Posts Tagged ‘digital’

Macro Photography

Wednesday, May 4th, 2011

Strictly speaking macro photography is close-up photography where the image size is life size or greater. So that means if you are photographing something 1cm across then the image that forms on the film or digital sensor must be at least 1cm across. Of course since we always enlarge the image from the film/sensor the viewed image ends up many times larger than real life.

macro

Having established the rule that macro is 1:1 or greater, macro is nowadays anything that is done with the little flower symbol set on the camera – and this is invariably a far cry from life-size reproduction. So I am now going to ignore the rule and for the rest of this article treat macro as another word for close-up photography.

My first ‘proper’ macro lens was the superb Tamron SP90 which, in it’s pre-digital incarnation, allowed half life-size reproduction on 35mm film. True macro (1:1) required the use of a matching extension tube, which I rarely used. I’m currently using Canon’s 100mm EF macro, a lens which creates images up to life-size and focuses as close as 31cm (about 12″).

Macro lenses are available from the big two in a variety of focal lengths. When I used the Tamron on a 35mm camera its 90mm focal length made it incredibly useful for two reasons: it functioned as an excellent portrait lens; and its moderately telephoto focal length meant I didn’t have to get quite as close to flighty insects in order to fill the frame. The 100mm Canon I now use, because of the 1.6x crop factor is effectively a 160mm telephoto. This is excellent for insects still, but just a little long for portraits. There are other advantages, however. The lens hood (ET-67 available to purchase separately), is very deep, so that extra distance you get from the 160mm means there’s generally enough room in the studio to get some light into the small space between end of hood and the subject.

And just in case you think you need to fork out hundreds of pounds on a dSLR and macro lens, here are a couple of images I took with a 5 megapixel bridge camera (Minolta Dimage A1) several years ago.

PICT0016

damselfly

The chocolate curls image is my most popular image on microstock sites and I’ve sold many copies of it. It was taken in the garden with the camera on a tripod. I used the self-timer to trip the shutter – thus avoiding jerking the camera when the shutter release was pressed. The damselfly was captured while I was wandering around the Dorothy Clive Gardens.

Subjects for macro photography are everywhere. I frequently go for a wander around my garden to see what I can find. It’s largely a matter of starting to take pictures and then as you become more familiar with the process you ‘get your eye in’ and start to see potential subjects everywhere. Here is one I took just a couple of days ago.

Pulsatilla

Macro shooting, like most other photography, can be done indoors and outdoors. Indoor macro photography has some very distinct benefits over shooting outdoors so I will look at these two aspects separately.

Indoors
Almost anything you have in your home is a potential subject for macro photography – from a close-up of your partner’s eye to a pile of coloured pencils.

Lego Truck

You will need a tripod for this. The Joby Gorillapod is a particularly useful lightweight tabletop tripod useful for low-level shots outdoors too. The tripod gives you two huge advantages over handholding. The obvious one is eliminating any softening of the image as a result of camera-shake. The other is that it frees you up to concentrate on the composition. With the camera locked in place you can continue to make minute adjustments to your subject, check it in the viewfinder/screen… tweak it again… and again… until everything is the way you saw the image in your mind. This really is a very pleasant way to work and allows you not only to exert fine control over the way the subject is presented but also over the light and shadow too.

Rose

Whether you are using window light, portable, or studio, flash remember that the use of white paper/card is invaluable for lifting shadows and reducing contrast. With a tripod too, shutter speeds can be relatively slow, though sometimes a touch of flash is need to add a little sparkle – but using flash doesn’t mean it has to provide all of the light for the exposure, be aware that you can balance it with window light to create quite pleasing effects.

Peppers

When shooting indoors with subjects that you’ve had on display. Watch out for dust particles. They really stand out once you get close to life-size reproduction. So keep an anti-static cloth handy.

Outdoors
Again a tripod is useful and back in my film days when I was selling a lot of flower and garden images the camera was almost permanently tripod mounted and the Tamron SP90 rarely off the camera. However, for insects – like butterflies and dragonflies – a tripod is a bit of a hindrance as they rarely co-operate by remaining in one place for long. They can also be quite difficult to approach closely – this is where the longer focal length macro lenses like the Canon 180mm or the Nikon 200mm come into their own. One place that I found the Canon 100mm 2.8 macro really useful was in the butterfly house at Chester Zoo.

Butterfly Houses

Butterfly houses are a great place to practise macro photography – the butterflies are generally much larger than out in the real world (at least in the UK) and so much easier to get frame-filling images. Lots of nectar sources often mean that feeding butterflies will remain stationary long enough for you to grab a few shots.

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If you look carefully among the foliage you can also find colourful and exotic caterpillars feeding and since caterpillars are really slow movers you can take your time, watch the background, and capture some stunning images.

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Butterfly houses are hot, humid greenhouses because they re-create tropical forests. On a cold day, this means that the minute you take the lens cap off, the cold lens is covered in condensation. On a warm day the lens is just covered in less condensation. Wiping it off is a waste of time until the glass has warmed up. One really hot day I was surprised to find the glass stayed clear but that’s the only time I haven’t had to hang around waiting for the camera to warm up. For the same reason, if using a dSLR, change the lens before you go in, if you open your camera up inside then you increase the chance of condensation forming in the interior of the camera and on the sensor – and that’s one place you can’t wipe it off.

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Depth of Field

Depth of Field is the portion of the image (measured as a distance from front to back) that is in sharp focus. This area of sharp focus changes as the aperture changes. Smaller apertures (larger f numbers e.g. f11, f16) mean greater depth of field, Larger apertures (e.g. f2.8, f4) mean very shallow depth of field. But there is another factor that affects this area of sharp focus. The nearer the subject is to the camera, the shallower the depth of field for a given aperture. At macro distances the depth of field, even with small apertures, can be measured in millimetres.

f2.8

f2.8

f5.6

f5.6

f16

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You can see this as a severe limitation, or you can choose to see it as a beautiful way to focus attention on the part of the image that is really important. Using a tripod means that you have total freedom to choose the aperture, large or small, that is most appropriate from a pictorial point of view, since you don’t have to worry about camera shake when using slow shutter speeds.

Backgrounds
Watch your backgrounds. It is so easy to become wrapped up in the subject that the background is largely ignored – only to realise when you view the images on your computer that there are unsightly blobs, lines and other distracting elements that you didn’t notice at the time. You can also use the aperture to throw a background out of focus as in the shot of a tulip below.

f16

f16

f8

f8

f2.8

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If you are photographing flowers then dead stems show up as highlight lines that immediately pull the eye away from the subject. Nowadays it is possible to remove these things in a photo editor like Photoshop, but life is much easier if minimal post-processing is necessary. Usually a slight change of position is all that is needed to remove unsightly objects from view. I also tuck pieces of offending foliage, or dead flower heads out of the way – be careful not to damage plants in any way if you are shooting in someone else’s garden.

Manual focus
When you are working really close and the depth of field is quite shallow, it is a bit of a lottery to allow the camera to choose the point of focus and the best pictures are made when the photographer is in charge – not the camera. So switch to manual focus so that you can accurately direct the viewer’s attention to the correct part of the image. When I’m working in my studio I use the live-view screen on my Canon dSLR, switched to maximum magnification. This is just a little easier than using the viewfinder when the camera is at around waist height on a tripod.

Conclusion

Macro photography, in some form, is possible with most cameras. But you will only achieve consistently good images if you learn the limitations of your equipment. When using a compact you need to know if that blurred image is because the subject was closer than the camera can focus or because of a slow shutter speed and camera-shake? Bridge cameras and dSLRs have their limitations too. The benefit of the dSLR is that spending money can remove the limitation. Let me know if you find this information useful and let me see some of your images. Contact details on the website www.hadfieldsphotography.co.uk

Macro Photography Kit for Beginners
Canon 1100D
50mm f2.5 Macro
Tripod + head
cable release

Macro Photography Kit for the More Advanced User
Canon 60D
100mm 2.8L Macro
Manfrotto tripod
Manfrotto head
Cable release

I recommend Canon equipment because I’ve been using it since 1977. I have no doubt that Nikon equipment is just as good – I am just not as familiar with it as I am with Canon.

Michael Hadfield

NB All images in this post are copyright Hadfield’s Photography. If you want to use any of them, then rather than steal them, just drop me an email with details of what you want them for. If it’s non-profit, and I get a link back, I’ll probably let you use them for free, and certainly give you a better quality copy than you’ll get by grabbing the image from this page.


Popularity: 76% [?]

Nikon L22 Compact Digital Camera Review

Monday, March 28th, 2011

Nikon L22
The Nikon L22 is a 12 megapixel compact digital camera available (depending on where you buy it) in red, black, silver, or blue. It has a 3.6x optical zoom (35mm equiv 37 – 134mm) which is a barely wide-angle to useful telephoto. For the price, this camera has a quality feel to it with a limited number of controls making it easy to master. The view screen is recessed slightly to protect it when you lay the camera down.

The Nikon L22 is a basic compact camera so there is very little to it. It has a decent resolution, 16 scene modes, ‘advanced anti-blur technology’ to help remove or reduce the effects of camera-shake (caused by hand holding at slow shutter speeds when light levels are low).

The Nikon L22 also possesses Easy-Auto Mode where the camera calculates range, light levels and subject type in order to assess which Scene Mode will give you the best results. This camera not only detects faces it also waits until the subject smiles before making the exposure (I’m waiting for them to invent the camera that goes out on its own and brings back great pictures all by itself – the photographer seems to be being phased out). It claims to detect and focus on up to 12 faces at a time and then automatically remove any red-eye that the camera’s flash created. This is a great idea in theory, but it does slow down operation and you have to wait for the camera to decide so in this mode it’s a little more difficult to capture images spontaneously. But still great if you just want to point and shoot.

Like most digital cameras these days, the Nikon L22 has a movie mode so you can capture movie clips to embarrass your friends on facebook or YouTube.

On the downside you can’t set the ISO yourself., the wide-angle could do with being a touch wider and the image stabilisation is electronic (which means the blurry image is doctored electronically).

On the plus side the Nikon L22 takes great pictures and is a simple no nonsense compact camera that gives good value for the price.

Power source is a couple of cheap and easily available AA batteries that last a reasonable period of time.

Conclusion: The Nikon L22 is an easy to use, basic camera that has the ability to produce clear sharp images usable for prints or sharing on-line. Definitely one for the short list if your budget is under £100.

Useful things in the box:
Camera
Strap
USB cable
CD

The competition:




Popularity: 32% [?]

Fun Things to Photograph on a Wet Day

Monday, March 14th, 2011

Ever planned a day out indulging in your favourite hobby (photography, naturally) only to wake up to the sound of raindrops hitting the window like gravel on a drum. Well rather than roll over and snuggle down into the quilt, why not get creative, pick up your camera and discover what do indoors instead. I remember the first time I tried this, I ended up with one of my photographs gracing the pages of Practical Photography – and I even got paid for the privilege.

Indoor photography is very entertaining and if all you have is a camera, then that’s just exactly what you need. If you have a flash gun, you have a little more versatility. If you have several flashguns, there’s little you won’t be able to achieve. Stuff you have lying around the house can be pressed into service. Windows, table lamps, torches, even candles can all be pressed into service to provide that beautiful play of light and shadow that will lift your images above the ordinary. Bits of plywood, mdf or hardboard from the shed make excellent backgrounds, and if there’s a bit of leftover paint you can make use of that too. Although you may not have any lying around I have quite a few pieces of mount board for framing that I frequently make use of – so next time you’re near an art supply shop, pop in and get a few sheets in different colours. White boards not only make great backgrounds but also make really good reflectors to fill in shadow areas. Quite often the only light I use is a single flash coupled with a large white mount board to bounce a little light back into the shadow side of the subject.

A tripod is really handy, I find the tabletop Joby Gorillapod really useful. Otherwise you will have to find some other way to support your camera – books are handy for this. And if you don’t have a cable release use the self-timer to fire the shutter. Unless you are using flash, light levels indoors will be much lower than outside, consequently shutter speeds will be slow and if you try to hand hold your camera you will just get blurry photographs – that’s why your camera needs to be supported. Try it with and without and you’ll see the reason when you look at your images. Finally, you will need a table. I have a small folding one that that I just use for photography. It provides me with a lovely reflective black surface (see the Lego Truck, below). And is the perfect height for small objects. Before I got this I just commandeered the dining table for a little while. Once I even used two speaker cabinets to support a Perspex shelf so I could light some transparent glassware from below using a Metz flashgun resting on the floor and pointing upwards.

Unless your camera has an effective macro setting you may have to choose large objects so you can still fill the frame at the closest focusing distance. The more the subject fills the frame, the less background you have to worry about and the more impact your photography will have.

You will probably have lots of your own ideas by now, but if you need a little inspiration to get you started, here are seven suggestions.

1. Flowers

Rose

Flowers are a good choice, because of their own inherent beauty they photograph well. Choose a background that complements the colour of the flowers. Think about how you are going to light it, if you use window light be aware that light levels drop off quite dramatically across the width of a typical room. If you use a single flash, use it off the camera and even consider lighting the flower from behind so that the petals glow with transmitted light.

2. Fruit

Peppers

Fruit is that staple of the still life or you might consider the odd vegetable too. Use a single fruit like an orange and practice lighting it from different directions, side, top, front, back, and if you’ve got something translucent or transparent to stand it on (or even an old lightbox from your film days) then you can even light it from beneath. Just doing this teaches you a lot about lighting. When you tire of that, add a few different fruits to make a still life, add some props – a bowl, a knife and a sliced fruit perhaps. Let your imagination have fun.

3. Food

Mousse

Food is one of my favourite subjects: cake, cookies, chocolate, cook something or persuade someone else to do that and dress it up, napkins on the table, a fork, glass, wine so that your photograph looks like you caught it just in time before someone ate it. With food photography it is the accessories and background that make or break the picture.

4. Ornaments

Lego Truck

Ornaments, toys even, can be pressed into service. Be mindful though that if you are taking close-ups that scratches and marks will be more obvious and may need a lot of Photoshopping to correct afterwards. Take your photograph from an unusual angle so the object is not seen the way it normally is.

5. Pets

Sully

If you have pets in the house then press them into service as models. Spend an hour or two stalking them and playing with and watching for a cute pose. Make sure you focus on their eyes. Just be mindful if they start to tire of the game. Leave them in peace and come back to it a little later. Check out CritterStudio if you want to see how it’s done.

6. Family & Friends

V

Members of your family, or friends, may be persuaded to model for you. If you are using window light you may want to consider using a white board, a sheet or some other white surface to provide a little fill to lighten the shadow side of the face.

7. Puzzles

Puzzle

Go around the house and make a collection of about a dozen or so objects and then take close-ups from unusual angles. Go into your photo-editing software and assemble them together as one jpeg and then email it to all your friends and ask them to identify the objects.

And if all this gives you that taste of adventure and you realise that you could do so much better with a small equipment upgrade then check out these cameras and maybe have a look at some low cost lighting to give you that creative edge so you can continue to enjoy your hobby whatever the weather.

Michael Hadfield


Popularity: 59% [?]

How to Take Better Pet Pictures

Tuesday, March 8th, 2011

How to Take Better Pet Pictures by Michael Hadfield
Our pets are part of the family and it’s so important to include them in the family album and have a record of them growing up and enjoying themselves. But pets, especially dogs, are lively and sometimes difficult to capture well. So here are a few tips and tricks that we use in CritterStudio that will help you to take pictures you’ll be proud to hang on your wall.

1 The Eyes Have It

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The eyes are the single most important features in a pet photograph. They must be in focus and you must be able to see them, unless you are shooting a profile, in which case you can get away with seeing just one eye looking straight ahead. Watch for the direction of the gaze, too much eye white looks very unattractive, so catch your pet looking at you when you click the shutter. Eye contact in an image creates an intimacy that is otherwise lacking. This intimacy is what creates the emotional response that you seek to capture when you view the picture – the ‘ahhh’ factor, if you like. Have a look here for some examples.

2 Had Enough
If you are having a photography session with your pet, then be mindful of their level of fascination with what’s going on. Different animals will have a different tolerance to being posed so you need to watch out for the warning signs indicating a loss of interest. When they start to get fed-up stop and give them a rest or continue on another occasion. I find that dogs, in the studio, will generally take about 30 – 40 minutes of me sticking a lens in their face and firing bright lights at them. That’s plenty of time to get some excellent shots, but it’s pointless to continue after that because their lack of alertness will show in the photograph.

3 Ready… Camera… Action…

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Movement takes practice, and a little knowledge of how your camera works, to capture well, so don’t be put off if your first attempts don’t come out the way you want them to. So even though your action shots are more difficult to pull off, with a digital camera, you can shoot away as much as you like. I am not, however, suggesting the ‘machine gun’ approach that many people use with digital SLRs. Just click the shutter, critically inspect your image on the camera’s view screen and use that to learn how to improve your timing – and your photographs. Be aware that on many cameras, especially low-end compacts, there is quite a delay between pressing the shutter button and the shutter actually firing, so you will have to learn to adapt to this, pressing the shutter a few moments before the point at which you want to capture your pet. If this is preventing you from getting the images you want then consider investing in an entry level Digital SLR like the Canon EOS 1000D or Nikon D3000 Aim to catch the peak of the action, switch your camera to shutter priority (Tv), and set the value to either 1/500, or faster, in order to freeze the action, or around 1/30 (you may also need to switch on Image Stabilisation with this speed) to create a very attractive blur that will show the movement off nicely. You may have to burrow into the camera’s menu system to change these settings on a compact digital camera. They are usually easier to find on a dSLR

4 Be Relaxed
Pets have minds of their own. Some are more sedentary than others, but they are unpredictable and taking pictures of them requires a very different approach to, say, producing a portrait of a person who will respond to direction. Because of this, patience is your biggest ally. You need a willingness to wait and watch and be ready to click the shutter when everything is just so. If you are impatient, or in a hurry to get your pictures then you will probably be disappointed with the results. Animals do not have our concept of time and you will produce much better results if you can slip into their timeless state while you seek to capture images of them.

5 See What You Don’t See

Holly copy

The background can make or break a photograph. Backgrounds that are sympathetic to the subject will almost be unnoticed, but how often have you looked at an otherwise good image and found that something in the background was pulling your eye away from the subject? The reason we so often get unsightly backgrounds is that the eye tends to focus on the centre of interest and ignore everything else. So you need to make a conscious effort to sweep your eye around the frame (whether you are using a traditional viewfinder or a viewscreen) to see what else you are photographing along with your pet. Things to watch out for are bits of other people, strong lines (pavement, posts) that cut through the subject, bright colours (red/yellow/orange especially), anything in fact that catches the eye and draws attention away from the subject. Natural backgrounds – rocks, foliage, sea/sand, sky – tend to work very well. Watch out also for clutter and litter.

6 How Close
Robert Capa once said “If your pictures aren’t good enough, you’re not close enough.” And he wasn’t suggesting that you use your zoom control to zoom in or Photoshop to crop out the excess and create the illusion of closeness. When you are physically close to your subject there is an interaction between you and your subject that shows in the photograph. It makes the subject of the photograph more real, more alive. This is so crucial with pet photographs as often the photographs are all we have left to keep that memory alive. So make sure they are good ones.

7 If You Haven’t Got It, You Can’t Use It
Your camera needs to be with you when you are out with your pet (and I don’t mean the camera in your phone). If you haven’t got it, then you cannot capture your pet in that cute, once in a blue moon action; that spectacular pattern of mud or mess; or that loving way your pet looks into your eyes asking for forgiveness because they just know they’ve done something wrong. So make it a point to carry your camera and if your camera is a heavy DSLR then buy a high quality compact like the Canon PowerShot G12 to keep in your pocket. That way you will never miss that special moment and create a collection of photographs of your pet that you can be proud of.

Have fun.

Michael Hadfield is one of the photographers running CritterStudio. CritterStudio is a successful Pet Photography business, creating beautiful images of your pet to hang on your wall.


Popularity: 76% [?]

Digital Food Photography – Lou Manna

Friday, February 4th, 2011

Digital Food PhotographyDigital Food Photography by Lou Manna

My rating: 3 of 5 stars

It would have received 5 stars if it wasn’t for the price – it just wasn’t a £23 book. £16 would be about the right price. Excellent content, beautiful images, plenty of ideas. Would have liked a bit more on the technical aspects of each image, especially how each shot was lit.
Check out Digital Food Photography on Amazon the price has dropped since I bought it and it is now much better value for money. If you love food, and you love photography – have a look.

Popularity: 22% [?]

Event Photography – Big Family Book Day

Sunday, October 24th, 2010

Had a pleasant day out at Tatton Park yesterday photographing an event run by the local libraries. Big Family Book Day was aimed at promoting reading activities within families, and visitors were able to make badges, draw, colour, lie on the floor, sneak behind the curtains to look at the all the stuffed animal heads mounted on the walls, or even explore the history of paper-making and writing.

The History of Writing - well a little bit of it at least.

The History of Writing - well a little bit of it at least.

Not only that but there were three excellent speakers to entertain visitors.

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First there was That Poetry Bloke (Craig Bradley), a wonderful entertainer with an interesting take on language and words geared towards a younger audience but certainly of interest to me.

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Then came the turn of Matt Buckingham, illustrator of the Gruesome Truths series of childrens historical books. He entertained us by sharing the process of being a given a book to illustrate and showing the page layouts and instructions he receives on what kind of an illustration is required to fit the space.

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He even did a few drawings for us.

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Finally came Jim Eldridge writer of over 250 TV and radio scripts and with over 1 million book sales to his credit. Jim encouraged the audience to participate in a team story development process to show how scripts are written. And he also mentioned how he was thrown off the writing team at East Enders for suggesting that the story lines were a little dark and could perhaps do with a little humour injected into them.

Still I wasn’t there to listen, I was there to take pictures and that wasn’t as easy as I anticipated, huge spaces, low light levels, and not very many people at any one time. Photography made a little more difficult by having to obtain signatures from parents who sometimes objected to having (very good) photographs of their children used to promote the free event they were attending and consequently help to attract further funding for events like it in the future. I then had to remember all of their children and ensure I didn’t accidentally include them in any shots after that – and they were all over the place.

Still I’d got all I needed by around 2:30 and went off for a wander round the park and see if I could catch any rutting deer…

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…or autumn colours…

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Equipment used: Canon 40D, 17-85mm IS EF-S, 70-200 EF L, Metz AF58.

Michael Hadfield

Popularity: 59% [?]

Conservation Work

Sunday, August 8th, 2010

Had a great day out in the middle of nowhere yesterday doing some work for The Churches Conservation Trust. My task was to record the enthusiastic work of a group of volunteers who were tidying up a very overgrown cemetery. The Church itself is a fantastic building with an interior design I have never encountered before. There is a gallery running round the inside of the building added so that more people could be accommodated for services.

The Church itself is rarely used nowadays, though a wedding will be taking place there later on in the year, consequently it is down to a small group of dedicated local people who do their best to look after the building and grounds. There is no regular congregation able to fund maintenance of the building and so that responsibility has fallen into the hands of the Churches Conservation Trust.

The weather was unfavourable, not only for outside work, but also for photography, with frequent heavy showers. The grey skies creating overexposed featureless highlights and a frequent gloom making ISO 400 the minimum usable rating. I used my Canon 40D with the Canon EF-S 17-85mm f/4.0-5.6 IS USM Lens lens for all of the shots. ISO shifted up to 800 only when I would otherwise have been using maximum aperture. Exposure metered on Tv with a little exposure compensation dialled in from time to time. Metz 58 AF-1 Canon Digital Flashgun was used for the lime-washing images – the nice white room meant a reasonable amount of light bouncing around even though the ceiling was dark and high. It was also used to illuminate the walls around the large stained glass window behind the altar. Exposure balanced so the stained glass still retained the wonderful glow of transmitted light.

The volunteers had a great time, and the organiser Rohit Jiwa, provided lunch for everyone, and I even had a call from the editor of the Saddleworth Independent wanting some photos.

More photos on my facebook page

Popularity: 56% [?]

Jessops, the Home of Good Photographic Advice – Maybe Not

Monday, November 23rd, 2009

I was in Jessop’s yesterday and there was a saleslady in there who was very keen. When I arrived she was talking to a family, the daughter of which appeared to want to buy a dSLR. I only noticed them because they were parked right in front of the Canon display window that I wanted to have a look at. Anyway she said something that caught my attention. An SLR is an SLR and whichever one you buy you’ll get brilliant pictures.

Mmm! I thought is it really as simple as that.

Then before I had a chance to position myself in front of the Canon Gear (of which there was a disappointing quantity I might add) a gentleman started looking at the same stuff and there she was again. The guy said he was looking for a full frame dSLR, she hesitated and I was about to offer my knowledge when she said, the 7D is full frame and the 5D. There was no mention of the two EOS 1d’s – neither of which they had on display, and interestingly no mention of any full-frame Nikons in the very next case.

Canon Digital SLR Camera EOS 5D Mark II + EF24-105 Kitcanon5d

Now here was a guy who was looking for a full-frame dSLR and this young lady was happy to sell him a 7D with an APS-C sensor which is a lot smaller than full-frame. I got the feeling she didn’t know much about photography, though I guess Jessops had trained her well enough to be able to demonstrate how a camera’s controls work.

Canon EOS 7Dcanon-eos-7d-2

Me, if I’d been selling, I’d have asked him what was the reason he wanted a full-frame sensor. My gut told me he was moving from film to digital (his apparent age was one of the factors that suggested this might be the case) and that a full-frame sensor was a belief that they maintained 35mm film quality.

Anyway, having now established that this young lady did not know as much as she was pretending to know, my thoughts returned to her opening comment. An SLR is an SLR.

Now I own two dSLRs a Canon 400D and a Canon 40D, and I’d upgrade to a 5D, 7D, or either of the 1D mkIII’s at the drop of a hat. Do both my cameras produce identical quality images? That is a much harder question to answer, but I’m sure if I rooted out some old photo magazine reviews I’d find that there was an improvement with image quality in the 40D over the 400D, or would I? It would certainly be an interesting comparison to make. I tend to use one or the other body, with the same set of lenses. I take the 400D with me when I want to have a camera, but can’t be bothered with the weight and bag full of lenses that I always take with the 40D. So I have no comparison images. This is something I need to correct.

The 40D is undoubtedly a much nicer camera to use with a better control layout and features that suit my photography. Now, as to whether Canon is better than Nikon or what I believe to be another contender for the crown – Sony. That is an interesting point to consider.

I wasn’t convinced by the young lady’s comment in the slightest. Every review I read finds some good things and some bad things, and picture quality is one of those things that varies from camera to camera. And if you ignore sensor-size/pixel count, which tends to be comparable in similar priced cameras from the big dSLR manufacturers, then the lens makes a big difference. The kit lens that comes with the 400D is pretty much fit for the bin. I only realised this after I bought the 40D and immediately noticed superior image quality from its kit lens. The 400D kit lens, when the camera was available, cost around £60. The 40D kit lens around £300. Then I bought my first L lens, and that shifted everything again.

The lens is the single most important factor for picture quality, yet the advice that was being given was, shortlist 3 cameras and then come and handle them and pick the one that feels best in your hand. Excellent selling technique. Puts responsibility for actual choice in the hands of the customer – no comeback in the form of ‘you advised me to buy this junk’; yet acknowledges that buying is an emotional rather than a logical act. The one that feels right. You’ll know it as soon as you hold it, she said.

I handled neither of my cameras before purchase; I bought them, mail-order, based purely on reviews and my (this is my emotional bit) 30 year experience of Canon SLRs. They both did exactly what I expected them to and I am very impressed with the performance of both.

To me there is only one reason to own an SLR and that’s to make use of the fact that the lenses detach and can be changed to suit the subject matter. Without this it’s just a big clunky camera bought to impress, rather than a tool to actually use. This aspect of SLR ownership was, interestingly, ignored.

So, to get back to the original comment – an SLR is an SLR, clearly suggesting that it makes no difference what you choose as long as you like it. Clearly ignoring lens quality as a factor. Clearly ignoring the size of the manufacturer’s lens range as a factor. I don’t believe the statement to be true.

Would be interested to hear your thoughts on this.

Popularity: 66% [?]

Panasonic Lumix DMC-FZ38

Sunday, November 8th, 2009


2009 sees the release of an upgrade for Panasonic’s excellent DMC-FZ28. The Panasonic Lumix DMC-FZ38(DMC-FZ35outside Europe) is a 12 Megapixel camera with a massive 18x optical zoom and an impressive specification. Among other things it offers HD movie mode; quick start-up (just over a second); face recognition plus; ultra high speed autofocus; and full manual operation. Optical image stabilisation is an improved version of the already excellent FZ28′s. While the ultra high speed autofocus, doubling the speed of the DMC-FZ28, now works in the dark as well.

Although the Panasonic Lumix DMC-FZ38 is a lightweight camera it feels nicely solid and comfortable in the hand, and like all good cameras, it has a viewfinder, albeit an electronic one. On top of the body is a pop-up flash, but, alas, no accessory shoe. The stereo microphones, clearly needing to go somewhere, have been located on top of the flash housing.

The lens is a Leica DC Vario-Elmarit producing images with a fine level of detail, good colour depth and dynamic range. The focal length, in 35mm terms, ranges from a respectably wide 27mm (f2.8), to a substantial telephoto 486mm (f4.4). Noise in the Panasonic Lumix DMC-FZ38 is well controlled for a camera of this type with almost noise-free images at ISO400, though even at the maximum ISO of 1600 the results are good enough for small prints, though fine detail suffers. AT ISO 80 images are sharp and clean with good edge definition.

The Panasonic Lumix DMC-FZ38 has an improved image stabilisation system POWER O.I.S. (Optical Image Stabiliser) and offers twice the stabilisation of the DMC-FZ28 . This means that longer zoom settings can be used hand held. Also indoor photography, where flash would destroy the ambience, (church interiors for instance) becomes more accessible. Makes me wonder how long it will be before tripods become obsolete.

The mode wheel on the top plate, alongside the flash housing, has 14 shooting options (mode wheels are definitely going to have to get bigger) to cover every photographic possibility, so whatever your skill level, the Panasonic Lumix DMC-FZ38 has a setting to suit. For the absolute beginner there is even Intelligent Auto Mode – just set the Mode dial to IA. This is the ‘Photography for Dummies’ option that lets you concentrate on the picture you want to create and let the camera worry about all those complicated aperture, shutter speed, and ISO settings. I am totally in favour of anything that makes it easy for novices to take great pictures. While on the subject of Intelligence (Panasonic seems to like that word): Intelligent Auto Exposure sorts out high contrast problems; and with the Intelligent ISO of the Panasonic Lumix DMC-FZ38 ‘The camera automatically sets the optimum ISO sensitivity and shutter speed to suit the movement of the subject and brightness of the scene to minimise the jitter of the subject.’ That’s straight from the manual. Great stuff. It won’t be long before the camera takes itself for a day out and comes back with the pictures you would like to have taken.

The innovation and enterprise of camera software designers never ceases to impress me. The Panasonic Lumix DMC-FZ38 has face recognition with a difference. The camera will remember up to six different faces and whenever any of these particular faces are present in the viewfinder the camera’s focus system locks on to them in preference to any other faces!!! And the best bit is the camera notices when you have photographed the same person several times and prompts you to register them. Registered faces, when recognised, have the focus and exposure optimised for them, over and above whatever else is in the frame.

The innovation and enterprise of camera software designers never ceases to impress me. The Panasonic Lumix DMC-FZ38 has face recognition with a difference. The camera will remember up to six different faces and whenever any of these particular faces are present in the viewfinder the camera’s focus system locks on to them in preference to any other faces!!! And the best bit is the camera notices when you have photographed the same person several times and prompts you to register them. Registered faces, when recognised, have the focus and exposure optimised for them, over and above whatever else is in the frame.

Movie mode, something of which I’m not a fan in still cameras, is a one button feature. One button starts the movie, press it again and it stops recording. Doesn’t matter what the other settings are. So in that sense it is truly useful and can capture easily those spontaneous moments. With the Panasonic Lumix DMC-FZ38 Movies can be recorded in HD (1280 x 720) and at smaller sizes too. HD is great if you want to watch it on your tv at home. The jpeg options are better for emailing and web use.

The monitor is 2.7″, clear and bright and the camera has a useful rechargeable Li-on battery and SD card housed under the same door in the bottom of the camera. Finally there is a tripod screw socket too for when your long exposures outfox the image stabilisation system.

The Panasonic Lumix DMC-FZ38 is a camera you won’t be ashamed to be seen holding, and if you don’t want the hassle and expense of interchangeable lenses and a very heavy equipment bag to carry them all then the Panasonic Lumix DMC-FZ38 should definitely be on your short list. Probably not worth upgrading if you already own the DMC-FZ28 but otherwise highly recommended. You really need to be considering DSLRs if you want to significantly improve on this camera. If you want a good quality camera for holidays, family moments, and the occasional Youtube video then this is worthy of serious consideration. For more serious photographers wanting to produce larger sized prints then I recommend that you look at entry level DSLRs.

  • Build quality 9/10
  • Features 9/10
  • Image Quality 9/10
  • Handling 7/10
  • Value for Money 8/10
  • Overall 8/10

Its Rivals.

Author: Michael Hadfield
Website: www.hadfieldsphotography.co.uk
email: Author


Popularity: 73% [?]

Three easy ways to improve your photographs

Monday, October 12th, 2009

I was out with a friend the other day when something happened that got me thinking about what experienced photographers do naturally and beginners frequently don’t know anything about. So I’ve decided to share three simple rules that shift photographs out of the snapshot arena.

My friend had a brand new compact camera and was happily enjoying taking pictures of all the plants and flowers in the garden we were visiting. There was a very attractive holly bush with berries that she found particularly photogenic.. I borrowed her camera took a shot and with a quick glance through the photos my friend had taken it was obvious that my shot was significantly better.

This puzzled me for a moment. I had a quick glance at the bush, selected my view and took the picture. My friend had taken considerable time carefully selecting viewpoints and making several exposures. She obviously wanted to know why mine was so much better.

So did I.

Looking through the shots it was clear that the main difference was not in the subject matter – leaves and berries. The main difference was in the arrangement of the leaves and berries in the frame. There is a technical term for this – Composition.

Composition is how the elements of a picture are arranged within the frame of the viewfinder – or nowadays the screen on the back of the digital camera. The aim is to create an image that pleases the eye.

People who have been photographers for a long time tend to do this automatically simply because they’ve taken thousands of photos and spent time looking at what makes the difference between a good one and a bad one.

I’m sure you’ll be pleased to know that you don’t have to take thousands of photographs in order to improve your pictures. Here are three rules that will easily transform your photographs into images that please you and your friends when you share them. And that’s a huge part of taking photographs – sharing. Pictures need to be shared and enjoyed by many people.

This is a panorama of Hope Valley at Castleton in Derbyshire. The image consists of 8 separate photographs joined together.

This is a panorama of Hope Valley at Castleton in Derbyshire. The image consists of 8 separate photographs joined together.

Rule 1 The Rule of Thirds
If you can remember the name it is very easy to remember how to put it into practice. You mentally divide your viewing screen up by placing two, equally spaced, vertical lines and two equally spaced horizontal lines. This divides your view into thirds vertically and thirds horizontally.

These lines are where you place significant items of interest in your picture. So an horizon line would be placed one third from the top, or one third from the bottom (perhaps if you had a particularly interesting sky). The corner of a building, a person, or a lamppost would be placed one third of the way in from the edge of the frame. Other significant elements would be placed on the intersection of the vertical and horizontal lines. Fortunately some digital cameras, such as the Canon Powershot A650 IS Digital Compact Camera, have an option whereby you can overlay this grid onto the screen while you are composing your picture.

You’ll find that when you do this, your pictures start to take on a greater appeal and are more pleasing to the eye. A good way to prove this to yourself is to take a picture the way you always have done and then take another one, moving the horizon from the centre of the picture to one third down from the top. And then compare and see which one you prefer.

Snowdon, North Wales

Snowdon, North Wales



The wall is centred around a vertical, while the horizon is aligned with the top horizontal.

The wall is centred around a vertical, while the horizon is aligned with the top horizontal.

Rule 2. Use Diagonals.

Another simple device is to change your position so that you can have lines, like roads, rivers, or paths, moving diagonally across the frame from one of the lower corners towards the centre of the picture. This has the effect of leading the eye into the picture and keeping it there. This is visually pleasing and satisfies the ‘eye’.

The river provides a pleasing line for the eye to follow.

The river provides a pleasing line for the eye to follow.



The diagonal line of the canal leads the eye into the picture and on to the narrow boat in the distance. The red colour of the boat halts the eye.

The diagonal line of the canal leads the eye into the picture and on to the narrow boat in the distance. The red colour of the boat halts the eye.

Straight lines angled across the frame, rather than horizontally or vertically, create visual tension. This has the effect of making the picture more interesting, and more pleasing to view.

Here two crossing diagonals focus attention on the main point of interest.

Here two crossing diagonals focus attention on the main point of interest.



A much more pleasing arrangement than with the edges of the dish aligned with frame edges.

A much more pleasing arrangement than with the edges of the dish aligned with frame edges.

Rule 3. Compose with Colour.

The vast majority of pictures are taken in colour. Notice the effect of different colours. Cool colours like blues and greens recede. Bright colours like reds and yellows tend to dominate. So small patches of red or yellow can be used to balance much larger areas of cooler colours. The eye is drawn to these brighter colours so make sure there are no distracting reds or yellows to pull the eye away from your subject. Watch out for this especially if you are out in the countryside. Many waterproof jackets are made of bright materials and even if the person wearing them is a long way off – the eye is pulled straight to that patch of colour. Wait until they’ve walked out of frame. And you will have a better photograph.

Bridge with distracting red element

Bridge with distracting red element

Above, the red canoes distract the eye from the elegance of the bridge.
A slight shift of position and camera orientation has removed the distraction. An excess of featureless water has been cropped from the image below.

Composition improved and distraction removed.

Composition improved and distraction removed.

That’s three very easy tips to remember that will bring an immediate improvement to the quality of your photography.

Michael Hadfield

Popularity: 22% [?]