Eleven Blogs

Slip an accessory flash into your SLR’s hot-shoe, crank all your settings to auto, and you’ll immediately get better pictures than you would with your camera’s built-in flash alone. But exert just a bit more control, and you’ll take your pictures to a whole new level — no lightmeters, flash triggers, or stands required.

Without taking that extra control, you end up with those typical flash snapshots: Sure, your subjects in the foreground are properly exposed, but more than likely the background fades to black. That’s never good. Whether you lose a dramatic sky or the interior of a room totally disappears, your subjects look like they’re hanging out in a cave.

The trick to overcoming this problem is to set your camera so you know the background will look the way you want it, then let your flash fill in the foreground — without overexposing your subject.

Sound hard? It isn’t, because of a little miracle setting on your flash called TTL. TTL stands for “through-the-lens,” and it means that the flash fires a pre-flash and uses that, along with information from the camera’s meter, to figure out how much light to put out. In other words, once you set the flash to TTL, you’re free to set your camera to manual and mess around with the ISO, shutter speed, and aperture until you get the background you love — the flash will take care of the subject in the foreground with no extra work from you. (One note for old-schoolers still hanging on to the flashes from your film days: It’s time to upgrade. Get yourself a dedicated flash that works with your camera model, and make sure it’s got TTL in its name.)

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Most of DSLR camera are sold without an external flash unit, but including one in your collection of camera equipment will provide you with the capability to take photos indoors and soften photos taken outdoors. Automatic flashes are generally best. Most have three or four different automatic ranges allowing different f-stops and working distances. They can also be used in manual mode for certain effects.

Here are some tips from digital photography school and this article inspire from Jim M. Goldstein blog, and now i want to share it to you.

Nothing is more frustrating than seeing a great moment to photograph, but missing the opportunity to do so. I’ve missed my fair share of great moments either due to timing or worse lack of preparedness. Either way it’s no fun to miss a photo whatever the circumstances.

Here are those tips if you don’t want to missed the moment.

1. Have a camera bag that enables you to easily and quickly access your camera

f you’re stuck with an overly complicated bag that takes too long to open or is organized in such a way that other gear is in the way of you getting to your camera quickly you’re guaranteed to miss that next great spontaneous photo. Look for bags that have quick access flaps and aren’t cumbersome to secure.

Use simple bag like Lowepro SlingShot 100 which enables you to quickly get your DSLR off your back by flipping it around.

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Wedding is the biggest day of someone in their lives and you have been selected to be the photographer. Now that’s quite an honor and a responsibility. Everyone is counting on you to take wonderful pictures so everyone who attends can enjoy easy photo sharing.

Wedding photos are a challenge to take, simply because of the flurry of activities that go on and the wide variety of lighting conditions that may occur. This article will serve as a guide for those starting out in wedding photography, and will delve into various tips and tricks.

1. First thing that we should do is preparation and checklist

- Choose the “A” Team. How many photographers will there be?

- For their big day, always ask their request for the pictures. What type of photos would they like? Mostly formal group portraits? Or mostly candid shots of the couple and their guests?

- How many guests will attending their wedding? Are they mostly family members or friends?

- Where would they like the photographs you take to be shot? Do they want you at the church or the reception or at both locations?
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Learning photography not enough only from an internet, many peoples have to read the books and practice what they read with taking their camera and shoot.

There are many books to sell now on internet and some of them is greats. I would like to give you an advise which books should you have to learning photography.

1. The Digital Photography Book, Volume 2 (Digital Photography) by Scott Kelby

Like Mr. Kelby’s best-selling first Digital Photography Book, this book is a gem. Every page is a single tip, clearly explained and illustrated. It’s like sitting next to the best photographer you know while he explains what gear you need, and when and how to use it. No matter what brand your camera, what level your experience, or how big your budget, you’re sure to find this book useful, but there are some good tips but the book is incredibly short. I went through the whole thing in about 2 hours. He gives some good advice on using a flash and setting up a studio for about 1/3 of the book. The last 2/3 are filled with photography tips showing pictures and then explaining how to get the same picture. Most of the advice I found was pretty basic although I did learn a few things here and there. This would have been a good book if I was brand new to digital photography. It’s well written and his tips are good but I was looking for something little more in-depth than this.

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One of the famous view from Bali island is a sunrise or sunset photos. Even if you traveling to everywhere around the world, your travel photo album will not complete without token the sunrise or sunset photos.

After I took many pictures of sunrise and sunset, there seem quite disappointing on my pictures. Then, i kept to learn and learn again with many different technics to shoot the sunrise and sunset photos. Now, i found there are not that difficult to photograph the sunrise or sunset.

Here is my notes when taking the sunrise and sunset photos

Always have a plan - Sometimes wonderful sunrise and sunset shots can be taken spontaneously without any forethought and it’s often the case that the best ones come out of planning. This little bit plans that you should need to think before take the photograph:

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From the basic of exposure article that i wrote before, i wrote about mid tones which is representing the parts of picture that we want as a point of interest at the photo. Now, i want to share about how to metering the mid tones in photography. I have read some articles about this, and i want to share it.

Your camera’s lightmeter makes what you aim it at appear medium-toned (or medium gray, in black-and-white terms). Usually this makes a good exposure, but not if your scene is full of tonal extremes. The badly exposed shot (upper right) is how a centerweighted meter reads a scene with a lot of detail in darker areas: The sunlit foliage is blown out.

There are some tips to get the midtone right, once you’ve spotted it:
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As a newbie in photography, and after i bought a camera for the first time, i really don’t know every functions on my camera. Then i read the manual books, browsed the internet and asked my friends about all those things. Now, i want to share this tips for other peoples who have interest in photography and wants to know about such a things in photography.

What is aperture?

Aperture as also called f-stops, are the areas of lens in which light enters the camera. It is controlled by the diaphragm. Aperture controls the amount of light reaching the film. They are marked, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 and 32. This number depends on your lenses, not all lenses have all these numbers. Some may start at f-5.6 and end with f-22. Some even have more and they work in stops. From f-1.4 to f-2 is one stop, f-1.4 to f-2.8 is two stops.

Remember, the smaller the number is the larger the aperture and vice-versa. For instance, f-4 is larger than f-8, and f-8 is larger than f- 16. Larger apertures allow more lights to reach the film. Each f-stop allows twice as much light as the previous and half as much as the next one. f-4 allows twice as much light to reach the film than f-5.6 but half as much as f-2.8. Think of apertures as a window blind. You get more light with the blind open. As you close the blind, less light enters the room. Lens diaphragm works like a blind. When opened, maximum light goes through the lens and exposes the film. With smaller apertures, less light goes through.

Check aperture simulation on photonhead.com. Really a good simulation. Thanks.
Another function of aperture?

Apertures also control depth-of-field. Depth-of-field is the range of sharpness behind and in front of the point on which the lens is focused. When you focus on an object, only the part your lens is focusing on will be sharp. By closing the aperture, you can bring other objects in sharp focus. If you want a blurred background, use larger apertures. Use smaller apertures to gain more depth-of-field if you want objects in front and behind your main subject to be in sharp focus.

What is shutter speed?

Shutter speeds control the length of time you keep the shutter open to allow light to expose the film. Some shutter speeds are: 1,1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000 sec. Most cameras offer longer and shorter shutter speeds going as long as 30 sec. to 1/8000 sec. Shutter speeds also work in stops. From 1 sec to 1/2 sec is one stop; From 1 sec to 1/4 sec is two stops. Each shutter speed allows twice as much light as the previous and half as much as the next one. Slower shutter speeds allow more time for the light to expose the film.

Another function of shutter speed?

Shutter speeds control motion. To freeze a subject you need faster shutter speeds. To create blur use slower speeds. 1/500 sec shutter speed can freeze a race car. 1/2 sec speed will blur a waterfall to give a sense of motion.

Try shutter speed simulation on photonhead.com

What should i use for, a shutter speeds or apertures?

This is called priority on camera, for example in my Canon its called “Av” (Aperture Priority) and “Tv” (Shutter Speed Priority). If you want to control depth-of-field, select your aperture priority and your camera will pick the shutter speed. If you want to control motion, select a shutter speed priority and camera will pick the f-stop. Only you can decide which aperture or shutter speed will give the result you want.

Or, you can use both of them by control Aperture and Shutter Speed in “M” (Manual Mode). Remember, apertures and shutter speeds work together. If you change one, you must change the other to get the same overall exposure, otherwise you can over or under expose your shots.

What mode do I have to use to select my apertures and shutter speeds?

Program mode “P” will automatically selects both aperture and shutter speeds for you. It is best for beginners and snap shooters. When you learn more about photography, you should use aperture priority, shutter priority, or manual mode. In aperture priority, you select apertures and camera automatically picks the shutter speed. It is best used when you want to control depth-of-field. Shutter priority works the opposite. You select a shutter speed and camera picks the aperture. It is best used for action photography. When you want to be in total control of your photography, switch to manual mode. You select both the aperture and shutter speeds.

Does my camera always select the right aperture or shutter speed?

No. Camera meters are designed to give medium tone results. Medium tone is neither light nor dark. It is neither white nor black. Medium tone usually a 18% grey for almost digital camera today. Medium tone is half way in-between. Background of this page is medium tone. Tree trunks, blue jeans, green grass, blue sky are all medium tone. If your subject is medium tone, you can trust your meter, otherwise you must compensate by opening up or closing down.

What is exposure compensation?

In program, aperture priority, and shutter priority modes you must use exposure compensation dial which is marked by +/- signs, to open up or close down. If you don’t use exposure compensation dial and change one setting, your camera selects other setting which will give the same overall exposure. In manual mode you can simply change either the aperture or the shutter speed to vary exposure.

Exposure compensation is a dial or on some cameras a button which is used to override the camera meter in auto exposure modes. It should be left on zero setting for normal exposures. When you want to add or reduce exposure, select +/- 1/3, 1/2, or 1 stops of exposure compensation depending on your subject and how much you want to lighten or darken it. Make sure to zero the settings after you take your picture or you will over or under expose other shots. Learn more about exposure.

How should i do exposure compensation?

It depends on your subject and lighting. For white subjects open up 11/2 to 2 stops in the sun or 1/2 to 1 stop in the shade. For black subjects do the opposite. For subjects that are not white or black but are lighter or darker than middle tone, open up or close down 1/2 to 1 stop. How much you open up or close down depends on how light or dark you want your subject to be.

What is ISO?

It is film speed. Films have different speeds and also work in stops. ISO 50, 100, 200, etc. From ISO 50 to 100 is one stop, or two stops to 200. Slower films have less grain and are sharper than faster films, but require longer exposure time. Use ISO 50 or 100 with slide films, and 100 or 200 with print films for general purpose photography. Use faster films for fast action photography.

Photohead simulation will explain you more about ISO.

What camera should i buy?

Avoid program mode only cameras. Buy a camera that has at least aperture priority and manual mode. Avoid a camera that does not allow manual selection of ISO. Consider a camera with exposure compensation, remote release, full viewfinder information, and at least 1-1/1000 sec shutter speeds.

What about lenses?

Start with a kit lens 18-55mm or 17-85mm, 28-80mm and 70-210mm or 100-300mm zoom lenses. You’ll know if you need more lenses based on the type of photography you do. Only you can decide which lenses will work for you. It is best to start with minimum of equipment and add as you grow.

Blurry images. Why?

The blurring effect of camera shake is caused when the lens is moved while the shutter is open. Often seen when holding a camera in low light and high zoom situations. Remember that most cameras have slow lenses, and the potential for camera shake increases as you zoom in. Check this camera shaking simulation
The solution is to use a safe shutter speed or flash to freeze motion. Changing to a wide angle lens also helps, and remember a fast speed film can also buy you a few stops of light.

Another blurry image could come by using a slow shutter speed. Handholding the camera can cause blurred images. Your lens may be dirty. Low quality UV or Skylight filter is used. Use a tripod for best results.

Making a good photo require us to pay attention to the exposure of the photo. Camera have to ascertain the amount of optimal light to the camera censor to create a good color tones of the photo. This matter is obtainable by arrange long exposure (shutter speed) and light intensity of lens (lens aperture). All digital camera at this time have arranged the exposure automatically. But its still need the human to readjust the exposure to get desire photo.

Extremely Illumination
At the extremely level of light brightness is not possible to get the right exposure which recording the detail of shadow without light excess at point of interest the object. Or the otherwise. Generally the camera own the dynamic range value about 4EV. Its meaning we still can see the detail of shadow which is 2EV darker than mid tone of photo. And otherwise, 2EV lighter than mid tone of photo.

Mid-Tone
The concept of the mid-tone is a tone or detail at the middle area of the object photos. Mid-Tone is representing the parts of picture that we want as a point of interest at the photo. To maximize the exposure, the camera work at the standard of grey color tone, precisely its 18% grey. Thereby, we shall arrange the object at this level of brightness. This is one of weakness metering from all camera.

Metering
Light Metering on camera cannot differentiate the object which owning a different inheren brightness level. But, the camera at least can catch the contrast of illumination. By default, the metering system of the camera is Multi Pattern, which is measuring light brightness value of the object. With multi pattern metering, the camera automatically can accomodate a type of light which is captured from the object.
But all photographers most prefer to use the center weighted metering, that is emphasize the light measurement at the middle of the frame. While a spot metering, also emphasize the light at the middle of the photo which is centralize at the smaller area.

Aperture And Shutter speed
The camera arrange the exposure by using shutter speed and lens aperture. The combination among shutter speed and lens aperture can give various creativity in photography. The smaller aperture, earn the compensation with the slow speed of a shutter speed. Otherwise, by boosting up the speed of shutter speed, will need a larger lens aperture.

Before buying a tripod, we should know when we need to use a tripod, what kind of photography will requires the tripod. The tripod is one cumbersome accessory, and in many cases, it’s just one of those items we don’t want to lug along with us each and every time we’re planning on taking pictures. However, even without the tripod, there are several ways to improve our photographing results, if we pay attention to our surroundings.

When we need to use a tripod:

- Night shoot photography

- Slower shutter speed: you need to use a tripod when your shutter speed is slower than 1/focal-length of the lens. Thus with a standard 50mm lens, you should not attempt to handhold shutter speeds slower than 1/60th and with a 500mm telephoto lens, you will have to keep the shutter speed at 1/500th or faster. Rationale? Longer lenses magnify the subject but they also magnify any vibration of the camera. This will reduce your camera shake.

- Big enlargements or using long focal length lenses : you need to use a tripod all the time. The standard rule is designed for 35mm cameras and presupposes a certain degree of enlargement and viewing distance from the final print. If you’re going to make big enlargements and let people get close to the prints, then you need to be more careful about lots of stuff including camera shake.

- Controlled big camera motion: you might be able to handhold a slower shutter speed because the final image won’t be enlarged as much (since the negative is larger). On the other hand, medium- and large-format cameras are so big and heavy that most photographers prefer to use them on a tripod if only to avoid muscle fatigue. Sports photographers often use a monopod so that they don’t have to support the weight of a 300/2.8 or 600/4 lens through an entire football game.

- Working with fast moving subjects: Sometimes showing subject motion without the distracting blur introduced by a shaky camera makes for a dramatically interesting photograph. A solid tripod allows holding the camera perfectly still during a long exposure to keep the background sharp while the moving water blurs, achieving the effect of motion. Another example of fast motion photography using a tripod might be a soccer player attacking the ball. By holding the camera securely still, only the motion in the scene remains for a fast shutter speed to deliver a crisp image without the unnatural blur of shaky camera motion.

- Close-up photography: Holding the camera steady is vital for sharp, clear pictures. Even slight camera movement can blur pictures. Pressing the shutter release smoothly and gradually and using a tripod will eliminate camera movement for the sharpest pictures. Just like when using telephoto lenses to bring the subject closer, close-up or macro photography magnifies any camera shaking. Even with a tripod, the slightest vibration of the mounted camera setup will cause blur. Notice how touching the mounted camera vibrates the setup. Even the camera shutter can cause shaking. These tiny vibrations can be reduced by using heavy tripods, yet care by using cable releases or camera self-timers can help minimize camera movement. Test the setup before depending on it for critical results.

- Outdoor photography always dealing with wind: Wind can be a nemesis. The breeze can move the subject and create subtle vibration in an inadequate tripod. Two physical qualities contribute to tripod stability: mass and spring. Mass suggests the weight of a tripod. Spring relates to bounce-back inherent in a tripods design or materials. A heavy tripod offers inherent stability. A well designed tripod with center stabilizers or broad leg stance can improve stability. Traditionally, woods like, Oak, Ash or Beech, have been used for their high degree of stability per pound. ‘Sticks’ as they are traditionally called, afford recognized strength and stability when used in proven designs. At times, using a wind break can help minimize motion. This may be as simple as using a hat to shield a tiny flower or positioning an automobile to offer a wind screen. Patients is perhaps the most useful quality in dealing with wind. With practice, you may discover the ‘rhythm’ of the wind to take advantage of the natural flow and ebb between gusts.

What the features we should look before buying a tripod

- Construction Material: The carbon-fiber tripod offers the greatest weight to stability ratio against the more common aluminum tripod. The carbon-fiber model will also be easier to hold during those cold, winter days. Unfortunately, the carbon-fiber tripod will come with a much higher price tag. If you can afford the price tag, it is an item that you won’t be replacing and won’t regret using. If you cost average the price against how many years you will be using it, it might become the one to think about after you realize all the compromises that you had to consider on similar models. If you end up replacing a tripod that didn’t fit your needs, the extra cost of eventually purchasing another tripod might cost you the same price.

- Tripod Height: There are 3 heights that you should be concerned with maximum, minimum, folded height.
You have 2 options regarding the maximum height. The tripod with camera can be at eye level to you or the tripod and camera combination can be less than eye level. The tripod that is less than eye level is generally referred to as mini or compact tripod, lighter as long as equal construction materials are compared against one another. This tripod tends to fold up into a shorter unit for carrying or packing. You will generally regret choosing a shorter model as you will constantly be bending over or lowering your body to photograph.

- Centerpost: There are 2 options available for the centerpost whicht are smoothed or geared.
The smooth centerpost is extended by holding the centerpost and raising it. The geared version has a small crank on the side, and when turned, raises or lowers the centerpost. The geared version allows you to raise or lower the tripod with one hand which is for some, and advantage. There is also an option with the smooth centerpost. Some manufacturers allow the centerpost to be removed and turned upside down so that the camera can be closer to the ground. This feature comes in handy some times. If you feel that this might be of value, then consider the smooth centerpost.

- Legs: There are 2 choices of type of tripod legs which are tubular or channels legs
Tubular models are almost always heavier, resulting in a longer life span and a more stable support. The legs usually have 2, 3, 4 or 5 sections. The tripod becomes less stable with more sections added while the tripod’s folded height becomes much shorter. The sections of the legs are adjusted by means of a leg brace, the more common types being either a flip-lock or clamp lever or the threaded twist lock. Threaded twist locks offer good strength and rigidity, but take longer set-up and breakdown time. They are also subject to over tightening and can pick up sand and grit. Flip-lock or clamp levers are generally the most satisfactory overall because of quick set-up, trouble-free operation (easy to use with gloves), and long term durability. The type of locking device is usually a personal decision since there are many pros and cons for each type of locking device.

- Feet: The tripod might have a combination of two types of feet which are outdoor or indoor use.
Some tripods allow you to unscrew the bottom of the legs to produce a pointed end for outdoor use. When the feet are set to normal, the legs have a rubber bottom for indoor use.

- Head: Check the specifications on the maximum weight that the head can handle to make sure that it will work properly with the tripod since the choice of head is even more important than the tripod choice. Also be sure to check the maximum weight that the tripod and head in combination can handle. Pan-tilt heads are excellent for landscape and macro work. There are 2 types of pan-and-tilt heads, Two handle or One handle. The single handle head was originally for movie and video cameras that required horizontal positioning only. The two handle head has the ability to adjust both horizontal and vertically so that you can position your camera at the exact position necessary. They also make good general purpose heads.

- Stability Test: If possible, mount your camera on the tripod that you are considering. Stomp on the ground next to your tripod and watch the camera lens move. Then, jiggle the leg of the tripod and watch the camera lens. You are looking for the least amount of lens movement and the quickest recovery (how long does it take the lens to stop jiggling). The smaller or lighter the tripod, the harder it will stand up to this stability test.