Battery tips

Sunday’s country workshop in Mono, ON prompts me to talk for a moment about batteries.

Background: We used small speedlights Sunday, with simple and effective Honl modifiers and gels. The studio lights and large softboxes stayed packed away.

Tara Elizabeth in the rain, by Michael Willems

Tara Elizabeth in the rain

In a shot like this, you make the background darker by “nuking the sun”: overpowering the sunlight with flash.

Overpowering the sun takes, um, power.

In general, therefore, you will set your Pocketwizard-powered speedlites to full power. On many shots we have five speedlites firing at full power. Full power gives you not that many flashes – in the order of maybe 100 flashes if you are lucky.

To use flash effectively, then, here are a few practical tips:

  • Turn off the “Auto power down” on your flashes (this is in your flash custom functions).
  • Move the flashes as close as you can to your subject (remember the inverse square law).
  • Allow 3 or more seconds for the flashes to recharge before you shoot again.
  • Occasionally, fire a test flash to verify that  all flashes are still working.
  • Use NiMH rechargeable batteries.
  • Ensure these are “low self discharge” types like Sanyo Eneloop, etc.
  • Carry a lot of spares. Several sets per flash.
  • Before each new shot setup, replace them. So you never run out.
  • Use a “conditioning charger” that can discharge your batteries fully before charging. I have three of the Lacrosse chargers (check Amazon or the web).

And yes, go wild, and use speedlites for creative purposes!

Model Tara Elizabeth, photographed by Michael Willems

Model Tara Elizabeth

Tara Elizabeth, photographed by Michael Willems

Tara Elizabeth

Tara Elizabeth, photographed by Michael Willems

Model Tara Elizabeth striking a pose

Tara Elizabeth, photographed by Michael Willems

Tara Elizabeth and umbrella

Can you use a Canon 7D at high ISO?

Yes you can. Especially when you use Lightroom 3 noise reduction.

I want to show you this picture again – a repeat, but now with full sized crops and re-edited with Lightroom 3’s magic noise cancellation.

Here is the cat, shot with my 7D and a 50mm lens set to f/2, at 3200 ISO. And.. pushed 1.67 stops.

Meaning I underexposed, and increased exposure on the computer. This results in the worst noise you will ever see, much worse than you will see when using the camera properly.

Here is a detail from it, in the original size crop with no noise cancellation. Click to see it at real size.

Cat's eye with noise, shot by Michael Willems at 3200 using a Canon 7D

Cat's eye with noise

Now we apply 90% noise reduction. Magic:

Cat's eye with noise reduction, shot by Michael Willems at 3200 using a Canon 7D

Cat's eye with noise reduction

The finished picture:

Cat with noise reduction, shot by Michael Willems at 3200 using a Canon 7D

Cat with noise reduction

So do not be afraid of high ISO when you need it. It’s fine. Relax.

Wide or telephoto?

I am going to repeat something I have mentioned many times before, but that never goes out of style: the difference between a wide angle lens and a telephoto lens.

Here is the same car shot recently with a telephoto lens from afar and then with a wide angle from close up:

Telephoto/far away:

A 1958 Dodge shot in Oakville by Michael Willems

A 1958 Dodge in Oakville (70-200)

Wide/close by:

A 1958 Dodge shot in Oakville by Michael Willems using a wide angle lens

A 1958 Dodge in Oakville (16-35)

You see the difference, yes? If ever the saying “a picture paints 1,000 words” is true, I imagine it is here.

Wide shows enhanced perspective/depth. Telephoto makes it look flat. This is not because of magic in the lens: it is simply because of the vantage point you take using each lens.

In addition,

  • Telephoto creates blurrier backgrounds more easily, while wide can easily have extensive depth of field
  • Wide is less susceptible to motion blur

Wide is better for situational portraits, low light shooting, and architecture, and much travel. Telephoto is better for flattering portraits.

Outdoors with flash: what mode?

Let’s assume you follow my advice and use your flash, as fill flash, outdoors. Say for pictures like this.

A baseball team

A baseball team

In that case the question will be, what mode do you use on your camera? You want aperture in a certain range to ensure sufficient, but not too much, depth of field, and you want the shutter in a range that ensure sufficient stability but that is limited at the upper end by the flash sync speed (normally around 1/200th second).

  • Program mode: this will work, but you get no control over either aperture or shutter speed. Not the preferred mode unless you are in a hurry.
  • Manual mode: you meter for the background and set your camera accordingly. Flash lights up the foreground. This is practical when you know aperture and shutter speed and their effects well, and when the light does not vary too much.
  • Aperture mode: good for determining the depth of field. But there is a drawback. Outdoors, if you open the aperture, your shutter speed could easily exceed your flash sync speed. Result, an overexposed picture. Or if you stop down the aperture, the shutter speed could get so slow you get blurry images.
  • Shutter speed mode: if it is bright, you can set your shutter speed to just below your sync speed, say 1/200th second. The camera will now choose whatever aperture suits this. The risks are fairly low – worst case, you get a wider or narrower aperture than you wanted. If it is dark and your ISO is low, you can get an underexposed image.
  • “Aperture and shutter priority”: on some cameras you can select “Manual exposure, plus auto ISO”, which effectively means “aperture and shutter priority”. If you set your aperture and shutter wisely, the ISO will be in an acceptable range. The danger is that you need lower than available ISO (overexposed picture results) or that you need high ISO (noise, or “grain”, results).

As you can see here, there are certain strategies, but there is not one perfect one that is easy to use at all times. That is why photography has a technical aspect you need to learn.

A different approach: Rather than worry about modes too much, look at what they do. You need to look through your viewfinder and be aware of shutter speed, aperture, and ISO. Look out for:

  • Shutter too slow: blur
  • Shutter too fast: flash sync speed will be exceeded, and overexposure results
  • Aperture fully open: overexposure will occur, and depth of field will be narrow
  • Aperture too closed: too much will be sharp
  • ISO at its lowest: overexposure may result
  • ISO too high: noise (“grain”) will result.

Then adjust whatever you like to get all three variables into the right range.

For the shot above, I used shutter speed priority with my shutter speed set to 1/200th second. I chose an ISO of 200 to get into an acceptable aperture range (I was aiming for f/5.6).

It's all a blur

Well, not all. But in many good photos, the background is blurred. Because one way – a very good way – to draw attention to your subject is to blur the background. You do this by using aperture or manual modes and selecting a large aperture (a small “f-number”, like 2.8 or 2.0 or even 1.4 if your lens can do this).

That is why I love the 35mm f/1.4 lens and several f/2.8 lenses I use also: because they allow me to dramatically blur backgrounds. Like in a few of last night’s guests:

Wedding guests, photographed by Michael Willems

Wedding guests

The other interesting thing is that these pictures make you guess; make you piece together the story, as in my post the other day.

Tip: Normally, you do not want the blurred background person to vie for attention by looking into the camera. Except if they are the only person, as in this image:

A wedding cake, photographed by Michael Willems

A wedding cake

Your eye goes first to the cake. Then to the gentleman in the background. Then you try to make out what is happening.

And sometimes selective focus is all about drawing attention to the eyes:

Wedding guest, photographed by Michael Willems

Wedding guest

The good news: there are many affordable fast lenses available, like the 50mm f/1.8 that many camera makers sell, and the 35mm f/1.8 that some sell.

If you are not yet shooting with fast lenses, probably prime lenses, my advice is to try it soon.

Wedding lenses

For today’s wedding I used a 35mm lens, a 16-35, a 24-70, a 70-200 and a 100mm macro. At a later day (when I am not falling sleep after working 7am-midnight) I will go into more detail But for now:

Macro for close-up detail:

Wide for environmental shots;

And use telephoto for farther-away detail:

More on technique in the next few days!

Why is it blurry?

A question I get a lot from students is “why is this picture I made so blurry?”

We all want super-sharp pictures, and are disappointed when our pictures come out less than perfectly crisp. And then we wonder why.

The bad news: this question can be confusing because first, you need to distinguish between four distinct causes of blurriness. Yes, four: motion blur, focus blur, computer-generated unsharpness and camera-unsharpness. And their sub types: 11 reasons in all.

And then, once you know what caused it, you need to figure out how it came about.

Microphone shot against blurry background, by photographer Michael Willems

Microphone shot against blurry background

The good news: I can almost always tell very easily. And with a bit of training, so can you. And then you can find solutions.

So let’s look at why a picture can be blurry, shall we?

First there is motion blur:

  1. The shutter speed was too slow. This is by far the most common cause I see. Using a 100mm lens at 1/10th of a second is not going to work unless you are very lucky. (A general, very rough, rule of thumb: stay faster than “one divided by your lens length”. So on a 50mm lens, stay faster than 1/50th second. And so on). Solution: turn on more lights, go to a higher ISO (though this has problems too), open your aperture, or use a better lens with a larger aperture. Or use a tripod.
  2. The subject is moving. This is common too. If your subject moves, a tripod will not help! Solution: select a faster shutter speed or try panning with your subject.

Then there are various causes of focus blur:

  1. Simply out of focus, due to focus error. I see this a lot too. Solution: use one focus point, aim that at your subject (the eyes!), focus/lock focus, and shoot without repositioning yourself. Do not let the camera select where to focus.
  2. Out of focus due to very narrow depth of field. This is common with fast lenses. An f/1.8 lens (you need one!) has very selective depth of field, so move even a few millimeters and that eye will be blurry.
  3. Missed focus – due to the subject moving away after you focus. Solution: in these cases use AI Servo/AF-C rather than One Shot/AF-S.

Then there is what I like to call “signal unsharpness” (low signal to noise ratio, for engineers):

  1. The subject is dark. Dark pixels contain the noise and the muddy, unsharp image parts. Solution: light well!
  2. You are using high ISO. This leads to noise. Solution: use as low ISO as you can, use a faster lens, and turn on more lights.
  3. You are using noise reduction, which leads to blurriness. Solution: as above.
  4. You have increased the RAW image’s exposure, which generates extra noise. Solution: try to expose well in the camera and “expose to the right” (see previous posts here: search for them on the blog using the search field above right).

Finally there is camera unsharpness:

  1. Anti-moiré blur. Your camera adds blur to avoid Moiré patterns. Solution: use sharpening.
  2. Your lens is badly adjusted. This happens. Solution: have it fixed, or on professional cameras, do a lens micro adjustment.

I hope the above does two things. First, explain why this is complex, which explains a lot of the confusion (and I hope I removed some of that confusion). Second, help you with strategies to fix the issue.

Tip: Take lessons to learn about this stuff from the pros. Go to your local Henrys, or if you are an emerging pro to www.cameratraining.ca, and explore the possibilities. We make things simple!

Choices…

A fellow photographer friend and blog reader asks:

Have you any thoughts about the Leica D-LUX 4 in comparison to the Canon G11 Which would be the better buy? Thanks

I do have thoughts, yes. And of course am happy to share them.

Although both feature full SLR controls (eg Av and Tv modes, etc), and both have good sensors without too many megapixels, these cameras are aimed at a different audience.

The Leica is really a typical “little point and shoot”. Few buttons and much hidden in menus. It’s really a Panasonic of course. I teach this type of camera often, and see the drawbacks well:

  • Convoluted menus.
  • Much needs to be done through those menus.
  • Slower operation.
  • Easy to hit the wrong button, even with the few buttons it has.

The benefits: the Leica badge, the lens, and “light and small and inconspicuous”.

Now the G11. I recently updated the Henrys G10/G11 course. I love the G11 because it feels much more like an SLR. The G11’s build quality is excellent.

It has easy to use buttons for things like exposure compensation, ISO, etc. Although it too has a few “compact-type” (i.e. slow to operate, confusing, and easy to accidentally hit) controls and menus (I’ve never understood why you need two different menus; now you have three), at least there are fewer such.

The G11 has an articulated LCD. It also has a viewfinder. It is a lousy little almost-unusable viewfinder, but that is the key: “almost”. It works and the Leica needs a flash-shoe mounted viewfinder add-on. Call me crazy,  but I consider a viewfinder a necessity.

As an SLR shooter, control is important to me. And since I consider the G11 the next best thing to an SLR, I would wholeheartedly recommend that as my choice.

My verdict: Unless the small size or the Leica name are essential to you, go with the G11 if you know anything about cameras.

What not to learn on your camera

Or, wheat and chaff.

Your point-and-shoot camera has two types of functions:

  1. Essential photographic ones. These are the same on all cameras.
  2. Fluff that is camera specific and is designed to market, or to “make it simple” but actually makes it complicated.

Your point and shoot especially has many “value added” functions. “Super OIS”. “Multi AI Focus”. “Oriental Food Mode”. “Child Mode”.

Those are like the radio programming functions in your car. Nice, perhaps, or maybe not – but not part of driving. And they can (and do) confuse.

So you should learn:

  1. How to do basic settings (like size) and functions (like reviewing and formatting).
  2. How to focus accurately.
  3. How to use exposure compensation.
  4. How to force the flash ON, and how to force it OFF.
  5. How to use ISO.
  6. How to use White Balance.

Those are photography. If you learn those six things, you will be a photographer. Whether or not you know the three Super OIS settings or the seven Image Enhance Options is pretty irrelevant, or at least should be an option later – but only after you know the essentials above.

Rule of thumb: If a function is unique to your camera, it’s probably not necessary and may even get in the way. It is certainly going divert your attention from the essentials, unless you already know those.

Detroit speaks: Cubic Inches

Detroit used to say: there’s no substitute for cubic inches.

And indeed there isn’t. Wanna have torque: need a big engine.

Similarly, in cameras there’s no substitute for lots of glass. Here’s a shot the other day in a bar with live music:

A scene in a bar ion College Street with live music, shot by Michael Willems

Bar on College Street with live music

So can I do this with my point and shoot, or with a kit lens?

Alas, no. With a fast lens I was using the following settings:

  1. Sensitivity set to 1,600 ISO
  2. Manual exposure mode
  3. Aperture at f/1.4
  4. Shutter at 1/30th second
  5. No flash

Surely there are better solutions than spending money on a fast lens! Could I have used a cheaper lens? Not with those settings: the picture would have been too dark.

  • Higher ISO then? No, most cameras will not go higher than 1,600 – or if they do, much noise results.
  • Longer shutter speed? No, the girl would have been a big blur.
  • Just use Flash? No, the black walls did not afford flash bounce capability and direct flash would lead to a really bad picture.

So, sometimes you need the power of fast prime (fixed focal length) lenses. And that is why my 35mm f/1.4 lens is my favourite party lens.