Photo Tips and Stories (Page 21)

by Sean Setters

While a sharp image is often most desireable, sometimes increased sharpness is counterproductive to achieveing specific photographic goals. For instance, lately I've been intrigued by slow shutter speeds and the motion blur recorded as a result of their use. Specifically, I've recently been using the RigWheels RigMount X4 Magnetic Camera Platform for automotive photography.

While I'm finding the camera platform to be an exciting tool to have in my kit, its not necessarily an inexpensive piece of gear and its uses outside of automotive photography are somewhat limited. But using the RigMount X4 got me thinking about other ways of capturing motion and the world of artistic possibilites at our fingertips, especially if nothing in the frame remains sharp as a result of one's chosen exposure variables.

With that in mind, I recently made set out with my camera in hand with a goal of creating a totally motion blurred image that looked more like "art" and less like "a mistake." With the goal of few (if any) details being discernable, I didn't have to go far to find a suitable location. The scene I chose was the normally-not-very-photogenic view seen across the street from my home. After about 20 attempts (using various panning/rotating techniques), I had a motion blurred image that intrigued me enough to post-process (seen above).

To capture the image, I used a Canon EOS 5D Mark III and EF 17-40mm f/4L USM (with a 4-stop ND filter) with the following settings: 40mm, f/6.3, 2 sec, ISO 200. I held the camera level to the ground and panned from right-to-left while bouncing the camera up and down (as if it were a bouncing ball) during the 2-second exposure which created seemingly the intertwined flowing lines seen in the image. For post processing, I applied vignetting correction and increased the image's saturation/vibrancy/clarity in Adobe Camera Raw and Photoshop CC. For what it's worth, I ended up liking the end result so much that it's now my smartphone's wallpaper (slightly croped and rotated 90-degrees).

We invite you to share your artistically motion blurred images in the comments below.

by Sean Setters

In my review of the RigWheels RigMount X4 Magnetic Camera Platform, I demonstrated how the mount could be used to capture a vehicle in motion (with blurred surroundings) while attached to the car being photographed. The example I created can be seen below.

However, I knew that there would be several challenges involved in photographing a following vehicle, all of which can cause unwanted motion blur of the vehicle being photographed. To capture an acceptably sharp follow vehicle, the following would all need to happen simultaneously during the relatively long shutter duration:

1. The car with the camera mount could not hit any significant bumps
2. The follow car could not hit any significant bumps
3. The follow car would need to maintain a constant distance from the lead/camera mounted car

Unfortunately, there was another challenge to consider – lighting. If photographing on a bright, clear day, the single primary light source would not likely produce great results.

For instance, if driving into the sun, the lead vehicle's shadow would likely cast a distracting shadow into the scene. If the sun were camera right, the broad side of the subject vehicle as seen from the lead vehicle would be in shadow with, yet again, another distracting shadow cast into the middle of the frame. If driving away from the sun, then the bulk of the subject car would be in shadow. With the sun camera left, the broad side of the subject vehicle would have been well lit, but... I still wasn't sure that I'd be happy with the lead vehicle's shadow likely being visible in the frame.

Shooting at night seemed to be the best solution to the lighting problem. With street lights (and possibly head lights) providing the bulk of the lighting required for an exposure, the car could be lit from multiple angles with any shadows cast being less severe. Also, the direction of travel would be less of a concern, meaning that a wider variety of shooting locations would be available for consideration. As ideal nighttime lighting conditions would likely be sporadic on any given route (aside from a well lit parking lot), it was necessary to add "good lighting" to the ever-growing list of variables that had to fall in line for the desired final image.

Before attempting a nighttime shot, Alexis (the driver of the following vehicle) and I did a dry run during the day to determine which focal lengths and shutter speeds might work best. Tests with a shutter speed of 1/2 second never created a sharp-looking vehicle. We found that wider focal lengths and a relatively close vehicle in an adjacent lane with a 1/3 second shutter speed provided the most promising results. At 1/3 second, there were still only a few sharp images compared to the total images captured. However, the blur created at 1/3 second appeared significantly better at comfortable speeds than when using shorter shutter speeds.

Before I go any further, let me be clear – please use caution if attempting to photograph moving vehicles. Do what you can to minimize risks and always be alert to potential hazards and/or traffic conditions. We are not responsible for property damage and/or loss of life if you attempt to replicate the results.

How I Got the Shot

Because of its wide angle of view and image stabilization feature, I opted to use a Canon EF-S 10-18mm f/4.5-5.6 IS STM Lens paired with an Canon EOS 7D Mark II. The 7D II was not only a good camera choice because of its compatibility with the EF-S 10-18 IS STM, but it's built-in intervalometer feature made triggering the camera during the shooting runs very easy.

I mounted the camera and lens to a ball head attached to the RigMount X4 and – using the included (4) Long Magnetic Mounts – I affixed the rig to the driver's side back quarter panel of my car. With the road in front of my house free of traffic, I directed Alexis to a spot for optimal framing, manually focused on the car, made a few test shots to determine the proper exposure settings, and with the exposure settings determined, I set the camera's intervalometer to take a shot every second. With the camera triggered, I told Alexis to try and maintain a constant distance from the car when she could (while abiding by all traffic laws, of course).

The exposure settings used: 10mm, f/5, 1/3 sec., ISO 1000.

We ended up doing two 1/2 mile laps traveling down a four lane road featuring a decent number of street lights. After the first lap, we took a look at the images to see if there were any adjustments that might be made to improve our results. We determined that the follow vehicle needed to be just a little bit closer and a little more forward in relation to the lead car than the previous run. On the second lap, we got the shot atop this post. Out of the two laps, there were only a handful of acceptably sharp images (out of 400+) and only a couple of the shots featured decent lighting and optimal vehicle placement within the frame (making selection of the best shot a very easy task).

Conclusion

Can the RigWheels RigMount X4 be used to photograph a moving vehicle that it isn't attached to, with motion blurred surroundings and a sharp subject? In a word – "absolutely." However, planning, patience and persistence will be your allies in getting those results.

More Info: RigWheels RigMount X4 Magnetic Camera Platform Review

by Sean Setters

I thoroughly enjoy visiting new destinations and reveling in the photographic inspiration that the unfamiliar scene inevitably engenders. My yearning for exploration is often the result of being blind to the beauty of the all-to-familiar locations I've photographed before.

There is a way to help tame the bordem with often visited locations, though. Have you ever heard the phrase, "Absense makes the heart grow fonder?" I'm not altogether sure how true the concept is in relationship terms, but the phrase seems perfectly applicable to locations I've visited and photographed numorous times.

For instance, I've photographed this Spanish moss-covered Oak several times primarily because it is only a short walk from my home. However, I hadn't photographed it for quite some time when, a couple of days ago, I decided to take a walk with my IR-converted EOS 7D and EF-S 24mm f/2.8 STM lens.

I've photographed this tree under similar, cloudy circumstances with the very same gear and shared the results here before. While I preferred a tighter framing before, I found that the freshly-cut field aided in isolating the tree in the scene thereby allowing a looser framed image to have more impact. It was a minor difference, but one that made a definitive impact on my framing preference. One could also argue that having photographed the tree from a closer perspective meant that I was subconsciously looking for a reason to find/utilize a new perspective, and that would be a fair point. But seeing a familiar scene with fresh eyes helps to get one's creative juices flowing, and being familiar with a location means you're better able to seek out and capitalize on those minor differences that can have positive impacts on your already-photographed location imagery.

For the shot above, the exposure settings were f/2.8, 1/2000 second and ISO 100.

During post processing, I first inverted the red and blue color channels in and then desaturated the yellow hues to achieve the traditional IR white foliage look while maintaining the blue color captured by the Super Color IR sensor. Click on the image above for access to a higher resolution version.

As the promise of brand new foliage fills the warming seasonal air, now is the time to send your (older, seldom used?) camera in for an infrared conversion to take advantage of the IR photography opportunties that lie ahead.

Learn more about infrared photography and IR conversions in our Infrared Camera Conversion by LifePixel Review.

We recently spoke with a high-level Canon representative about the benefits of using image stabilization when high shutter speeds are being utilized to stop fast action. While the information below should not be considered official Canon guidelines, they do represent the experiences of a person who has had a substantial amount of experience with Canon lenses and their IS systems.

Question: Is there a shutter speed above which image stabilization should be turned off? Should IS be turned off when shooting action under bright light with short shutter speeds, perhaps 1/1600 – 1/2500 using a 400 f/2.8L IS II or 600 f/4L IS II, as the benefits of stabilization may be reduced substantially?

Answer:

It's definitely true that there's a point, as shutter speeds get progressively faster, that the shake-prevention qualities of Image Stabilization really have little or no added effect. In other words, if you take a 600mm f/4L IS lens, mount it on a monopod (definitely NOT a totally stable platform, obviously!), and shoot at 1/8000th of a second, it's absolutely arguable that I.S. has no direct benefit in terms of minimizing camera shake. I think we can agree that with or without I.S., most users could get consistently shake-free pictures with that monopod-mounted 600 at 1/8000th of a second.

Turning I.S. off in situations like that (maybe not at 1/8000th, but perhaps at 1/2000th or thereabouts) will save a small amount of camera battery power... probably a minor consideration to most users, but perhaps a bit more relevant to someone working with a camera like an EOS Rebel or the new EOS 77D, which have smaller batteries with less capacity than, say, an EOS-1D X Mark II. Definitely a potential consideration for anyone shooting with a mirrorless camera like an EOS M5, which *always* have less battery life per charge, since they use more power-hungry LCD monitors or electronic viewfinders.

For sports, action, wildlife and so on, keep in mind the potential benefits of a more stable image in your viewfinder. Even if your shutter speed pretty much precludes any problems with camera shake, if I.S. is active and set to Mode 1 or Mode 2, you see a steadier, more stable view in your finder when working on a monopod or a gimbal-type tripod mount. This can be beneficial in a number of ways, from subtle benefits in frame-to-frame composition when following moving subjects, to being able to keep an AF point solidly upon a detailed area of a moving subject.

For those who consider the effect of visible stabilization during shooting to be an annoyance (for instance, it may seem to delay rapid lens movements to follow a moving subject), there is Mode 3 on lenses like the 400/2.8 II or 600/4 II. This is a specialized I.S. mode that does provide the shake-prevention effects, but ONLY when the shutter button is **fully** depressed, and a shot is actually being taken. Otherwise, at all other times, the effect of I.S. is disabled, although stabilization detection is continually taking place between shots, and the lens's moveable stabilization optical elements are held in a non-locked, "ready" position. In other words, in Mode 3, you don't SEE the effect of stabilization, but it still is there when you actually shoot each picture.

Here's one that never gets discussed among sports, action and wildlife shooters, but which our engineers HAVE said is a benefit of Image Stabilization, even at the fastest shutter speeds. Because Canon's I.S. is optical, if you do have your stabilization set to Mode 1 or 2, where it's continually active, the viewfinder isn't the only place where a steady, stabilized image is seen. The FOCUSING SYSTEM also gets the same benefit of a clean, steady and stabilized look at the subject, too. This matters, especially during fast, high-speed sequences, and even more so if/when you're shooting subjects that are (a) moving aggressively, and (b) may not have tons of detail, contrast and texture to them. The AF point or points being used must see some detail, and during a fast, AI Servo AF sequence, have less than 1/10th of a second in cameras like an EOS 7D Mark II, or certainly an EOS-1D X model, to read the subject between each frame. By using I.S., regardless of how fast the actual shutter speed is, the AF system gets a cleaner, steadier look at the subject during that interval between each frame, and is more likely to be able to read subject detail and provide continuous AF where most or all frames in a sequence are sharp (in terms of FOCUS).

I know there's a body of thought out there among some sports shooters that since they're already at fast shutter speeds, I.S. isn't needed, but they should contemplate what I just said. And, there's a body of thought that I.S. being active can slow down AF... I've directly asked our leading engineers that, and been told emphatically that this is NOT true, regardless of anecdotal "evidence" some shooters may feel they've experienced.

Bottom line, my basic suggestion would be to leave it on, unless you absolutely have deliberate reasons for not doing so. Consider the above points; remember the potential impact of Mode 2 (panning mode, so to speak) and Mode 3 (stabilization, but without visible effects in the viewfinder); and we do still suggest turning I.S. off if you know you'll be mounted to a completely rigid, locked-down position.

Answer:

Like I said, if you have distinct reasons for shutting I.S. off, go for it. But, in the VAST majority of action-type situations, especially with human-subjects (football and similar sports), the likelihood the movement would be SO sudden that what I.S. projects into the viewfinder and the subject's actual composition at the same time or an instant later would be extremely different is probably pretty slim. At least, in my experience. Might be a little different for someone photographing small birds in flight with a big lens, from relatively close distances.

The addition of Mode 3 *might* bring some benefits if and when you feel this difference in what you see vs. what you shoot is happening, but it's not the sole reason for its existence.

Most of the time, I'm very comfortable to suggest using I.S. Mode 1 or 2, even at fast shutter speeds, and with nearly all moving subjects. But I repeat, if for whatever reasons you feel it's hindering your ability to compose in real time, either switching to Mode 3, or turning I.S. off completely, remain options as well.

Image via greatamericaneclipse.com

In just a few short months, the United States will be treated to a total solar eclipse on August 21, 2017, an event which hasn't been witnessed by the citizens of the US mainland in 38 years.

In other words, mark your calendars and start planning / preparing for your solar eclipse viewing now.

On August 21, assuming fair weather and an unobstructed view of the sky, those residing in or traveling to the pathway above will enjoy an experience of a lifetime (click to download a larger image).

Due to the fact that the total eclipse pathway will traverse the central part of the US from the Northwest to the Southeast, a large percentage of the US population lives within a day's travel to a total eclipse viewing point.

Of course, finding a hotel in one of the larger cities placed along the total eclipse pathway will be more challenging as the August event draws near, so start making your reservations now to avoid accommodation issues.

You'll likely also want to stock up on your solar eclipse viewing/photography supplies. With that in mind, B&H has created a special Solar Eclipse 2017 page with gear specific the rare event.

The Canon Digital Learning Center has been publishing articles on the upcoming event and will continue add more articles in the months ahead. Here's what they have posted so far:

• An Introduction to our Eclipse Photography Project
• Living in the Shadow: Tracking the Eclipse

If you miss the opportunity to see and/or photograph the August 21 solar eclipse, you'll have to wait another seven years for the next opportunity to roll around (April 8, 2024). Our advice is to try and view this rare event from a total eclipse vantage point if you can; assuming clear conditions, you will never forget the awe-inspiring scene.

by Sean Setters

Over the Valentine's day holiday this year, the National Retail Federation estimates that consumers in the US will spend roughly $2 billion on floral arrangements. As such, I think it's safe to say that many of our site visitors will be purchasing flowers very soon (or have already done so) to show appreciation for a special loved one on this special occasion.

Unfortunately, unless a potted plant is gifted, the floral arrangement will not likely look as pristine and beautiful in the days/weeks following February 14th as the effects of time takes its toll on each once-vibrant petal. Yes, you may put a preservative in the water to stretch the life of your floral gift as long as possible, but ... that solution is not nearly as long-lasting as another available to you.

Your camera holds the easy solution for extending the practical life of your floral gift. By using your camera, you can capture the fleeting beauty of your loved one's flower arrangements and immortalize your thoughtfulness in the form of a print. A print represents the physical manifestation of a memory – in this case, a very good one – that can pay heartwarming dividends year-round.

You can employ your DSLR and a general purpose lens, a large window (or strobes) and a collapsible/muslin background to create a traditional still life photo of your bouquet. Otherwise, you can attach your macro lens to commemorate the beauty of a single flower. The possibilities are endless, and your loved one will likely enjoy displaying their new sentimental print on a prominent wall.

Make plans now to photograph the flowers you are going to give (if they will not remain available to you) or have already given. Pick out your favorite (or a few of them) and get those prints on order for the second wave of gifting.

by Sean Setters

Photography gear, typically speaking, is expensive. As such, we as photographers often entertain the idea of purchasing inexpensive camera accessories in lieu of adding the brand name equivalent to our kits.

But should we? Is it safe/reliable to buy cheap camera accessories? In some cases, the answer is "yes." When considering the purchase of a cheap camera accessory, here are the questions I ask myself:

1. How substantial is the savings opportunity?
Of course the biggest allure in purchasing cheap accessories is the cost savings realized over purchasing the brand name item. But just how much are you saving? Can you replace the inexpensive alternative more than once while still saving money in the long run compared to the brand name product? If so, the cheaper alternative may prove to be a good investment.

2. How complex is the item?
You're more likely to have issues with inexpensive accessories that contain electronics (especially those that must communicate with your camera) or lens elements (which require tight manufacturing and assembly tolerances). Lens hoods, for instance, are relatively simple to create. In most cases, they're simply a molded piece of plastic. However, that doesn't stop name brand camera manufacturers from charging an arm and a leg for them. A cheap knock-off hood may not have internal flocking or a fancy filter access window, but they'll typically do the job. I say "typically" because there is a moderately wide range of qualities of design and production for the manufacturers filling this low-cost market space. And that brings me to my next question...

3. Is the item made by a relatively well known brand? In-house brands, like Vello (from B&H) and Flashpoint (Adorama) offer budget-priced accessories that a major retailer will stand behind. This means that if you are dissatisfied with your purchase, you can likely return the item without financial consequence. These brands are usually slightly more expensive than unheard of brands, but often provide the best value-per-dollar from a security/reliability perspective.

4. How important are the item's benefits to your kit?
If you are going to rely on your accessory day in and day out, or you have clients whom depend on you to deliver images without fail, then the reliability of a name brand accessory may outweigh the benefit in cost savings realized by going with a cheaper alternative. Of course, brand name accessories can fail too, but... the brand name manufacturer has a reputation and [very valuable] brand to protect, so they will typically produce the highest quality products.

A Prime Example

Recently the eyecup on my now 8 year-old Canon EOS 7D broke (seen above). The item isn't necessarily vital to the operation of my camera, but I wanted to replace it.

In this case, I had three plausible options:

1. Canon Eyecup Eg (direct replacement) for $16.95 + shipping
2. Vello EPC-EG Eyepiece (B&H's in-house brand) for $14.95 with free shipping
3. (2) Eggsnow Eyepiece Eyecups EG (completely unknown brand from Amazon) for $8.99 with free prime shipping

• The cost savings was substantial, especially since I received two items instead of one.
• The eyecup is a simple product to make and therefore quality differences should be minimal.
• If the eyecup fails, it won't have a big impact on my photography until I can find another replacement (in this case, an identical item shipped).

Upon receipt of the Amazon acquired eyecups, I was pleasantly surprised to find that they seem to be identical to the Canon eyecup aside from the model branding.

A few additional cheap accessory options I've had pleasant results with from B&H, Amazon or Adorama include:

• Lens Hoods
• Lens Caps (front and rear)
• Body Caps
• Extension Tubes
• Tripod Rings
• Arca-style Quick Release Plates and Clamps
• Intervalometers, Wireless & Wired Camera Triggers

The Bottom Line

Sometimes the bottom line on your financial statement is more important than any potential risks a third party (especially non-vital) accessory presents. Other times, the potential risks simply aren't worth chancing. Of course, the differentiation will largely depend on one's particular priorities and preferences.

What do you think? Are there other cheap accessory items that you consider relatively safe investments? Let us know in the comments.

Have you ever wondered how this site's product images are created? If so, you'll want to check out our most recent addition to the Photography Tips page:

The Ideal, Simple, General Purpose Product Photography Setup (How this Site's Product Images are Captured)