Speed kills. That's a common saying you hear in both defensive driving courses and in drug use prevention. In the world of photography, however, we've been exploring ways to get faster for a very long time. We get more speed with faster shutter speeds, faster flash synchronization speeds, wider apertures, and faster sensitivity. It's the sensitivity variable in exposure that we will explore in this post.
Sensitivity is expressed in ASA or ISO and is a measure of how sensitive film or a DSLR's sensor are. The lower the expressed ISO, the less sensitive the film or sensor. The higher the expressed ISO, the more sensitive the film or sensor. ASA is the original scale that many of us grew up with. We commonly used ASA speeds 64, 100, 200, 400, 800, 1600, etc. Each doubling meant that the film was twice as fast. For example, if the "correct" exposure is 1/125 second at f/8 using ASA 100 film, we could use 1/500 second at f/8 with ASA 400 film.
ISO stands for the International Standards Organization. The ISO set at least a couple of standards for expressing sensitivity. The standard we use today approximates the old ASA we used to use. I guess old habits die hard. So, when you set your DSLR's ISO to 100, 200, 400, 800, etc., it would be the same as if you inserted that speed film.
The huge advantage, of course, of DSLRs is that you don't need to rewind and insert new film as light conditions change. You simply change the ISO. During the course of a day, you can use ISO 200 outside and ISO 400 or more inside. That's fantastic flexibility.
In most presently sold cameras, the higher the ISO, the more noise that is introduced. For example, you will see much more noise at ISO 6400 than at ISO 200. However, manufacturers are building increasingly better sensors. For example, the Nikon D3 produces fantastic images at ISO 6400 -- much better than any older Nikon.
As a starting point, I use ISO 200 outdoors and ISO 400 indoors. When I use my Nikon D3, I don't hesitate in bumping up the ISO, when needed indoors or for sports, to ISO 800 or higher. By increasing the ISO in lower light, my shutter speed and aperture remain within normal working conditions. If I didn't increase the ISO, I may need a shutter speed that is too slow to handhold or an aperture that is either unreasonably wide (e.g., providing too little depth of field -- a topic we will explore later -- or much larger than the lens is capable of). I usually don't let the camera select the ISO because I want to know what's happening with the light.
Play around with different ISO settings in your camera when using it with different lighting conditions so that you understand how ISO affects your shutter speed and aperture.
Sunday, February 22, 2009
Thursday, February 19, 2009
Exposure
We were supposed to start discussing exposure this week in an effort to get everyone on the same page. However, at the last minute, I surprised my wife with a trip to Barrow, Alaska. Within the span of a few days, it was our 15th wedding anniversary, my wife's 39th (plus 1) birthday, my daughter turned 13 (man, I'm feeling old), and St. Valentine's day. Why Barrow, you ask? Well mostly because not many people can say that they have been 350 miles north of the Arctic circle in the winter. Can you? Well, now my wife, kids, and I can. We were also fortunate enough to see polar bears and about 10,000 eskimos who had gathered in Barrow for their annual Kigviq festival. The location changes annually. Unfortunately, we saw very minimal northern lights (aurora borealis) -- it has apparently been a bad year all over for the lights. I apologize that our discussion was delayed.
Exposure is really just about one main thing: recording the "correct" amount of light. Correctness is really subjective. It depends on what you consider to be the main subject in the frame and how you want to portray that subject. Dark or light? Sharp or blurry? Those are decisions you as the photographer make.
Exposure is controlled by three variables: aperture, shutter speed, and sensitivity (ASA or ISO). By varying one or more of these, you control how much light is recorded. If you change any one, you can change how much light is recorded. If you don't want to change how much light is recorded but want to change one of the factors for effect (e.g., sharpness, blurriness, grain, etc.), you can vary two or more of the variables. We'll discuss all of those coming up. First, let's discuss what each one is.
Aperture controls the lens opening. It is indicated in "f-stops." On your lens or camera, it may be indicated as f/2.8, f2.8, or 2.8 -- all mean the same thing. By convention, it is expressed fractionally. Thus, larger numbers mean smaller openings. For example, f/4 is a smaller opening than f/2.8 but larger than f/5.6.
Shutter speed controls the duration that light is allowed to enter the camera body and is usually measured in seconds or fraction of a second. On a sunny day using ISO 200 and an aperture of f/16, you will probably use a shutter speed of around 1/250 second.
ISO (ASA in the old days) is a measure of the sensitivity of film or sensor. Larger numbers mean higher sensitivity. In most current DSLRs, the higher the ISO, the more noise you introduce.
We'll talk about each of these in the next few postings.
Exposure is really just about one main thing: recording the "correct" amount of light. Correctness is really subjective. It depends on what you consider to be the main subject in the frame and how you want to portray that subject. Dark or light? Sharp or blurry? Those are decisions you as the photographer make.
Exposure is controlled by three variables: aperture, shutter speed, and sensitivity (ASA or ISO). By varying one or more of these, you control how much light is recorded. If you change any one, you can change how much light is recorded. If you don't want to change how much light is recorded but want to change one of the factors for effect (e.g., sharpness, blurriness, grain, etc.), you can vary two or more of the variables. We'll discuss all of those coming up. First, let's discuss what each one is.
Aperture controls the lens opening. It is indicated in "f-stops." On your lens or camera, it may be indicated as f/2.8, f2.8, or 2.8 -- all mean the same thing. By convention, it is expressed fractionally. Thus, larger numbers mean smaller openings. For example, f/4 is a smaller opening than f/2.8 but larger than f/5.6.
Shutter speed controls the duration that light is allowed to enter the camera body and is usually measured in seconds or fraction of a second. On a sunny day using ISO 200 and an aperture of f/16, you will probably use a shutter speed of around 1/250 second.
ISO (ASA in the old days) is a measure of the sensitivity of film or sensor. Larger numbers mean higher sensitivity. In most current DSLRs, the higher the ISO, the more noise you introduce.
We'll talk about each of these in the next few postings.
Sunday, February 8, 2009
Sensor Summary
Here are are some summary points to consider when selecting your first or next DSLR before we progress to photographing basics next week.
1) Sensors are an important part of selecting a DSLR - some are better than others. Whereas in the past the conventional wisdom was to invest in good glass (lenses) even at the expense of camera bodies, we also used to be selective about film. Today, the glass and the camera are both important because different cameras use different sensors -- we no longer use film. We spent some time discussing sensors. If you are interested in a more in-depth treatment, several books are available.
2) Don't focus on resolution (pardon the pun). Unless you are going to be printing huge images that people will look at up close (i.e., very large prints spanning across pages in a magazine -- double truck, large posters, etc.), 10 megapixels should be sufficient.
3) Pixel density will improve over time. As it does, resolution will also improve. Don't stress over 50% more pixels in the newest model or the other brand next year. Under Moore's law, that seems to apply to all silicon-based technology, it will get faster and better next year at a reduced cost. Get the right equipment now and then upgrade later only if you need to.
Next week, we'll talk about the rudimentary aspects of photography to get everyone on the same page. Then, we can together explore hwo to get more out of our very advanced cameras.
1) Sensors are an important part of selecting a DSLR - some are better than others. Whereas in the past the conventional wisdom was to invest in good glass (lenses) even at the expense of camera bodies, we also used to be selective about film. Today, the glass and the camera are both important because different cameras use different sensors -- we no longer use film. We spent some time discussing sensors. If you are interested in a more in-depth treatment, several books are available.
2) Don't focus on resolution (pardon the pun). Unless you are going to be printing huge images that people will look at up close (i.e., very large prints spanning across pages in a magazine -- double truck, large posters, etc.), 10 megapixels should be sufficient.
3) Pixel density will improve over time. As it does, resolution will also improve. Don't stress over 50% more pixels in the newest model or the other brand next year. Under Moore's law, that seems to apply to all silicon-based technology, it will get faster and better next year at a reduced cost. Get the right equipment now and then upgrade later only if you need to.
Next week, we'll talk about the rudimentary aspects of photography to get everyone on the same page. Then, we can together explore hwo to get more out of our very advanced cameras.
Thursday, February 5, 2009
Sensor sizes
Sensor sizes can vary across camera types and even across DSLRs. Point-and-shoot cameras typically have quite small sensors. Most DSLRs have larger sensors. They are called APS-C or "cropped" frame sensors because their surface area is smaller than a 35 mm film frame. Some DSLRs have "full frame" sensors that are approximately the same size as a 35 mm film frame. There are even much larger medium format sensors.
There are advantages and disadvantages to having full frame sensors to cropped frame sensors. Full frame sensors can provide more resolution or larger photosites. More resolution generally means better capability for very large prints. Larger photosites generally means lower noise. On the other hand, cropped sensors can be advantageous when additional reach is needed with lenses, such as for sports or wildlife photography.
Currently, prosumers have several choices between full frame and cropped frame cameras. Professionals have been steadily moving to full frame, though some remain with cropped frame cameras because of the advantages stated above.
The article linked below provides a laundry list of other considerations.
Links:
http://www.cambridgeincolour.com/tutorials/digital-camera-sensor-size.htm
There are advantages and disadvantages to having full frame sensors to cropped frame sensors. Full frame sensors can provide more resolution or larger photosites. More resolution generally means better capability for very large prints. Larger photosites generally means lower noise. On the other hand, cropped sensors can be advantageous when additional reach is needed with lenses, such as for sports or wildlife photography.
Currently, prosumers have several choices between full frame and cropped frame cameras. Professionals have been steadily moving to full frame, though some remain with cropped frame cameras because of the advantages stated above.
The article linked below provides a laundry list of other considerations.
Links:
http://www.cambridgeincolour.com/tutorials/digital-camera-sensor-size.htm
Wednesday, February 4, 2009
Photosites and pixels
Each sensor has arrays of hundreds of thousands of "photosites" that detect light. More photosites generally translate to more pixels of resolution. Because each pixel can contain several photosites (e.g., to detect red/green/blue wavelengths), and there is different technology for sensors and photosites, the number of photosites does not necessarily correspond to the number of pixels.
Nevertheless, camera manufacturers usually specify the resolution of the cameras based on the number of pixels that the sensor generates (usually in a native "raw" format). Most DSLRs can store images in different resolutions. For example, Nikon DSLRs enable users to specify small and large JPEGs. When saving native raw files, however, most DSLRs save the full resolution emitted by the sensor. An exception is if the camera is a "full-frame" DSLR that has a "cropped frame" mode. For example, the Nikon D3 has a native FX mode and a DX mode to emulate older Nikon DSLRs. (We'll discuss full frame and cropped frame next time.)
There are numerous advantages to having more pixels. Generally, the more pixels available, the larger a printed image can be without degradation in quality (e.g,. sharpness). This is only really a problem if you are planning to print larger than poster size. Very few prosumers will do that, but it could be nice to know that you can do that.
There are also drawbacks to having too many pixels. All things being equal, with higher pixel density (i.e., pixels within some defined area) generally comes more noise. The files stored by the camera are much larger. When postprocessing files, larger files take much longer to postprocess.
While pixel count should be a consideration when selecting your first or next DSLR, it need not be your primary consideration. Most modern DSLRs have more than 10 or more megapixels (10 million pixels), which is plenty for printing a poster.
Links:
1) Wikipedia article on Foveon X3 Sensor used in some Sigma digital cameras
Nevertheless, camera manufacturers usually specify the resolution of the cameras based on the number of pixels that the sensor generates (usually in a native "raw" format). Most DSLRs can store images in different resolutions. For example, Nikon DSLRs enable users to specify small and large JPEGs. When saving native raw files, however, most DSLRs save the full resolution emitted by the sensor. An exception is if the camera is a "full-frame" DSLR that has a "cropped frame" mode. For example, the Nikon D3 has a native FX mode and a DX mode to emulate older Nikon DSLRs. (We'll discuss full frame and cropped frame next time.)
There are numerous advantages to having more pixels. Generally, the more pixels available, the larger a printed image can be without degradation in quality (e.g,. sharpness). This is only really a problem if you are planning to print larger than poster size. Very few prosumers will do that, but it could be nice to know that you can do that.
There are also drawbacks to having too many pixels. All things being equal, with higher pixel density (i.e., pixels within some defined area) generally comes more noise. The files stored by the camera are much larger. When postprocessing files, larger files take much longer to postprocess.
While pixel count should be a consideration when selecting your first or next DSLR, it need not be your primary consideration. Most modern DSLRs have more than 10 or more megapixels (10 million pixels), which is plenty for printing a poster.
Links:
1) Wikipedia article on Foveon X3 Sensor used in some Sigma digital cameras
Tuesday, February 3, 2009
What is a digital sensor?
As we discussed last time, a digital sensor and memory are what separate a DSLR from prior film-era SLRs. A digital sensor (or "image sensor") is an electronic device that converts light it senses into a digital signal.
Initially, sensors were charge-coupled devices ("CCDs"), but many if not most sensors are now complementary metal-oxide-semiconductors ("CMOS"). It used to be the case that CCDs produced superior images. However, manufacturers have poured much more money into CMOS R&D over the last decade or longer because CMOS-based devices are cheaper to make and require much less circuitry. As a result, CMOS sensors rival the performance of CCDs and today may even be better.
Just as with lenses, you need to keep your sensor clean. While that's not so hard with point-and-shoot cameras because they are sealed units, your sensor will likely get dirt on it over time if you change lenses.
The sensor (or, to be more precise, the low pass filter on top of the sensor) must be kept clean so that you don't have distracting blotches from accumulated dirt. Some cameras can clean their sensor automatically, but most require occasional manual cleaning. You can either clean the sensor yourself using available kits or you can have it professionally done. There's even a whole web site dedicated to sensor cleaning by a camera cleaning outfit. Note, however, that you should make sure that you are using the right equipment for the job. DO NOT use the compressed air cans -- you can damage your camera severely if you do, and are likely to introduce moisture.
Links:
1) Wikipedia article
Initially, sensors were charge-coupled devices ("CCDs"), but many if not most sensors are now complementary metal-oxide-semiconductors ("CMOS"). It used to be the case that CCDs produced superior images. However, manufacturers have poured much more money into CMOS R&D over the last decade or longer because CMOS-based devices are cheaper to make and require much less circuitry. As a result, CMOS sensors rival the performance of CCDs and today may even be better.
Just as with lenses, you need to keep your sensor clean. While that's not so hard with point-and-shoot cameras because they are sealed units, your sensor will likely get dirt on it over time if you change lenses.
The sensor (or, to be more precise, the low pass filter on top of the sensor) must be kept clean so that you don't have distracting blotches from accumulated dirt. Some cameras can clean their sensor automatically, but most require occasional manual cleaning. You can either clean the sensor yourself using available kits or you can have it professionally done. There's even a whole web site dedicated to sensor cleaning by a camera cleaning outfit. Note, however, that you should make sure that you are using the right equipment for the job. DO NOT use the compressed air cans -- you can damage your camera severely if you do, and are likely to introduce moisture.
Links:
1) Wikipedia article
Monday, February 2, 2009
Parts of a DSLR
Many of us used film cameras in the past. What's different about a DSLR?
A DSLR is similar in almost all respects to a non-digital SLR except for the fact that a DSLR employs a digital sensor and memory instead of film (and has a host of electronics that non-digital SLRs did not need because they had no sensor).
All digital and non-digital SLRs have:
0) a camera body;
1) a viewfinder;
2) a mount to accept a lens;
3) buttons and dials to change exposure settings and other camera options; and
4) a shutter release button.
Many also have:
5) a flash receptacle to accept an external flash or flash extension cord and/or a small on-camera flash.
The primary difference between DSLRs and non-digital SLRs is the use of a sensor, memory, and associated digital wizardry instead of film. In non-digital SLRs, a film received an image transformed by a lens when the shutter quickly opened and closed. The film would be developed, depending on its type, into negatives (for subsequent printing) or positive slides.
In contrast, a sensor in DSLRs receives the transformed image and converts it to a digital representation. A processor in the camera then processes the digital representation and stores the processed image in memory. The processing can include enhancing the image (e.g., adjusting colors, sharpness, etc.) and converting the format (e.g., from a native "raw" format to a standardized format such as JPEG).
Once the camera has stored (either in raw or in JPEG) the image, the camera can generally display the image in an LCD display. If you want to be really fancy, many DSLRs can enable photographers to see images immediately on a connected computer as soon as the image is stored in memory. In this "tethered" mode, the camera is connected to a computer via a USB or IEEE 1394 ("firewire") cable and software executing on the computer can display every new image immediately.
Newer DLSRs (and almost every point-and-shoot camera made in the last decade) also have a "live view" mode in which the LCD display can display what the sensor "sees" even before the image is stored.
Thus, one of the main advantages of a DSLR is instant gratification. You can view the image as soon as you take it. Although you may not be able to judge some important features of your image accurately (e.g., focus or sharpness), you can check correct exposure, composition, and whether everything you wanted in the image made it in -- things that were impossible to do with film.
A DSLR is similar in almost all respects to a non-digital SLR except for the fact that a DSLR employs a digital sensor and memory instead of film (and has a host of electronics that non-digital SLRs did not need because they had no sensor).
All digital and non-digital SLRs have:
0) a camera body;
1) a viewfinder;
2) a mount to accept a lens;
3) buttons and dials to change exposure settings and other camera options; and
4) a shutter release button.
Many also have:
5) a flash receptacle to accept an external flash or flash extension cord and/or a small on-camera flash.
The primary difference between DSLRs and non-digital SLRs is the use of a sensor, memory, and associated digital wizardry instead of film. In non-digital SLRs, a film received an image transformed by a lens when the shutter quickly opened and closed. The film would be developed, depending on its type, into negatives (for subsequent printing) or positive slides.
In contrast, a sensor in DSLRs receives the transformed image and converts it to a digital representation. A processor in the camera then processes the digital representation and stores the processed image in memory. The processing can include enhancing the image (e.g., adjusting colors, sharpness, etc.) and converting the format (e.g., from a native "raw" format to a standardized format such as JPEG).
Once the camera has stored (either in raw or in JPEG) the image, the camera can generally display the image in an LCD display. If you want to be really fancy, many DSLRs can enable photographers to see images immediately on a connected computer as soon as the image is stored in memory. In this "tethered" mode, the camera is connected to a computer via a USB or IEEE 1394 ("firewire") cable and software executing on the computer can display every new image immediately.
Newer DLSRs (and almost every point-and-shoot camera made in the last decade) also have a "live view" mode in which the LCD display can display what the sensor "sees" even before the image is stored.
Thus, one of the main advantages of a DSLR is instant gratification. You can view the image as soon as you take it. Although you may not be able to judge some important features of your image accurately (e.g., focus or sharpness), you can check correct exposure, composition, and whether everything you wanted in the image made it in -- things that were impossible to do with film.
Sunday, February 1, 2009
Selecting a D-SLR
The de-facto camera today for professionals is a D-SLR. While for a time professionals avoided them, almost every pro today uses one. If you're reading this blog, I assume I don't need to convince you of the advantages.
Debates rage over whether more megapixels is important. I think many people generally agree that the more megapixels you have, the larger your printed enlargement can be. If you're printing a poster, a 12MP camera ought to be sufficient. That's just my opinion. I've printed posters from my 12MP cameras and have not had problems. Do I wish I had 24MP? You bet! I'd love to be able to buy a Nikon D3X, but can't justify it right now.
Why do I use a Nikon? Because I've been using Nikons exclusively for over 20 years and it would be too expensive for me to switch. I sometimes regret not switching to Canon when I moved to digital in 2006. Nikon then caught Canon with its pants down when it introduced the D3. That camera is so good that even sports shooters, who have tended to prefer Canon over the last decade or longer, started switching to Nikon. Canon is now in the process of finalizing its newest cameras that should rival or surpass the D3X. The fact that they leapfrog each other is great for us -- whether professional, prosumer, or amateur! If you're starting fresh, consider the following and additional factors.
Here are some factors to consider:
0) Price. How much can you afford? Between a camera body (and backup?), lenses, memory cards, and accessories, it's easy to spend thousands of dollars.
1) Brand. Do you own or have access to autofocus lenses of a particular major brand? If so, it may be better to stick to a camera body compatible with that brand.
2) Megapixels. How many do you need? Most prosumer DSLRs today exceed 10MP. If you can afford $40,000, the 39 megapixel Hasselblad H3D may be for you! Unfortunately for most of us, the more likely candidates are Canon, Nikon, Pentax, or Sony.
3) FPS. If you shoot sports or moving wildlife, you'll want a high frames-per-second rate (fps). The Nikon D3 is capable of 9 to 11 fps. If you're shooting more stationary objects, 5 fps is plenty.
4) Sensor quality. Some sensors are better than others. During the film/slides days, we used to say that the lens was a more important consideration than the camera body. That's not as true today because the sensor is almost as important as the lens. When we used to place importance on the lens, film was also an important consideration. So, we needed a good lens and a good film. today, we need a good lens and a good sensor. While some sensor problems can be corrected during postprocessing, it's better to capture the best image possible initially. Some sensors are better than others at doing that. For example, the Nikon D3 captures high ISO images with very-low-noise. Earlier Nikons did not have the benefit of Nikon's latest sensor technology.
5) Body materials. If your camera body is going to take abuse (e.g., exposure to elements or lots of travel), then a professional body may be ain important consideration. they use superior materials (e.g., magnesium alloy in the Nikon D3) than the plastic used in more consumer-oriented camera bodies. An advantage to the plastics is that they are much cheaper and lighter. They also are not as fragile as one would think.
There's a huge array of choices from many brands. The good thing is that Moore's law is still in effect and we're being presented with new and better choices more frequently than annually.
Links:
1) Photo.net article: Factors to Consider when Choosing a Digital SLR Camera
2) Consumer Reports magazine/book and online step-by-step guide which is mostly targeted at consumers (not prosumers)
3) What Chase Jarvis, a Seattle-based commercial photographer, thinks of the D3X
Debates rage over whether more megapixels is important. I think many people generally agree that the more megapixels you have, the larger your printed enlargement can be. If you're printing a poster, a 12MP camera ought to be sufficient. That's just my opinion. I've printed posters from my 12MP cameras and have not had problems. Do I wish I had 24MP? You bet! I'd love to be able to buy a Nikon D3X, but can't justify it right now.
Why do I use a Nikon? Because I've been using Nikons exclusively for over 20 years and it would be too expensive for me to switch. I sometimes regret not switching to Canon when I moved to digital in 2006. Nikon then caught Canon with its pants down when it introduced the D3. That camera is so good that even sports shooters, who have tended to prefer Canon over the last decade or longer, started switching to Nikon. Canon is now in the process of finalizing its newest cameras that should rival or surpass the D3X. The fact that they leapfrog each other is great for us -- whether professional, prosumer, or amateur! If you're starting fresh, consider the following and additional factors.
Here are some factors to consider:
0) Price. How much can you afford? Between a camera body (and backup?), lenses, memory cards, and accessories, it's easy to spend thousands of dollars.
1) Brand. Do you own or have access to autofocus lenses of a particular major brand? If so, it may be better to stick to a camera body compatible with that brand.
2) Megapixels. How many do you need? Most prosumer DSLRs today exceed 10MP. If you can afford $40,000, the 39 megapixel Hasselblad H3D may be for you! Unfortunately for most of us, the more likely candidates are Canon, Nikon, Pentax, or Sony.
3) FPS. If you shoot sports or moving wildlife, you'll want a high frames-per-second rate (fps). The Nikon D3 is capable of 9 to 11 fps. If you're shooting more stationary objects, 5 fps is plenty.
4) Sensor quality. Some sensors are better than others. During the film/slides days, we used to say that the lens was a more important consideration than the camera body. That's not as true today because the sensor is almost as important as the lens. When we used to place importance on the lens, film was also an important consideration. So, we needed a good lens and a good film. today, we need a good lens and a good sensor. While some sensor problems can be corrected during postprocessing, it's better to capture the best image possible initially. Some sensors are better than others at doing that. For example, the Nikon D3 captures high ISO images with very-low-noise. Earlier Nikons did not have the benefit of Nikon's latest sensor technology.
5) Body materials. If your camera body is going to take abuse (e.g., exposure to elements or lots of travel), then a professional body may be ain important consideration. they use superior materials (e.g., magnesium alloy in the Nikon D3) than the plastic used in more consumer-oriented camera bodies. An advantage to the plastics is that they are much cheaper and lighter. They also are not as fragile as one would think.
There's a huge array of choices from many brands. The good thing is that Moore's law is still in effect and we're being presented with new and better choices more frequently than annually.
Links:
1) Photo.net article: Factors to Consider when Choosing a Digital SLR Camera
2) Consumer Reports magazine/book and online step-by-step guide which is mostly targeted at consumers (not prosumers)
3) What Chase Jarvis, a Seattle-based commercial photographer, thinks of the D3X
Welcome!
A prosumer is a term that is often applied to photographers who are not professionals, but who nevertheless acquire photographic equipment designed for professionals and advanced amateurs. I am one of very many. Some professional photographers may use that term in a derogatory way, but most prosumers don't see it that way: if the equipment is good enough for the pro's, it's plenty good for us!Many (including you?) are like me. I started taking pictures with a Kodak Instamatic when I was about 10 or 11 years old. My father purchased it for me so that I could take pictures without breaking the Zeiss-Ikon he used (pictured here). His father had bought that Zeiss in Germany -- directly from Carl Zeiss, for all I know.
I used that Zeiss during a high school art/photography class, developed the film myself, and printed myself in the school's darkroom. After seeing my first few prints, I was hooked.
Although the Zeiss produced fantastic results, I wanted a "better" camera. I had to eyeball the exposure using the sunny/16 rule or the camera's built-in "meter," which was surprisingly good. However, in my eyes, it was not as good as my classmates' Canon AE-1s, Minoltas, and Nikons because I had to guess exposure whereas they didn't. I had to set everything manually (even estimate the distance to the subject because the camera was not a true SLR). Sharing my enthusiasm reluctantly, my father bought a Nikon FG for me. I used that camera for about 10 years before buying a Nikon N90s. Another 8 or 9 years later, I moved to digital in 2006 when I purchased my first D-SLR(unless you count a couple of Kodak digital point-and-shoots my wife used earlier).The transition from film/slides to digital has not been easy for me. I haven't been completely happy with the results and am learning postprocessing quite slowly. I have a day job and photography is my hobby. And because I have a family, I am unable to spend as much time on my hobby as I would like (especially because I also have other hobbies). However, just like with everything else in life, I won't be happy until I get as good at it as I can.
I will share as much of my learning during that learning process so that hopefully you can avoid some of my mistakes and frustrations. I hope you'll share your learning experiences with me and others in the comments or in the associated Flickr group, LightTakes.
About me: I'm a patent attorney in Seattle. I've been using SLRs for over 20 years and purchased my first D-SLR about 3 years ago.
Subscribe to:
Posts (Atom)
Posts
