|
|
|
|
|
|
|
|
|
The most expensive, high-tech, battery-draining, second mortgage costing camera does not insure excellent photos. A modestly priced point and shoot in the hands of a visual artist can produce amazing results. So if you don't own any of the cameras I've mentioned on my site, don't worry. It just means I haven't personally tried it out. The equipment is merely an extension of the artist's vision. If you have the "vision" the rest will follow.
The most popular type of camera is the compact 35mm. These are small, lightweight and fully automatic. A variety of models come with built-in zoom lenses and almost all come equipped with a built-in flash. Some allow the user to control the shutter speed. Usually these types of cameras are designed for the everyday person who want good pictures but without the having to worry about the technical side of photography. Drop in the film and you're ready to shoot. Film advance and rewind are usually automatic. Some models allow the time and date to be imprinted on the corner of each picture. Yet others offer a waterproof model which allows some protection against the elements. Some even allow for underwater shooting as well. When purchasing a camera try to acquire one with a glass lens, not plastic. Plastic ones are common and are not as sharp and scratch easily. A few fancy frivolous features don't make up for a fuzzy picture. Also bear in mind that cameras which offer a zoom lens may compromise image quality at its upper zoom range. (Especially if the lens is made of plastic.) Shorter the zoom range, the better. 28-85mm or 35-105mm, are good bets. I prefer the non-zoom compacts with the least amount of moving parts. They are smaller, lighter and usually yield better quality images over their zoom counterparts, but then again the convenience of having a zoom may override that single factor. An image from a good quality point and shoot 35mm rivals those taken by larger 35mm SLR cameras. The difference will be noticeable when prints are blown up beyond the 4x6 standard size. Another added bonus 35mm compacts offer is that they are not intimidating to the subject. A large, SLR set up with mounted flash and big lenses can make the subject more self conscious than a small, unassuming 35mm compact. That in itself will yield better pictures. Also look for models that offer some type of exposure override for creative potential. I like the ones which offer a "night" or "slow-sync" mode. This allows the camera to expose more of the scene when flash is used at night. Here are some good 35mm Compacts to consider: CANNON Sure Shot A-1
32mm 3.5 Waterproof to 16 FT. The numbers followed by "mm" (millimeters) is the focal length of the lens. Smaller the number, wider the angle of view. The number following the focal length are the F-Stops or lens opening. Smaller the number, the greater the ability of the lens to gather light, this usually translates into sharper pictures. (And more costly.) Confused yet? Weatherproof- Camera can withstand a few raindrops, but NOT waterproof. No underwater capability. Waterproof- Camera can be dunked underwater, but not beyond 10-20 FT. Check owners manual for details. 35mm Compact cameras: PROS: Small, lightweight, fully automatic, good quality images, relatively inexpensive, the all-in-one photo solution for everyday needs. CONS: Limited (if any) lens expandability, limited exposure control. APS (Advanced Photo System) 24mm cameras. These cameras offer the features of the 35mm point and shoot compacts with the added options for framing: portrait, panoramic and normal. Bear in mind that in order to accommodate these multiple framing options, the print is enlarged and cropped to the specific format, which contributes to some image loss. The APS cameras also simplify film loading by offering a drop-in cartridge which does not need to be fed into the take-up spool of the camera. The cost of film and processing is usually more expensive and the image is not as sharp as the 35mm format. APS film is 24mm, slightly smaller in size to the 35mm cameras. In my opinion, they are "fun" cameras at best.
If you don't mind a bit heavier camera with interchangeable lens capability and a little more investment, then these SLR (Single Lens Reflex) cameras are just right for you. Some models offer the ease and convenience of the compact 35mm with the added bonus of lens interchangability. 35mm SLR offer better image quality due to the larger, sharper lenses. Exposure control is also expanded here in this category. Shutter and aperture as well as focus and interchangability is offered. Auto focus operation with manual override is offered here as well. When buying a new 35mm SLR, again a good quality lens next to good ergonomics is paramount. The brand you choose is important since future accessories and lenses made by other camera manufactures are not cross compatible. The camera "body" can be purchased separate from the lenses. Most modern cameras have auto focus built-in. However, here are some fully manual classics to consider. The Nikon FM2 and the Pentax K-1000. If you've acquired a camera without an owner's namual, here are a couple of websites that may have them. www.manualsrus.comwww.craigcamera.com Quality 35mm SLR's to
consider:
MINOLTA 800si or the Maxxum 9
NIKON N65 or the F5 35mm SLR cameras: PROS: Expandability of interchangeable lenses, wider assortment of accessories, higher image quality and greater exposure control. CONS: Larger and heavier then the 35mm compact cameras, more features than most people want, more expensive.
The camera sends out an invisible beam which is reflected off the subject and back to the onboard sensor which determines approximate focus based on distance information. Kind of like visual radar. That is why the camera sometimes focuses on the glass rather than the dolphins swimming behind it. This type of auto focus is known as Active AF and is commonly used on compact Point and Shoot 35mm cameras. For SLR cameras, sensors within the camera determine focus based on contrast and edge sharpness. Some have multiple sensors to increase accuracy. A motor within the camera or lens rotates the lens barrel for automatic focus adjustments. In low light situations, a red beam is projected onto the subject from the camera or flash to aid in the autofocusing. So sharp pictures can be obtained in total darkness via infrared illuminator. This Passive AF is found on 35mm SLR and even some sophisticated P/S zoom compacts. This type of AF is more accurate than their Active AF counterparts.
Lenses for 35mm SLR cameras come in two basic categories: Prime and Zoom lenses. Prime refers to the single focal length per lens. (i,e. 50mm) Zoom lenses offer a variety of focal lengths within the single lens. (i,e. 28-85mm) Focal length is determined by measuring the distance from the camera's shutter curtain or focal plane out to the center portion of the objective lens when focused to infinity. The objective lens is the outer most lens element located on the front of the lens. This measurement method is applied to prime lenses only. Zooms have moving focal lengths which change the overall size of the lens, thus the measurement is not taken from them although the magnification factor still remains a constant. Focal length is basically the amount of magnification, or lack there of, of the lens. 50mm is considered a normal or "standard' lens since the image viewed through it is what you see. There is no distortion through the 50mm normal lens. Wide angle lenses- Any lens with a focal length shorter than the normal 50mm. (i,e. 6mm, 15mm, 20mm, 24mm, 28mm and 35mm are common wide angle lenses.) Telephoto- Lenses with a focal length greater than 50mm. (i,e. 85mm, 105mm 135mm, 200mm etc... are some common telephoto lenses.) Zoom lenses- Zooms are not to be confused with telephoto lenses. Zooms can also have wide angle focal lengths as well as telephoto range. A variety of focal lengths can be found in zoom lenses. (28-85mm, 35-70mm, 35-105mm 80-200, 28-200 are all common zoom lenses.)Most zooms are variable aperture lenses which have smaller maximum apertures and lower quality glass than their fixed focal length counterparts which contribute to reduced contrast and edge sharpness. (i,e. 70-200mm f 4-5.6 At 70mm the widest opening is at f 4 and at the 200mm range the the widest opening is at f5.6) Zooms with constant apertures use higher quality glass elements which yield sharper pictures and improved contrast over their variable aperture counterparts. (i,e. 80-200mm f 2.8 The 2.8 is constant throughout the entire zoom range.) Aperture- The size of the adjustable lens opening is considered the aperture. This controls the amount of light entering the camera. The aperture and the shutter combine in exposure control for the camera. The smaller the number=larger arpertue. (i,e. f2.8 is larger then f16 even though the number 16 is greater than 2.8) Lenses with larger apertures let in more light producing a brighter image in the viewfinder of the camera.
Film comes in a variety of speeds at ASA(ISO) 100, 200, 400, 1000 are some of the common speeds. Higher the number, the faster the film. lower the number, yup ya guessed it, slower the film. ASA- American Standards AssociationISO- International Standards Organization. The current standard used Faster films are ideal for capturing action or in low light situations. Faster film is more sensitive to light. Faster the film, the more grainy it will be. Colors tend to be less saturated than the slower films. Slower films are ideal for subjects which are well lit or slow moving. Slower films are less sensitive to light. Slower the film, the less grainy it will be. Colors generally are a bit more saturated than the faster films. When in doubt use 200 speed film for SLRs. It is a good all around film. For Point and Shoot Compacts use 400. Print vs. slide film- Print or color negative, film is the most common type used. Print film is very forgiving in the sense that it has a wider exposure latitude than slides do. Extreme over or underexposed images are rare due to its forgiving exposure range. This basically means that it can handle wider lighting situations without much doing on the photographers part. Films with the word color in the name are intended for prints. (i,e. Kodacolor, Fujicolor, Agfacolor etc...) C-41 is the processing method used to develop color negative films. Color slide, transparencies, reversal, and chromes are some names referred to this type of film. Slide film offers less exposure latitude, but in return delivers more richly saturated colors over their print counterparts. Careful exposure calculations are needed to produce well exposed images. slides are ideal for showing your photos to a large group and is often used in commercial applications due to its pre-color separation qualities. Films with the word chrome in the name are intended for color slides. (i,e. Kodachrome, Ektachrome, Fujichrome, Agfachrome etc...) You can get slides from prints and vise versa, however, there is a loss in image quality when going this route. Unlike prints, with slides, there are no accompanying negatives. The mounted slide is the original piece of film in the camera at the time of exposure. E-6 is the most common processing method used in developing color slide films. Traditionally black and white films have been used for artistic interpretations of our colored world. Black and White prints are very sharp and are not prone to fading as much as the color prints are. Traditional B&W films require a special processing which is not available in most color labs. The newer generation of B&W films can be processed using color chemistry, this basically means that you can have them done at a one hour photo lab. Kodak and Ilford make excellent films with a speed of ISO 400. Film can be pushed or pulled beyond their default ISO rating. Pros do this to get a little more depth of field or increased shutter speeds under low light conditions. I've recently rated Velvia at 80 and had it push processed by one full stop for increased �punch� on dull, overcast days. Some photographers say that the �true� speed of Fujichrome Velvia 50 is at 40 and manually set their ISO dial accordingly. A word
about processing.
The film's inability to record light accurately at extremely short (1/1000 sec or faster) or prolonged shutter speeds. The time needed to expose the film at low light levels increases exponentially. This also effects the accurate rendition of colors due to the film's emulsion layers inability to capture the full light spectrum. Take, for example, a night scene which requires a time of 2 minutes taken from your light meter reading. In reality you would probably need an exposure time of 5 minutes to properly expose the scene on film. Longer the exposure, more time needs to be added in addition to the original reading. This "failure" can create some interesting effects. Images taken at dusk on slow films produces a deep magenta colored afterglow in the sky.
What type of film should I use for... Common question I get asked often, however, there is no "right" film. Many factors contribute to proper film selection with many choices. However, for compact Point and Shoot cameras, I'd recommend a 400 print film. Reason for this is that most P/S cameras have small built-in flash units, which do not reach beyond 15 feet. 400 speed film increases the reach of the light output of the built-in flash. Another reason I recommend 400 speed is that the lens on most P/S cameras have small lens aperture openings, thus limiting the amount of light entering the camera. Most P/S zoom compact cameras have an aperture of f-4.5 to 8.5. The faster film speed is more sensitive to light which allows for more exposure versatility. Kodak and Fuji are good choices and are commonly found in most cities around the world.
Most first time camera buyers are a bit intimidated by the larger, feature-rich SLR cameras. With everything from auto film loading to flash bracketing in 1/3 increments, there is a lot to get confused about. However there are actually two main components which give you total control over the exposure process that should be of main concern to you. The Shutter, which controls time, and Aperture, which controls amount. Shutter- This controls the duration of light that is subjected to the film. A rubberized cloth material is used for older manual cameras and titanium leaves are used for newer automatic cameras. The speeds range from 30 seconds to 1/12,000 of a second. Speeds below 1/30th of a second require a tripod to steady the camera to avoid blurring. There is shutter speed dial or push-button control on the top right part of the camera. This controls the duration of light reaching the film. Most motion blurring special effects are obtained through the manipulation of this exposure control mechanism. Aperture- This is the adjustable opening in the lens that controls the amount of light entering the camera. The F-number ranges from 1.2 to 32 for 35mm cameras. Higher the number, the sharper the image due to increased depth of field. Although the peak edge to edge sharpness is often two to three F stops from the "wide open" or largest F number aperture. (i,e. A 50mm F 1.7 sharpness zone would be at 3.5 to 4) There is a ring on the inner most part of the lens closest to the camera body with numbers from 1.7 to 22. Some cameras have push button mechanisms to control the amount of light entering the camera. Selective focusing where the subject stands out sharply from a blurred backdrop is accomplished by the manipulation of the aperture. In practical terms keep the shutter above 1/30th of a second if hand holding the camera and adjust the aperture accordingly to match the exposure. Consult your owner's manual for detailed operation. Remember faster the shutter speed requires a larger lens aperture. Slower the shutter speed or longer the duration, the smaller the aperture. Cameras either have a match needle system or LED's which guide you to obtain that exposure balance. Quite simple once you get the hang of it. Most cameras have a combination of several automatic exposure modes. Here is the general breakdown of the ones found on most modern 35mm SLR cameras. Automatic Exposure Settings-
Some cameras have pre-programmed modes. Great for those who want a little more control than the Program mode. Sports/Action mode selects a higher shutter speed to freeze action. You can also bias the auto modes by dialing in a plus or minus exposure value (EV) on the exposure compensation area of your camera. Usually located somewhere on the left part of most SLR cameras. A positive setting exposes more light and a negative setting reduces the amount of light being metered. This is an essential tool for determining proper exposure under adverse lighting conditions which would otherwise fool your in-camera meter. This techinique is more suited for slide film rather than print due to their limited exposure lattitude. Some cameras have a built-in auto exposure bracketing feature which takes three to 9 successive images at various exposure increments. This is not necessary when shooting print film. Snow or white sandy beaches
require an EV setting of +1 to +2. For vivid colors from your print films, set your exposure compensation dial to +1 for the entire roll. The logic behind this technique? Dense negatives due to slight overexposure provides more image data which translates into more exposure lattitude for printing the photo.
This is handy if you have a mechanical shutter camera. When the battery fails, the sunny F-16 rule can save the day. This is also a good starting point for basic daylight exposure calculations for creative effects. To determine shutter speed, dial in the nearest equivelent of the speed of the film being used as your shutter speed setting. Then set your aperture to F-16. That's it! 1/125th of sec = ISO 100 speed film.1/250th of sec = ISO 200 speed film. 1/500th of sec = ISO 400 speed film. 1/1000th of sec = 1000 ISO speed film. Most
modern cameras with digital readouts may have shutter speeds closer
to the target film speeds.
In my opinion, dramatic lighting is more appealing than the subject itself sometimes. Watch the quality and quantity of light in your pictures, especially outdoors. The light changes dramatically in angle, intensity, color and direction as the day wears on. This light can be hard, soft, bright, dull, warm or cool. There is no "best" time of day for taking pictures. Morning light is bright and crisp. Evening light is usually warmer and a bit softer due to atmospheric conditions and all them gas guzzling' SUVs. ;-) Each lighting condition has its unique quality. Although I'm impartial to the "sweet light" which occurs one hour after sunrise and one hour before sunset. Camera mounted electronic flash is a good portable light source, however, understand that it can be harsh and unflattering if used as the primary form of illumination. The trick is to have your flash pictures look like there was no flash used. If you achieve this, then you've mastered the fine art of flash photography. Use it to fill in shadows created by the sun outdoors.
The human eye is capable of perceiving over 1000 individual levels of brightness. Film, on the other hand, can only record about 10 levels. Ansel Adams, a landscape photographer from the mid 20th century devised a system for measuring the film�s tolerance to various light levels found in nature known as the Zone System. 11 Zones of brightness make
up his �zone system� represented by roman numerals.
Zones 2 through 8 show
printed detail. Zone 5 is middle grey and represents normal color
and brightness.
Aside from natural daylight, there are two basic types of artificial light sources. 1. Tungsten quartz lamps also known as "hot" lights. They generate lots of heat too. These are constant light sources because they stay on during the whole shooting session. Tungsten film is used under this type of illumination to maintain true tones. Daylight film used under this lighting causes an orange color cast because this type of film is balanced for outdoor and electronic flash photography. 2. Electronic flash or "strobes." Studio strobes are similar to your built-in electronic flash except that the studio strobes are much, much more powerful and versitle. Even within this category there are two types of strobes. A monolight and studio flash packs. The monolight setup is a self contained power supply and flash bulb built into one unit. The unit still needs to be plugged into an electic outlet to power the unit. The studio flashpack strobes contain a powerpack which regulates power to multiple flash heads. This setup is preferred by most pros due to its versatility and power output. This setup also uses AC wall current to power the setup. Battery powered units are available. Great for outdoor applications. The only drawback is the limited power output and flash recycle times which are not as fast as their AC outlet counterparts. The light source is almost always modified through umbrellas or softboxes. These devices tame the harsh directional light.
Most modern 35mm cameras have sophisticated light sensing meters built into the camera. However, it only sees in average tones. What this basically means is that it tries very hard to "average" out the dark and light areas of a scene. for instance, when photographing a scene at the beach or a wintery snowscape, the light meter "sees" too much "white" so it attempts to correct it by bringing the tones back down to the average gray it assumes is correct. That's why your beach and snow scenes look gray. to compensate, open up your lens a full stop or two and that will fool the light meter into thinking that it is seeing white and not gray. Dialing in an EV of +1 or +2 on the exposure compensation control may yield better results as well. If a scene has too many dark tones in relation to the lighter ones, you can bet the meter will try to bring up the tones to average. A photographed scene at twilight may come back from the processor as if it were shot during the middle of the day if proper exposure is not obtained. To correct for this try closing your lens down a stop or two from the recomended meter reading or dial in an EV -1/4 to a full -1 stop on the exposure compensation controls. Your light meter is a very sophisticated piece of technology, however, it does need a little help now and then. To further insure proper exposure, try taking your meter reading off a photographic gray card. Not just any card, but one designed for light meter calibration. It is 18% gray, the percentage the light meter "sees" in. They're only a couple of bucks at your local photo supply store. For tricky lighting situations, place the card in front of your lens and lock the meter reading for that light level. Then pull away the card and resume taking your picture. Make sure the card receives the same amount of light as the intended subject is getting. For even more control, you can buy a separate hand-held light meter. The meter in your camera is a reflected type light meter. It reads the light being reflected off your subject. Hand-held light meters can not only read light reflecting off the subject, but can also read the light falling on the subject, this is an incident light meter. This method of light measurement is more accurate since the meter is not trying to "see" in 18% gray average tones. Some even allow you to measure the brief duration of light emitted from your flash unit. And yet others even read the color of your light falling on the subject. These are called color meters and are very spendy.
Aside from controlling the amount of light entering the camera, aperture also controls the amount of sharpness as well known as depth of field. When a person squints to see an object in the distance, they are in effect closing down the aperture of their eyes to make the image sharper. Depth of field is the distance range within which objects in a picture look sharp. 3 factors control depth of field: aperture, camera to subject distance and focal length of the lens being used. For maximum sharpness a small aperture, wide angle lens and a considerable amount of camera to subject distance. More depth of field is useful for landscapes. Greater the focal length, shorter the camera to subject distance and a large aperture will yield a shallow depth of field where the areas in front of and behind the subject will be out of focus. Less depth of field is ideal for portraits where the subject stands out from the background by having the background out of focus.
There are lots of gadgets out there for the photofile, but here are few that actually improve the final product. A tripod- The most valuable pal a photographer can have. For self-portraits, low light photography, close ups and where ever you need a steady support system. A good middle weight model will do. Not too light, or it will surely defeat the purpose of a rock steady support for long exposures and easily bumped. And not too heavy of a tripod because if it's too heavy to lug around, chances are it will be left at home. I prefer the ones with a quick release head that allows fast mounting in the field. A cable release- This allows further insurance against camera shake while mounted on a tripod. Even the slightest pressure from your finger on a tripod mounted camera can be sufficient enough for a blurred image. If your camera does not have an option for triggering the shutter via cable release, then use the self timer with a tripod mounted camera. A polarizer filter- (SLR only) If there is going to be one filter to get, get this one. It removes reflections and glare from sun, darkens blue skies without affecting the other colors and also increases overall color saturation. Not available for compact 35mm, far as I know of. A UV/ Skylight filter- (SLR only) A clear or slightly pinkish tinted filter which blocks out UV rays or warms the image taken under the shade. They can be left on at all time to protect the front elements of your lens. A scratched filter may be a fraction of the cost of replacing a whole lens. 81A filter- (SLR only) A slightly tan tint adds a little warmth to your pictures taken with electronic flash. Great for portraits. Graduated neutral density filter- (SLR only) This is great for reducing contrast in landscapes while still maintaining the colors nature intended us to see. It is half gray and the other half is clear. A portable reflector- For filling in the shadowed areas of a subject. I prefer the PhotoFlex� type where it collapses down to 1/2 it's size. It's gold on one side and white on the other. A camera bag- Select one that is lightweight, durable, expandable and comfortable. Look for one that has some type of weather resistance. I'm impartial to the bags made by Lowprow�. Lens cleaning kit- To insure sharp, clean images, keep the lens clean. A can of compressed air, a lens brush, lens tissues and lens cleaning fluid should be in every camera bag. Also a piece of lint-free lens cleaning cloth is a handy item as well. these can be washable and are great for removing an occasional smudge or two on the go.
Gently press the camera against your face while holding your breath momentarily as you press the shutter button. This will help minimize camera shake to insure sharp pictures. Punching the shutter button can lead to blurry images. Also try to use the built-in self timer to trip the shutter. You may gain an extra shutter speed or two (down to 1/15 th sec) by not applying pressure on the shutter release. Use a tripod for taking photos under low light conditions. A cable release will further reduce camera vibrations. Night scenes and special effects are well suited to the use of a camera support such as a tripod. When you set your camera to "night" mode, the camera automatically selects a slower shutter speed to allow for proper exposure. Attempting to handhold the camera in this mode would surely result in blurry images due to camera movement. To further insure against blurred images due to camera shake, use a shutter speed equivalent to or greater than the focal length of the lens being used. For example, when shooting with an 80-200mm zoom set at 200, set your shutter speed to 1/250 or greater.
Occasionally give your camera a thorough cleaning. A lint free micro fiber cloth and a little lens cleaning fluid is all you need to keep your image maker spotless. Most well stocked camera shops should carry these items. A can of compressed air should keep dust particles from embedding themselves to the inside of your camera. Be careful not to blow out your shutter curtain if cleaning an SLR camera. Keep the front of the lens clean. Never leave your camera in a car parked in the sun. Temps inside the automobile can easily exceed 100 degrees which can cook your film. Aside from the camera itself being exposed to the heat, the film can stick together while sitting idle in your camera. The chemical composition of the film can be adversely affected due to high temperatures as well. Color shift in your images will be one of the signs of this type of environmental exposure. Periodically clean the battery contacts on and in the camera with the eraser end of a pencil. This will ensure clean connections between the camera and the valuable power cells. Corrosion build up can reduce the overall effectiveness of the battery, thus limiting camera operation. You may not see the build up, but after time it does accumulate. This holds especially true for stand alone flash units which draw massive amounts of current from their batteries. When shooting in freezing temperatures, try to keep the camera warm by keeping it in your inside jacket pocket until the time of exposure. Battery performance decreases as the temperature drops. Lithium batteries perform better than NiCads or Alkaline batteries in extreme cold. After sub-zero shooting, place the camera in a sealed ziploc bag before coming indoors. The bag will allow the condensation to form on the outer surface rather than on the camera itself. Moisture inside the camera can damage delicate electronics and cause mildew to form even inside the lens. Plastic bag is cheap insurance against costly repairs. When not using the camera for extended periods of time, store it in a cool, dry place. Also remember to remove the batteries to reduce corrosive build up. Place a silica gel pack in your camera bag to keep moisture from forming. If the camera does not get much use throughout the year, periodically take it out and trip the shutter without film to maintain the self lubricating elements of the camera. Also fire the flash to maintain its full power and to prevent the deforming of the condensers. Sometimes flashes need to be test fired two or three times to get to full power. |
||||||||||||||||||||
Good pictures are rarely just "snapped" on the
go. Good, memorable, photos are "made" with a little knowledge
and some foresight on the part of the photographer. Having the
basics of photography will ensure higher quality
photos.|
|
|
|
|
|
|
|
|
|