Increased ISO
Now of course there are advantages and disadvantages to increasing your ISO. I frequently increase my ISO when working outdoors with Flash. This way my speed light doesn’t have to work so hard. A higher ISO of course is going to make your sensor more sensitive to light and increase your exposure. It has a cost though. Below we will discuss the advantages of lower ISO and the disadvantages of higher ISO.
Low ISO Ratings (ISO 50-200)
The Advantages
When you use low ISO speeds, the quality of the photographs that your camera’s sensor gives you are the very best ones. Both tonal reproduction and colors will be of very high quality. Despite all that, the amount of noise produced will be at its minimal. It will also help blur moving objects.
Photographers who want to produce high quality and enhanced images normally use slow shutter speeds. Landscape photographs are great examples of a photography genre that best suits low ISO speeds.
Fast ISO Ratings (ISO 500 Upwards)
The Disadvantages
Fast ISO ratings definitely produce lower quality images. The faster the speed, the lower the quality produced. Other than that, the amount of noise will increase. Also be prepared to see less realistic colors and losses in overall sharpness.
Before ramping up your ISO you should always stabilize your shot first. When turning up the ISO we want to make sure we turn it up as little as possible. Let’s discuss that on the next page.
GO TO THE NEXT PAGE
For more on ISO see the original article over at picture correct
Source: Picture Correct
Image Source: Ronnie Macdonald
want one
Thanks for sharing Scott
Is that like marksmen having to adjust for wind and gravity in order to hit the target???
3 Canon vs 1 Nikon
An only the Girlie’s photo was spot-on!
But seriously, it is not the camera that make great photos . . . it is the person behind the camera.
In general, man produce technically near perfect exposure BUT
Ladies create more pleasing composition.
I used to contribute to LIFE magazine, yet, my wife and daughter creates more pleasing photos than I do.
Nice One Bart
It’s the inverse. Didn’t you read the article
4 guys all taking the same shot, good example of doing it wrong. Bet if there wasa large view of this field, there would be some oddball photographer shooting from a different angle somewhere. He will be the one getting printed everywhere because his shot will stand out.
The oddball was the one who took this shot Ray 🙂
LOL too true.
People, this is soccer…(OK, Football…but NOTHING HAPPENS..I have Been to a lot of matches and in school was forced to Play in them, nice and cheap, that sport, good) Nothing!, until they get near the Goal..then Point…Then Shoot! Jeez!
Apparently, the guy on the left didn’t get the memo about the green shorts!
SHE got the memo alright . . . but she knows better!
I was there, some 25 meters behind these shutter pushers.
My drone made possible shots from several angles.
Scott Wight Fred Lemire
Patrick Hilker where you at ?
…
Modern lens is spot on with that comment lol
Monopods? That’s Cute…
For some games, companies like sports illustrated have multiple photographers covering the match. The photogs are sectioned off to certain parts of the field to cover so no action is missed. It’s more of a team effort to catch the every part of the match. Not 1 photographer can capture all parts of the field.
Sports Illustrated doesn’t have photographers anymore. They just hire freelancers.
Regardless……Id just like one of those lenses thanks…..obviously from different media companies 🙂
The 1/focal length rule is for handheld. The video briefly mentioned that, but the image shows monopods and the video shows a tripod. They also never mention image stabilization (or vibration reduction). Then there is correct posture when taking a shot. If you shot using the LCD live view with arms extended, do not expect this rule to produce sharp images.
You can handhold a 200mm at 1/15th if you know how to brace yourself and your lens properly, as well as shooting as you slowly exhale.
You mean I have to adjust my camera, it doesn’t do it automatically???
You could use “P” mode Adam. P stands for Professional
?? hmmm… I believe P stands for Program Mode 😛
Hahahaaa
Ray Knight, shooting soccer, which these shooters are clearly doing, usually means you are not allowed to move up and down sidelines or switch sides of the field during play and there are assigned areas where photographers can shoot.
Correct. I shoot Sporting KC for The KC Star. We are not allowed to move once we take a spot. We are not allowed to stand. We have one height and one location for all of our images per half of the game. You can only get up and move with an escort and they usually are busy during the game. You can only move freely during the half or before/after the game.
This article was written for the Canon shooters, they need all the help they can get.
True. I shoot drag racing most often, or used to at least. Only so many spots, so many angles. I go printed more often then my fellow shooters because when they were standing, I was laying down, When they were kneeling in front, I was shooting from the rear. Always doing the opposite of what the majority was doing. Even with those 4 guys lined up like that, all one of them has to do is tilt their camera to get a completely different shot then the other 3. I credited Ian Rae for bringing that to racing.
Good true funny story about this. IHRA Nationals one year, broke my camera day before. I stood on the line with guys equipped like those in the photo, but only with an SiS2 point and shoot. Everyone got to chuckle at me, but in the ned, more of my shots ended up in magazines. Quality wasnt as great of course, but the subject was different then the other 20 shooters.
I am only trying to encourage people to look at things differently then the norm. Also, placing sponsors ad banners in your backgrounds when lining stuff up also helps a ton. Backgrounds are very important that way.
Thanks for sharing your advice and experience with us Ray. It’s always great to hear from professionals
And that works in many situations but not in pro soccer. Even pro baseball there are only three designated photo dugouts.
Cimon you have been warned!
i’m drooling!!!
Using NHRA is an excellent example!
When taking photos at a professional sporting event, you are usually restricted where you can and can’t go with your equipment. Hence why photographers get grouped together like this. The other angle you speak of? Yeah, I bet there’s just as many photogs in that allowed spot as well.
Not being a sports fan, I enjoy getting a spot in the pit with the seasoned shooters who are passionate about the game. Their banter and comments help with the cutlines I need to write later and keep my from getting bored and distracted. Their excitement is contagious and by half-time I don’t ever want the game to end. If I have to cover a game and I’m off by myself I miss moments due to lack of concentration or worse yet I run the risk of getting hit by the ball or trampled by the team!
Probably a good idea to mention Image Stabilization modes. On a tripod with the newer series of Canon Lenses, there are 3 IS settings.
Mode one is generally for stationary subjects, or slow moving. The stabilization is working on both the horizontal and vertical axis.
Mode 2 is for panning action. It compensates movement (i,e. shake) on the vertical axis, but allows the camera to move freely on the horizontal plane, without trying to compensate for it, resulting in decreased IQ. (image quality)
Mode three is for action as well, but doesn’t apply the IS until the moment you squeeze the shutter. Allowing you to frame up the shot without interference from the IS.
I have used the mode three with the EOS 5D3, 400mm IS ver.2, with manual focus handheld to capture a shot of an incredibly impatient mountain warbler flitting backing and forth in a length of heavy brush. The branches of the brush drove the auto fucus crazy, there was way too much moving around and height adjustment for a tri or monopod. After about 5 minutes, I finally got him. Not something one might pull off with the 600mm.
Although it was a Canon, it did a heck of a job! 😉
big, bigger, bigger, biggest
I only see one photographer that is obviously doing it right…the rest seem to imply conformity to the uniformity… ;-P
And just what are they doing wrong? And you can be guaranteed that all their shots will be different……why……because they are not firing at the same millisecond of time….duh. There will be little nuances that will make them different, that an editor will choose for that reason. Just luck, and no way degrades another photographers shot.
Well, hopefully it’s good timing and not luck. The people who just hold down the shutter and let the motor drive do their work often miss the peak action because they don’t have timing.
I find this article rather hollow. Anyone can see fairly quickly, that they need a faster shutter speed to freeze most sports action, not simply just be in focus. And at a distance, your focal point can be a bit forgiving, and still render a decent shot. Way too much elitism going on here when it’s not that complicated.
Well, if shooting wide open at F2.8 to get the best possible bokeh, your depth of field might be a few inches with a 400 2.8, so focus is critical.
Why?
Useless info.
that s the lens i need
Generally, you don’t have much option at professional events.
There is also a lot of action, and generally those 4 guys would be tracking different subjects, simply because they are contracted to get a feature shot of a certain player, versus general action shot.
Then, you have the thing, were perspective can make all the difference, just 2 feet away could easily result in to much space between players to be usable, versus more interaction perspective, which is key in Sports Photography. Same concept can be seen in why they are not standing, and their lens is as low as possible (not they can all lean the front end down, in case they need to, they also have their 70-200 handy, when needed.
LOL me too!!!
Lol…lol
A class I won’t be needing any time soon.
I wouldn’t recommend any of those lenses, nosirree!
have that much money into a lens and cand cant get it in focus then mabee you have more money than brains and you need new hobby
I doubt that’s a hobby for them. Those lenses probably belong to the media outlet they work for. Few hobbyists drop $10,000 on a 400 2.8 or 600 4.
Yeah not really. If the action’s frantic and the ball isn’t in your field of view you’re doing it wrong.
How do you know that they are all shooting for different publications?
We don’t. I was originally merely trying to offer a tip to everyone to think outside the box. I have been printed a lot despite having poor equipment and less skill then others. I was just different then the rest. That is all I was trying to say.
I would love to see the settings each of these photographers is using and how much the photos may differ in exposure………
Sometimes you are also limited to where you are allowed to go.
???
Obviously you failed to read the entire article Miklos. If you watch the video or read the article in it’s entirety you would see it does in fact talk about tripods and vibration compensation which you failed to mention.
dont they sell those lens at Walmart
Hahahahaa, good one.
and a tripod
Wow someone got paid to write this?
Who’s the Dummy Now ???
I’m a nikon guy but you wouldn’t recommend a 400 2.8? Even if they are canon…really? cuz….I’m curious. What would you recommend? a 600 f4 is better? I have shot everything from high school to the Detroit Lions and use glass from a 500 f4 to a 12mm. Please, enlighten me on what makes good glass for pro shots outside of the 400 2.8. I CAN’T FRIGGIN WAIT to hear what you have to say.
I love the 400 2.8, better bokeh than a 600 4.
This is one of the dumbest articles I have ever read…. Unless you are trying to market to the 70-300 crowd… Then? Ok… But how about we don’t show a 400 2.8 as an example.
Everyone has an opinion………just do what works for you……maybe less time making comments here and more out there shooting and you might just learn to get it right on your own……!!!!!
I can’t believe someone would drop 6-10 grand on a lense and ignore that. doesn’t make sense. I learned that the first week with a kit lense.
Looks like us Kathryn Mitsch at the footy
There are other issues as well……
Still, that’s one of the most basic things you learn when you first start shooting manual. You could do without the article/video by running an headline that says “Get rid of unwanted blur by using fast shutter speeds.”
that’s alright..I missed a great shot in a pinch..I had to change to the telephoto in my arsenal quickly and my f-stop wasn’t set correctly for the body and lost that little bit of time and killed the shot.. (“sometimes..there aren’t enough rocks” Forest Gump ) ,
I think the important thing to know this here is, 3 out of 4 professionals shoot Canon. There’s only one with a Nikon.
Exactly 🙂
The Big Boys $10K + lenses !
Maybe the Nikon shooter isn’t a sheep like the other three.
Nikon all the way
So there is at least one person whom actually knows a thing or two about cameras.
Canon does what Nikon’t 🙂
Yep…breaks down in rain.
I shot a Pitt State football game circa 2006 in pouring rain. I had the company’s EOS 1d Mark II with a 70-200 2.8 L and my personal Nikon D2h on a 400 2.8 shooting the game. Both cameras were drenched despite rain covers. The Canon completely quit working and had to go to CPS for repairs due to water damage. The Nikon was still working. My opinion is based on experience, the fact I can choose to mount a 1960s Nikkor lens, that I find Nikon easier to use, faster for shooting photojournalism. That D2h is still functional and in great shape. It’s one of my backup bodies these days. And from the D3 and on, Nikon has outclassed lowlight sensitivity on its bodies, which is one of the most valuable features on a camera for an available light photojournalist. Other photo profession requirements may vary.
canon all the waay cx
The warning statement should state “To compensate for motion blur while using a telephoto lens”. Sharpness of a lens has nothing to do with settings you set on the fly.
Panasonic GH4 has no prob with blurry images!!!
wondering about the guy that has both 😛
I am liking the fact that five of the six cameras shown are Canon
This advice is good for a lot of photography requirements – its the basics after all.
It is absolutely useless information to anyone shooting with a super telephoto at a propeller driven airplane that is flying by at 200 to 400 mph. Try a 500mm + 1.4 + 1.3 crop body for an effective focal length of over 900mm – hand held – at less than 1/125 and try to get a tack sharp image. Tripods are too heavy and cumbersome, monopods add unnecessary weight when panning on a loop. ISO doesn’t help because flash isn’t used. If you don’t have a full prop disc and be able to read the fine print on the tail – you don’t have an image you can sell for much.
Welcome to the real world of aviation photography!
I didn’t know that.
Elizabeth Siri Tiffany Choy Addie Blondefield Just imagine the coverage we could have gotten for yearbook if we each had one of those babies.
I love these threads, they always bring up the Nikon vs Canon topic from a bunch of people who coulndt get a sharp photo not matter what they use. Its not the camera, its the shooter.
One of those guy is on the wrong subject.
lol if only we had the money for it 😛
I got tired of hitting “Next Page”. Seems the writer is only concerned about the ad clicks.
In the photo of the four sports photos, only the one on the left looks like he is ready for work, the other three are shooting with Canon…
Been shooting with Nikon since 1990, never a reason to switch to an copycat camera company..
it’s called brainwash and 3 out of every 4 people have it!!!
I am a Nikon (full frame) owner and love it. I also have Telephoto lenses for my shooting. Both Canon and Nikon are great cameras. I have been and always will be a Nikon user, but that does not discount any other camera brands such as Canon. The history has been that Nikon was always he higher priced camera. Canon, and I can only surmise that it was the Marketing Dept, saying that if Nikon can get a premium dollar, so can we. So up come the prices for all Canon equipment . If you had been a Canon owner from wayyyyy back, you probably stuck with Canon. Just like the old Ford Chevy discussions…
i like both !
Besides having the more superior camera, canon has one thing that you will not find at Nikon….. Canon has their factory service repair called Canon Professional Services or CPS for short…. Instead of sending your camera to some authorized location, you’re actually sending it directly to the Canon factory. In all instances I have always gotten my foot and back fully serviced, and back in 6 days or less. Try to top that Nikon.
Nikon replaced my dropped camera. No questions asked.
Blurry images are a photographer problem, not a gear problem
Ever heard of NPS?
Joseph C Spoto, Nikon repairs are not made at the factory,,,, But, some Authorized Locati lo n???? Does Nikon Send You “Loaner Equipment” to evaluate for free…. Just recently I evaluated 800mm lens for 2 weeks for free. If I rented that it would have costed me $600. Does Nikon do that?
NPS allows you to borrow equipment to check out or use while yours is being repaired.
http://youtu.be/8kwMWb2KPB4
…watch the part where he zooms…
Canon sucks.(period)
So doesn’t mater settings or lenses
If you don’t know how and when to change your settings, you shouldn’t be wasting your money on a lens like that. Go back to using your cell phone camera.
I’ve collected several Canon 35mm, Minolta and Nikon camera’s, with telephoto lens. I have used them all. I love the picture quality but dslr is better. The cost of the film and to develop it is getting expensive. A quality printer and memory card works good.
The Apple effect….affects the weak…
George, Nikon repairs with NPS are either done at Nikon NY or CA and yes Nikon also has the free evaluation and consignment programs.
Well said Dennis.
It might be that the Nikon guy is the only professional there and the rest of them don’t know how to change the settings on their DSLR.
Duh… Yea if you are gonna shoot learn the fundamentals of the craft.
There is one problem….what if you are shooting a propeller driven aircraft and need the motion blur on the prop. using this rule will not work ……..OTHERWISE, this is a good rule to follow
stupid article i can get sharp pics on a cheap 650 /1300 lens choked at f8 if you dont know the settings take it off auto and play around geezzz !!!! i have had images using that lens published in international publications
Just think in the days of using film, the money spent learning how to be a photographer. Now it’s cost is just the equipment. At a football match 3 films. 108 frames usable ones ???? And now this might be the frames taken in the first half on one camera.
good read but lost interest flicking one page after another – sorry
If its white its Canon.
I hope after I study the camera and lens I’ll take great shots then .
Any link that leads to a page with nothing on it but a link to another page doesn’t get my attention.
Well I never would have known that…YES I WOULD! Because I learnt in the pre digital/auto everythig age.did collage and ‘A’ levels in photography and C & G as well. Basic stuff before image stabiliser lenses were even dreamt of! Pah…Bloody expert
Good article and newbies don’t let the old schoolers turn you away from a zoom lens. 🙂
The dumbing down of photography
Problem #1 for the 3 photographers center to right… they are using Canon. Single Nikon user sent to get the job done right. 🙂
Agreed, presenting one paragraph at a time to promote page views is dishonest and greed based. Never looking at Modern Lens pages again
Typical Nikon snobs have a complex and need to bash Canon users. Trying to compensate for something? They are both great Cameras, and as any real sports photographer knows, your preference is developed through practice, familiarity, comfort, and the need on a shoot to know your camera without having to look at what you are doing. (Not to mention your investment in your glass). So. Shoot what you prefer Nikon users…especially at your real job…shooting weddings.:) .
This is written as if image stabilization has not been invented and highly refined over the last two decades. For instance, with a Canon Series II 500mm f/4, I’ve hand held a sharp image of the moon at 1/40-sec. and 1,000mm (2x TC attached). It requires good technique, but hand hold the current generation of super-telephoto lens at shutter speeds well under the focal length is now realistic.
This doesn’t mean that I don’t bump the ISO up and shoot birds in flight at 1/1000-sec. to 1/3200-second, when possible, but I have no qualm about hand holding the 500mm at 1/100-sec. to capture a big white-tail buck in the woods.
Apparently- 3 out of 4 Pros shoot Canon – who knew???
Bill Carey!
I can’t imagine that there are too many photographers with an $11k lens and a $6k body that do not know the right settings.
Not very many pro events, if any allow tripods.
Monopods?
The article said tripods.
Only One Smart one in the group…Notice the Canon guys all have back ups….MMMMMMM!!!!
If you’ll notice, the non-Canon shooter has his around his neck. And he’s sitting on a kiddie chair that’s about to break.
Also, they’re not “back ups”, they another camera with a shorter lens. The right tool for the job.
I noticed the same thing. 3 Canon’s to 1 Nikon. Perfect!
What a waste of time. Obviously written by someone who has never used big glass in the real world. 🙁
true
most people who shoot canon are shooting because of the name Nikon has the best focus glass and talk to a photographer who shoot canon about Nikon and they will have nothing but great things to say about it I own Nikons and love the products do great work
Hmmm…and what’s the dominant camera brand…could it be?…CANON?
Only because they are cheaper, sorry, you left that wide open!
Cheaper? Two thoughts…you’re of course wrong..the most expensive lens are Canon L lenses (white ones above) and second, professional photographers who commonly use the canon telephoto lens (look at the photographers section at Wimbledon for example…about 85% are white lens) couldn’t care less about what’s cheap. Fred…never seen a white Nikon lens unless it was covered by a lens stick on, most of which are cammo for obvious reasons.
Next you’re gonna tell me PC’s are better because Mac’s are cheaper and lot’s of PC’s have the Apple logo…
Well, If you’ve got 20 grand invested in lenses you’ll probably stick with the body that works with them. Duh!
Go Canon>>
What do you mean by “dominant?” I recently read that Canon’s quarterly earnings were down significantly – sales have really slumped with their DSLRs and they’re exploring mirrorless development. Seriously, go get lost with your Nikon vs. Canon argument.
I get so tired of being right
Hmmm…and what’s the dominant camera brand…could it be?…CANON?
Only because they are cheaper, sorry, you left that wide open!
Cheaper? Two thoughts…you’re of course wrong..the most expensive lens are Canon L lenses (white ones above) and second, professional photographers who commonly use the canon telephoto lens (look at the photographers section at Wimbledon for example…about 85% are white lens) couldn’t care less about what’s cheap. Fred…never seen a white Nikon lens unless it was covered by a lens stick on, most of which are cammo for obvious reasons.
Next you’re gonna tell me PC’s are better because Mac’s are cheaper and lot’s of PC’s have the Apple logo…
Well, If you’ve got 20 grand invested in lenses you’ll probably stick with the body that works with them. Duh!
Go Canon>>
What do you mean by “dominant?” I recently read that Canon’s quarterly earnings were down significantly – sales have really slumped with their DSLRs and they’re exploring mirrorless development. Seriously, go get lost with your Nikon vs. Canon argument.
I get so tired of being right
Nikon has white lenses also, but a real pro uses Nikon with black lens.!!
But those are clearly Canons based on the mono foot.
Key Word, a REAL PRO uses NIKON!!
Legacy Pentax Lenses are also ‘white’ !
What’s a “real” pro?
Canon is a cheaper camera in general so are there lens, that’s why most people shoot Canon, also as a combat photographer Canon did not stand up under fire.
Well bully for Nikon.
“Cheaper camera?” Oh boy, it’s on.
I shoot Nikon
Fred Phipps the price difference is negligible in both brands top line cameras if youre going to pay that kind of money for high end equipment. Not all pros shoot combat pics, theres many genres out there to shoot not just combat.
So all the pro photographers that use Canon or other Cameras are not realy professionals???? What about those who shoot with Hasselblad or Leica etc etc etc, Are they not professionals???
Nikon has white lenses also, but a real pro uses Nikon with black lens.!!
But those are clearly Canons based on the mono foot.
Key Word, a REAL PRO uses NIKON!!
Legacy Pentax Lenses are also ‘white’ !
What’s a “real” pro?
Canon is a cheaper camera in general so are there lens, that’s why most people shoot Canon, also as a combat photographer Canon did not stand up under fire.
Well bully for Nikon.
“Cheaper camera?” Oh boy, it’s on.
I shoot Nikon
Fred Phipps the price difference is negligible in both brands top line cameras if youre going to pay that kind of money for high end equipment. Not all pros shoot combat pics, theres many genres out there to shoot not just combat.
So all the pro photographers that use Canon or other Cameras are not realy professionals???? What about those who shoot with Hasselblad or Leica etc etc etc, Are they not professionals???
So three photo’s on Canon and one on a Nikon. For a bit More variety, (just once) I’d like to listen to a Professional Golf Association Tournament presented by a socker (football) announcer. Now THAT would be different.
Correction: soccer
WOW I learned nothing !
WOW I learned nothing !
my next lens Cannon 70 X 200 telephoto…got to save up tho…ahahahahah 😉
my next lens Cannon 70 X 200 telephoto…got to save up tho…ahahahahah 😉
Advice given is basic 101 photo class. If one uses big glass this should already be known. Most use Canon does not mean they are pros or even good; it just shows you how many hack photogs there are.
Advice given is basic 101 photo class. If one uses big glass this should already be known. Most use Canon does not mean they are pros or even good; it just shows you how many hack photogs there are.
I have been having trouble getting the shots I want and this explaned a lot! should help a bunch
If you’re shooting with a $6,000 lens you probably know how to get sharp photos….without changing any settings.
If you’re shooting with a $6,000 lens you probably know how to get sharp photos….without changing any settings.
Really, this is Photography 101. Professionals should already know this and amateurs usually shoot in auto mode anyway. The best thing to do is Invest in a basic photography book or just read the manual. It’s the best investment you’ll ever make.
Really, this is Photography 101. Professionals should already know this and amateurs usually shoot in auto mode anyway. The best thing to do is Invest in a basic photography book or just read the manual. It’s the best investment you’ll ever make.
Along with a top of the line camera for about $5,000. You better get crisp photos.
Only reason sports shooters use Canon is that it has a bigger buffer so you can machine gun more shots to pull out the one you will use so instead of 10 or so on the Nikon in a burst over a second you can do 14 or so. Otherwise both about equal except on the Nikon you can use classic glass from pre 1980! (ESPECIALLY PRIMES)
It has a lot more to do with Canon was quicker to come out with pro grade digital cameras in the early 2000’s where Nikon was not, the playing field did not level off till about five years ago. Nikon shooters had little choice but to switch over to Canon during this period, most have stayed because it’s way too expensive to buy new glass and cameras. In the film days Nikon was used by 90% of the pro market.
Eric if you go back a bit earlier Kodak made pro digital cameras based on Nikon and Canon bodies. Many pros first digitals were Kodaks.
Only reason sports shooters use Canon is that it has a bigger buffer so you can machine gun more shots to pull out the one you will use so instead of 10 or so on the Nikon in a burst over a second you can do 14 or so. Otherwise both about equal except on the Nikon you can use classic glass from pre 1980! (ESPECIALLY PRIMES)
It has a lot more to do with Canon was quicker to come out with pro grade digital cameras in the early 2000’s where Nikon was not, the playing field did not level off till about five years ago. Nikon shooters had little choice but to switch over to Canon during this period, most have stayed because it’s way too expensive to buy new glass and cameras. In the film days Nikon was used by 90% of the pro market.
Eric if you go back a bit earlier Kodak made pro digital cameras based on Nikon and Canon bodies. Many pros first digitals were Kodaks.
All well and good if you are shooting a stationary target. Those pictured are probably shooting sports and none of the suggestions will help. Shutter speed should be equal to or shorter than focal length. You could have said that in one sentence. Most of it is common sense.
could you give me an example please…
Here is a description from an article I found that might explain it better than I can. “The Reciprocal Rule–perhaps the most used “rule of thumb” in photography. It is used to determine the slowest shutter speed you can safely use while hand holding your camera and still prevent camera shake. It states that when hand holding your camera, the shutter speed should not be slower than the reciprocal of the effective focal length of the lens you are using. So, if you have a 55 mm lens, then the reciprocal of that would be 1/55, which means that the slowest shutter speed you should use would be 1/55 seconds.
Examples:
200mm lens: Shutter Speed (SS) > = 1/200 sec.
100mm lens: SS > = 1/100 sec.
70mm lens: SS > = 1/70 sec.” I hope this explains it better than I perhaps explained it. For your largest depth of field ( the area that is in sharpest focus) the smaller your opening f stop such as f22 will give you a depth of field hypothetical from 15 feet to infinity (this is an example and not to be used as actual depth of field). This will be a greater depth of field than you would get with f4. With that you might only have things in focus from 4 feet in front of your subject to 4 feet behind it. The trade off is that your shutter has to remain open longer to get in enough light for proper exposure. You will learn ways to get around this as you progress. Naturally for fast moving subjects such as sports this won’t work and a fast exposure (f4) is needed. With digital you have several variable to play with. You have shutter speed, you have aperture and then there is the ASA or sensitivity to light such as 100 ASA thourgh perhaps 1600 speed. The higher the number the more sensitive to light. With film, the entire roll of film had the same ASA rating and you were stuck with it. With digital you can change the ASA speed between shots to achieve your desired results. Proper exposure is achieved through manipulation of those variables. I hope this helped.
could you give me an example please…
Here is a description from an article I found that might explain it better than I can. “The Reciprocal Rule–perhaps the most used “rule of thumb” in photography. It is used to determine the slowest shutter speed you can safely use while hand holding your camera and still prevent camera shake. It states that when hand holding your camera, the shutter speed should not be slower than the reciprocal of the effective focal length of the lens you are using. So, if you have a 55 mm lens, then the reciprocal of that would be 1/55, which means that the slowest shutter speed you should use would be 1/55 seconds.
Examples:
200mm lens: Shutter Speed (SS) > = 1/200 sec.
100mm lens: SS > = 1/100 sec.
70mm lens: SS > = 1/70 sec.” I hope this explains it better than I perhaps explained it. For your largest depth of field ( the area that is in sharpest focus) the smaller your opening f stop such as f22 will give you a depth of field hypothetical from 15 feet to infinity (this is an example and not to be used as actual depth of field). This will be a greater depth of field than you would get with f4. With that you might only have things in focus from 4 feet in front of your subject to 4 feet behind it. The trade off is that your shutter has to remain open longer to get in enough light for proper exposure. You will learn ways to get around this as you progress. Naturally for fast moving subjects such as sports this won’t work and a fast exposure (f4) is needed. With digital you have several variable to play with. You have shutter speed, you have aperture and then there is the ASA or sensitivity to light such as 100 ASA thourgh perhaps 1600 speed. The higher the number the more sensitive to light. With film, the entire roll of film had the same ASA rating and you were stuck with it. With digital you can change the ASA speed between shots to achieve your desired results. Proper exposure is achieved through manipulation of those variables. I hope this helped.
I took my Tamron Lenses from my Pentax SLR to my Pentax DSLR without a problem. What was I suspposed to have encountered?
I took my Tamron Lenses from my Pentax SLR to my Pentax DSLR without a problem. What was I suspposed to have encountered?
All hail Canon !
All hail Canon !
Once I found that out I use a shutter speed at least 1.5 x’s my focal length if not more and I am getting the shots I want.
Once I found that out I use a shutter speed at least 1.5 x’s my focal length if not more and I am getting the shots I want.
For me this conjures images of an old Ricola commercial.
For me this conjures images of an old Ricola commercial.
Kem McNair
Kem McNair
I am suffering “camera lens” envy!
all fine and dandy, I get good results with a 300 f4, and have like $5k in the bank to not buy the boys rounds 😉 don’t hate me…
Can not read this, way too many clicks to read. Un-following just not worth the effort.
It’s a video and it took literally 2 clicks to get to it. Not sure where you went. Click on the link above, then click on “next page for video” and scroll down. Click on the video – my bad, that’s 3 clicks.
Iliana Reyes
That advice doesn’t hold water if you are photographing a propeller driven aircraft with a 400mm lens and you want to get full prop blur with a sharp body. If you shoot at a shutter speed equal to or longer than your focal length, you won’t get the prop blur you need for a convincing shot.
Same goes with many types of motor sports where you want the wheels perfectly blurred.
This was meant to be in general.
Obviously this isn’t a one size fits all recommendation. It’s for novices who don’t understand why they don’t get consistency with their lenses.
At 10 to 20 thousand or more each.
If you’re going for crisp freeze motion shot sure this works but if you want blur to show motion then not so much. So many articles like this are based on the authors personal preference and don’t take other applications into consideration. There is not a single one way answer. There rarely is in artistic mediums.
How bout an article about how to get a lens like in the pic? Sell a kidney?
For those really long lens, some photographers will rent the lens for a specific event. Nikon and Canon will all lend a lens to members of their Professional Photographers programs to cover certain events. For average people, go into debt and take out a loan.
Mike, there’s several places (like borrowlenses.com for example) that rent equipment (lenses, bodies, gear) and the prices are fairly reasonable.
Renting is a good way to evaluate a lens when making a decision to buy or just having a specific lens for an event.
In many cases, you can even purchase their used equipment, which is not a bad way to get into a lens and then use it as a trade-in on a new lens later on down the road.
You can borrow them for free from canon if you live near any of their repair facilities. We borrow lenses, cameras, lots of stuff like you would a book at a library
For those guys in that photo, if they don’t know how to get a sharp photo, well
It’s all about auto focus controls and calibrating your lens, and camera to be in sync, and what cliff said^^^^
I thought they were going to talk about micro adjustment lens calibration not settings. Yawn
Ted, something useful.
This is how we all get the same shot…
Haley Ward
Xylhem Xylhem
Always shoot speed faster than your focal lenght…. Rule or telephoto.
Edward Marinas
Use the manual settings…be a pro.
That one lonely black lens…
A few less ads so we could read the article would be nice. Good article, what I could get to.
Eddie Hagler, after over thirty years of photojournalism at couple major newspapers, I have found using Manual setting are ok in some situations. When you are shooting a football game outside on a day when the sun is going in and out of clouds, you are happy with auto settings. For folk who don’t shoot for a living, you can afford not to be correct. I am a pro, look it up.
Nick, when I was starting to shoot lot, read a article by Sports Illustrated photographer Neil Leifer, his advice, don’t stand with the crowd, you don’t want the same image. Try a different lens, you may gamble a little, you win some, great shot, and you lose some and can only say “dam”. No risk, no reward.
If you have a 600mm lens you already know your shit well enough. You don’t get to string for anyone at that level without already proving yourself. And at $400 for 4 day rental it’s Guaranteed that a soccer mom is not schlepping a 600mm around to get shots of little Johnny on the pitch.
Fallon Conway
The black one looks a little larger than the three white ones
f/8 and be there.
While the shutter speed is dead on in respect to focal length I do know my Nikon d810 Iso at higher speeds work amazingly.. With my d3 I was able to shoot at slower shutter speeds without loss of sharpness but not as much w my d800
WOW Lester Gray you must be reading my mind. I have had my Canon 100-400 IS lens and haven’t been happy with it since I got it. Images mostly blurry & fuzzy unless it is BRIGHT light & subject stands pretty still. Hope this article helps me figure out the issue.
That would be because it’s a slow lens what are you shooting?
Quintin Ross
Katt Thekat Inthehat S
Shirley Zukowski
Hmmm.
Tamayo Perry
Hold your breath and shoot? Don t you mean exhale and shoot ?? You ll generally get sharper images with a breath out.
I see there are a variety of questions and answers. I mostly shoot wild horses with a 600 f:/4.0 with a 1.4 extender in poor light on a 1dx that gives me 840 mm at f:/5.6. I usually use 400-800 iso and around 100-200th of a second (not recommended) with the lens on a mono pod and gimble mount as i need to move fast. i get a variety of results but find if i shoot the same as a rifle with my breathing it produces the best results.Breath out and in slowly and as you expel all the air squeeze the shutter release slowly, you will produce good results. Setting your feet as two legs of a tripod and the monopod as the third will help stabilize the lens.Happy Shooting