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Brand New Camera? Take a hike

by on January 27, 2012 in Photography, Photography Basics, Tips

Photo by Loic Dupasquier

Thousands of people around the world are beginning to understand that getting a new camera does nothing to make their pictures any better. Many are being struck with the realization that even with a brand new camera they’re still stuck with the same old bad pictures.

It’s really not all that hard to understand. The number of features and selection options on new cameras is bewildering. Over the holidays my mom asked me to help get her Canon point-and-shoot menu settings back to normal and it took me 10 minutes of fiddling with the controls and scrolling the menus to figure it out.

Reading the cameras manual, which I highly recommend, will tell you where the menu options can be located and what they do, but that won’t help you take better pictures because it doesn’t tell you when to apply the settings. It won’t help you figure out when it’s okay to shoot with the camera on auto and when to seize control and how much control to exercise in a given shooting situation.

A monkey takes self-portraits

Anyone can point a camera and push the button, even a monkey can get decent photos. Owning a camera doesn’t make you a photographer any more than owning car makes you Mario Andretti. It take practice and a lot of bad photos in order to learn the ropes. The late French photographer Henri Cartier-Bresson, who is considered to be the father of modern photojournalism once said ”Your first 10,000 photographs are your worst”.

Step one toward being a better photographer will be learning the basics about composition and framing. Then brush up on exposure and color.

One of the best thing you’ll be able to do to improve your photography is as simple as taking a walk. Find a local photowalk in your area and sign up. Photowalks are sponsored by photo clubs, local professionals, professional photography associations, art schools, nature clubs and photography institutes. Most of them are free, a few charge a small fee depending on the venue. There are also guided photowalks where you pay a local photographer to take you around.

Photo taken during a recent photo walk by Snapsort employee Phil Davis

Don’t scoff at shelling out a few bucks to take you on a guided photowalk.  If you’re in an unfamiliar area, they can be a great resource for finding the most photogenic spots.

It’s really not anything fancy, just a group of photographers getting together and walking around taking pictures. Really, that’s it. Most are fairly loosely organized. You might start out as a big group, but most end up with photographers filtering back in small groups or on their own. Some walks have models that volunteer in return for portfolio images, most are just wandering around taking pictures on a lazy afternoon.

Photo by Brian Yap from flickr

And yet you’ll find many local professionals go on photowalks themselves. I use them to network with local pros and advanced hobbyists on a regular basis. The last one I went on had about 20 shooters, maybe half of them pros, I came back with cards full of shots and a handful of business cards. I’ve worked with some of the pros I met there on other projects.

So when it comes to learning how to get the most from your new camera, if someone tells you to take a hike, that’s probably good advice.

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Tips For Shooting Dramatic Silhouettes

by on January 26, 2012 in Photo Hacks, Photography, Photography Basics, Tips

silhouette example

Exposing for the daylight beyond the door got the look I wanted in this photo

A silhouette can add dramatic flair to an otherwise average shot by providing a bold subject and sharp contrast. A silhouette turns a solid thing with depth into a flat, two-dimensional cut out that brings back memories of shadow puppets.

Modern digital cameras make shooting silhouettes a lot easier and what the camera can’t do for you, you can always touch up in post processing.

Find The Scene

A silhouette is basically an underexposed subject framed by a brightly lit background. Look for situations where you’re shooting from the shadows toward the light, like the photo of the man and his son sweeping out the garage.

photo by Kol Tregaskes from flickr

Another trick with silhouettes is to get low and in close to the subject and shoot at a slight upward angle. Shooting slightly upward lengthens the lines and makes the contrast bolder.

Any bright background will do. Daylight, stained glass windows, bright lights, or a sunset sky are all great backdrops for a silhouette.

Turn Off The Flash

Munich in Silhouette by Werner Kunz from flickr

This is one time you want to be in a shooting mode that gives you at least some manual control and in auto mode your camera is going to try and fire that fill flash. I’d shoot the scene both ways: One as a silhouette, the other with the fill flash, and see which one you like better.

Expose For The Background

There are a number of ways to do this. Many cameras will let you point the camera at the brighter part of the picture, then press the shutter release button half-way down to lock the exposure and reframe the picture before pushing the button all the way down. Other cameras, like the Nikon D5100, have a special exposure lock button.

There’s also the old fashioned way of using your camera to meter the brighter part of the photo, then dial the exposure in manually.

bird silhouette

A fairly average looking shot is improved greatly by taking the detail out of the foreground subject

Focus For The Subject

The only problem for some cameras when it comes to using the half-way press on the shutter button is that it also freezes the auto-focus. Not so much with modern cameras, like my Canon 7D, which will adjust the focus even if the exposure is locked. Just be aware you may have to tweak the focus manually on some older cameras.

Clean It Up In Post

photo by Brenden Sherratt, used with permission

If the exposure isn’t perfect in the camera don’t sweat it, a silhouette is fairly easy to clean up in post. Since you’re not trying to preserve any detail in the subject, you can usually make the adjustments with just the brightness/contrast tools, which almost every image program on the planet offers.

Worst case you have to use the selection tools to outline the silhouette and selectively drop the brightness.

Silhouettes are a good exercise to get familiar with your camera’s exposure compensation features and you’ll end up with some great shots as well. Happy shooting.

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Food Photography A Growth Industry

by on January 25, 2012 in Behind the Scenes, Photography Business

food photo

Food photography is one of the few growth industries in photography - by Sidious Sid via Flickr

One of the challenges in photography is to make enough to keep eating. In that light it may be somewhat ironic that one of the fastest growing specialty fields is food photography.

The field of food photography has undergone changes since the introduction of the cell phone camera. The rise of sites like GrubStreet and Tastespotting where users are posting their culinary adventures, complete with photos.

The rise of food blogs has in turn put pressure on restaurateurs to raise their visual game on both the food they serve and the visual environment on their menus and web sites. That creates a growth environment for food photographers.

Just like any other field of photography, it’s a tough slog to get established. You can’t expect to post a food portfolio online and have work rolling in. Even if you did, you run the risk of pitching a big time client when you lack depth in the industry.

Use a reflector to bring some more light to your subject - Photo by Emily Hill from flickr

Lighting, Lighting, Lighting

You’ve heard the old saying in real estate that a home’s value is related to location, location, location. In food photography the corollary would be lighting. The best food photographers are lighting freaks and happened to find a home in food photography because their passion for lighting combined with a field of photography that requires a slavish dedication to detail.

Many food photographers work alone, but some bigger shoots might have an assistant, a food stylist, an assistant food stylist, and prop stylist. Most prefer to work in their own studio due to the difficulty of hauling all their gear to locations, though sometimes that can’t be avoided.

The food photography studios I’ve visited look more like industrial machine shops and the really good ones are booked for weeks in advance.

While there is a lot of lighting, none of it is particularly big. Surprisingly, I saw one big floor flash and the rest were smaller, point source lights and a lot of articulated arms holding mirrors, scrims, and reflectors. There were none of the big softboxes, umbrellas and lighting kits you’d find in a portrait studio. It’s a different kind of lighting, more directional, more sharp shadows than you find in portrait photography.

Photo by Benjie Ordonez from flickr

While the market for many types of photography is changing and for most that change is toward fewer opportunities and less income, food photography is showing surprising growth. One of those reasons is stock photography is not terribly useful in this application. Most food shots are of unique creations specific to the client, a work of art you can eat.

Some large customers, like restaurant chains and some hotels, are creating master image libraries for their food pictures, but other than that there are few ways to cut corners. The market for food photography is likely to stay healthy for quite some time.

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Has The Retouching Arms Race Gone Too Far?

by on January 24, 2012 in Photography, Photography Basics

retouching example

In this photo I reduced the wrinkles around the eyes, whitened the teeth and smoothed out her skin - Too much?

Has the retouching arms race gone too far? That’s a question a group of scientists are asking and they’ve developed a new metric for rating photos on a scale of 1 to 5, depending on how much retouching the photograph has received.

It’s not enough anymore to have fantastic cameras, a portrait lens that could inspire glass lust, and a high end lighting setup. Today we need even more.

Photoshop plugins like Portraiture and stand alone products like Portrait Professional now make what were once time-consuming alterations to portraits little more than point and click.

Health organizations are increasingly concerned that the photography profession is pushing an unrealistic standard. We could argue at length whether the main driver is the photographer’s drive for perfection or client demands, but I think we have to own up to at least a contributory role.

It all started innocently enough, just using the clone tool to mask the zit here, the small blemish there, and maybe fill in that chipped tooth just a tad. Later that grew into smoothing out the skin tones. Plugins popped up to make it all as easy a few clicks of the mouse. It wasn’t long before we were making the eyes bigger, making the eye color brighter, slimming the jaw line, making the neck longer. We could take inches off a waist or pounds off of hips and customers loved us for it. It was all very gradual and we were praised by clients and peers every step of the way.

Now the question is have we become guilty of creating a Frankenstein’s monster of perfection unattainable by mere mortals?

If you’ve ever worked with real, paid, high-end models, you already know there isn’t a lot of Photoshop required. You’re dealing with the top 1 to 2 percent of people in the entire population; you’re playing in the shallow end of the gene pool. They make their living looking good and with a good makeup artist they are the real deal.

But with software to the rescue we can gain near perfect regardless of the physical form we start with. We don’t need a top model anymore, we can pull any waif off the street, bad skin, bad teeth, bad hair, no makeup and make them look like a supermodel.

So now Professor Hany Farid and Eric Kee, computer scientists at Dartmouth College in New Hampshire, are set to rat us out. About to publish a set of tools that analyze how much retouching has gone into a photo. Soon the world will know if her eyes are really that color of if they were punched up post. If her skin really that smooth or if it’s an adjustment layer.

So, what do you think? Do we deserve to be outed? Has the retouching arms race gone too far without a discussion about whether we’re setting unrealistic standards?

I’ve seen portraits worked so much in post they look fake, like a mannequin.  Somewhere in between there has to be a happy medium.

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Canon, Nikon Top User Surveys

by on January 23, 2012 in Canon, Casio, DSLRs, Nikon, Panasonic, Sony, Technology

Nikon D7000

The Nikon D7000 gets very high marks in user satisfaction

The big names in the photography business are there for a reason and that reason is because they have consistently produced some of the best cameras in the history of photography. All the same, the question I get a surprising number of times is, “What is the best camera on the market?” That’s not a question anyone can answer. Best in what terms? Best for studio work? Best in a combat zone? Best family camera? Best value for the money? Best for a professional? Best for a beginner? There are different answers for all of those questions and sometimes a different answer between one person and the next.

A quick look around at 10 camera web sites will yield 10 different rankings with a bit of overlap. With so much variation in the rankings, how do you figure out which camera is right for you?

A survey by PC World does present some broad conclusions. An aggregate of other rankings, including here at  Snapsort, does outline some interesting trends.

Canon and Nikon Are The Big Kids On The Block

The data taken together supports the perhaps obvious conclusion that Canon and Nikon are the big two, though the reasons for their popularity are quite different and challengers are evolving. Canon cameras are rated as being more reliable, with Nikon coming in 5th in the reliability survey, behind Canon, GE, Panasonic and Casio. Seriously, if you’re losing to Casio in reliability, maybe you need take a hard look at your QA/QC methodology.

Nikon ranks number one when it comes to owner satisfaction with their camera features, just edging out Canon for the number one spot. Yet Casio and Panasonic both score high marks and end up in the top five in both categories.

With their domination of the video market, it’s likely Canon will stay on top. Nikon was slow to react to the DSLR video trend and Canon carved out a nearly exclusive domain in the video space. Nikon has since improved their support for features like 24p, but with so many wedded to Canon glass and shaping their work flow around Canon, making headway into the video market is going to be slow going for any of the challengers. If Nikon has an edge to elbow into the video market it’s their lenses.

One thing to keep in mind is that one of the reasons it may be so hard to pick a “best” camera is that there are so many good contenders out there these days.  If you have the talent, you can take almost any camera and take fantastic photos.  Truly it’s little things that will make the biggest difference.

As you can see there are no easy answers when it comes to choosing a camera. Take your time, compare a lot of models, ask a lot of questions, and focus on the features most important to you.

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Casio Exilim EX-ZR15

by on January 23, 2012 in Casio, Digicams

Casio EX ZR18

Casio EXILIM EX ZR18 feels the need for speed - by Casio

Casio decided to field a speed demon in its new Exilim EX-ZR15 camera. Some of the specs will raise eyebrows.

From turning it on until it’s ready to shoot, Casio says 0.99 seconds, about the time it takes to lift it into shooting position. To go along with that the auto focus system only needs 0.13 seconds to get a lock and the time between shots is 0.29 seconds.

If you need a point-and-shoot camera that’s fast, it’s going to be hard to beat those specs.

The sporty little speedster packs a 9.7-megapixel 1/2.3 in CMOS sensor (reported as 14-megapixel in some sources) behind a 7x optical zoom. Nothing in the initial specs about image stabilization, one hopes for at least some stabilization for the price point.

As with most point-and-shoots it’s short on manual controls but has some interesting software gadgets that include a depth of field setting that shoots multiple pictures and meshes them together to produce a bokeh-like effect.

It’s also got in-camera software HDR for photos and video as well as a 360 degree panorama mode.

Surprisingly the video is full HD at 30 fps and has a built-in flash.

All that in a camera that weighs in at just 176 grams with the battery and data card installed. Not bad specs if a tad ambitious on the pricing. Casio says look for availability later this month in Japan with prices starting in the $500 range.

Comparisons

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Be Careful Who You Buy From

by on January 20, 2012 in Accessories, Behind the Scenes, Camera Gear, DSLRs

camera photo

It's one thing to buy some flash units or lights from overseas, but don't risk it for cameras and lenses

As the world gets smaller and shipping gets easier, a new phenomenon is appearing in the camera market: Web sites that appear to be stores located in the U.S., U.K., or Canada that are actually storefronts for operations in other countries. For many of the cameras and camera electronics, the vendors are located in Hong Kong.

First off, there’s nothing at all wrong with shopping for camera gear outside the country, provided you know that’s where you’re shopping and are prepared to take the risk. I routinely shop at DealExtreme, one of those sites that ships from Hong Kong, because the discounts are pretty good and shipping is free. I know whatever I’m going to buy from them is going to take between 2 and 3 weeks to arrive and I’m okay with that.

I buy a lot of my flash units and strobes from Hong Kong vendors and quite a few of my video lights came from overseas, but buy a high end camera or expensive lens through them? No way!

The biggest issue for me is making sure I have a valid warranty here in the U.S. When you buy from vendors in Hong Kong, you may be getting grey market products, refurbished units, or products with menus in another language. What you won’t be getting in any case is a valid factory warranty where you live.

I probably see two or three sob stories every week from people who purchased products from an overseas vendor only to realize they would have to send the product back to China if they need warranty service. Most of those people were just trying to save a buck or two on their camera purchase.

Sometimes it’s worth paying a little more to be sure of who you’re dealing with and that you’re getting a top shelf product. When it comes to camera and video gear, I only shop three places:

B&H Photo Video
Adorama
Amazon

I’ve never had a problem with a return or exchange at B&H Photo, ever. You could buy a turkey from B&H, bring them a bag of bones the day after Thanksgiving and they’d still probably give your money back if you weren’t happy.

Shopping through Amazon you’re sometimes paying a higher price than direct through the vendor, but that means the vendor has to adhere to Amazon’s return policies. That’s a big friend to have on your side and the convenience of one-stop shopping is a time saver.

Snapsort only sells products through reputable sources, so you can shop with ease.

Sometimes it’s just not worth the price difference to shop with vendors you haven’t worked with before. There’s a reason companies like B&H have been around for years and have an excellent reputation in the professional community.  If you want to save a few bucks on a site that doesn’t have that reputation, you’re taking your chances.

 

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iPhone 4 Tops Flickr Camera Stats

by on January 20, 2012 in Behind the Scenes, Camera Gear, Canon, Nikon, Technology

The iPhone 4 shoots to the top of Flickr's camera ratings

Data from Flickr confirms what we’ve been saying for a long time: The camera people are most likely to use is the one they’re most likely to have with them. No surprise then that the number one camera on Flickr is the Apple iPhone 4.

Coming along in second place is the entry level Nikon D90. Priced at around $1,200 with the 18-105mm kit lens, Nikon seems to have found the sweet spot between price and performance.

The next three in the top 5 all belong to Canon. It’s no surprise to find the EOS 5D MK II in the list, although the Rebel T2i in the fourth spot is kind of a surprise. Perhaps it shouldn’t be such a surprise for the T2i to be on the list when I consider that among my friends who are professional wedding photographers, one uses the T2i as his main camera and two use it as their backup body.

Anyone who owns a Canon EOS 7D would not be surprised to find it in the top 5. It is one of the most reliable pieces of photographic equipment I’ve ever used.

One should take statistics on Flickr with a grain of salt. While they are reflective of the relative popularity of certain cameras, not all cameras record the camera type in the meta data, which is particularly true of smartphones, and those tend to be under-represented in the data.

Another factor to consider is that statistics on Flickr evolve slowly and are backward facing. So many of the hot new camera models may not be reflected in the statistics for some time to come.

In the point-and-shoot category, Canon owns all of the top five slots. The wildly successful S95 leads the parade, with the G12 coming in second.

Another factor to consider is that Flickr represents a sub-section of photographers actively sharing their photos. Not all photographers are equally active in social media sharing and many of the old timers are skeptical of using photo sharing services.

It is good to check on the statistics from time to time, just to watch the parade of technology. Judging by the stats, for many of you your new camera is also the device you use to make phone calls.

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Taking Control

by on January 19, 2012 in Canon, Photography

canon mode dial

If you never move the mode dial off the green rectangle, you'll never get the most out of your camera - by NJM2010

The automatic features on modern digital cameras are nothing short of amazing. Back in the day we were jazzed when cameras came out with an internal light meter and through-the-lens metering that displayed the actual shutter speed and f-stop instead of just a needle; you’d think it was the second coming of photography. I don’t want to sound like grandpa telling you how good you have it today, but when it comes to photography, your camera is nothing short of a modern marvel.

Yet, for all that sophistication, your camera can’t replace you. Sure, it can take very good photos by averaging the exposure, the problem is that the difference between a good picture and a great picture is frequently that the great photo employs an f-stop and shutter speed other than the one the camera computer would calculate.

There really is no option; if you want to move from being a good photographer to a great one, you have to learn to take over from the computer.

Luckily, you don’t have to jump in all at once, you can ease into driving by selecting shooting modes that share the responsibility for proper exposure between the camera computer and the operator.

Canon shooters have two helper settings short of Full Auto. One is Creative Auto and the other is Program mode. Creative Auto is almost identical to Full Auto with the exception that you can tell the camera lighter or darker, change the depth of field with a slider, and switch to a limited number of picture presets. The camera will still decide whether it needs the flash.

If you switch to Program mode, the camera computer makes a guess at the proper ISO and exposure and you can tweak both the f-stop and shutter speed to your preferences. You can also set the ISO manually and the computer will guess at the f-stop and shutter speed. In Program mode you have to tell the camera to use the flash with the little button that looks like a lightning bolt.

After that are Shutter Priority and Aperture Priority modes where you set one parameter and the computer balances out the rest.

No matter how good computers get at exposure, they will have a hard time with the art. That’s why the human component of photography needs to practice and get familiar with how your camera works. Practice tweaking the settings and exposure until you start seeing the pictures you want.

There are times to trust the computer and times to take over. If you want to be great, you’ll have to know the difference.

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Full Frame vs Crop Sensor

by on January 18, 2012 in Canon, Photography Basics, Technology

Canon 5d mk ii

The Canon 5D MK II has a full frame sensor and a recently reduced price tag

The discussion of a full frame DSLR versus a crop sensor (APS-C) camera just got more interesting when B&H Photo decided to offer an eye-popping discount on the Canon 5D MK II, offering the body-only with a 16 GB CF card for under $2,000 around Christmas (now back up to $2500).

While I can live without a full frame sensor, the concepts of “need” and “want” become jumbled at times, like when B&H offers a big discount on a full frame camera that I wanted anyway. So, it’s good to go back over the differences and remember why you select one over the other.

First, it might be good to understand where the term “full frame” comes from in the first place. Full frame means the camera’s image sensor is roughly the same size as 35mm film, or 24mm x 36mm. That, my friends, is a big sensor. And, when it comes to sensors, size matters.

Interestingly, one of the reasons you frequently find a Canon 7D being used on a movie set like Black Swan, instead of a full frame Canon 5D MK II, is because the APS-C chip also approximates a film stock used widely in motion picture production called academy 4-perf. PL movie lenses cover 16mm x 22mm and take a wild guess how big an APS-C sensor is? If you guessed 13.8mm x 20.7mm, you were cheating.

The bottom line is a Canon 7D with a PL mount can accommodate all those marvelous movie lenses. There’s even a place that will permanently alter your 7D to be a PL mount movie camera!

It’s More Than Physical

The physical difference between the sensors is significant, with the full frame sensor being closer to twice as large. That is both good and bad depending on the circumstances. Since big chips are harder to manufacture and have a higher defect rate, they are vastly more expensive. So, if your wallet has anything to say about your camera selection, you’ll likely end up with an APS-C camera.

sensor size

You can see the APS-C chip is slightly less than half the size of a full frame 35mm sensor

The payoff for the extra cost of a full frame sensor is in the detail you get and the low light performance. At ISOs above 1600 a Canon 5D will simply blow the doors off my 7D. Even though I don’t do that much low light shooting, that’s my excuse for wanting a 5D MK II.

Also, if you’re shooting a lot of landscapes or other fine detail, a full frame camera will provide better resolution at distance.

Notice the qualifier “at distance”. Up close, like in a studio setting, the difference will be extremely difficult to notice with the biggest differences introduced by the quality of the lenses.

What Strange Magic Is This?

It’s not magic, just that at studio and portrait distances a full frame camera is shooting largely on the center of the sensor and you’ll likely be cropping out the edges anyway. That’s why I can shoot studio shots side-by-side with my friends owning 5D MK II’s and they’re surprised to see very little difference in our final shots. However, were we to walk across the street to the beach and shoot some landscapes, they would remember why the extra money was worth it.

That’s why it’s important for people to have an idea of what kind of photography they want to do before selecting their gear. Buying the camera before figuring out your photographic specialty is the tail wagging the dog.

My decision to go with a 7D is because most of my work is as a PJ. Lots of run and gun, a lot of being bumped, dumped and jostled, and occasionally working in the elements. An armor-plated crop sensor camera is well suited to that type of work, plus I shoot a lot of video.

I was perfectly happy with my APS-C crop sensor…until B&H put the full frame 5D MK II on sale. Curse you, B&H, curse you. ;-)

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