SnapShot Archives - 08/21/2000
SNAPSHOT - PHOTO NEWS FROM BETTERPHOTO.COM
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Welcome to SnapShot, the weekly newsletter on the art
of photography from http://www.betterphoto.com
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IN THIS ISSUE
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Monday, August 21, 2000
* SPOTLIGHT: Trash that old photo album & grab THE ONE that Rocks!
* BETTERPHOTO: Getting in Front of the Camera / BetterPhoto Contest
* WEB NEWS: Review of the Forthcoming Canon EOS D3 Digital Camera
* WEB NEWS: Exposure Value (EV) Table
* WEB NEWS: Depth of Field Calculator
* PHOTO TRIVIA: The "B" Trivia Question / First Lunar Photo From Space
* THIS WEEK'S TIP: Portraiture Tip from this Week's PhotoFlash
* NEW QUESTION: Portrait Lighting and Digital Camera
* NEW QUESTION: Selecting a Second Lens for SLR
* NEW QUESTION: Cost to Set Up Dark Room
* NEW QUESTION: Recommended Equipment for Portraiture
* NEW QUESTION: Negative Noise in Scanned Images
* CONTINUING Q&A: Photographing Black Dogs
* CONTINUING Q&A: Emailing Digital Photos
* CONTINUING Q&A: Suggestions for Group Photography at a Reunion
* CONTINUING Q&A: What Does the Designation "f 3.5 - 5.6" Imply?
* CONTINUING Q&A: Depth of Field
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WHAT'S NEW AT BETTERPHOTO.COM
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Tips for Getting in Front of the Camera
Learn how to take the controls into your own hands when it comes to having
your own picture taken. An understanding of this will help photographers
empathize with their subject when shooting portraits. To get great, natural
pics, learn how to make people feel more comfortable pick up a few posing
tips:
http://www.betterphoto.com/exploring/bad.asp
Only 8 Days Left to Enter BetterPhoto Contest
Time is running out! If you have high quality, artistic photos, submit them
to possibly win a Minolta Dimage Scan Speed film scanner. You can also win a
copy of PhotoDex CompuPic Pro, E-Book's FlipAlbum, or a $100 gift
certificate toward photographic equipment and supplies. There is one
category - Photographer's Choice - which means that you can enter whichever
photos you like best. Submissions will be judged on technical and artistic
excellence. Enter today to win.
Laminating Your Prints
Never thought about it before? Well, here's your chance. With a simple,
mechanically laminator like the You 2 from Leitz, you can have a ball
sealing your photos, business cards, home-made calendars and more:
http://www.betterphoto.com/buyers/laminator.asp
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WEB NEWS ON PHOTOGRAPHY
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Review of the Forthcoming Canon EOS D3 Digital Camera
USA Today staff photographer Bert Hanashiro spent some time with a
pre-production Canon EOS D30 at the Democratic National Convention in Los
Angeles. Overall, Hanashiro liked the responsiveness, burst rate, quietness,
and lightness of this next-generation digital camera. If you use EOS lenses
and occassionally tire of scanning film, Hanashiro's review may cause you to
anticipate the arrival of this camera as much as I do. Despite its probable
high cost (around $3K), Hanashiro and others have been giving it such good
reviews, it may still be worth considering:
http://www.robgalbraith.com/diginews/2000-08/2000_08_17_dnc.html
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Exposure Value (EV) Table
Confused about all the technical numbers such as shutter speed, exposure
values, and f-stops. Learn how these numbers relate to each other, how
exposure values are determined from aperture and shutter speeds, and what
the brochures are referring to when they brag about these technical details:
http://www.chem.helsinki.fi/~toomas/photo/ev.html
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Depth of Field Calculator
Use this Depth of Field Calculator to learn how depth of field changes under
various conditions (or to just have fun playing with an impressive Web
gadget). Determine hyperfocal distance, near/far limits, and total depth of
field based on negative format, focal length, aperture and subject distance.
Very cool!
http://www.silverlight.co.uk/resources/dof_calc.html
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PHOTO TRIVIA QUESTION OF THE WEEK
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A "B" Trivia Question
Last week, we asked you what the "B" setting on most cameras stands for.
Many of you emailed in the correct answer, which is "B: Bulb, named after
an old method of using an air current to release the shutter."
And Now... This Week's Question
The first photo of the moon shot from space was taken:
A: By the U.S.S.R. Luna 3 in 1959.
B: By the Mariner 10 on November 3, 1973.
C: By Neil Armstrong on the Apollo 11 on July 20, 1969.
D: By Lt. Uhura on the U.S.S. Enterprise on August 2, 1963.
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THIS WEEK'S TIP
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Portraiture Tip from this Week's PhotoFlash
Look to see if you can use a remote control with your camera. Such a device
has much more utility than just allowing you to get into your own pictures.
When taking portraits, for example, you can use it to keep your face out in
the open, not hidden behind the camera. This will help your subject feel at
ease; everybody responds better to a friendly face than a black box. You
will also find it easier to converse until you see the expression you want.
More tips:
http://www.betterphoto.com/exploring/allTips.asp
Subscribe to PhotoFlash:
http://www.betterphoto.com/Subscribe.asp
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A WORD FROM THIS WEEK'S SPONSORS
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Soften that Flash & Reduce Red-Eye with STO-FEN Omni-Bounce
STO-FEN Products, leader in small flash light modifiers since 1979, has the
ultimate solution for your flash photography! Our Omni-Bounce products
soften harsh flash and keep your subject from looking blasted or washed out.
Each model is designed to fit most of today's popular portable strobes
without resorting to Velcro. Check out our product listing to see what we
offer for your flash photography today:
http://www.stofen.com
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NEW PHOTOGRAPHY QUESTIONS
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Q. Portrait Lighting and Digital Camera
Hi there... I think I am going nuts. My Coolpix 990 takes great shots
outdoors, but when I try to take indoor shots of the wife, things are not
the same. I have 2 adjustable power lights and I have tried a lot of
different power settings and changed the positions of the lights but I just
don't seem to be able to get the vivid and clear colour that I get outdoors.
I shoot at f3 or 4 and I am about 4 feet away from her. Also how can I set
the white balance with the light that I am using if I can't fire my lights
when I setup white balance. HelpHelpHelp. Thanks!
- Mark G
Nikon Coolpix 990 Digital Camera:
http://www.betterphoto.com/product/productDetail.asp?productID=876
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=992
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Q. Selecting a Second Lens for SLR
I've been told that you should always purchase lenses that are made by the
same equipment manufacturer so that all electronics are compatible. However,
it seems far too many people are using aftermarket lenses for this to be the
correct answer - what's up with this?
- Gerald
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=990
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Q. Cost to Set Up Dark Room
I've just played with some pro-grade slide film (Fuji Provia and Velvia),
and I must say I am really impressed, even at nearly 10 times the cost of
budget film!
I'm one of those people who really like getting their hands dirty
(figuratively) in hobbies, so I was wondering if it was viable to make
slides to prints at home? If so, how much does it cost roughly to set up a
darkroom? (assuming I already have a light-sealed basement.)
Secondly, I've been told by a shop assistant that printing slides rarely
preserves their colour richness and contrast, and that if print was my
destined medium, I should choose pro-grade print film instead. Is there any
truth to that? Is it worth my while to get a darkroom? Thanks.
- Kenneth
Fuji Velvia Slide Film:
http://www.betterphoto.com/product/productDetail.asp?productID=326
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=986
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Q. Recommended Equipment for Portraiture
What equipment do you recommend for portraiture?
- Jim
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=984
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Q. Negative Noise in Scanned Images
I'm using a Canon FS2710 film scanner with Canon's software at 2710dpi. I'm
getting a lot of "noise" when scanning 35mm color negative film. This isn't
grain as I am using pro 100 speed film. Also, this doesn't seem to happen w/
slides. Any suggestions?
- Matt
Canon FS2710 Film Scanner :
http://www.betterphoto.com/product/productDetail.asp?productID=877
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=970
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CONTINUING PHOTOGRAPHY Q&A
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Q. Photographing Black Dogs
I have a black dog & often you cannot make out his facial features - it just
looks like a furry thing without a face. The dog really has expressive eyes.
Most of the photos I take of him are candid, like when he is doing something
cute! Sometimes he will pose. He is used to having his champion photos taken
after he wins at a dog show. What can I do? I use a Pentax K 1000 & a Canon
Sure Shot Zoom 60, mostly the later for daily fun stuff. Thanks.
- Jerri
A. I have a Rottie and for the most part he is black. Every picture I have
taken of the dog is excellent. The key for me is a shiny coat, natural or
artificial light shining on dog. This helps bring out the grooves of the
dog. I like to have the Sun in front of my dog this helps bring out the
detail. One time I use reflected light of a lake. They came out great!
Good luck and shine up that doggy.
- Gabriel
A. Just meter the dog up close and the meter will automatically give you an
exposure that will set your dogs "complexion" to the equivalent of middle
gray. This should allow you to capture the dog's expression without any
problem.
- Leonard
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=957
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Q. Emailing Digital Photos
Now that I have photographs in computer that I took using my digital camera,
how do I make files small enough to use as email attachments?
- Gary
A. If you have a copy of Photoshop 5.5, it comes with companion software
called ImageReady. This has a neat optimize feature that gives a good screen
image at low resolution. Just load your image into Photoshop click on the
oblong jump to graphics editor application button (an arrow pointing to a
letter A) at the bottom of your tool palette (the one with the eye at the
top). Save your image as a .psd on your desktop (this makes it easy to
delete afterwards) and this takes the image to ImageReady. Now click on the
leaf that indicates "optimized" and adjust the settings in the optimize
palette to get the best results and "save as". Hope this is of some help.
- Crampy.
Adobe Photoshop 5.5:
http://www.betterphoto.com/product/productDetail.asp?productID=261
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=909
*****
Q. Suggestions for Group Photography at a Reunion
I have been asked to take photos at a Class Reunion. Group and individual
shots. I have experience taking portraits in a portrait studio of children,
couples, pets, seniors etc... but, I am inexperienced in taking photos of
large groups of people. Does anyone have any tips or suggestions for me on
how to plan for this occasion and most of all any posing tips and how to's
for taking photos of large groups?
- Melissa
A. Use the same concept you did when photographing couples with kids. Build
your pose around a couple to start with. Here is an example: Put the oldest
couple in the middle seated the same as you would for a couple photo. Then
slowly add to it. Take one or two more people of varying height (to fill in
gaps) and pose them around the couple. If it helps you to see things better,
try picturing that the person standing by "grandma" and "grandma" are the
only ones in the picture... pose them as a couple. Then do the same on the
other side, alternating until the whole group is together. You may find that
the group will pose itself and it will be up to you to arrange people so
that there are no unsightly gaps between the front row and back row. Good
luck and have fun.
- Liz
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=963
*****
Q. What Does the Designation "f 3.5 - 5.6" Imply?
I have a Sigma 28-80 mm lens. What does the designation "f3.5 - 5.6" imply?
I get f-stops both below and above 3.5 and 5.6 with my Canon Rebel.
- siberia1997
A. This is the "speed" of the lens, its widest possible aperture. It is not
uncommon with current zoom lenses to have a lens speed given as a range
between two f-numbers. At 28mm the widest aperture is f/3.5 and it is f/5.6
at 80mm. The range is 1-1/3 f-stops. In between 28mm and 80mm, a "wide open"
aperture will be something between f/3.5 and f/5.6.
As you increase focal length, the aperture diameter must increase to
maintain the same f-number (the f-number is focal length divided by the
aperture diameter). With zooms that have a 3X or greater focal length range,
it is more complex to design and very expensive to make them with a constant
aperture f-number "wide open." This is why the lens speed varies with the
zoom's focal length.
Your Canon Rebel can certainly handle lenses faster than f/3.5, and display,
use, and set them in the AE modes, but it is the lens design that determines
how fast the lens is. A faster lens (with lower f-numbers) would be bigger
in diameter with larger glass elements to admit more light. This is one of
the reasons they are more expensive, especially for zoom lenses that have
many glass elements, all of which would have to be much bigger.
- John
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=960
*****
Q. Depth of Field
Theoretically I think I know what depth of field is but I would like to know
the complete theory, where the depth of field is governed by the fact that
given a certain focal length and diameter a certain circle of confusion
comes into play. I would like to know more about this circle of confusion
which is controlled by the focal length of the lens and diameter. Also
whether you are using large format, medium format or 35mm camera.
- Kenny
A. Kenny,
This is a long technical topic with a number of related factors.
Circle of Confusion:
Depth of Field is based on what appears to be in and out of focus to the
average person at an average viewing distance from an image.
When you focus a rectilinear, flat field lens (nearly all lenses other than
fisheyes are rectilinear) a flat plane in space perpendicular to the lens
axis, and a specific distance from the lens, is in exact or "critical" focus
on the film plane.
Anything not lying in this plane in space is out of focus. The farther from
this plane, the more out of focus. A point in space not on the critical
focus plane will form a "circle of confusion" on the film plane. The size of
the circle depends on how far from the critical focus distance the point is
in space.
If a circle of confusion is small enough in a print or projected slide at an
average viewing distance, the average human eye cannot tell the difference
between it and a point in critical focus. If it is big enough, it can be
detected and is perceived as out of focus.
The maximum diameter a circle of confusion can have before being detected as
a circle and not a point defines the Depth of Field. The figures given are
for the maximum diameter on *film* not in the viewed image. This is a
*subjective* measure, but is based on studies and experience over many
decades of still photography. With a larger format of film, you can have a
larger circle of confusion (on the film) because it will not be enlarged as
much for the viewer to detect it.
Here are some generally accepted maximum diameters for various film formats;
you may find some variation with other lists of these as they are a
*subjective* measure:
Small Format
35mm: 0.025mm
Medium Format (120/220 roll film)
6x4.5cm: 0.050mm (aka 645)
6x6cm: 0.060mm (aka 2-1/4 x 2-1/4)
6x7cm: 0.065mm
6x9cm: 0.075mm
Large Format (sheet film)
4x5in: 0.150mm
5x7in: 0.200mm
8x10in: 0.300mm
The maximum diameter for a circle of confusion is used in computation of
Depth of Field limits.
The next step in figuring the DOF is finding the hyperfocal distance. This
is the focus distance at which infinity is just barely in acceptable focus
and is determined by the focal length, the aperture being used and the
maximum circle of confusion for the film format.
The hyperfocal distance is directly proportional to the square of the focal
length and inversely proportional to the aperture setting and maximum circle
of confusion allowed for the film format. If you double the focal length,
the hyperfocal distance quadruples (4x); if you triple the focal length, the
hyperfocal distance increases by 9 times; if the aperture f-number goes up,
the hyperfocal distance goes down; the same for an increase in the max
circle of confusion.
H = f^2 / (A * c)
H = hyperfocal distance
f = lens focal length
A = Aperture setting (f-number)
c = max circle of confusion for the film format
This equation is a very close approximation that works for nearly all
photographic lenses. Once the hyperfocal distance is calculated you can use
it to determine the depth of field for a different focus distance.
Remember! You must be consistent in units of distance (including lengths and
diameters). If you use focal length in millimeters, you must use a circle of
confusion in millimeters and the hyperfocal distance from this equation will
be in millimeters.
I have uploaded three PNG files to go with is with graphs to show what
happens to DOF. One of these will shatter a common myth about DOF too.
Now, the concept of magnification. As you move closer or farther from a
subject, its size on the film changes. This is called the magnification.
Obviously for most work, the film image is much smaller than the subject, so
the magnification is much less than one. If you keep the same distance, but
change focal length, it also changes. Longer focal length increases
magnification and shorter focal length decreases it. For the purpose of
comparing what happens with different focal lengths, this discussion will
keep magnification constant. That is, the subject will be the same size on
the film and in order to do so the distance will shift to keep it that way
as the focal length changes.
Now the DOF equations using the hyperfocal distance (H) found in the last
posting:
S = Subject (focus) distance
H = Hyperfocal Distance
f = Lens Focal length
Sn = Near edge of DOF
Sf = Far edge of DOF
The near edge of the DOF:
Sn = (H * S)/(H + (S - f))
The far edge of the DOF:
Sf = (H * S)/(H - (S - f))
As the focus distance grows, the far edge grows faster than the near edge.
Let us assume we will use an aperture of f/8, and a distance of 8 feet for
the 50mm focal length. That means the distance will get shorter for shorter
focal lengths and longer for longer focal lengths. The first chart shows two
things for various focal lengths:
(a) The focus distance, the near edge, and the far edge for the DOF to keep
the subject the same size as at 8 feet using a 50mm lens.
(b) The yellow line blows away a common myth about DOF. It is DOF = Sf - Sn,
or the actual depth of the DOF. Notice that it remains very nearly constant
(about four feet in this case) from 18mm through 600mm. What does this mean?
If you change to a longer lens and move back to reframe thinking you will
somehow reduce the DOF, you're wrong. It won't!
See this chart:
http://www.betterphoto.com/gallery/dynoGallDetail.asp?photoID=940
Why would we go longer and move back then? Because the circle of confusion
can be made larger outside the DOF! The second chart shows the theoretical
circle of confusion size at infinity for each focal length. Notice how it
gets larger with a longer focal length (remember we're keeping
magnification, or subject size the same).
See this second chart:
http://www.betterphoto.com/gallery/dynoGallDetail.asp?photoID=941
The third chart shows what happens to the circle of confusion from 1 - 50
feet behind the subject for six common focal lengths: 24, 35, 50, 85, 100
and 135mm. Note that its size grows faster with the longer focal length.
This means for greater reduction of background clutter outside the DOF, go
to a longer lens and move back.
See this third chart:
http://www.betterphoto.com/gallery/dynoGallDetail.asp?photoID=942
Hope this helps you understand DOF better and how to use it in for DOF
control of distracting backgrounds. Keep in mind that a longer focal length
will "flatten" and image and reduce perception of depth. A shorter focal
length will increase it. This is always another aspect of (what Ansel Adams
called) "image management."
The next question might then be, how *do* you increase or decrease the depth
in the depth of field... if we change focal length but keep the subject the
same size by moving closer or farther? By changing the aperture! A smaller
aperture diameter will increase it (higher f-number). A larger aperture
diameter (smaller f-number) will decrease it.
- John Lind
Respond to this question:
http://www.betterphoto.com/QnAredirect.asp?threadID=407
*****
Ask a question or answer a few from your fellow photographers:
http://www.betterphoto.com/qnaTOC.asp
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READ SNAPSHOT ARCHIVES
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http://www.betterphoto.com/snapshots.asp
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A WORD FROM THIS WEEK'S SPONSORS
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You 2 Cool Seal Laminator
The prints from your new inkjet printer get rave reviews from all your
friends. Once you set them down, though, they inevitably get bent, crinkled,
torn, and water-damaged. This is where this cool seal laminator by Leitz
will save you. For only $29.99, it helps you protect your valuable prints
for a longer life of impressing your friends:
/buyers/laminator.asp
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ADVERTISE IN SNAPSHOT
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Start getting the word out early to a rapidly growing list of excited
photographers. Your audience is a focused group of inspired
shooters - from budding beginners to expert professionals.
To sponsor SnapShot, visit:
http://www.betterphoto.com/g/advertise.asp
Learn more about our demographics and reach at:
http://www.betterphoto.com/g/advertise.asp
Until next week, enjoy shooting!
Thank you,
Jim Miotke
BetterPhoto.com
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