Posted on 11/08/202111/08/2021 by Ervin V.

The Differences between Snappers and Photographers

On the one hand, this article is not intended to be a doctrine set in stone. On the other hand, it should be more about the technical details in photography that the snappers may not even know about, but which are valuable techniques for the careful photographer when it comes to the photographic implementation of an idea. What are the classic differences?

• My friend, the clicker

• The best image quality of a lens

• Do not stop down too much: diffraction blur

• Do not choose the ISO value too high

• Use a tripod

• Types of light in photography

• Turn off the autofocus, avoid a blurry foreground

• Correct exposure: expose on the shadows

• Use the measured value memory of the camera

• Use the white balance correctly

• Distortions and Converging Lines

• Use of artificial light

• Develop a concept

My friend, the snappers

The expression “camera snappers” (following from the German designation of “knipster” means someone who just presses the shutter release without any great consideration), yet often pretend to be a “serious photographer”

I have a good friend who has been the owner of a modern digital single-lens reflex camera that is quite usable in terms of quality. Since the 1980s, such cameras have had a “P function” (automatic program) or, even better, an “auto function”. You don’t have to worry about anything anymore, the camera will fix it. At first I think that’s really good! Because how cumbersome is dealing with physics when you just want to make good pictures. The snappers have a clear advantage here. In detail, however – and by “detail” I mean looking at a large print and not the preview on a small screen and on the other hand reproducibility – you will not infrequently be able to detect certain technical errors that can be circumvented by mere specialist knowledge. Specialist knowledge, which, for example, do not acquire professional photographers for free and initially spend a lot of time on a certain degree. There are some classic differences here with regard to the operation of the photographic apparatus.

In any case, my friend, the snappers, works as follows: He points his camera at the subject and looks at the display of his digital camera via live view. Now he turns any cogs until the displayed “live image” appears as he imagines it and then clicks. When I observe this way of working, the hair on the back of my neck easily stands on end. It’s almost as if a cook simply added sugar to the pot if the finger test was too salty. Concretely screwing maybe if there is an insufficient shadow drawing (I don’t think he knows what this is) he simply high the ISO value or opens the aperture without being aware of the consequences. If he is happy with it – very much! I certainly don’t want to take the fun away from him. But there is another way. And with a view to reproducibility and attention to detail, you should know a few basic things about photography:

The best image quality of a lens depends on you

A lens is a light collector: a lens system absorbs all the ambient light that it “sees” and bundles it into a focal point. The aperture can be used to “sort out” the area of the light rays that hit the technically most unfavorable surfaces of the lenses – and these are their outer areas. Consequently, you should go for the best possible picture dim.

Every lens achieves the best image quality technically if it is stopped down by two to three values (English “stops”). A stop is a doubling or halving of the amount of light let in when taking a photo.

For the most precise representation you should use a lens whose light intensity 1: 2 is stopping down to approx. F / 5.6, provided that you do not get into trouble with too high a depth of field or too long an exposure time, if the ambient light is already too dark for a correct exposure or if there is blurring threatens (here the photographer naturally uses a tripod).

Especially zoom lenses and especially the cheap “kit lenses” I would always stop down by at least two f-stops. However, high-quality and correspondingly expensive lenses often leave no questions asked when it comes to precise imaging performance in the corners of the image and with a 100% crop view.

My friend, the snappers, will never know at which aperture he is taking pictures. However, consciously working photographers know that, on the one hand, they naturally control the depth of field with the aperture (this is well known even under snaps) and, on the other hand, they can use the maximum image quality of their lens.

Do not stop down too much: diffraction blurs

However, if you stop down too far, a phenomenon called “diffraction blur” occurs in full format do not stop down to aperture 22, because here the aperture is already closed so far that the incoming light has to squeeze through the aperture blades – like through the doors of a Japanese subway or just bends over: There is a uniform blurring. So this is where dog chasing its tail. Photographs can supposedly depict all the details from front to back, but there is the problem of diffraction blur. On a 30 × 40 cm print, such images will lack a certain degree of sharpness, whereas everything still looked okay on the small laptop screen. If necessary, I stop the lens of my crop DSLR camera (smaller sensor than the full format) down to a maximum of f/11. Then there is a visible diffraction blur.

Do not choose the ISO value too high

Digital cameras have a notable advantage over analog cameras: You can adjust the ISO value (i.e. the sensitivity) for each picture. With an analog camera, this can only be changed by changing the type of film (i.e. by inserting a different film).

Basically, the lower the ISO value, the finer the detail will be. I myself always work at 100 ISO whenever possible. This is how I achieve the maximum image quality in this regard. Above I briefly mentioned the auto function of the digital camera. In this mode there is no way to intervene with regard to the two factors influencing image quality, aperture and ISO value. The best imaging quality is obtained by choosing the lowest possible ISO value and stopping down the lens by about three f-stops.

Use a tripod

I just mentioned the tripod briefly. I almost always use such a device as long as I can transport my tripod according to the situation, because:

Every photo from the hand is blurred – the only question is whether you can still see it.

Imagine you are exposing at a fast shutter speed (exposure time) of 1/250 second. It is really a very short moment. Do you think you can shoot such pictures out of your hand with confidence? Maybe nothing seems to be blurred because the photos are all sharply focused on the small display of the digital camera. Yet, this is a mistake mistake! Because even within this 1/250 second there is hand movement while taking the picture, even if only a slight one. But the more you enlarge the corresponding images, the more you enlarge even the smallest of blurring – and at some point they become visible. However, I want maximum quality and therefore always use a tripod if possible, even with the short exposure times. Even a simple cord tripod can increase the sharpness of the images.

Imagine you are photographing a big balloon: This picture has no so-called “edges”. It will also be shown in focus with a very slight blurring.
However, photograph a single hair and enlarge it to 18 × 24 cm Even a minimal motion blur will affect the image sharpness. Because the edge of the hair will only be shown sharply by using a tripod, because the camera must be positioned absolutely rigid for an optimal result.

This is one of the reasons (maximum sharpness) why some photographers look wander even in broad daylight with heavy tripod-monsters. While on the snappers shoulder a full-format camera swings on their shoulders to their hand and simply again in auto mode clicks are made, without having to think too much.

Of course, such a tripod is also mandatory for a very conscious image composition that is well thought out to the millimeter, as well as for the absolutely vertical alignment of the camera in order to avoid falling lines (see a little further below).

Types of light in photography

The most important factor in photography is – the light. No, it’s not the camera, not the lens. Just imagine: A hundred years ago, carpenters built cameras, not technology companies. These people had little knowledge of photography (because they mainly dealt with tables and massive cupboards): They only had to make light-tight wooden boxes with gear screws and leather bellows. These were very simple devices. Why are we still fascinated by the pictures that were made with such anachronisms? Certainly: there is some romance when looking at these pictures. However, at that time the photographers knew how to concentrate on the most essential thing in photography: the light. (Because quite a few came from academic painting,

No camera can vary the character of light.

Light exists in many different ways. Now imagine you want to photograph a woolen sweater under an overcast sky: The image will clearly show such a piece of clothing. Now the sky breaks up and the sun comes out: This sun alone creates a prompt hard light: Suddenly every fibre of the sweater becomes visible! Consider the following picture:

The snappers simply take photos. The consciously acting photographer only takes photos when the light is favorable according to his imagination – if of course possible. I myself have often returned home frustrated when suddenly bright sunshine prevailed, when I needed a very diffuse and uniformly illuminating one of my plan. Here I wanted to be professional and prefer not to take a picture at all than one that did not meet my expectations. How good it is for the snappers in their modesty.

Turn off the autofocus, avoid a blurry foreground

A particularly noticeable mistake is the ignored foreground. I allow myself to speak of a mistake at this point. Because it can of course also be the case that this should be deliberately set. The snappers focus on the subject. The consciously acting photographer, on the other hand, thinks about from where to, where the focus area should extend and deliberately adjusts the focus point and aperture accordingly. Most of the time this cannot be done automatically.

Correct exposure: expose for the shadows

There is a phrase: Expose on the shadows. Develop according to the lights. This means: Give the camera enough light so that even the darkest picture elements still show detail, but make sure that the brightest picture elements do not appear “eroded” and pure white.

My buddy, the snappers, doesn’t pay attention to anything like that, because he looks at his subject (on the small screen) globally. However, he risks that, for example, the shadows under the trees in the background of his subject lose their richness of detail, because he relies on the simple exposure metering on his digital camera. The result: monotonous black surfaces. A purely technically well-made photography is alive on the other hand, from shades creates the impression of three-dimensionality. Therefore, one should expose in such a way that even the darkest areas of the image still have a hint of drawing (visual arguments e.g. From Anders Petersen, however, prove the opposite). I myself work basically by constantly looking at the camera’s histogram and checking the brightness of the image. So I also look at my photographs locally (in details and not globally).

The most important control tool of a DSLR: the histogram . Based on this, I can see whether all areas in the subject still have drawings. This can hardly be read correctly from a preview image on the small display of the digital camera, especially not in bright ambient light.

Use the measured value memory of the camera

I prefer to take photos in mode “A” (or AV with Canon): Here I preselect the aperture and the camera automatically determines the “correct” exposure time. It usually does this quite well – thanks to “matrix measurement”. For subjects with a high proportion of very bright areas, however, even the most intelligent metering method tends to be underexposed.

Use the white balance correctly

Often the so-called white balance is set to “Auto”. That’s a good thing, because in most cases the colors are reproduced realistically.

Distortions and Converging Lines

This point is mostly only relevant when taking pictures of houses or tall buildings. What photographers know: If you move the camera out of the absolutely vertical position, all vertical lines (e.g. buildings) narrow upwards. In concrete terms, this means: Buildings are depicted like houses of cards that appear to tilt backwards. There are two remedies: On the one hand, you can of course use a real shift lens. On the other hand, the photo can be later be rectified on the computer with image processing. Here, however, there is a problem: The rectification on the computer is always accompanied by a certain amount of cropping. So you lose a bit of resolution. You have to take this crop into account when taking the picture and consequently move a little further away from the subject or use a slightly shorter focal length or zoom setting of the lens so that you will have enough margin on the photo, which later has to be partially cut off again.

The photos of “snappers” are often marked by restlessness, which is expressed by converging lines, careless areas of blur and unfavorable light.

Use of artificial light

Even with the built-in flash, you can skillfully create subtle effects.

Flash units seem to be rather inconvenient for most snappers. They are only used as an emergency solution if it is too dark and a flash would destroy the natural light mood of the picture. That’s true at first, but only if you don’t know how to deal with it.

Have you ever wondered why a dedicated wedding photographer wouldn’t want to part with his flash on the camera even in the most beautiful sunshine? It’s bright enough here. Correct. However, the wedding photographer does not use artificial light as the primary light source (this remains the sun). He uses the flash as a so-called fill light or “fill flash”.
Because what does the sun cause? Well shadow! The high-lying sun creates dark shadows under people’s eyes and creates high and disturbing contrasts within clothing. With a flash, however, such shadows can easily be brightened in such a way that the inexperienced viewer does not even notice that an additional flash has been used. The flash unit also creates a slight brightening effect (people stand out slightly from the background) and a so-called “catch light” in the eyes (a sparkle). The photographer almost always uses a simple clip-on flash, but its light output is somewhat more subtle. As a result, he easily gets exempted people. This effect is not noticeable as “over-flashed”, but provides a certain brilliance in the foreground (well, sometimes it doesn’t quite succeed).

It is clear that the intensity of the additional artificial light source must never be set too high for this! Otherwise it will look as if portrayed people are standing in front of a photo wallpaper.

Develop a concept

So far, I’ve only ever written about techniques with which the tool (the camera) can be operated precisely so that the image results can exactly match the ideas.
But what kind of ideas do you have about photography? An elementary component of “conscious” photography is to think about it beforehand (instead of just snapping around wildly). I often work in series. So I dedicate myself to a very specific topic with my pictures and always prepare the pictures with this idea in mind. Of course, it is important to me that the parameters (a type of light, depth of field, color saturation …) remain the same as possible for all individual photographs. So I keep my handwriting, so to speak at and don’t change anything here.
The photographic topic itself is a broad field: You can deal with documentaries or with a certain milieu, with landscape shots at a very specific time of the day, with interior portraits, etc. The only important thing here is that you don’t snap randomly.

Posted on 11/08/202111/08/2021 by Ervin V.

Choosing the DSLR That’s Right for You

You may have studied the descriptions of digital SLR technology in this article since you’re considering which DSLR to buy. Because technology changes so rapidly, it’s unlikely that the electronic camera you buy today will be your last. On the other hand, even the least expensive DSLR is a significant investment for most of us, especially when you consider the expense of the lenses and devices you’ll buy. You wish to make the right choice the first time. Digital SLR choice makers often fall under among 5 classifications:

■ Severe professional photographers. These consist of picture enthusiasts and experts who might currently own lenses and accessories coming from a specific system, and who need to maintain their financial investments by choosing, if possible, a DSLR that works with as much of their existing devices as possible.

■ Professionals. Pro professional photographers buy equipment like carpenters purchase routers. They want something that will get the job done and is rugged enough to work dependably in spite of heavy use and mistreatment. They do not necessarily appreciate cost if the equipment will do what’s needed, because their companies or customers are ultimately bearing the cost. Compatibility may be a great idea if a company’s shooters share a pool of specific devices, but a professional picking to switch to a whole brand-new system probably won’t care much if the old stuff needs to fall by the wayside.

■ Well-heeled professional photographers. Lots of DSLR purchasers show a high turnover rate, because they buy equipment mainly for the love of having something new and intriguing. Some actually feel that the only way they will have the ability to take decent (or better) images is to own the really most current equipment. I enjoy letting these folks have their enjoyable, since they are typically a good source of mint utilized equipment for the rest people.

■ Serious newcomers. Numerous DSLRs are sold to new photographers who are buying their very first digital camera or who have actually been utilizing a point-and-shoot video camera design. These buyers do not plan on junking whatever and purchasing into a new system anytime quickly, so they are more likely to examine all the alternatives and select the best DSLR system based on as many elements as possible. Their caution may be why they have actually waited this long to acquire a digital SLR in the first place.

■ Casual newcomers. As rates for DSLRs dropped a lot, I saw a new type of purchaser emerging, those who might have acquired a point-and-shoot video camera at the exact same price point in the past, and now have the concept that a DSLR would be cool to have and/or might offer them with better pictures. A lot of these owners aren’t serious about photography, although they might be severe about getting excellent photos of their household, travels, or activities. A large number of them find that a basic DSLR with its kit lens fits them just great and never ever purchase another lens or device. It could be said that a DSLR is overkill for these casual buyers, however many will wind up very pleased with their purchases, even if they aren’t using all the offered functions.

Questions to Ask Yourself when Buying a Camera

As soon as you choose which category you fall under, you need to make a list of your requirements. What sort of images will you be taking? How typically will you be able to update? What abilities do you need? Ask yourself the following questions to assist determine your genuine requirements.

Just How Much Resolution Do You Required?

This is an essential concern since, at the time I write this, DSLRs are readily available with resolutions from about 10– 12 megapixels to 24 megapixels (and beyond, if you consist of some unique types called medium format cams). A lot more intriguing, not all digital SLRs of a particular resolution produce the exact same outcomes. It’s totally possible to get better photos from a 12 megapixel SLR with a sensor that has low sound and more accurate colours than with a comparable 12 megapixel model with an inferior sensor (even when the differences in lens efficiency is discounted). Looking at resolution in general, you’ll want more megapixels for some types of photography. If you wish to produce prints larger than 8 × 10 inches, you’ll be happier with a video camera having 12– 14 megapixels of resolution or more. If you wish to crop out small areas of an image, you might require a cam with 16– 21 megapixels. On the other hand, if your main application will be taking pictures for display on a websites, or you require thumbnail-sized pictures for ID cards or for a brochure with small illustrations, you might get along simply fine with the lowest-resolution DSLR camera you can find. Keep in mind that your requirements might alter, and you may later be sorry for choosing an electronic camera with lower resolution. Complete Frame or Cropped Frame? Throughout this chapter I’ve pointed out a few of the differences between full-frame sensors and cropped sensors. Your choice between them can be among the most crucial choices you make. Even if you’re brand-new to the digital SLR world, from time to time you’ve heard the term crop factor, and you have actually most likely also heard the term lens multiplier element. Both are deceptive and inaccurate terms used to describe the very same phenomenon: the reality that some electronic cameras (normally the most budget-friendly digital SLRs) provide a field of view that’s smaller and narrower than that produced by certain other (usually a lot more pricey) cams, when fitted with precisely the exact same lens. The picture rather plainly shows the phenomenon at work. The outer rectangular shape, marked 1X, reveals the field of view you may anticipate with a 28mm lens mounted on a “complete frame” (non-cropped) camera, like the Nikon D3-series or Canon 1Ds series. The location marked 1.3 X reveals the field of vision you’d get with that 28mm lens set up on a so called APS-H kind element cam, like the Canon 1D series. The area marked 1.5 X reveals the field of vision you’d get with that 28mm lens installed on an APS-C form element camera that includes practically all other non-Four Thirds /Micro Four Thirds designs. Canon’s non-full-frame electronic cameras, like the 60D and 7D, have a kind aspect of 1.6 X, which is virtually identical and likewise called by the APS-C classification. All 4 Thirds/Micro Four Thirds electronic cameras use a 2X crop aspect, represented by the inner rectangular shape. You can see from the illustration that the 1X performance provides a wider, more extensive view, while each of the inner field of visions is, in contrast, cropped. The cropping impact is produced since the “cropped” sensors are smaller sized than the sensors of the full-frame electronic cameras. These sensing units do not determine 24mm × 36mm; rather, they spec out at roughly 23.6 × 15.8 mm, or about 66.7 percent of the location of a complete frame sensing unit. You can calculate the relative field of view by dividing the focal length of the lens by.667. Hence, a 100mm lens mounted on an APS-C camera has the exact same field of vision as a 150mm lens on a full-frame camera. We human beings tend to perform multiplication operations in our heads more quickly than division, so such field of view comparisons are normally computed using the reciprocal of.667– 1.5– so we can multiply rather. (100/.667=150; 100 × 1.5=150.) This translation is usually helpful just if you’re accustomed to utilizing full-frame video cameras (normally of the film range) and want to know how a familiar lens will carry out on a digital camera. I strongly prefer crop aspect over lens multiplier, since nothing is being increased; a 100mm lens doesn’t “become” a 150mm lens– the depth-of-field and lens aperture remain the very same. Only the field of view is cropped. But crop factor isn’t better, as it implies that the 24 × 36mm frame is “full” and anything else is “less.” I get emails all the time from professional photographers who explain that they own full-frame cams with 36mm × 48mm sensing units (like the Mamiya 645ZD or Hasselblad H3D-39 medium format digitals). By their reckoning, the “half-size” sensors discovered in full-frame cams are “cropped.” Probably a much better term is field of view conversion element, however no one really uses that one. If you’re accustomed to utilizing full-frame film video cameras, you might discover it practical to use the crop aspect “multiplier” to equate a lens’ genuine focal length into the full-frame equivalent, despite the fact that, as I said, absolutely nothing is actually being increased.

How Frequently Do You Want to Update?

Photography is one field occupied by large numbers of techno maniacs who merely need to have the most recent and finest devices at all times. The digital photography world seldom disappoints these device nuts, because newer, more sophisticated designs are introduced every couple of months. If staying on the bleeding edge of technology is essential to you, a digital SLR can’t be a long-lasting financial investment. You’ll have to count on purchasing a brand-new electronic camera every 18 months to two years, since that’s how typically the average vendor takes to replace a current model with a more recent one. Some upgrades are minor ones. Thankfully, the common DSLR replacement cycle is a much longer schedule than you’ll discover in the digital point-and-shoot world, where a particular top of the line camera may be replaced every six months or more frequently. Digital SLRs normally are changed no more frequently than every 12 to 18 months– 12 months for the entry-level models, and 18 months or longer for the intermediate and sophisticated models. On the other hand, perhaps you’re not on a relentless quest for a shiny brand-new gizmo. You just desire excellent pictures. Once you acquire a video camera that gets the job done, you’re not likely to upgrade till you discover there are particular pictures you can’t take because of limitations in your existing devices. You’ll be happy with a cam that does the job for you at a rate you can afford. If your desires are large but your pocketbook is limited, you may wish to downsize your purchase to make those inescapable regular upgrades possible.

Sell or Keep your Devices?

Normally, come upgrade time, your old DSLR will deserve more as a hand-me-down to another user than as a trade-in. That’s why I’m currently eagerly anticipating using my present preferred DSLR as a second or 3rd video camera body when I do update to the next generation. An additional body can be available in convenient. When I leave town on journeys, I usually take one additional body just as a backup. Still, I end up using the backup more than I expected when I mount, say, a telephoto zoom on my “main” video camera and a wide-angle zoom on my backup so I do not have to switch lenses as typically.

Posted on 27/07/202127/07/2021 by Ervin V.

5 Tips for buying a new DSLR Camera

Do you love photography as much as I do? Do you have an out-of-date single lens reflex cam (DSLR), take images with your iPhone video camera or do you own a digital video camera or compact video camera?

Again and again you see these fantastic pictures from some photographers and believe: I want that too? Let me tell you ahead of time: With a new modern SLR camera you will not automatically take such pictures. Unfortunately, that is the unfortunate reality.

Last help from the SLR leaderboard

Naturally you can search for dslr electronic camera test, up and down on Google. You can invest days and weeks sorting through the latest SLR camera leaderboard in your favorite image publication.

What to do When Purchasing a New DSLR Camera?

I have always stated to myself: just when I am much better than my cam will I purchase a new electronic camera. Well, that only partially stopped me. Every now and then I can’t withstand.

But what does it really matter when you want to purchase a new DSLR camera? What is very important when searching for the best SLR for novices? Here I have made a note of a great deal of ideas for purchasing an electronic camera in detail.

By the way, here you will discover best sellers in the compact system cameras category, however here you will find the best sellers in the general category “Digital SLR electronic cameras “.

Wow, what do they utilize to take pictures?

See what an image was photographed with by means of EXIF file. How do the others constantly get these fantastic and razor-sharp pictures? When you look at images online, some pictures provide the so-called EXIF data. This represents Exchangeable Image File Format. These EXIF information offers infos with which electronic camera an image was taken. You can frequently discover these with numerous pictures by right-clicking on the preferred image.

Bingo, I require a new video camera. The picture on the right was taken with a Nikon D800 and a Nikon AF-S Zoom-Nikkor 14-24mm 1: 2.8 wide-angle lens. Of course, you can right away look for the video camera on some websites. You will rapidly find disillusioned – the camera of dreams costs possibly around 2000 pounds without the corresponding lenses. Of course you can buy used half price on our website.

Once again: do you need this? Will a new camera immediately turn your photos into small artworks?

Let’s take off our rose-colored glasses and ask ourselves: Do I actually need this cam at this point in time? Where am I in photography today?

Here you can take a deep breath and consider where you wish to go with your photos? Does a brand-new camera assistance you or are you – if you are totally truthful with yourself – actually looking for new inspiration for excellent photos?

The irony of the headline depends on this photo – a landscape photo that I’m very pleased with. Taken while running in the morning with the smartphone. You didn’t need a super expensive DSLR electronic camera for that.

In the jungle of point-and-shoot video cameras, DSLR, megazoom, mirrorless and co., there is no such thing as a “one-size-fits-all” camera. But what sort of video camera is the next best camera for me and my type of photography?

I have jotted down a few ideas that I have utilized to analyze my video camera purchase prior to I bring my cost savings to the nearest photo shop of my option. It doesn’t matter whether you are looking for the best SLR video camera for novices or just a few great ideas for a successful electronic camera purchase.

1. Take stock of your photography in front of the video camera purchase recommendations

Ask yourself: What are you presently photographing? What type of professional photographer are you? Where do you want to go what is your motivation: expert or pastime?

Every DSLR leaderboard and camera test is just excellent if you can interpret it according to your needs. If you can respond to that, you can start your search or, at finest, figure out: Technically, my video camera can do what I currently want.

You should also make certain that your new devices deals with your existing lenses – if you wish to continue utilizing them.

I like to take images of the night panorama over Berlin … Technical term: Long-Exposure Cityscape in the evening.

Numerous new camera models exist every year at Photokina and other photo fairs – not to mention lenses. However you shouldn’t appreciate that in the beginning.

At the beginning ask yourself what you really like to picture?

Do you like to photograph household events, architecture, travel, HDR, in video mode, during the night, in automatic mode, with a great deal of travel luggage or without having to bring it around, minimalist or the terrific city panorama, bugs in close-up, whatever? Only you can address this concern! And this question is important with regard to any camera purchase guidance.

I’ve tried a lot over the previous few months. Once again and again I find myself in two topics: nighttime city panorama in long direct exposure and portraits of exciting faces – whether in street photography or in workshops.

2. It matters: What about your digital camera weight?

A Canon 6D full-frame camera weighs simply under 1.5 kilos with one lens. The Sony Alpha 7 weighs 500 grams in functional mode. The brand-new iPhone 6 weighs 125 grams. Depending on the type and requirement, all three devices take good photos.

Ask yourself: How much weight do I want to bring around with me? I’ve answered this concern and state: I don’t care! I want the full weight and enjoy my DSLR including the lens park, stowed in my picture knapsack on my back.

By the way, here you will discover bestsellers in the compact system electronic cameras classification, here you will discover the bestsellers in the digital SLR electronic cameras category.

3. Look objectively: cash contributes

Megapixels and zoom aren’t everything. The lens plays an essential function in your image quality. If you decide on a “point-and-shoot” or a megazoom electronic camera, then you don’t have much to state when selecting a lens.

However, if it enters into the realm of the digital reflex camera or the mirrorless system cameras, then you also have to pick which lens you desire – a definitive function in the image quality. Lenses for a Canon 6D can cost over 1,000 euros each.

If you require a cam and new lenses, you need to think carefully about which system you begin with.

4. So check out who binds himself permanently: The picture devices

Quickly read the current DSLR video camera test and then purchase it. With a new camera this is also a bit risky. I want and have to hold an electronic camera in my hand before I purchase it.

Perhaps believe a step even more and ask yourself whether your previous accessories will fit with your brand-new cam (UV filter, sd card, external flash units). All of this also costs a lot to buy.

5. Do not you have one – borrow one: rental of photo devices

A choice that I’ve just utilized to gels up until now, but have actually never tried it: borrowing image equipment. Picture chains such as Calumet or my local photo store Foto-Meyer deal rental of photo accessories. Very useful when I first check on a weekend whether I actually need the 1,250 euro wide-angle and whether I enjoy it.

Posted on 27/07/202127/07/2021 by Ervin V.

17 movies and series that you have to see as a professional photographer

Films series for photographers: the best suggestions

Often it’s nice to see a film about my preferred hobby – photography – instead of always going to take photos yourself. Especially in existing times a number of us are at home once again.

It doesn’t matter whether it’s the great documentaries about fantastic photographers like Sebastião Salgado or Peter Lindbergh, the Hollywood drama about the Bang Club throughout the apartheid period or the instructive short article about street photography in India. Here I have put together a list of inspiring series and movies about photography and professional photographers for you.

And now feet up and press the movie theatre on! I wish you great entertainment.

Smoke

Auggie (Harvey Keitel) is the happy owner of 4,000 photographs from New york city. His photos all have one and the exact same theme; one and the same perspective. And the picture is always taken at exactly 8 in the morning. No, Auggie is not a professional photographer and for that reason does not pursue artistic expression, Auggie owns a tobacco shop and constantly photographs the intersection in front of his old-fashioned store in Brooklyn. His little store is the focal point of numerous strange-looking characters and this is where the everyday stories that director Wayne Wang gives the screen are created in 4 episodes.

Really impressive, there is so much about mindfulness and watching the moment really carefully.

Back Window

The 1954 movie Back Window by Alfred Hitchcock is about the photojournalist LB Jefferies (” Jeff”), who is dependent on a wheelchair after an accident due to a leg in plaster. Out of boredom, Jeff enjoys through the window of his home what is going on in the backyard of his apartment building in Greenwich Village. The initial pleasure in the peculiarities of his next-door neighbors gradually paves the way to a compulsive curiosity. He observes his neighbor and devises a daring theory of murder. The video camera that James Stewart holds up for the showdown is a 35 mm camera with a big telephoto lens from the Exakta VX series – also called “Varex” outside the USA. A cinematic work of art.

The B-Side: Elsa Dorfman’s Picture Photography

The B-Side: Elsa Dorfman’s Picture Photography is a 2016 American documentary directed by Errol Morris. The movie checks out the life and career of Elsa Dorfman.

The salt of the earth

You undoubtedly understand the Brazilian photographer and picture reporter Sebastião Salgado. Until recently, the film was revealed in selected arthouse cinemas. Now the movie is likewise readily available for tv at home.

The everlasting moments of Maria Larsson

After at first living on with her everyday life, she keeps in mind the video camera once again after years and sees her surroundings shine in brand-new elegance by taking pictures. She meets the captivating photographer Pederson, who entirely messes up her personal life and, not least, brings in the annoyance of Maria’s alcoholic spouse.

Peter Lindbergh – WOMEN’S STORIES

Peter Lindbergh has been among the real greats in the style and photography company for decades. The director Jean-Michel Vecchiet has now devoted a whole film to him. It reveals the artist’s career up to today day.

High Art

High Art is a 1998 Canadian-American film directed by Lisa Cholodenko. It turns out that Lucy is none other than Lucy Berliner, a well-known photo artist who turned her back on the art market 10 years earlier. The director Lisa Cholodenko won with High Art consisting of the Waldo Salt Screenwriting Award from the Sundance Movie Festival.

Frames From The Edge – Helmut Newton

Adrian Maben’s paperwork is not new – it dates from 1988 – and it is not important. Nonetheless, it is still worth seeing – especially for professional photographers. Because it not just shows individuals, however likewise the professional photographer and artist. Available on YouTube

Closer

In the middle of London, the unsuccessful author Dan and Alice, who has actually just come to England from New York, meet and instantly fall in love. When Dan was to be photographed a year later on for a novel based on Alice’s life, he flirted with the photographer Anna, played by Julia Roberts.

Annie Leibovitz: Life through a Lens

The film Annie Leibovitz: Life through a Lens by her sis Barbara Leibovitz shows in an impressive method the work and creativity of the photographer Annie Leibovitz. Many stars have their say and great scenes about Leibowitz’s work can be seen.

Finding Vivian Maier

If you like street photography, you ought to see the film Finding Vivian Maier Vivian Maier rose to popularity late after the 26-year-old broker John Maloof bought a suitcase loaded with negatives at an auction. The movie traces Maloof’s path, how he got to the little treasure, had photos developed and set out on a journey to learn who Vivian Maier was.

Abstract: style as art

Style is particularly interesting for us professional photographers. The series thus deals with design-oriented individuals from various disciplines, whose work can be application-oriented or creatively motivated. In addition to professional photographers, shoe designers and designers are also provided.

The Bang Club

On the other hand, I find it challenging to use the expression “famous” since it was challenging for me to see the film entirely. The film is a function film and therefore a bit spectacular and staged as an action film. The film is absolutely worth watching, even if it is frequently extremely ruthless.

Blow up

The British function movie Blow Up by Michelangelo Antonioni from 1966 is thought about one of the most essential movies of the 1960s. The movie takes place in the swinging sixties in London. The lexicon of worldwide films composes about Blow Up: “In staging, photography and representation, an outstanding film by Antonioni, which tries to reveal the fascination of the image as a representation of real or supposed reality and the possibilities of adjustment and at the very same time draws a portrait of the Beat Generation.”

Richard Avedon – Darkness and Light

A documentary about the American professional photographer Richard Avedon, who reinvented style photography in post-war Paris by introducing practical modes of representation. His pictures of stars and anonymous individuals in their respective living environment have actually likewise become famous. The movie reveals both sides of the artist and lets buddies have their say.

Presently offered completely length on YouTube:

City of God

The film City of God is based on real events. The material for the film has actually been reduced a bit, as the novel informs more than 40 stories, and Buscapé has actually been included as a leading person. He has his personal film developed in the editorial department’s photo lab, which features special close-ups of Locke.

Life – Dennis Stock

The photographer Dennis Stock meets the aspiring young actor James Dean at a party and hopes to advance his career through him. The two become friends and travel across the country to Dean’s hometown in Indiana and back to New York. Stock takes the world-famous photo of James Dean with a cigarette in his mouth. Years later, the photos taken during the trip make Dean an icon.

Posted on 18/04/202118/04/2021 by Ervin V.

5 good reasons why you must buy a prime lens

Do you need a prime lens? Sooner or later you will absolutely discover the term repaired focal length while learning to take images – right? Do you currently have one?

I bought my very first prime lens about nine months back. Now I have actually seen a few reasons why a prime lens should never be missing out on in my photo bag again.

What are prime lenses?

A prime lens is a fixed focal length lens that does not permit you to zoom in or out. Simply put, the determined focal length of the lens is the distance is the range between the point of convergence in your lens to the sensor or film in your electronic camera.

Prime lenses permit a handful of benefits compared to their zoom equivalents. The first, and most desirable, is the availability of fast apertures. With a quick aperture, a lens has the ability to take full advantage of the amount of offered light by opening its aperture to an f/2– f/1.2 and even f/.95 range! A lot of zoom lenses do not shoot any faster than a f/2.8.

Having the ability to contend a fast & wide-open aperture likewise permits the shooter a more shallow depth of field. Depth of field (DOF) is the range between the foreground, topic and background. Shooting wide-open provides a narrow DOF, isolating the topic from its surroundings in regards to sharpness and clarity. The closer the lens is to the subject, the softer the foreground/background will end up being.

Prime lenses and imagination: you compose your photo.

There are probably 1,000 fantastic reasons to buy a prime lens. The decisive factor for me is the structure of the image. Again and again I failed in my picture structure because of “I have too much in my image”. A 50mm set focal length is stated to have roughly the exact same field of vision as the human eye. This indicates that the view through your viewfinder represents your field of vision. That makes your photographic life simpler. Due to the fact that you simply can’t zoom. You cannot “wide-angle”. It’s not working! If you want more – or less – in your image, use your feet. It’s that simple. It assisted me a lot. I approached the topic, kept my range. I looked again and thought a lot more before I pushed the shutter button. Here.

The fixed focal length teaches you to picture the basics

Zoom lens vs. fixed focal length: Sharp images

A set focal length (in English also Prime Lens or Fixed Lens) gives you very sharp images. There are a variety of reasons that this is so. On the one hand, a repaired focal length has fewer optical components than the traditional zoom lens therefore the image is sharper on your sensor.

In addition, a zoom lens generally has increasingly more distortions and chromatic aberrations. This means color fringes on high-contrast edges, ideally near the edges of the image and the corners of the picture. These chromatic aberrations occur basically depending on the quality of the lens.

The 50mm trick: the lovely bokeh

As quickly as you research study repaired focal lengths, you will often see the term open aperture. Because that is often what makes a good repaired focal length: the possibility of taking images with a fantastic bokeh with a so-called open aperture. With a zoom lens, it is not always simple to get a terrific bokeh, since it requires little aperture values (here, by the method, a brief refresher on the topic of aperture).

Light strength: Lots of light for great images

Just as great bokeh can be created with a little aperture value, a lens with a small aperture value (for instance with an open aperture of f/ 1.8) lets a great deal of light through. The lamellas of the aperture are wide open and allow a lot of light to strike the sensing unit when the shutter is launched.

This is great if you take images in bad lighting conditions and (naturally) want to do without a flash. With a zoom lens that begins with an aperture of f/ 5.6 or in the zoom range even from f/ 6.5, you will have trouble getting a sharp photo in low light without the above ISO (Iso expensive = image- Sound) or a long exposure time (exposure time too long = image blurring). With a fast fixed focal length you are much more independent to take pictures in undesirable light circumstances.

The most inexpensive lens: the fixed focal length

If you have a look around the entry-level market for prime lenses, you will be amazed at how cheap a usable prime lens can be. My first prime lens – the Canon 50mm prime lens with an aperture of f/ 1.8 – expense simply under 100 euros. And I still like the lens! A couple of months ago I bought an 85mm set focal length. It was a bit more expensive, however obviously – pricier is constantly possible. As soon as you look for a fixed focal length with f/ 1.4 or f/ 1.2, you will view as constantly – uh, it can be even more costly.

If you don’t desire to take expert advertising photos, you do not require these. I am really pleased with my two repaired focal lengths of 50mm and 85mm.

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