Each year camera manufacturers are pushing the limits of sensor technology and the latest trend has been to increase sensor resolution to numbers that were considered unfathomable before. With full-frame cameras reaching 50 megapixels (MP) and medium format cameras pushing beyond 80 MP, we now know that the megapixel race won’t stop there and we will most likely be seeing cameras with even more resolution in the future. But the big question remains – how much resolution does one truly need today? Is 12 MP too little? Is 50 MP too much? While it is a subject that can be open to endless debates, I have been working on a methodology to determine the ideal megapixel range for one’s needs. In this article, I will share what I came up with and it will hopefully serve as a good guide for our readers in deciding how to address the megapixel quench. I highly recommend to read my camera resolution explained article as a pre-requisite to understand the relationship of resolution to printing, cropping, display size and to understand such terms as down-sampling in more detail.
I enjoy taking panoramic images of landscapes, cityscapes, street art or any other time when the view exceeds the frame. While an increasing number of cameras (particularly smartphones) are offering an in-camera panoramic mode, individual images and good stitching software is essential for high quality images.
Let me first be clear. Anyone who knows me well would tell you I’m not a materialist and money is not my primary aspiration. I have food on my plate, a shirt on my back and a photographic imaging device around my neck; believe me, I’m happy. But if I had a pound (British Sterling) for every time someone asked to use one of my images for the reward of ‘exposure’ I could probably make a decent living as a photographer. Well, no, probably not. But often enough I get such a request from some organisation or company to use one of my images with the promise of ‘great exposure’ for my generosity. Presumably in the same way that a lottery ticket would expose one to the possibility of winning?
Just as the market is once again graced with higher resolution cameras, so too is the Internet awash with salivating consumers desperate to lap them up. Surely having a 50-megapixel camera will make them all much better photographers than they were 44 megapixels ago? The extra resolution must be the push they needed to take them from mediocrity to greatness.
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.
When dealing with slow shutter speeds, a solid tripod is a must-have tool for eliminating camera shake and capturing sharp photographs. Although setting up a tripod and effectively utilizing it for photography needs at first sounds simple and self-explanatory, I often come across photographers that do not know how to properly use a tripod. Even though you could own the most expensive tripod on the market and know exactly what to do to yield razor sharp images, your images could still be suffering from poor framing choices. In this article, I want to explore the proper techniques for setting up, handling and using tripods.
In September of 2014, my wife and I had the great fortune to take the trip of a lifetime to South Africa, Botswana and Zambia. The trip was more than a year in the planning which gave me the chance to think about what camera equipment I wanted to take along. Our itinerary was not one of the ones designed specifically for photographers however I had no doubt we would have plenty of opportunity to take pictures!
I was recently asked how many concerts I’ve photographed, and realized that it is coming up on thousand in the last 15 years. Any given week you can find me shooting anything from a 20 person house concert to The Who in a 30,000 seat arena, and anywhere in between. Tonight, it will be an up-and-coming band called The Spring Standards, who I’ve shot 7 times in the past. They are a dynamic, high-energy band with a lot of emotion, character and flying hair to capture.
We all have our strengths and weaknesses, as well as ways to deal with the latter. And it is only natural for us to sort of… drift towards our strengths. Hold on to them, practice as often as we can and, by doing so, get even better at them. And so, before I inevitably talk about close-up portraits (which I am not very good at), I thought I’d first discuss much more loosely composed photography (which, though far from having mastered, I dare say I am rather better at).
My word. This is such a relief to write about.