you wait too long on the held breath, you are likely going to start shaking as your body starts looking for fresh oxygen.

If you happen to be on a boat, as I found myself on not too long ago, all of the above still applies, but you also need to time your exposure to the top of the up and down motion of the boat.  Right when the boat reaches the top of the arch, it will pause for a brief second before going back down again.  This is the steadiest your platform will be, and by timing your breathing, you will also be as steady as you can be.  This is the time yourpicture will be the sharpest.

Wave Catcher  which was created in open ocean water using the above technique.

There are also times that you have things around you that you can use to replace a tripod as well.  Setting the camera down on a rock, or bench and using the timer is one way.  Using a bean bag is even better because it allows you more freedom in your compositions.  A bean bag doesn't take up much room in your camera bag either.  Other things to look for are door frames that you can lean on which helps to steady you when holding the camera as I've described.  You can also sit down and brace the camera on your elevated knees (Thanks for that one Michelle!).

Anther method I discovered in Alaska was the leaning over the railing pose which is kind of hard on the chest, but actually works very well as long as you pay particular attention to your breathing.

By using this method, there is no forward or backward movement and since the solid platform is closer to the camera than your feet are, there is less arc involved in any side to side sway.  The grip of the camera remains the same in this pose, and you still have an amazing control over the composition considering you are more or less immobile like this.

 

Conclusions and Closing Thoughts

I'm sure that most of the material in this tutorial has been seen many times before, and more than likely we are all doing most of to a degree in our own photography.  However, it is very much worth thinking about when pressing that shutter button.  so many times I took what would have been a great picture but it came out very blurry and unusable.  Back then I had no idea what to do to fix it short of standing really still.  After doing much research on photography, I have found that aperture, shutter speed, ISO, and the advent of Images Stabilization all play a part in helping the handheld photographerachieve nice and sharp images.  However, I am still very much a tripod shooter because I want to be able to focus more on the composition (and be able to repeat the same shot with different settings) than holding the camera.

 

If you have a question about photography that you would like me to cover, please feel free to ask.  I am always looking for new topics to cover in Tips and Tricks!

 

Written by Greg A. Kiser

Previsualization

Its the end of another month, and time once again to head into the virtual classroom and learn about another trick or two of the photographic trade.  As you will remember, I held a poll not too long ago asking what topic you would like covered.  For the first time, I got a three way tie.  That is both good and bad.  On one hand, I must be picking interesting topics, on the other, there is no clear cut favorite for the month.  So, what I have decided to do is cover a topic that I have toyed with for some time now...Previsualization.

 

Alright, I've used this term from time to time when dealing with certain pictures of mine.  I've touched on what it means, but it is time to really share the true meaning of the word and the concept behind it.  Without sounding too much like an English teacher (I'm far from it), we can start by looking at the word itself. 

Pre(Before the fact)visualization(mental image of the subject)

Now you are starting to get the idea of where I'm going with this Tips and Tricks.  Do great photos just happen?  Of course they do...but not nearly often enough to count on.  When you are wanting to photograph a certain subject, you need to think about it before the fact.  This could mean thinking about a potential photograph days, or weeks, or even months before you even go to the location with camera in hand.  It could also mean simply taking some time to examine what you intend to photograph before letting luck take over the picture making process.

The next step is to form a mental image of the subject....essentially you are planning on how you want the picture to look.  Most of you do this to some extent already.  Think about it, you see something you would like to photograph, and you pull your camera out and press the button.  You have made a decision that the scene you are seeing would make a good photograph, and you have developed a mental image of how you would like that to look.  The problem is, too many photographers stop there.  they don't play with the image in their mind.  Thoughts are free...even cheaper than digital pictures.  Use your mind as the first step and survey what you are wanting to photograph.  Think about the light, what angle you want to shoot from, and what settings you want to use.

Can you previsualize a photograph if you are shooting in an automatic mode?  Sure, but you will be limited in your creative control.  However, some of the most important decisions about a photograph deal with composition and environmental factors (ie: lighting, seasons, and time of day).  These choices can be made whether you are using a camera phone or the latest and greatest medium format camera. 

Dealing with environmental factors is probably the cornerstone to previsualization...at least for me.  How many times have you read in my entries about Treks that started out with a look at the weather.  This is not for my benefit....noooooo....this is working to get specific lighting conditions for the subject I intend to photograph.  This stage only happens after the seasonal concerns are addressed.  Is the dead of winter (with no snow) the best time to photograph rolling landscapes?  Not really, there needs to be the color from any of the other seasons to really make the mountains "pop".  Conversely, is the middle of summer a good time to photograph a remote waterfall?  Not really, because the brush is often so thick that the views are obscured.  You see how this works out?

The trick here is to find your subject and then ask when would be the best time to make this photograph.  Sometimes you will have no option but to take the shot and hope for the best, but if you have the ability to return...why not do so when everything is working in your favor?  A really good illustration of this phase of previsualization can be found in a comparison of two photographs taken on two different occasions of the same subject.

Spilling Over the Rocks   Created January '08

 

Liquid Lace  Created April '08

When you look at these pictures you will see the similarities between them immediately.  However, in the first one, I was very disappointed in the flow of the water.  This was because at that time, we were still way behind on rainfall.  The second picture was made possible by several days of good soaking rains which raised the water levels significantly.  This was an environmental concern, and one that fit into my previsualization of how I wanted this waterfall to look.

 

As you can see, there is a good deal of thought that should be a part of the creation of your pictures.  Does the previsualization end when all the conditions are met and you are on your way to your destination?  Not hardly.  You have invested a lot of time in this picture so far...and haven't even pulled out your camera.  Now is the time to create the picture that you have in your head, taking advantage of the light, season, and all the other factors that you figured into the equation.

Now you have arrived, and everything is just like you pictured it.  Now you must let your camera in on your plans.  Remember, the camera is but a tool in the photographic process, it is the photographer that makes the picture.  This is where you really need to take control of your camera and switch it away from the auto modes.  Instead of the camera making random choices about aperture, shutter speed, and metering, you tell it what it needs to do to capture the image you have in mind.

Choosing your aperture

Some pictures require sharpness from near to far, while others do better with a small area in sharp focus.  This is depth of field, and is a product of aperture.  You will be able to read much more about depth of field by clicking the previous link, but essentially, as the aperture is opened up (smaller f-number) your area of focus gets smaller.  If you want a larger area of sharp focus, you need to close the aperture down (larger f-number).  This is probably the single most important tool at the photographer's disposal.  It will show relative distance, as well as tell the viewer's eyes where to look in the image.

How does this relate to previsualization?  Well, you have this image in your mind.  Look at it...is everything sharp, or is there one element that really stands out forcing you to look at it?  This is where the aperture, or depth of field comes in.

Needles and Cone

 

Winston Skyline

As you can see from the above photographs, depth of field is an important choice to make.  With the pine cone, the background is blurred causing the attention to be drawn directly to the branch and the pine cone.  This was achieved with the aperture wide open to f/4.  In the city scene it was important for everything to be in sharp focus to draw the eyes into the scene.  This was accomplished by using a smaller aperture, maybe around f/16.

 

Choosing your Shutter Speed

Nearly as important as aperture is the shutter speed you use.  This will show motion as a blur, or freeze any movement within the frame.  Different subjects call for different approaches.  Of course the shutter speed works in direct correlation to the aperture and as one changes the other has to change in the opposite direction to allow the same amount of light to enter the lens.  When you previsualized your picture, think about how you want things to appear in terms of motion (if there is any motion in your subject).  You might want to blur the image to show the wind, or water flowing by.  You might want to hide the fact that there was a breeze and use a very fast shutter speed to freeze the motion in the grass and trees.  Whatever your choice, make it a conscious decision, don't rely on the camera to "see" what you "see".

Carefree Days

A Sea of Blue and Pink

As you can see, the shutter speed is a very powerful tool.  In the first picture, a slower shutter speed showed the motion of the hammock relative to the woods and the tent.  In the second one, a drop of water is frozen in time above the rippled water.  Neither of these shots would have been possible if the camera was making all of the choices.

 

How Does Metering Fit Into Previsualization?

Metering is where you determine how dark or light the scene will be captured.  You might want to make it darker than it actually is to saturate the colors, or possibly you will want to lighten it up to give it a dreamy feel.  Maybe, you just want to photograph it as it appears in front of you.  These are decisions that the camera can't make.  It will meter everything and try to make it all a mid tone.  You can tell the camera what to do in these circumstances and really take control of the picture.

Unmanned Post

Sunrises and sunsets are great examples of a time when you want to underexpose a tad to really saturate the colors.  This image was underexposed about a full stop from the meter reading which introduced a good amount of color in the sky which was very faint when I was looking at it in real time.  However, This was exactly how I previsualized this image that morning.  This was how I wanted the colors to appear.

 

As you see, actually creating, or making a picture is quite a bit more involved than just taking a picture.  The more time you spend on previsualization the better you will find you pictures turning out...and more like you had envisioned them.  This is a technique that is worth some time and thought.  It applies to all levels of photographers and can work with any camera...for the most part.

Until next time, happy shooting!

Written by Greg A. Kiser

Tags: Tips and Tricks, Previsualization, shutter speed, aperture, metering

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