If I leave the house without my camera, I feel like I’m missing a piece of myself. I know not everyone feels that way, so here are some more visual reasons to have it with you at all times:
With your trusty camera at your side you -
1. – are always able to capture those special memories as they happen.
(Photo taken on a phone camera - no exif available)
A few weekends ago, I was helping I was helping a friend with a music video project. Filming with him is always fun, he’s great to work with, and he has a drool-worthy range of equipment that I would be over the moon to own. As the day went on, however, I found myself getting frustrated by the… I don’t know… the preciseness of everything I guess.
Being a professional filmmaker, at least in projects like this, makes it all about using the perfect lens and ticking shots off the shot list. I missed the spontaneity of my usual photographic style. (My filming and my photography are interchangeable in my mind, the only difference I see between the two is that one of them moves.)
A few days later I went to stay with my very lovely friend in the fields of Norfolk, and we made our own film using her D90. Shedding the constraints of perfection, we used purposely dodgey, over-saturated colour settings to shoot shaky, handheld footage through a lens that had a smashed UV filter. We captured snippets of anything that caught our eye as we wandered through fields, jumped into rivers and trailed along the beach. It was so freeing and so, so much fun.
The finished video is imperfect, and I love that every moment is entirely unique to us. A four minute window into our very own summertime.
Life has been hectic lately, and I haven’t been able to get out much with my camera. I’ve missed it dreadfully, so when I woke to sunshine and blue sky this morning I decided it was time to do something about it. I slung my camera in my bag, hopped on my bike and went off to see what’s new in the world.
My favourite discovery of the day was two gaggles of little goslings (Did you know a group of geese is called a gaggle on the ground, and a skein in the air? I didn’t.), one group a little older than the other. Each group had two guards standing watch, bobbing their heads at other birds, and me, in warning if we stepped too near.
(Photo taken at 1/250, f/4.5, ISO 400)
I fell in love instantly and filled my entire card with gratuitous photos of the little balls of fluff.
My photo was picked for Group 1 of the Landscape assignment over at PioneerWoman! As usual, she’s put together a wonderful selection, the best out of thousands of beautiful submissions. I’m thrilled to somehow be in there amongst them. Go and take a look at the gorgeous landscape photos there! Group 2 is now up as well.
It’s the season I eagerly wait for, and year after year, it never disappoints.
(Photo taken at 1/4000, f/1.8, ISO 200)
After about 5 months of cold, grey, drizzly English winter (okay, so technically not 5 months, but winter here kind of stretches across three seasons), suddenly one morning you pull apart the curtains, and the grey sky has become blue. The sun is shining, and glorious green has emerged seemingly overnight.
Last week we looked at some of the reasons to use layers while working in Photoshop. Now let’s see some of the flexibility that Layer Masks can bring to the workflow. As mentioned last week, there’s more than one type of layer in Photoshop. To understand masks, we’ll begin with Adjustment Layers because they come with a mask automatically attached.
What are Layer Masks?
Quite simply, Layer Masks are your way to tell Photoshop which parts of a layer to use or hide, without having to actually delete a thing. On an Image Layer this means, for example, being able to erase part of a photo without losing the data and, with a sweep of the Paintbrush, being able to bring back what you erased.
On an Adjustment Layer, a mask lets you choose which areas of the photo to apply the adjustment to. Instead of having to use only blanket adjustments across the entire photo, this means that you can isolate certain areas. There are endless ways this can be used. Let’s look at a simple example, following on in the theme of contrast.
Have you ever been completely over the moon about discovering something and tried to explain it to someone else, only to then have to explain why it’s “sooooo amazing!!”?
That was me last night trying to explain how thrilled I was to discover back-button autofocus on my Canon 450D. I’d never heard of it before, I don’t know if that’s due to me missing something, or just that it’s not commonly known. But in my view it’s the greatest invention since… since the thing before they invented sliced bread.
The site I found is Canon specific, with instructions for Canon EOS models, but I did a search earlier and found people talking about it on some Nikon threads also, although I don’t know which models implement it (apart from the D90, which I know uses it). Here’s the link for Canon users.
I recommend reading through quickly first. It doesn’t explain how to change any settings until the end and frustrated me trying to work it out as I went through it the first time. Also, the actual wording in your custom functions menu will likely be different than the example ones on the site. You may understand it all straight away, or you may be like me and have to play with them until it makes sense and does what you want.
That’s great… but what is it?
This is my cue to make a confession: I rarely use manual focus.
I’d love to have the confidence in my focusing skills but I shoot quickly, and often miss shots if I stop to mess with focusing. I hate to miss out on photos because they’re badly focused. Or maybe I’m just lazy and making excuses. Either way, I usually use auto-focus.
The problem is that I often find my camera’s focus drifting between the time I press the shutter button halfway to focus, and all the way to release the shutter. This is especially true when I try to lock focus on an object and re-compose the image before taking the photo.
Back-button AF basically takes the focus control from the shutter button and puts it on a button on the back of the camera instead. Changing these settings has turned what was my AE lock button into a dedicated focus button. Once I’ve focused I can recompose to my heart’s content, and take as many photos as I like without ever touching the focus. The Canon site gives a lots of examples of where this can be useful.
It takes some getting used to, but I love it already and doubt I’ll be going back to standard AF in a hurry. If you have a Canon SLR (or any other that has this function) give it a try and see if you like it!
Oh, and one last point. This function is only activated in the “creative zone” modes (P, Av, Tv & M), so if you click the dial to the “green box” auto mode, you can hand it over to anyone to use without having to explain how your focus works. Handy.
Once your aperture has allowed your chosen amount of light into the lens, and the shutter speed has controlled the length of time the light has passed through the lens, the ISO controls how much of that light is absorbed.
The ISO is the camera’s measurement of light sensitivity. In analog photography, a higher ISO film absorbs the light faster, and film with a lower ISO number absorbs light more slowly. In digital photography it works in the same way, just with an electronic sensor in place of the film. A low number equals slower absorption.
Like both shutter speed and aperture, the ISO increases in stops that double or halve the light absorbed.
Standard digital ISO range
Some newer dSLRs have a higher range than this, but the principle is still the same. These stops correlate with the shutter speed and aperture stops. One ISO stop up or down equals one f/stop up or down, or one shutter speed stop.
Okay, that’s interesting, right? But how is it useful?
How great is this image? Jack Turner, press photographer nearly a hundred years ago. Suitcase-sized camera slung over his shoulder, cigar clamped between his teeth, bowler hat, and that wonderful expression.
Old photos are so often sombre affairs, I love when they’re full of character and show their subjects as real people, instead of “olden day” people from some time so distant that they were nothing like us.
P.S. A little further research uncovers Ted Hood, the photographer who took the photograph above.
Ted Hood photographing Leo Basser. 1937
Didn’t they look so ultra suave in those days? I want his hat and his jacket and his gorgeous camera, and I want to be a slick photographer just like him… except… you know, less stubble.