Astrophotography is a hobby rapidly gaining popularity thanks to the fast advancing CMOS sensor technology. Over a decade ago, the light recording material employed in astrophotography was primarily chemical emulsion. Its low sensitivity makes it very hard to record the weak signal from deep space. In addition, the lack of real-time feedback is a huge source of frustration for beginners. Operational errors such as out-of-focus can only be realized after several nights of hard work after the film is developed. In the mid 90s, the advent of cooled CCD cameras provided solutions to both the sensitivity and real-time feedback problems. However, their high prices and miserably small sensor areas limited their uses to only a few kinds of astrophotography and to very enthusiastic astrophotographers. While CCDs revolutionized astronomical research, this technology has never really changed the landscape of amateur astrophotography. The true turning point took place in 2002. After Fujifilm announced its FinePix S2Pro DSLR and showcased amazing astronomical pictures taken by this camera, people started to seriously explore DSLRs for astrophotography. DSLRs can provide real-time feedback, which is very important for beginners. They have sensitivities not much worse than CCDs, and DSLRs with large sensors (APS-C) are quite affordable nowadays. Today’s landscape in astrophotography is shaped by a series of CMOS-based DSLRs from Canon, but DSLRs and mirrorless cameras based on Sony sensors are gaining popularity very quickly.
Being a specialized tool for sports and wildlife photography, the recently announced Canon 7D Mark II is a popular choice among many Canon shooters, thanks to its impressive 10 fps continuous shooting speed, a sizable buffer, high-end 65-point AF system and a solid weather-proof build. Along with these pro-level features, the 7D Mark II comes with numerous buttons and a sophisticated menu system that can be pretty overwhelming for even intermediate-level photographers. To help guide our readers through these features and menus, we decided to share the settings our team has been using on the camera during the past 3 months while testing the camera. Please keep in mind that the below information is provided as a guide for those that struggle with the camera. While this particular configuration has been working great for our needs (mostly based on wildlife and landscape photography), it does not mean that it is the only way to properly setup and configure the camera.
I am in the process of reviewing the Canon 7D Mark II for which I had to borrow the Nikon D7100 to compare image quality and other camera features, so I thought doing an article on the recommended settings for the D7100 would be useful to our readers. Although the Nikon D7100 is not a direct competitor to the 7D Mark II (many are still waiting for a D300S replacement), it is still a solid camera that is used for a variety of different needs by many photographers. And despite its crippled buffer capacity, the D7100 is often used for both wildlife and sports photography needs. Since the camera is rather sophisticated in terms of its capabilities and features, having many different menu and settings, it can look rather overwhelming for a beginner. In this article, I want to provide some information on what I personally use and shortly explain what some of the important settings do. Please do keep in mind that while these work for me, it does not mean that everyone else should be shooting with exactly the same settings. The below information is provided as a guide for those who just want to get started with a basic understanding of the camera and its many features.
There is so much duality in photography. On one hand, it’s the light and the subject, it’s the story we tell and the story the viewer sees, it’s a feeling, an emotion, a state, a symbol, a metaphor. Sounds poetic, doesn’t it? On the other hand, it’s pure science, every single bit of it – from the said light traveling through a complex lens design, all the way to the scene being imprinted whether on a piece of light-sensitive film or, temporarily, on a digital sensor. And that scientific part of photography brings all sorts of terms with it, terms that may not be necessary for the creative process, but as far as skillful execution goes, you can’t do without understanding them for very long. A painter needs to know his brushes at some point, right?
And so we are back to covering basics, something you surely must have noticed. In this article, I will talk about yet another, confusing-at-first-encounter term used in photography, more specifically – exposure stops. I will try to explain what they are and how stops of different exposure parameters – shutter speed, aperture and ISO sensitivity – correlate, as well as give you examples of what are considered to be regular stop values of each parameter, and what are full, half and third-stops.
In our continuous effort to cover all the photography basics, we’ve found ourselves looking for the simplest topics to write about. We already have articles on such subjects as the exposure triangle, what is a DSLR and how is it different to mirrorless cameras. Most recently we covered the ever-popular topic of crop-factors (in an easily comprehensible manner, no less) and a useful guide on using tripods. In this article, I will discuss the topic of under- and overexposure. Now, on one hand, there’s not much to actually discuss – a simple explanation of the terms is what interests most beginner photographers. But here is my slightly-absurd-at-first-glance introduction to the article – there is no such thing as under- and overexposure. Dead serious.
Whether you are just getting into photography or have been shooting for a while, you have probably heard the term “crop factor”. With so many different cameras and camera systems available today, this particular term comes up very often in product specifications, marketing materials, articles, books and you might even hear it in conversations between photographers. If you do not know what it really means or want to get a better understanding of crop factor, this article will hopefully make it easier for you to understand it better. Please keep in mind that this article was written for beginners, so many of the terms and explanations are over-simplified.
A lot of wedding photographers think their work is mostly for the bride, and I can see why. Usually, it’s the bride who spends countless hours looking for the right person to capture the best day of her life, sometimes even years before the actual wedding. I’ve had men contact me more than once, of course, but eight times out of ten, it is the bride’s letter that reaches me. Every little detail has to be perfect, and brides-to-be are more than happy to dive into the planning to make sure it is exactly like that. On the wedding day itself, it is the bride that receives the most attention and most admiration. Not to say the groom is secondary – oh no. His admiration and attention are the most important, he is her knight in shining armour, so to speak. And yet, she is the princess. So if she is happy, he is happy, isn’t that how they say it? Strangely enough, I’ve found that it is not the bride that is hardest to impress with your work. After all, if she’s chosen you, she already knows, more or less, what to expect. And the groom? That is a somewhat different story.
The subject of sensor crop factors and equivalence has become rather controversial between photographers, sparking heated debates on photography sites and forums. So much has been posted on this topic, that it almost feels redundant to write about it again. Sadly, with all the great and not-so-great information out there on equivalence, many photographers are only left more puzzled and confused. Thanks to so many different formats available today, including 1″/CX, Micro Four Thirds, APS-C, 35mm/Full Frame, Medium Format (in different sizes), photographers are comparing these systems by calculating their equivalent focal lengths, apertures, depth of field, camera to subject distances, hyperfocal distances and other technical jargon, to prove the inferiority or the superiority of one system over another. In this article, I want to bring up some of these points and express my subjective opinion on the matter. Recognizing that this topic is one of the never-ending debates with strong arguments from all sides, I do realize that some of our readers may disagree with my statements and arguments. So if you do disagree with what I say, please provide your opinion in a civilized manner in the comments section below.
Now that I have completed the Nikon D750 review, I thought it would be a good time to provide an article with the recommended settings for the camera. Just like other Nikon full-frame cameras, the D750 is an advanced camera with many different menus and settings. In this article, I want to provide some information on what I personally use and shortly explain what some of the important settings do. Please do keep in mind that while these work for me, it does not mean that everyone else should be shooting with exactly the same settings. The below information is provided as a guide for those that just want to get started with a basic understanding of the camera and its many features.
A decentered lens contains one or more optical lens elements that are either moved or tilted from the principal axis of the lens. Such shifting or tilting of lens elements can potentially lead to blurring / softness of parts of the image due to divergence of light rays. While very slight decentering of optical elements can be observed in many lenses, especially on superzooms, severe decentering and tilting can render the whole image blurry, with the lens unable to achieve good sharpness across the frame.