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Thread started 25 May 2010 (Tuesday) 03:00
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My Epiphanies in Photography

 
ocjohn
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May 25, 2010 03:00 |  #1

Blurry Sports Picture with 28-135mm kit lens at Circus Circus: A couple of months after I got my 40D, I tried to shoot the trapeze artists at the Circus Circus in Las Vegas. However the Sports mode dial failed to take clear pictures. Because the 5.6 aperture at 135mm was probably too slow, I decided to buy the nifty fifty 50mm F1.8 prime lens. TV mode was fine between 1/100 to 1/300 shutter speeds six months later. In hindsight, Auto ISO between 400-800 probably didn’t help either. My lesson here was that the automatic modes of the camera may not be the best choice, and it is better to take control (once I understood). For sports, now I shoot higher ISOs with either wide open apertures or fast shutter speeds. I stopped using the Basic Zones after three months or so.

Blurry Group Shots with Flash Indoors: I heard of dragging the shutter to let the ambient light in. Also flash freezes motion. So I let the camera set the shutter speed in AV mode. For a group shot at Christmas, I set the aperture to F4 or F5.6 for wider depth of field. The resulting shutter speed was probably 1/10 seconds or slower. It took me probably about a year to figure this one out with a lot of experimentation on and off. Tried M mode with 1/15 to 1/30 seconds but this was still blurry most times, but worked in some shots. I think it was a combination of Strobist, Planet Neil, and this site that I finally figured it out. Flash is two different exposures. Aperture and ISO control s both the flash and ambient, while shutter controls only the ambient. For people shots , 1/60 seconds is probably the slowest you can get away with. I learned to shoot M for flash indoors with medium fast shutter speeds and aperture set for desired depth of field (usually wide open with a prime lens). Along the way, I learned about balancing your flash with both the strength (underexposing ambient) and color (gels) of the ambient, max synch speeds, HSS, rear curtain synch, OCF, and Canon wireless. I still have more to learn to get more consistent results. Today I’m mostly a flash shooter. I usually carry two lenses and two flashes in my Crumpler 6MDH. Indoors, I use on camera flash but OCF style using Neil’s BFT.

Pink Hue from Red Flowers on an Off White Table: Reading up on setting up a custom white balance with a white sheet of paper corrected this, but didn’t always work for some reason. At this point I was still shooting JPG. I didn’t want to learn about RAW until I could shoot more correctly. But RAW opened up more possibilities for correction, more customization, dynamic range, and exposure adjustment. I don’t do much in DPP (raw sharpness, RGB sharpness and default tone curve correction, noise removal, and lens correction), but need to figure out more. I also have Elements Photoshop 7 and need to figure that out as well. At least the new DPP has level correction. Now I shoot mostly RAW and more sRAW.

I’ve been shooting about 1,000 shots a month over the past two years. Lots of trial and error, but I think I’m getting better.




  
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ckckevin
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May 25, 2010 03:21 |  #2

Thanks for sharing!


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bsaber
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May 25, 2010 14:15 |  #3

If your subject is mostly unlit by ambient you can get away with much slower shutter speeds by dragging the shutter. The flash will freeze the subject while allowing the ambient to "burn in".




  
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RichSoansPhotos
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May 25, 2010 15:10 |  #4
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You sound a lot like me when I picked up my 400D three years ago :)




  
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ocjohn
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May 25, 2010 15:38 as a reply to  @ RichSoansPhotos's post |  #5

bsaber,

Two questions for you:
1. With low ambient levels, do you get the black cave effect when the flash is the main source of light? Does OCF solve this if it happens?
2. How slow of a shutter speed can you get away with? I shoot my kids mostly and they certainly aren't that motion free.

Thanks.




  
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photoguy6405
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May 25, 2010 16:04 |  #6

I don't mean to hijack the thread, but...

bsaber wrote in post #10244125 (external link)
If your subject is mostly unlit by ambient you can get away with much slower shutter speeds by dragging the shutter. The flash will freeze the subject while allowing the ambient to "burn in".

...this is what "dragging the shutter" means, eh? I was going to ask that.

Turns out I've done it a couple times myself precisely to get the effect you describe, but didn't know at the time the process had a name.


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bsaber
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May 25, 2010 18:34 |  #7

ocjohn wrote in post #10244610 (external link)
bsaber,

Two questions for you:
1. With low ambient levels, do you get the black cave effect when the flash is the main source of light? Does OCF solve this if it happens?
2. How slow of a shutter speed can you get away with? I shoot my kids mostly and they certainly aren't that motion free.

Thanks.

1. Depending if your exposure is set at. And depends on how you do the OCF.
2. I've gone as far as 1 second. It all depends on the situation.

photoguy6405 wrote in post #10244743 (external link)
I don't mean to hijack the thread, but...

...this is what "dragging the shutter" means, eh? I was going to ask that.

Turns out I've done it a couple times myself precisely to get the effect you describe, but didn't know at the time the process had a name.

Yes, dragging the shutter is what I described. It works best if your subject is not fully lit by the ambient.




  
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MikeFairbanks
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May 25, 2010 19:07 |  #8

Dragging the shutter? Is that like tipping the cow?  ???


Thank you. bw!

  
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bsaber
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May 25, 2010 21:23 |  #9

MikeFairbanks wrote in post #10245666 (external link)
Dragging the shutter? Is that like tipping the cow?  ???

It's almost as fun :p

It's letting the shutter stay open for "long" exposures while using flash to allow the ambient light to burn in.




  
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ceriltheblade
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May 26, 2010 00:36 |  #10

while my various turning points didn't seem as definite as yours, i am really happy to read about you epiphanies and hope to get to some of those soon! :)

this is a good thread. I hope others chime in with their epiphanies in a similar style. it helps us plebs to know turning points and thought processes of others at an earlier point.


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bsaber
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May 26, 2010 02:03 |  #11

One epiphany that I had years ago was that it's not the amount of light but the quality of light that makes great pics.




  
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neilwood32
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May 26, 2010 07:13 |  #12

bsaber wrote in post #10247542 (external link)
One epiphany that I had years ago was that it's not the amount of light but the quality of light that makes great pics.

I think that is the biggest epiphany that can happen to all photographers.

Technical knowhow is all well and good but if the quality of light isnt there, the quality of the photographs will be lacking as well.


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bsaber
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May 26, 2010 13:41 |  #13

neilwood32 wrote in post #10248178 (external link)
I think that is the biggest epiphany that can happen to all photographers.

Technical knowhow is all well and good but if the quality of light isnt there, the quality of the photographs will be lacking as well.

Indeed. One of the very first that I had :D




  
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photoguy6405
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May 27, 2010 08:07 |  #14

One of my earliest epiphanies was... keep open eyes and an open mind about your surroundings. Or, as I call it, "Turn around.".

Several times what I think is the great shot ends up being just "eh", and I'll turn around, think that view or scene is kinda cool, and take a few shots... and those 'afterthoughts' end up being my best shots of the day. I mean, it doesn't happen all the time, but often enough to make me be conscious of it now, and make me look more critically in all directions.


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neilwood32
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May 27, 2010 10:45 |  #15

photoguy6405 wrote in post #10254891 (external link)
One of my earliest epiphanies was... keep open eyes and an open mind about your surroundings. Or, as I call it, "Turn around.".

Several times what I think is the great shot ends up being just "eh", and I'll turn around, think that view or scene is kinda cool, and take a few shots... and those 'afterthoughts' end up being my best shots of the day. I mean, it doesn't happen all the time, but often enough to make me be conscious of it now, and make me look more critically in all directions.

It is amazing how often that happens, you plan to shoot one direction but the better scene is actually behind you!


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