Choosing Lenses: A Potentially Expensive Venture

Choosing Lenses

• Your camera body will change with every new update from your favorite manufacturer. If you owned camera X yesterday, it probably was superseded by camera Y flaunting irresistible improved features. You have to buy it.
• But, what will you attach to the business end of that new camera. If you are typical, you are tempted by all kinds of lenses with all kinds of capabilities. They all cost money and some cost a fortune. The question you must ask yourself is which lenses do I really NEED for what I like to photograph.
• There are “Prime Lenses” and “Zoom Lenses”. So many lenses…so little money!

How do you choose? Some facts may help you:

• 1. Prime lenses are great, but how many can you afford and how many do you want to carry around with you?
• 1. Zoom lenses are great, but they can weigh a ton. They also can eliminate the need for many prime lenses in your bag. Ask yourself, if I can only carry one lens, what would it be?
• 1. Zoom lenses used to produce lower quality images. That’s not necessarily true today. The are fine lenses that produce good sharp photos.
• 1. Are there rules one should follow?
• a. Know your budget.
• b. Consider used lenses, but remember that they won’t necessarily give you better bargains.
• c. Kit lenses are usually cheaper…but, not as good.
• d. You buy the glass for life and the body until the next one comes out.
• e. Buy the best glass you can afford. “L”I s better than “S”
• f. Know your needs and buy glass that fits. What focal lengths do you require?
• g. Pick your camera brand carefully, because you’re going to be stuck with your choice when you add accessories.
• h. Consider third party lenses as today’s best bargain in many cases. The old story that they produced poorer quality images is no longer true.
• i. If you buy prime lenses, plan on zooming with your feet.
• j. Prime lenses give you larger apertures with which to control bokeh (depth of field). If that’s important to you, you will want some prime lenses.
• k. Know what your lens will be able to do.
• l. Know what camera specs you prefer. If you like full frame camera sensors, don’t buy digital only lenses. They won’t fit. If you buy glass that is digital only, you can only use that lens on less-than full sized sensors. APS-C or smaller. On the other hand, if you buy lenses that work on full frame cameras, you can generally use them on small sensor models. Example: If it works on your 5D Mark II or III or 6D (new) it will work on your 7D, 20D or Rebel camera body. The kit lens that comes with your Rebel probably will NOT work on the full frame alternatives.
• 5. Buy what meets your needs in magnification:
• a. Prime – perhaps one good macro lens for closeups and portraits.
• b. Telephoto – if you shoot animals, like birds or wildlife.
• c. Zoom – to fill a variety of needs and carry a minimum of choices with you.
• 6. Know how your lens works:
• a. Prime lenses don’t zoom so you have to.
• b. Telephoto lenses can be heavy, costly, and limited in application. Owning a $10K 600mm telephoto lens is impressive unless you realize that you have rare or no use for it.
• c. Zoom lenses are flexible in capability, but lack large apertures in many cases. The more you zoom the smaller your maximum aperture often becomes…Example:
• 1. 280mm-300mm: f/3.5 – 5.6
• 1. 240mm-105mm: f/4.0———
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A single camera  image does NOT reflect what the human eye and brain’s interpretation. Enter HDR -

High Dynamic Range Photography

• HDR
• A single image from a camera does NOT reflect what the human eye and brain can interpret from a given scene. Our eyes adjust for varying light and detail. The camera can only record a single interpretation based on one f/stop, shutter speed, and ISO value. In an attempt to approximate the abilities of the human eye, HDR rendering can average three or more exposures of the same scene and utilize the best parts of each of those exposures. Using conservative HDR settings, you can render an image that appears to be a more accurate version of what you actually remember seeing.
• Two ways to work with your images:
• 1. Take three exposures of the same image. Some cameras today have built in HDR features. Best to make the 3-5 exposures varying the shutter speed rather than aperture…to avoid depth of field problems.

• This is a single exposure of this chapel. Notice the lack of detail and highlights in the area of the pews. Now by taking three different exposures of the same scene (in this case on a tripod with a cable release) you can render an HDR image that captures more detail.

• Notice how the detail has improved and how the entire scene looks more like you might have viewed it with the naked eye.
• To do this, you simply use an HDR program either as a free-standing software or one integrated into an image editor like Photoshop. In Photoshop you would go to File>Automate> Merge To HDR Pro as seen below:

• Once you have this screen, you indicate the images you wish to merge into and HDR image. They should be listed in order of exposure. The chapel image just shown is an example of this method.
• 1. Take a single image and run it through an HDR Toning procedure to approximate the same HDR effect as when using multiple exposures. In Photoshop it looks like this:

• Playing with the sliders will change the various balances and create your HDR version of the print. Other programs are available with varying capabilities in rendering HDR images.

• An example of this is:

• 
• When taken to extremes, these images can take on a rather unrealistic look, but my recommendation is to use this technique to enhance images that have an excessive range of light and a problem with lacking detail.

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Natural light is not always our friend. Dennis teaches us tips and tricks about modifying light as we travel

Redirect ambient light – with a reflector.

• Use a folding 5 in 1 reflector
• Use a piece of white foam core
• Use a piece of black foam core as a flag
• Use a translucent reflector to diffuse direct sunlight
• Use a black card to provide shade from direct sunlight
• Use Artificial to supplement natural light
• Use an on-camera flash for “fill light”
• Bounce the light from the on-camera flash for softer fill light
• Use a deflector on your on-camera flash
• Use a diffuser on your on-camera flash
• Use a strobe for fill light
• Use a softbox on the strobe to diffuse the light
• Use a beauty dish, with and without a sock to provide soft light
• Use an umbrella to bounce or diffuse the strobe light
• Use an LED light panel
• Use filters on your lens
• Use a neutral density filter to cut down on the brightness of sunlight
• Use a circular polarizer to control reflections and cut down on light intensity
• Use a lens shade to reduce lens flair
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Nearly everything we play with in photography requires some sort of battery. When we run out of battery power, the fun stops.

Batteries

• We are a battery dependent profession/avocation/hobby. Nearly everything we play with in photography requires some sort of battery. When we run out of battery power, the fun stops. So, how do you insure that you don’t have a power problem?
• Have at least one backup battery with you at all times. Two would be better.
• Charge before you leave your home/studio/hotel. Make sure your batteries are topped off. Most are not susceptible to battery memory problems of the past. Lithium and NiCad batteries are usually memory free.
• Just like your cell phone, camera batteries for DSLRs are proprietary these days which means you can’t drop into the corner drug store and pick up an extra. You should have 2 – 3 camera batteries for each body.
• You should always travel with at least one charger for each battery type.
• If you don’t have a power inverter, get one for your car. There are all kinds of different models that can run your laptop, your chargers, and your phones.
• If you can afford it, get a battery pack that accepts AC plugs. You can not only run your strobes and LED panels with this battery pack, you can charge your phone, your camera batteries, and recharge it from your car or hotel room.
• If you use 2A or 3A batteries, be sure you take enough extras with you. Rechargables are a good money saver, but they don’t have the life span you think they’re going to have. I don’t use them anymore.

What uses so many of these standard little batteries?

• A: Your radio trigger for your strobes
• B: The radio receivers on each strobe light – either 2A or 3A batteries.
• C: The same is true of your Infra-red trigger…more double A’s.
• D: Your on-camera flash unit – there goes 4 more.
• E: Don’t forget the button batteries for your camera memory and your video mics.
• Take LED flash lights along, and don’t forget the 2A or 3A batteries for them as well.
• I recommend a battery tester to test the charge of the batteries before you insert them into your equipment. If they’re not fully charged, don’t waste your time.
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EyeEm

• Dennis takes a look at the practical application of EyeEm!
• EyeEm is a photo sharing & discovery app that connects you with like-minded people through the photos you take.
• Available for iOS, Android 2.2 and above, and tablets! FREE Download
• Subscribe to corners.
• Take and edit photos.
• Share photos with your social networks: Facebook, Twitter, Flickr, Tumblr, FourSquare
• 14 Different Filters!
• Great alternative if you are boycotting Instagram.
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Lens Controls

Understanding Controls:

• Auto Focus: On/Off

Auto Focus On:

• When taking normal photos and you want to use the focusing targets to be sure you have good subject focus.
• Place the target on the part of the photo you want in focus; push the trigger half-way down and hold it; recompose the shot; push the trigger the rest of the way down to release the shutter.
• When taking photos of subjects in motion or in rapid succession (action shots).

Auto Focus Off:

• When taking photos you have pre-focused and don’t want the focal length to change between shots.
• Use auto focus or manual focus while shooting on a tripod to be sure the portion of the image you are interested in is in focus, then turn auto focus off to maintain that focal length for several succeeding shots.
• Pre-focus a shot in which you want to use the camera’s timer delay in order for you to join the other subject/s in the photo. After focusing, turn the auto focus off, turn on the shutter timer, push the trigger down all of the way, and joint the scene during the time the shutter is delayed.
• When shooting extreme close-ups as with a macro lens. You can use auto focus to get the initial focus, then turn auto focus off and adjust the focus in minute movements of the manual focus ring until the area of the frame you wish to be in focus is sharp. Use a cable release or the shutter timer to take the photo. NOTE: Sometimes this condition also requires that you use mirror lockup to be sure the camera is still before taking the photo.

Image Stabilization: On/Off

• IS On:
• When shooting handheld shots or shots that require you to use slower shutter speeds than you would normally use.
• When shooting handheld portraits use IS.
• When shooting in low light use IS.
• IS Off
• When shooting on a tripod with or without flash.
• I generally leave it on all of the time…some would disagree but I’ve had no problem yet. -Dennis
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How to use fill light to brighten details in your main subject.

Using Fill Light

• Daylight, often times, is not sufficient.
• Use fill light to decrease or eliminate shadows, especially on face.
• Use fill light to bring out detail.

Equipment to Fill Light:

• On camera flash
• Off camera flash
• Strobes, for more serious lighting effects.
• Reflectors to control direct sunlight.

When NOT to use fill light:

• Fill light is not always desirable. Example in show.
• Next week’s show: Understanding Controls
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Composition is the key to getting more from the mechanics of the DSLR.

Composition

• We’ve reviewed the mechanics, now let’s get creative with our DSLR’s using CameraSim for practice!

3 Words Prevent this DSLR rookie mistake!

• Focus, Frame, Shoot!
• Remember the rule of 3rds!
• This app is a great way to practice composing pictures and get the best results.
• There is always room for improvement in your post production editors.
• Photos always benefit from a little sharpening, but you can minimize the time you spend editing with a well composed shot.
• Take a lot of pictures, don’t be afraid to make mistakes! They are cheap theses days!
• You’ll learn more and faster, the more practice you let yourself have. CameraSim allows you to practice almost anywhere!
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How to capture the beauty of your trip to it’s fullest potential!

Landscape Photography

• Single Frame Pictures
• Choosing the right lens.
• Choosing how wide or focused you’d like to be.
• Do you need a polarizer?
• Always consider taking a tripod, at least a monopod.
• Panoramic Pictures
• Use a tripod, if at all possible.
• Overlap pictures by 1/3 or 1/4 of frame.
• Merge photos on the editor you are using.
• There are devices that will do this manually for you, if this is something you do frequently.
• Next week’s show: Photography Apps-EYEM
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We’re finishing up understanding our DSLR controls with a great app, CameraSim, to help us out!

Understanding DSLR Controls Pt. 1

• Dennis reviews our DSLR camera controls
• CameraSim
• What happens when you change
• Lighting
• Distance
• Focal Length
• ISO
• Aperture
• Shutter Speed
• What happens when you change control modes
• Manual
• Shutter Priority
• Aperture Priority
• Next week’s show: Outdoor Photography Series-Taking Landscape Photos
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