Beyond Megapixels » canon

Studio Backdrops/Backgrounds

Steve Russell — Mon, 16 Jan 2012 06:00:29 +0000

When you look at most professional portraits you might think that the photographer had a really nice studio in a room of their home or even a really nice space in an office building or a retail building. The truth is that most photographers have their studios in old warehouses, garages of their home or other roomy spaces that are unfinished. In fact, all the photographs in this article, except the last one, were taken in my garage. Using an open, unfinished, uncluttered space provides the photographer with the greatest amount of flexibility in the setting up of backdrops, props and lights. This really isn’t any different from the sound stages in Hollywood and elsewhere where movies, TV programs and commercials are shot. The beauty isn’t in the surroundings of a studio; it’s the ability to shoot in a controlled environment where the photographer has almost complete creative freedom.

Other than camera, lenses and lights, probably the most important item is the backdrop/background. With outdoor shooting, the backdrop is going to be much more varied, but other than selecting the location and time of day, the photographer has little or no control over the background. With indoor shooting, particularly studio shooting the photographer is in charge and can select the background. Most photographers most of the time will employ a backdrop for portraiture photography. This begs the question of what backdrops should a photographer have if he or she wants to build a portrait studio?

Before I start, I know this is one of those subjects where there isn’t any right answer. What works for one photographer may or may not work for another photographer. So much of the choice of backdrops depends on the likes and dislikes of the photographer, what they want to do with their portrait photography and their subjects or clients. Because of this, I’m not going to make a list of the ten backdrops every photographer absolutely has to have. What I will do in this article is to tell you what works for me and why.

I really like high-key portraiture. The stark-white background and nothing going on in the image but the model creates a challenge for photographer in getting the lighting correct and making sure the background is white. There are two was to achieve this as demonstrated by the next two images.

In this image I’m using a white vinyl backdrop that is 10 feet wide and 20 feet long. I can raise the backdrop high enough to give me ample room above the subject and still have enough backdrop to bring it forward to cover the floor where the model is standing in the event I want a full length photograph. Even though the back ground is white, it’s still necessary to put light on it when shooting to ensure that the white background is white. Without putting light on the background (I use one of my strobes) the background will look grey in the photo. If I want a grey background I don’t put any light on it. Essentially, I have a 2-in-1 background.

The backdrop I used in this photo will always be white. In this setup I used a strobe light with a 53″ octa-box pointing directly at the back of the model. It’s a lot of fun trying to get all the lights at the correct power, but once it’s set up the way you want it, you’ll have a white background in every shot.

As much as I love high-key photography, not everyone likes it and that includes clients. And, frankly, not everyone looks good with a white background. It’s important to have a neutral backdrop as well. They come in all different colors shapes and sizes. My preference is a canvas backdrop with earth tone colors. These are available hand painted, very expensive, and computer painted, not quite as expensive. The backdrop in the image below is computer painted, canvass and 10′ X 20′. It has the added advantage of having 4 different backdrop looks. I can connect either end on either side to the supports and get a somewhat different look with each one.

Canvas backdrops aren’t cheap. A canvas, computer painted backdrop from the supplier/manufacturer I purchase from can cost around $800 plus shipping. You have to sell a lot of portraits to break even on a backdrop that expensive. Fortunately, I was able to buy the backdrop you seen in the photo above, used, from another photographer. One recommendation I would make is that if you’re looking to buy something, photography related, especially something that doesn’t break or wear out, look for used equipment from other photographers. Photographers get tired of used the same backdrop all the time or a particular backdrop no longer fits with the kind of photography that want to do.

Sometimes the best background for a photo is black. A black background is dramatic. It can convey a mood that no other background can. Black backdrops, like white and other solid color backdrops aren’t overly expensive. However, it’s not necessary to buy a black backdrop. The image above was taken at a ballroom dancing competition in a very large hotel ballroom using a Canon Speedlite 580EX II Flash. There was no backdrop other than chairs and people. You can achieve a black background by adjusting the lighting. How to do that is another article.

Backdrops come in a wide variety of colors, patterns and materials. The variety seems almost endless and there’s no way I can cover all of them here. I will say that muslin backdrops are lightweight, easy to handle and inexpensive. I don’t care for them because they wrinkle and/or crease easily and it’s difficult to get them to hang flat and straight. You can get paper backdrops on a large roll. They are quick and easy to change from one backdrop to another. If you’re shooting a lot, tearing 20′ of paper off the roll every time you have a shoot can become expensive. But whatever works best for you is the best backdrop for you.

Photo Credits: All photos by Steve Russell

Going Pro – How to Prioritize Gear Purchases

Tiffany Joyce — Thu, 15 Dec 2011 07:00:48 +0000

Unfortunately, most of us work with a limited budget when it comes to purchasing photography gear. Once we consider taking our photography to the next level and going pro, having the right gear becomes even more important. Not only is it important to have the right gear to capture the shots, it is also important to have the right gear to present a professional appearance to our clients.

Let’s say you have what you consider to be the minimum amount of gear to begin your adventures into professional photography – a good camera, a couple of quality lenses, and good working knowledge of post-processing. From there, your wish list has grown to epic proportions and includes everything from a back-up camera body to studio lighting and lenses galore. So how do you know what you really need, and in what order do you prioritize your purchases?

1. Ask yourself the right questions.

What kind of a professional photographer do you want to be? Do you want to take studio portraits or work on-location? Do you want to capture landscape or wildlife photography? Are you going to be traveling great distances, or staying close to home? Will you have a home studio or a rented space, or will you be working out of your car? All of these questions are key aspects of discerning what kind of gear you need to prioritize.

2. Protect your client’s photos.

First and foremost, get yourself an external hard drive to back up your photos. Consider backing up your backup, too! Choose a reputable on-line backup resource like Mozy, CrashPlan, or Carbonite. Since you are now going to be providing a service to paying customers, it is ESSENTIAL that your photography projects are stored safely.

3. Get the colors right.

Make sure you are working with a calibrated monitor and printer – you can’t get the colors right for your clients unless you’re working with properly calibrated displays! Purchase color calibration software and tools, and repeat the calibration process occasionally to make sure your colors continue to be accurate.

4. Develop your Essentials Kit.

Your Essentials Kit should include a selection of memory cards, spare batteries, microfiber cloths, lens caps, white balance cards, UV filters, lens hoods, and other odds and ends. Make up a kit for every camera bag you use, plus an additional kit for your storage cabinet. As you use a battery and plug it in to charge, IMMEDIATELY replace it with a charged battery. As you pull out a memory card for post-processing, IMMEDIATELY replace it with a blank one. By doing this you will seriously decrease the odds of being without an essential item when you’re out in the field.

5. Achieve the bare minimum.

Understand the BARE MINIMUM amount of gear you absolutely need to have, and prioritize those purchases over anything else. For instance:

- Portrait Photography: A basic three-light setup is essential, or two lights and a good reflector. The bottom line is, for portrait photography you absolutely need off-camera flash. Buy quality equipment and resist the urge to purchase cheap, flimsy kits. Get a softbox and an umbrella that can act as either a reflector or a shoot-through diffuser. Purchase with an eye toward traveling with your gear, if that is the route you’re going to take. You’ll also need remote transmitter/transceivers, like those you can get from Pocketwizard. Finally, invest in a quality light meter.

- Wedding Photography: Invest in “fast” lenses that work well in low light – get a wide-angle and a medium-length telephoto (such as the oft-recommended 70-200mm f/2.8). Many wedding photographers swear by the “three lens prime kit” – the 28mm, 50mm, and 85mm. Accompany those lenses with a Speedlight or two, which are highly portable and flexible. Have a light stand and a light modifier for each Speedlight, and remote flash triggering. If you have a full-frame camera body, consider a crop-sensor body as your backup (and vice-versa).

- Landscape Photography: You’ll probably want to prioritize lens purchases to make sure you have a full range of focal length capability. Always purchase lenses with an eye towards quality – the better the lens, the better the photos. A backup camera body is also essential to be prepared for any mishaps. Full-sensor cameras are highly recommended for wide-angle landscape photography. You’ll need a rugged tripod, one that is designed to be used out in the field. Finally, you will need a hardy, weather-proof travel case or two in which to store your gear.

- Wildlife Photography: Once you have a quality DSLR in hand, it’s all about the lens when it comes to capturing photos of elusive wildlife. Start with a high quality telephoto zoom lens, then add on with telephoto prime lenses. Get a rugged tripod, one that is capable of resting on uneven ground. Consider a crop-sensor camera body as your backup – they have the added benefit of adding on to the effective focal length of telephoto lenses. Choose a light weight but sturdy weather-proof backpack for your gear.

- Architectural/Real Estate Photography: Prioritize the purchase of an extreme wide-angle lens, or a tilt-shift lens. Choose a couple of portable strobes and battery packs, with enough power to light dim corners and large spaces. Your tripod should have a ball head and spirit level.

- Product Photography: Get a couple of high quality macro lenses – one with a 1:1 ratio and one with more extreme magnification. Powerful light sources are essential, whether they be constant lights for use with light boxes, or studio strobes. Buy light boxes of various sizes, and consider getting something like a Lastolite 7′x8′ HiLite for larger subjects.

6. Take notes.

As you gain experience in your chosen genre of photography, you will quickly learn about what works and what doesn’t work. Take notes on every photo shoot that you perform, with an eye toward simplifying everything from the amount of gear you need, to the amount of time it takes to set everything up. Figure out the gear that you bring but DON’T use, or the gear that you left behind that would have come in handy. As the essentials become obvious, you will continue to re-prioritize your list of gear purchases to suit your circumstances.

Photo credits (in order of appearance):
- “Randi in Wedding Dress” by Walt Stoneburner on Flickr Creative Commons.
- “Monument Valley” by Marco Bellucci on Flickr Creative Commons.
- “Female Great Horned Owl” by Tiffany Joyce.
- “Spiral Stairs” by Icelight on Flickr Creative Commons.

Product Review – Black Rapid RS-7 Camera Strap

Steve Russell — Wed, 14 Dec 2011 05:00:54 +0000

Sometimes I’m convinced that the worst piece of equipment in photography is the camera strap that comes with your camera. Not only is it a marginally functional piece of equipment, you get the same strap no matter how expensive your camera might be. If you purchase a brand new DSLR for $600 you get a $5 strap. If you purchase a brand new DSLR for $2,500 you get a $5 strap.

So what’s wrong with them? The strap is designed to hang around the photographer’s neck. When you walk, unless you hold onto your camera with your hand, the camera bangs against your chest or abdomen, depending on how you have the strap adjusted. When you bend forward the camera swings forward, away from your body, threatening to impact against the closest immovable object. The biggest complaint, though, is that it’s flat uncomfortable. Especially if you’re carrying something like a Nikon D7000 with a 70-200mm lens mounted to the camera body.

I refuse to “wear” the strap that comes with a camera but I do wrap it around my wrist while holding the camera in my hand. That way the strap at least provides a small amount of security. The only problem is that either the strap becomes too tight to be comfortable or too loose to provide that tiny bit of security. You would think that somebody could design a comfortable camera strap that held the camera securely, kept it from banging against your body as you walked, was easy to keep the camera close to your body especially when bending forward and kept the camera within easy reach. Well, somebody did.

Enter the Black Rapid RS-7 Camera Strap . I know a couple of photographers that have this strap, love it and swear by it. I know at least one photographer who doesn’t have it and isn’t willing to try it because he thinks it would be too easy for the camera to come loose from the strap and fall on the ground. (I’ll get to that point a little later in the review.) Okay, there were two people raving about it and one thinking something bad might happen. I decided to give it a try.

Let’s first tackle the issue that one person didn’t like. Instead of attaching to the built-in “rings” on the sides of the camera body like most straps, the RS-7 attaches with a screw type FastenR-3 that screws into the tripod socket on the bottom of your camera, battery grip or lens.

The photographer I know who doesn’t like it is concerned that the fastener will work loose. I’ve used the strap numerous times and the fastener hasn’t loosened any at all. Yes, to be honest, I do double check it from time to time, but there haven’t been any issues.

The strap connects to the fastener using a locking swivel hook to connect it securely to the strap. When using the strap for the first time, once it’s connected to the camera it’s time to adjust the strap. Instead of me trying to explain the steps to complete the adjustments, watch this short video on the Black Rapid web site.

When adjusted to fit, the camera hangs at the photographer’s hip within easy reach. To use the camera think of a Wild West gunfighter reaching for his pistol. It’s that easy and that quick.

I have used the strap in the studio, at indoor events using an on camera flash, at crowded outdoor events like art festivals and while shooting wildlife outdoors. In each case the Black Rapid strap performed better than any strap I’ve ever used.

What I liked about it:

It’s unbelievably comfortable. I can’t imagine any other strap being as comfortable as the Black Rapid. I spent over four hours one day carrying a Canon 5D Mark II with battery grip and using a 70-200 f/2.8 lens and carrying the camera was as easy and comfortable at the end of the event as it was at the beginning.

It’s cool looking. Okay, it’s just a camera strap but it looks different and I get a lot of questions about it.

It’s simple to adjust. I once read a “review” post on Amazon.com saying that it was very difficult to get adjusted to where it fit properly and no one told them about the video I mentioned above. My experience – I purposely adjusted and used it without watching the video just to see how difficult it was to adjust. Trying to be nice here, I had it adjusted, attached to the camera and was using it in less than five minutes from the time I opened the package. Oh, and there was a reference to the video in the package.

What I didn’t like about it:

Actually, nothing. I’ve tried to find something negative to say about it and I keep coming up empty. I don’t think this is a negative at all, but because the camera hangs at your side about hip level when you’re not using it, I advise that you keep your hand on your camera if you’re in a crowd or someone will bang into it for sure.

I did see where one person complained that it didn’t work very well for left-handed people if you wanted to wear the camera on your left hip instead of your right hip. Maybe so, but the last time I checked, my camera didn’t work left-handed either. The shutter release button is on the right side of the camera as is the grip for holding the camera.

The strap was provided by Black Rapid for me to try and review. When a product is given to me to use and review, I always try to use it as much as I can and in a number of different situations so I can give a fair review.

I also got a Black Rapid bumper or back window sticker for my car. I wonder how many people have looked at the sticker and wondered what new rock band was named Black Rapid.

Tiffany has the model of the strap that is made for women that she will review in the future. I’ll let her explain why there’s a special model for women.

I give this strap my highest recommendation, so if you’re looking for something to buy for the photographer in your life during the holidays or if you want a hint to give to someone buying for you, this is an excellent product from my perspective.

Photo Credits:
All photos provided by Black Rapid

*The Author received complimentary products in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Christmas Wish List 2011 – Prepare for Black Friday – Part II

Steve Russell — Mon, 21 Nov 2011 05:00:44 +0000

Black Friday is this week. As a complement to Tiffany’s article on November 11, I thought I would put together a Christmas Wish List for the advanced photographer in your life or if that photographer is you, a list you can give to someone else as a hint. As Tiffany suggested, get a cup of coffee and settle in. Just one thing, make sure you swallow the coffee before you look at each item because I sort of threw thriftiness out the window for this list. Hey, no one ever said that photography was inexpensive.

I’m going to start with what’s on my list. It’s was on my list last year and they’ll probably be on my list next year because I don’t really expect to get any of these items. Hey, it is a wish list and if you’re going to wish, you may as well wish big.

Steve’s Wish List

TheCanon EF 500mm f/4L IS II USM Lens is my dream lens. Unfortunately, even though Canon announced the lens in February of this year, it still hasn’t been released. My guess is that the tragic earthquake and resulting tsunami is the main culprit. Yes, I know that this lens is currently priced at $9,499 and that the current model of the 500mm lens priced at $6,799 is $2,700 cheaper but why buy an old model when you know a new model with better quality glass will be released in the not too distant future? Besides, remember what I said about wishing big.

Gitzo GT3541XLS Series 3 Long 6X Carbon Fiber 4-Section Systematic Tripod with G-Lock – Replaces GT3540XLSYes, I know that to many people paying $705.41 for a tripod is ridiculous. I agree that for many applications this tripod is overkill. However, try using a more modest tripod while using a 500mm f/4 lens and professional model camera with battery grip. I tried that when I went to the Everglades back in March. As I watched all the other photographers using this tripod and the next item on the list, a little light went on. Another great thing about this tripod is that it will extend to 78 inches in height. I’m 6′ 3″ and most tripods that are more reasonably priced are around 64 inches in height when fully extended and even with the ball head and the camera mounted, I still have to bend my back to see through the viewfinder. With the Gitzo that problem is solved. That’s why this tripod is on my wish list.

The Wimberely Gimbal Head makes working with super telephoto lenses like the 500mm a breeze. You can reposition the camera with one finger and it will remain in place. This head also allows you to easily track birds in flight or animals moving. It comes with a hefty price tag of $595 direct from the manufacturer, but it makes life much easier when shooting birds and other animals.

There are other items on my wish list but that’s enough gift ideas that are way out of the price range for most people. Here are a few more gift ideas for photographers.

Okay, the Apple iPad 2 MC916LL/A Tablet (64GB, Wifi, Black)is on my list as well. What I recently discovered while using my wife’s iPad is that in addition to everything else it does, it’s a wonderful device for sitting down with a client and reviewing proofs from a portrait session. Much lighter than a laptop, easy to flip through the images and the clients really seem to prefer holding the iPad in their hand instead of looking at the screen of a laptop. In my opinion, it’s over-priced at $800, so if you don’t want to spend that much money there are other tablets on the market.

Last week Tiffany posted an article about setting up an inexpensive speedlight studio. This book, Off-Camera Flash Techniques for Digital Photographers by Neil van Niekerk is a great guide and how-to for using off-camera flash and it’s only $23.07 at Amazon.

Two great cameras that are considered the “cross-over” models from amateur to professional are the Nikon D7000 16.2MP DX-Format CMOS Digital SLR with 3.0-Inch LCD (Body Only)currently priced at $1,199 and theCanon EOS 7D 18 MP CMOS Digital SLR Camera with 3-Inch LCD (Body Only)currently at $1,484 at Amazon. These are both very high quality cameras with the rugged magnesium alloy body found in high-end, professional model cameras. If you, or a photographer you’re buying a gift for, are ready to move up a step in the camera equipment area, either of these cameras would make an awesome gift.

With the exception of the Wimberely Gimbal Head, all prices are those listed on Amazon.com at the time I wrote this article. Prices change, sometimes daily, so when you click on the link to one of the items, you may see a different price.

Most of the items I listed are quite expensive and not for everyone. But they are things that any serious photographer can use. Besides it’s nice to wish even if you know the wish will remain just that.

Photo Credit:

Christmas Presents by Q,A,O,P Spaces on Creative Commons

Christmas Wish List 2011 – Prepare for Black Friday!

Tiffany Joyce — Fri, 11 Nov 2011 07:00:14 +0000

With Christmas a little under seven weeks(!) away, and Black Friday only TWO WEEKS away, now is the time to get your shopping game plan together! Here are my recommended gift items for the photographers in your life. Grab a cup of coffee and get comfortable, because I have a LOT of gift ideas!

For the Beginner DSLR Photographer:

The Nikon D3100 14.2MP Digital SLR Camera is a fantastic beginner’s DSLR, and at around $550 is one of the more decently-priced entry level cameras. The learn as you grow guide mode is a great teaching tool, and will guide as little or as much as the photographer needs. As the photographer grows in skill, the D3100 has full manual controls ensuring years of usability.

Scott Kelby’s Scott Kelby’s Digital Photography Boxed Set is one of the first items I think of to buy a beginner DSLR photographer. I know I’ve mentioned this set quite a few times on this site, but as of this writing Amazon is offering all three volumes for just $40 bucks. I don’t know how long that deal will last, so you might want to check it out!

Every new DSLR owner needs a camera bag! Case Logic has a bunch of great, low-cost items, including this TBC-307 SLR Camera Backpack.

A 50mm lens like this Canon EF 50mm f/1.8 II (or the Nikon 50mm f/1.8D AF) makes a great first lens purchase when the photographer is ready to move past the kit lens. The f/1.8 sells for a touch over $100 bucks but is a highly regarded and well-reviewed lens. You get a LOT of bang for your buck with this one!

Stuff Every Photographer Can Use (or use more of)

You can never go wrong with Compact Flash Cards and other memory cards specific to your photographer’s camera brand. Trust me, we ALWAYS need more of these.

Memory is getting cheaper and cheaper these days. You can get a 1TB external hard drive (like the Hewlett Packard HP Portable 1 TB USB 3.0/2.0 External Hard Drive shown here) for under $200 bucks. The Western Digital Elements USB 2.0 Desktop External Hard Drive that I use at home – THREE TB, mind you – is currently $220. Keep an eye out for sales, because I bought the one I have for quite a bit less.

Buy microfiber lens cloths in bulk and be the hero of the day. I’m CONSTANTLY losing mine.

You know what else I lose all the time? My Lens Cap (here’s one for Canon). Pick up a couple of extras for the photographer in your life, because I doubt I’m the ONLY one that loses these things.

For the Photography Gear Head:

Any photographer that wants to get their flash off of their camera, but finds themselves limited to the range that the IR wireless system presents, needs Pocket Wizard. The PocketWizard MiniTT1 Radio Transmitter/Flex TT5 bundle for Nikon (here’s the one for Canon) is a must for doing some fantastic and creative things with a speed light. Then when the photographer is ready to go to studio strobes, he or she will find the Pocket Wizard lineup to be invaluable there as well.

The Westcott Apollo Strip Speedlite Kit doesn’t require a speed ring and fits almost any style of studio light. You just pop it open, mount it onto an umbrella stand, and you’re good to go. There’s an orb kit too, if you like your light modifiers round.

Lensbaby has done it again! Their new pro line of lenses, including the Lensbaby Composer Pro with Sweet 35 Optic for Canon cameras (here’s the Nikon) is solidly constructed and offers a wider field of view than the original Composer lineup. Pair it with a Creative Aperture Kit 2 and the photographer in your life will soon discover just how addictive a Lensbaby can be!

Software and DVD’s:

Photomatix Pro is an essential piece of software for the HDR addict in your life. It automates and simplifies the process of developing an HDR image, with flexibility in results that produce an image that is as realistic or as surreal as the photographer wishes. At only $100 bucks this is a great buy.

I highly recommend Studio Lighting Essentials for Portrait Photography. I own a copy myself and will be providing a review on this site in the coming weeks. The DVD is full of information on lighting basics, lighting setups, equipment essentials, color theory and more. If the photographer in your life is planning to journey into studio lighting, this is definitely a valuable resource to get them started.

Recommended Point and Shoots:

The Panasonic DMC-FH25K 16.1MP Digital Camera has 8x Wide Angle Image Stabilized Zoom and a 2.7 inch LCD. It’s tiny and can fit into a pocket or purse, for those occasions when you want to be able to capture the memories in photos but don’t want to lug around your big ol’ DLSR.

Canon’s wildly popular PowerShot series now includes the ELPH 100 HS 12 MP CMOS Digital Camera. This one’s got full 1080p HD video capabilities (including Super Slow Motion, which sounds like fun), performs well in low light, and comes in pretty colors! Personally, I like the blue.

Ashton Kutcher has the world hooked on Nikon Coolpix. The L24 14 MP Digital Camera features a 3.6x NIKKOR Optical Zoom Lens and 3-Inch LCD. This one is somewhat less expensive than other models, but still delivers the level of quality that we’ve come to expect from Nikon. The Easy Auto mode takes every bit of thought out of the picture taking process, other than pointing, composing, and shooting. A great stocking stuffer!

The Sony NEX-5N 16.1 MP Compact Interchangeable Lens Touchscreen Camera boasts “DSLR quality in your pocket”. While I can’t see myself fitting this in my pocket unless I’m wearing REALLY baggy pants, this camera is still compact enough to take the hassle out of lugging around a camera. It can shoot up to 10 frames per second, has full HD video capability, a tiltable touchscreen, a bunch of picture effect modes including panorama, and is compatible with Sony E-mount lenses. As far as gadgets go, this thing will satisfy even the pickiest gearhead!

Gift Ideas that are Just Plan NEAT:

The Celestron 44340 LCD Digital LDM Biological Microscope. This is SO COOL. If you have a budding scientist in your household, or a teacher, this would be a PERFECT gift. This microscope/digital camera combo has the ability to capture 5MP images and video, a quadruple nosepiece with 4x/10x/20x/40x objective lenses, dual focus, and a SD card slot. The microscope is controlled by a touch screen with a stylus, has 1GB of internal memory card and USB slot, 4x optical zoom, LED’s to illuminate the slides, and is powered by 4 AA batteries or an AC adapter.

The MyStudio MS20J Complete Tabletop Photo Studio – 12-Piece Jewelry Photography Toolkit, Bonus Tripod for Product Photography. If you or someone you know is selling jewelry or other small products on Etsy or Ebay, this small product photography studio might be just the thing to add that extra level of professionalism to your product images.

If you feel like spoiling the photographer in your life, you can’t go wrong with the Olympus PEN E-P3 12.3 MP Live MOS Micro Four Thirds Digital Camera. This thing is just plain cool, with impressive low light performance, fast auto-focus, a touch screen and in-camera editing capabilities. It shoots 1080 60i HD video and is expandable with interchangeable lenses and accessories. I would LOVE to get my hands on one of these babies, but it’s a bit pricey at around $875 bucks.

Do you have great ideas for Christmas gifts, or an item from your own wish list that you wish someone would give you? Please share in the comments or on our Facebook Page!

*The Author did NOT receive any products or compensation in exchange for mentioning the Provider’s products and/or services on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement. This is not an advertisement.

Review: Canon EF 100-400 f/4.5-5.6L IS USM Telephoto Zoom Lens

Tiffany Joyce — Wed, 07 Sep 2011 07:00:01 +0000

The Short Review: DEAR LORD I LOVE THIS LENS. I am going to buy it at my earliest opportunity. It went immediately on my wish list.

The Somewhat Longer Review:

The Canon EF 100-400mm f4.5-5.6L IS USM Telephoto Zoom Lens is an excellent lens for photographing action taking place in bright sunlight. Due to its aperture I wouldn’t use it for indoor sports or low light situations, but if you’re photographing wildlife or sports in bright outdoor ambient light, this is most certainly the lens for you.

I rented this lens from the good folks at Pro Photo Rental for my trip to the Indianapolis MotoGP weekend last August. I knew I would be outdoors all weekend long, trying to capture in-motion shots of motorcyclists traveling at speeds exceeding 100 miles per hour, and often close to two hundred. The focal range was exactly what I needed – whether I was trackside a mere 50 feet from the riders, or up in the stands over 400 feet away. I actually toyed with the idea of taking my Canon EF 70-200mm f/2.8L II IS USM Telephoto Zoom Lens, but since I was already packing my Canon EF-S 17-55mm f/2.8 IS USM Lens I figured I had my focal lengths covered. As it was, I barely used the wide-angle lens and never missed the 70-200.

The lens features two image stabilizer modes – mode one compensates for horizontal and vertical vibration, while mode two is specifically helpful during panning shots when mono-directional stabilization is required. There are also two focal range settings – mode one is used for subjects within 1.5 meters, and mode two is used for distant subjects up to infinity.

The lens is a push-pull zoom, which was a bit tricky to get used to. I imagine the intent is to set it at a specific focal length and leave it there, rather than adjust the focal length while in action. The push-pull functionality itself took some effort, at least in the copy I used. It’s possible to adjust the tension on the push-pull so that it moves more easily, but I can see where the tension would be useful to keep the lens at a specific focal length so that it doesn’t slip when pointing the lens upward or downward.

The sharpness that this lens delivers is absolutely excellent. Take this shot below. Click on it to zoom all the way in to its original size, and just observe how incredibly tack sharp the details of the rider came out (it looks even better in Lightroom):

This lens is NOT light. Weighing three pounds, if you add that to a larger body (as in my 7D) and a battery grip, you’re really going to want a tripod or monopod. I had neither during the race, so I skipped the grip and just kept extra batteries in my pocket. It was still quite heavy, so I found myself grateful to share the photographic responsibilities with my husband (who kept saying, “Are you done? Is it my turn now?”).

I was EXTREMELY pleased with the motion blur this lens captured. I shot in aperture priority all day, between f/8.0 and f/12.0, and got consistently tack-sharp subjects with great motion blur around the wheels and the passing landscape and ground. Check this one out – the subject has just enough blur to be aesthetically pleasing, but the ground is fantastically blurred, and the wheels seem to glow:

So! To summarize, I was extremely pleased with the results of this lens. I would highly recommend that you add it to your arsenal – I had SO MUCH FUN with this lens that I can’t wait to get my own copy!

The Digital Picture has a great in-depth review of this lens, if you’d like more technical details.

Photo credits (all): Tiffany Joyce

*The Author received complimentary rentals in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Insuring Your Photography Equipment

Steve Russell — Mon, 05 Sep 2011 12:25:02 +0000

During the last week I recorded an inventory of all my photography equipment. Don’t get me wrong, I know what I have and can name each item. This time I wrote down, if you can call using a computer writing down, the complete name of each item, the serial number and the price I would have to pay if I were going to purchase it now.

I was amazed at the total value of my equipment and the items shown above are only part of what I have including a Canon EOS 5D Mark II I purchased after this photo was taken. When you buy your equipment one piece at a time, because you can’t afford to buy all of it at once, you have a tendency to lose sight of the total amount of money you’ve spent on your equipment. At least, that’s what I did.

I made the inventory for insurance purposes. My equipment has always been covered under my homeowner’s insurance policy and the knowledge of that coverage gave me somewhat of a false sense of security. Granted, all the equipment was covered for the normal causes of loss (fire, theft, etc.) that a homeowner’s policy covers. However, I have a sizeable deductible on my homeowner’s to keep the premium reasonable and because I’ve never had to make a claim on my policy (knock on wood).

Two things caused me to discuss the coverage with my insurance company. First, I’m moving out of the house I live in that’s located in a gated community and has a monitored alarm system and moving into an apartment complex for a few months whilst waiting for new home in a new location to be built. Second, I know someone that dropped their very expensive 100-400mm zoom lens and broke it.

Okay, the first reason is just me and assuming the apartment I will be living in is actually less secure than my house, the equipment would still be covered under my personal property insurance. However, none of the equipment would be covered if I dropped a camera and lens into the Grand Canyon (yes, it’s happened before, just not by me).

My insurance carrier has, as do most if not all carriers, what they call a Valuable Personal Property (VPP) policy that insures certain listed valuable items – jewelry, firearms, photography equipment, etc. In a conversation with my insurance company I learned that if I had one of these policies on my photography equipment there would be no deductible, it would be insured for any loss including being a klutz and dropping in on a concrete walkway or in a lake, and it would be insured for the replacement cost up to the amount listed on the inventory provided to the insurance carrier.

If you own a substantial collection of photography equipment and don’t have this kind of insurance, I strongly recommend you look into getting it. I have it now and have asked myself why I didn’t purchase it a long time ago.

If you decide to buy special insurance on your equipment (VPP) I also recommend that when you list all of your gear for the insurance company that you use the MSRP and not the 50% off sales price you paid when you purchased it. If you have a loss and have to replace something, it may not be on sale any longer. Keep in mind that the insurance company is going to cover the replacement cost up to the amount you listed on your inventory. If it’s on sale when you need to replace the lost item, the carrier will pay you the sales price. If it isn’t on sale and you listed the sales price, they’ll pay you the listed price even if it costs twice as much to replace it.

If you already have this kind of insurance, way to go. If not, talk to your insurance company or agent and make sure you have the kind of coverage that fits your needs. There may come a day that you’ll be glad you did. I found the cost of the VPP to be very reasonable and not nearly as much as I expected it to be.

It’s Not Just The Camera

Steve Russell — Mon, 29 Aug 2011 04:00:07 +0000

How many times have you heard the comment, it’s not the camera that takes a good photo, it’s the photographer? Well, if that’s true, why do professional photographers, those that make their living with photography, use mostly DSLR’s?

Some of the Pro’s were using SLR film cameras when the digital revolution began and it was a logical step to convert to DSLR cameras and equipment. Others use DSLR’s for a myriad of reasons, but short of saying they’re the equipment you need to capture the best images, I’ll use myself as an example. Tell on myself if you will.

Through the 1980′s and early 1990′s I was an avid photographer. I owned and used two Canon F1s and one T90. The T90 was the first high end camera that had TTL flash and was really awesome when it came out. I shot so much that I bought film by the brick and kept it in the freezer until I used it.

However, I became very frustrated with the amount of grain when I attempted to enlarge a photo beyond 8×10 from print film negatives and the limitations with inter-negatives, Type R negatives and Cibachrome processing for slide film. Since I didn’t have enough money to purchase the latest digital equipment, I eventually put all my equipment on a shelf and forgot about it.

A few years ago I bought a top of the line Lumix 4 megapixel point and shoot camera and started taking more and more photos but didn’t really pursue it as a photographer. My next camera was a 12 megapixel Sony T-900 and I started shooting more.

Two years ago I re-entered the SLR world with my first DSLR camera and I was quickly back in the same mode I had been in during the 80s and 90s. My motivation to purchase a DSLR was twofold. I really missed the involvement in photography that I had experienced in the 80s and 90s and wanted to pick up where I had left off and even go beyond.

The second reason was I had been experiencing a high level of frustration with the limitations of a point and shoot camera. Because of the frustration I thought about what I wanted in a camera and concluded the following:

• I wanted a camera that released the shutter the instant the shutter release was pressed, not a couple of seconds later. That delay feature of the P&S while it sets the focus and exposure was driving me up the wall.
• I wanted to be able to actually get a proper exposure when using flash and the built-in flash on the P&S was extremely limited.
• I wanted to be able to change lenses. Sure, the P&S easily converts from telephoto to wide angle and back, but it’s nothing like shooting a bull elk in a meadow using a 500mm lens and then changing to a 16-35mm lens and capturing the entire scene with the mountains in the back ground.
• I wanted total control over shutter speed and aperture. I was tired of the camera deciding and then not capturing what I had imagined.

Those were my primary reasons for jumping, with both feet, into the world of DSLR. Still, it’s the same guy behind the camera. And, guess what, I have what I consider to be some really good images that I captured with my P&S cameras. I still carry a P&S camera. In fact I’m considering getting a new P&S camera. Frankly, there are times when a P&S better fits my photography needs and it’s great to have a good one available.

I spent some time perusing Flickr Creative Commons and I thought I would share some images I selected that were taken with P&S cameras to demonstrate that it is possible to capture good images without using a DSLR.

I selected images taken with three different brands of cameras – Nikon Coolpix, Canon Powershot and Apple iPhone. I also tried to find three different types of images –portrait, landscape and macro – with each brand of camera. My conclusion is that there are some really good photographers out there working with P&S cameras. I hope you enjoy the photos.

Lantana by littcool1 using a Nikon Coolpix

Golden Gate Bridge by Colette Simonds using a Nikon Coolpix

Truffes au Chocolat-Les Ingredients by Eric Delcroix1 using a Nikon Coolpix

Male Marmalade Fly by Gustavo using a Canon Powershot

Baja California Sud by Vik Cuban using a Canon Powershot

Pablo Fuentes by fotomaf using a Canon Powershot

Not Cannabis by Cocoabiscuit using an iPhone

iPhone Colorado Sunset by Jim Nix using an iPhone

iPhone Aquarium by Xevi-V using an iPhone

It’s okay to have camera envy but continue to use the one you have. As you can see by these photos, a $5,000 camera and lens combination isn’t required to capture great images.

Photo Credits:
Lantana by littcool1 on Flickr Creative Commons
Golden Gate Bridge by Colette Simonds on Flickr Creative Commons
Truffes au Chocolat-Les Ingredients by eric delcroix on Flickr Creative Commons
Male Marmalade Fly by Gustavo on Flickr Creative Commons
Baja California Sud by Vik Cuban on Flickr Creative Commons
Pablo Fuentes by fotomaf on Flickr Creative Commons
Not Cannabis by Cocoabiscuit on Flickr Creative Commons
iPhone Colorado Sunset by Jim Nix on Flickr Creative Commons
iPhone Aquarium by Xevi-V on Flickr Creative Commons

Balancing Ambient Light with a Speedlite

Tiffany Joyce — Tue, 16 Aug 2011 07:00:34 +0000

Sometimes it is necessary to compensate for a background that is over-exposed, especially when shooting in bright light (as in outdoor photography). When using a speedlite as a fill flash, this is very easy to do. Different camera brands achieve this in different ways, so here is how to balance ambient light with light from the flash using a Nikon and a Canon.

When shooting with a Canon camera, turn on the High Speed Sync on the flash itself. Put the camera in Aperture Priority Mode (Av). Since Canon cameras have the ability to control background and foreground exposures separately using exposure compensation, simply dial down the exposure compensation in increments until the background light is at the desired level. The exposure of the flash and the exposure of the ambient light operate independently of one another, so the subject is consistently exposed while the background exposure adjusts up or down accordingly.

When shooting with a Nikon, go into the camera’s controls and turn on FP sync (Auto FP). In Nikon cameras changing the exposure compensation on the camera also changes it on the flash. So, you will need to shoot in Manual mode. Expose for the background by aiming the camera just past the subject to the background and pressing the shutter halfway to get an exposure reading from the camera’s meter. Set the aperture and shutter speed accordingly, take a shot, then adjust the shutter speed on the camera to change the exposure of the background. Increasing the shutter speed stops down the exposure, and decreasing the shutter speed stops up the exposure. Just remember that shutter speed controls ambient light and aperture controls the flash, and you will find extraordinary flexibility in controlling your photograph’s exposure.

This past weekend, I used my daughter as a model in order to demonstrate this concept for you all. We went out into the backyard at about 4:00 in the afternoon – it was about 110 degrees outside so we made it quick! I used my Canon EOS 7D and EF 50mm f1.4 lens (here is the equivalent Nikon 50mm f/1.4D AF Nikkor Lens), and attached my Canon Speedlite 580EX II Flash (here is the equivalent Nikon Speedlight).

This shot was taken at f/4.0, ISO 200, shutter speed 1/320, with no exposure compensation:

For this shot I kept the same aperture and ISO, but dialed down the exposure compensation by one stop, which set the shutter speed at 1/640:

For this shot I again kept the aperture and ISO the same, and dialed down the exposure compensation by two stops. This resulted in a shutter speed of 1/1250:

As you can see, the background in the first shot was somewhat overexposed, while the background in the third shot was somewhat underexposed. The middle shot, which was dialed down a full stop, seems to strike the right balance between the flash and the ambient light.

I love this handy little trick and I hope you find it to be useful in your own outdoor photography!

Depth-of-Field In Depth

Steve Russell — Mon, 01 Aug 2011 04:00:22 +0000

For the beginning photographer, especially when using a DSLR, depth-of-field can make absolutely no sense. For the accomplished photographer it’s an invaluable tool for creating the desired result when photographing landscapes, portraits, wildlife, etc.

In its simplest form, depth-of-field is the area, or depth of area, in front of the lens that will be in focus when the photo is taken. Depending on the focal length of the lens and the aperture being used, it begins a determinable distance from the lens and ends at a determinable distance from the lens. Okay, for all you “Picky Patty’s” out there, it’s actually measured from the sensor or in film cameras from the film plane. Knowing that it’s actually the distance from the sensor instead of the front of the lens can be very important in macro photography; in landscape photography not so much.

You might ask, “Why do I care about depth-of-field if my subject is in focus? Because there are times when you want or need part of the environment to be out of focus or blurred. Knowing and understanding depth-of-field gives you the ability to manipulate it and create the image you desire.

For example, the photographer capturing this image of a village nestled in the landscape of central Malawi was able to keep both the mountains on the far horizon and the boulder in the foreground in focus.

In this image of a thistle, I was able to keep the subject in sharp focus while the entire background is completely blurred and only provides background color and some texture to the image.

There are three variables for determining the depth-of-field in a specific situation, the aperture you’re using, the focal length of the lens and the size of the sensor in your camera.

Let’s get sensor size out of the way first. What the sensor size actually does is affect the apparent focal length of the lens. For example, if I use an 85mm lens with my Canon 5D Mark IIcamera, the apparent focal length of the lens is 85mm. However, if I attach that same 85mm lens to my Canon 7D(Body Only)camera, because the sensor is smaller in the 7D, the apparent focal length of the lens becomes 136mm. Therefore, if I’m using my 7D and want to calculate the depth-of-field, I have to use 136mm instead of 85mm.

Next is the focal length of the lens. This is relatively simple because the focal length, in millimeters, is indicated on the lens. If your lens has a fixed focal length, like the Canon EF 85mm f1.2L II Lens, all you have to do is apply the sensor multiplier, if applicable, and you know the focal length you’re using. It’s a little more complicated if you’re using a zoom lens, like the Canon EF 24-105mm f/4 L Lens, but if you know the depth of field at either extreme then you can make a reasonable guess. I’ll come back to this later. The important thing to remember here is that longer lenses (telephoto lenses) have less depth-of-field than shorter lenses (wide angle lenses), all other settings being the same.

Aperture is the last variable in depth-of-field. The smaller the aperture (opening of the diaphragm of the lens that allows light to reach the sensor) the greater the depth-of-field; the larger the aperture the smaller or narrower the depth-of-field. This becomes more confusing for relatively inexperienced photographers because the indication of the size of the aperture is counter-intuitive. The larger the number or f-stop, the smaller the aperture. In other words, at f/16 the aperture opening is small, while at f/1.8 the aperture is very large.

Here are two examples using the 85mm lens:

• Using my Canon 5D Mark II or a full frame sensor camera, with the camera 25 feet from the subject and using an aperture of f/1.8, the depth-of-field (or the distance between the near focusing limit and the far focusing limit) is 2.8 feet.

• Using the same equipment and distance from the subject but an aperture of f/16, the depth-of-field is 33.4 feet.

As you can see, the depth-of-field can vary greatly when only one of the variables is changed.

I’m going to add one more bit of confusion before I try to make it clearer. Using the second example above with the depth-of-field of 33.4 feet, if you focus on a particular subject the depth-of-field begins at 8.3 feet in front of the subject and extends to 25.1 feet beyond the subject or focus point. Thus, if you focus on a subject and without changing anything except your position, you can move up to 8 feet closer to your subject and the subject and everything 33.1 feet beyond your subject will be in focus or conversely, if you move further away from your subject more of the depth-of-field is in front of the subject and less is behind. In other words, once the focal length, aperture and focus are all set on the camera, the depth-of-field is fixed and moves with you and the camera as you move. Knowing and becoming comfortable with this can be invaluable

I recognize that this seems really complicated to most beginning photographers and many intermediate ones as well, but here are some things to keep in mind that should help.

• Most DSLR cameras have a depth-of-field preview button. Refer to your owner’s manual to find where it’s located. By pressing or releasing the depth-of-field preview, the lens diaphragm is stopped down to the aperture you have set on the camera which will allow you to see what’s in focus and what isn’t. I’ve never been a great fan of depth-of-field preview because the image you see is really dim at smaller f-stops and it’s difficult to see clearly. This is because when taking a photo, the sensor collects additive light as long as the shutter is open. When you’re looking through the viewfinder, the light your eye sees isn’t additive so it doesn’t get brighter the longer you look.

• With experience you’ll become more and more familiar with depth-of-field and as you do you’ll be able to capture the effect you want by guesstimating. Except for sometimes in macro-photography, you almost never have to be accurate down a foot or a fraction of a foot. Most of the time “close enough” works and as long as you’re familiar with depth-of-field and how it works you can develop a comfort in working with it.

• I believe that if you know a subject somewhat in depth, then it’s easier to generally apply the principles and with practice you can become very proficient with it. With that in mind, I want to refer you to a web site I found that has a depth-of-field calculator, tables, and more information than the vast majority of photographers will ever need. There are many websites and books that will provide the same information but I found this one entitled DOFMaster to be very helpful.

While it may seem that way to some of you, this article isn’t intended to be a Master’s Dissertation on photography optics and the effects of defocus blur and diffraction blur. There is much more to the subject than is presented here. Hopefully, there is enough information contained herein to help you understand the subject and to help you become a better photographer.

Photo Credits:
Village nestled in the landscape of central Malawi by ILRI on Flickr Creative Commons
Thistle by Steve Russell on Flickr