Category: Camera

Taking a Snap Shot With Canon EOS

First of all, the main source of power of these cameras is in their lenses. Canon EOS cameras are basically single lens reflex or SLR cameras, which Canon first produced in the late 80s. Since then, the development of these kinds of cameras continued until computerization was integrated with the design. The new Canon cameras today have lenses that range from 12mp to 22mp, which can produce images with clarity.

Aside from this, digital technology also has upgraded the original SLR camera designs produced by Canon, giving birth to the DSLR which is now popularly used by professional photographers. It is this combination of great lenses and technology that makes photos taken by these kinds of cameras so good.

SLR is the acronym for single lens reflex cameras. This basically means that the photographer looks directly through the lens. The person sees what the lens sees, making it possible for accurate and pinpoint photography. SLRs have been the favorite cameras for photographers because of this ability. DSLRs on the other hand are normal SLRs with added digital technology. It incorporates all the advances of computer technology into cameras. This makes everything simple, easy to use and user-friendly. Now people can easily take a normal DSLR, point it at something and quickly take impressive images even without significant knowledge of photography.

Due to the integration of technology, modern DSLR have digital viewfinders to aid photographers in taking the best shots possible. Automatic continuous shooting options and built-in wifi makes instantly uploading recently taken images to social media sites a breeze.

Another feature that makes Canon EOS cameras a rising favorite for many photographers is its ease of use. Unlike traditional cameras- where skill and knowledge in photography is needed to create quality images- EOS cameras automatically adapt their settings to the environment; they allow even novice photographers to capture stunning images.

Its large memory capacity is also an added benefit for avid photographers, especially as it is also capable of increasing its memory through the use of additional memory sticks.

Canon EOS Cameras are mainly focused on Beginners

Simplification of various photographic options shows that Canon gears its products towards amateur photographers. This is because most of their consumers are non-professional photographers who just like to take pictures for memories. Unlike old-fashioned SLR, where it takes a bit of skill and know-how to operate, DSLR cameras simplify it to a few buttons.

Mistakes Choosing Drone Photography Providers

Opting for providers who use low-quality drones

One of the most common mistakes individuals make when hiring drone photography providers is they usually think that all companies make use of the same equipment. Just like any other items, there are numerous types and brands of drones. Therefore, there are some service providers who offer low rates since they make use of low-quality drones. Because of this, photos and videos captured on the sky is quite unsightly, making your project into a mess. Because of this, it is best for individuals to first check the drones of service providers before working with them.

Hiring providers who do not offer safety services

The next mistake that individuals make when hiring drone photography providers is they fail to ask about safety services. As mentioned above, making use of drones can make aerial shoots safer and better. However, there are still instances when individuals may experience issues that can affect their whole project and well-being. So, it is essential to ask about safety services drone photography providers can offer. In this way, you can be sure that aerial shoots can be accomplished safely.

Forgetting to check their ability in using drones

Some individuals think that using drones are like playing with R/C cars and planes. Of course, they make use of almost the same controllers. However, drone users must have the skills and knowledge to ensure that they can capture the right scenery. Thus, never forget to check the ability of drone users when hiring them to capture photographs or videos. Apart from this, you also need to make sure that drone users have the ability to adapt to the unexpected incidents that can ruin your shoots. With this in mind, you are rest assured that you can create amazing aerial photographs and videos.

Buying A Waterproof Digital Camera

Features

There are many features that you should consider when making the purchase:

  • Housing: housing ensures that your camera is fully sealed thus water can’t get in. The type of housing varies from one camera model to the next. For example, a point and shoot camera has one housing while a DSLR camera has multiple housing options. In addition to the housing, you also need to consider how easy it is to operate the camera. As rule of thumb you should ensure that you are able to perfectly use the controls when the housing is on.
  • Manual white balance: this feature is important when you are planning of shooting without strobes. Due to the water properties, images that you take using natural light will appear blue. To remove the color cast you should go for a camera with a manual white balance.
  • Lenses: lenses are important when taking wide angle or closer macro images. If you are using point and shoot camera you should go a housing that will enable you install the different lenses. If you are using a DSLR camera, you should buy lenses that are ideal for your brand. For ideal results you should ensure that you use the right port to each lens.

Budget

Regardless of the brand of camera that you are planning to buy, you should always budget more. For example, if a standard camera is going for $150, you should budget for $250 for a waterproof camera. The cool thing is that many waterproof cameras come with Wi-Fi, GPS and other features that make it easy for you to share photos and record where you take them.

Size And Weight

Since you will already be burdened with large bags of dive equipment and clothes, it’s wise that you go for a light camera that will make your work easy.

Tips On How To Take High Quality Underwater Photos

For you to take good underwater photos you need to consider a number of factors:

Use the right shooting mode: waterproof cameras come with a dedicated underwater mode that is optimized to allow you to take high quality photos. When you are shooting, you should switch to this mode.

Get close to the subjects: to avoid missing out on any important details and pigmentation, you should ensure that you get close to your subject. This calls for you to always zoom in the camera.

Basics Of On-Camera Strobes

The Brand Name Products

At the top of the line are name brand products like the Canon 680EX-RT ($499), the replacement for the 580 EX ii, and the Nikon SB-910 ($559). Those units are eye-poppingly expensive but they cost a lot for a good reason and that reason is they deliver reliable light and excellent shots. There’s no fear that when you push the button, the strobe won’t fire. The communication between the camera, lens and strobe all work together to produce amazing images.

There’s actually a level above the name brand strobes with models like the Quantum Qflash, which are basically a battery powered studio flash. They are wonderful lights, but overpriced in my opinion.

Second Tier Strobes

Both the name brands in camera equipment also offer slightly less powerful models such as the Canon 430EX II ($259) and the Nikon SB-700 ($326). You are sacrificing some power but still getting a light that communicates with the camera and lens to create near-perfect lighting.

3rd Party Strobes

Yongnuo is quickly becoming the biggest name in 3rd party on-camera strobes that have some compatibility with Canon and Nikon’s electronic metering. Yongnuo had some problems related to capacitors in 2011/2012 that they seem to have cleared up. All the same, it’s wise to order them from a retailer with a generous return policy in case you get a clinker.

The Yongnuo YN-565EX ($159) claims to support Canon and Nikon’s electronic metering but I can tell you from experience that it is not always a steady relationship. All the same, I’ve shot paying jobs with Yongnuo products and have gotten excellent results. I also have several backup flashes I can bring along in case something goes wrong.

Guide to Camera Lenses

Focal Length

The main identifying feature of a lens is its focal length. Lenses with a single fixed focal length are known as prime lenses.

The focal length of a lens is a measure of how strongly it converges or diverges light. A lens with a short focal length is stronger than one with a long focal length. In other words, short focal lengths bends the rays more strongly, bringing them to focus in a shorter distance. Short focal length lenses have a wider angle of view. Conversely, a lens with a long focal length is weaker, and bends the rays more feebly, bringing them to a focus in a greater distance. Long focal length lenses have a narrow angle of view.

A lens with a focal length about equal to the diagonal size of the film format is known as a normal lens. For 35 mm film format cameras, the diagonal is 43 mm. While 45 mm was once a common normal lens focal length, 50 mm or 55 mm is more typical (and I have no idea why). A lens with a shorter focal length is often referred to as a wide-angle (typically 35 mm and less). A lens with a significantly longer focal length may be referred to as a telephoto (typically 85 mm and more).

There is much more to wide-angle and telephoto lenses than simply making a subject bigger or smaller (closer or further): they should be used to control perspective. Wide-angle lens exaggerate or stretch perspective. Near objects appear closer, while far objects appear further away. Telephoto lenses have the opposite effect and compress or flatten perspective.

Perspective control can be a powerful compositional tool in photography, and often determines choice of focal length lenses used. I would say more, but this article is an overview of lens options, and not about composition.

Aperture Sizes

Most lenses have an adjustable iris, which is made from a number of overlapping/interlocking blades (typically between five and eight) that open and close to adjust the amount of light passing through the lens. This structure is more commonly known as a diaphragm. Higher numbers of blades are generally better, since they create a rounder hole for light to pass through.

The diaphragm is used to set the lens aperture (literally the size of the hole through which light passes). Lenses with large apertures are said to be fast, because they can permit enough light passage to enable the use of a faster shutter speed. Conversely, lenses with a smaller maximum aperture are slow, because less light is transmitted, and a slower shutter speed is required.

Aperture sizes are referred to as “f-stops”. The numerical value of the f-stop is the result of the lens’s focal length (numerator) divided by the diameter of the aperture (denominator). In this equation, if a lens has a fixed focal length, as the aperture gets smaller, the denominator also gets smaller, so the f-stop number gets bigger as aperture become smaller (e.g. 50 cm/10 cm = 5. 50 cm/5 cm = 10). The results of these calculations are a common set of f-stop values: typically f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, where f/1.4 is the widest aperture and f/22 the smallest.

Each of these f-stop (as written) permits twice and much light to pass as the next f-stop to the right, and half as much light to pass as the f-stop to the left.

Lens aperture setting rings are commonly click-stopped for these aperture values. Some lenses have fractional stops. For example f/1.8 lenses are common, and of course, fractional stops can be set deliberately by ignoring click-stops.

The maximum aperture size, or speed of the lens, is the important factor, and usually emblazoned on the front on the lens along with the focal length and manufacture’s name. Not all aperture setting perform equally well, and generally, the best (more optically perfect and aberration free) overall aperture is somewhere around the middle of the range.

Depth of Field

There’s more to aperture size selection than simply controlling the amount of light entering the lens. Different aperture sizes have differing “depths of field”.

Although a lens can precisely focus at only one distance at a time, the decrease in sharpness is gradual on each side of the focused distance. Depth of Field (DOF) is the distance between the nearest and farthest objects that appear acceptably sharp.

Large apertures (such as f/2) have a shallow depth of field, while small apertures (like f/16) have a deeper depth of field. In many instances, it can be desirable control the depth of field. Sometimes, its good to have the entire image sharp, and in other instances, a small depth of field will emphasise the subject while de-emphasizing the foreground or background. In other words, these components can be blurred and out of focus.

Most lenses feature depth of field markings that show the depth of field for each aperture setting against the lens’s distance scale. They literally indicate the limits of acceptably sharp focus either side of the precise distance at which the lens has been focused.

Zoom Lenses

In the world of 35 mm photography, zoom lenses are relative newcomers. They are optically more complex, and it wasn’t until the late 1970s that zoom lenses achieved sufficient quality to become commonplace.

As explained in the section about aperture sizes, changes in the focal length of the lens alter the value of aperture sizes. This is why zoom lenses are normally identified by two maximum aperture values (for example, f/4 ~ f/4.5).

The point of a zoom lens is to combine the performance characteristics of equivalent prime lenses within its range, to offer move flexible control perspective. It’s an easier option than carrying and changing lenses, but isn’t a device to save the photographers from moving to the correct position to compose a shot. Sadly, this is often the way zooms are used.

Accessories

I started-out talking about optical aberrations, and have returned to the subject to conclude the article. A further aberration is “lens flare.”

Lens flare is a very common problem, and occurs when non-image light enters the lens and reflects off of the various elements. It can create bright spots and streaks. Flare is usually caused by a bright light source, such as the sun. Prime lenses tend to be less susceptible than zooms, which have more internal reflective surfaces. Among prime lenses wide-angle lenses are often less susceptible to flare, while some telephone lenses are designed with built-in lens hoods to combat lens flare.

Ways a Waterproof Sports Camera Can Help You

It’s time to click some good pictures

The first and foremost way in which a waterproof camera will be of help to you is by allowing you catch exciting and unique underwater moments with ease which a normal camera will not only allow you to do. Such cameras have a great flash light and handle strong pressure easily, allowing you to click pictures when under the sea. Being quite lightweight and compact in nature, waterproof sports cameras can be conveniently carried to any place without taking up too much space in a bag or purse.

They can withstand the weight

Some high-end and superior-quality waterproof cameras claim to withstand almost 100 kgs which is equivalent to the weight of a man standing on the camera! It is this feature that makes such cameras referred to as ‘rugged’ cameras.

They are shockproof

Waterproof cameras are shockproof in nature and can withstand drops easily. Most cameras can withstand a drop from a height of 1.5 metres with other better quality cameras being able to reach up to 3 metres without getting damaged. A solid case ensures that the camera does not get any scratches when it falls.

Don’t worry about the temperature

Such cameras can easily withstand freezing temperatures that are as low as -10 degrees Celsius and is a great option for skiers. They can click pictures while skiing or while indulging in other snow-related activities.

GoPro Dive Housing For Camera

Go Hands Free And Still Get Great Photos

Fumbling with your camera underwater can be a bit of a hazard, and can lead you to dropping it, or not paying enough attention in a tense moment. The GoPro dive housing for your camera makes the solution simple, with headlight clips, or wrist tethers to suit your every need. These features make it one of the most versatile housing units in the world!

Almost Any Water Depth

The GoPro dive housing is rated for a maximum depth of one-hundred and 97 feet underwater. This means that you can use it on just about any diving expedition, and be sure that your camera is safe and snug. Diving, snorkeling, or even shooting an underwater film, this dive housing for your camera does it all.

Versatility For Different Cameras

This unit can house any HD Hero Camera, and keep it safe and secure. It is also compatible with a plethora of accessories to make your shots as perfect and easy as possible. Versatility makes this housing the best on the market today.

Popularity With Others

Divers are not the only ones who rely on this unit for their needs, the GoPro dive housing is the top rated camera housing for athletes, film directors, and everyday users as well. How could you go wrong with a product that is lauded by everyone who uses it?

Movie Settings for the Canon Eos 1300D or Rebel T6 DSLR

About is file size and frame rate. These things are quite important because they will decide the quality of the videos that you shoot. This camera is pretty good – it’ll shoot 1080p which is full HD and it will also shoot 720p which is standard HD – both of which are perfectly acceptable for social media platforms. In order to make those changes we go again into Video Tab 2 and find Movie Recording Size. If we press on that option then we get four choices. Depending on whether you’ve chosen NTSC or PAL, you maximum rates will be either 60fps or 50fps.

When you’re shooting stills with the Canon 1300D you have lots of choices. They’re all on the Mode Dial and they go from entirely manual to semi-automatic and then to entirely automatic options In most of these Modes the camera is trying to get the best exposure for the stills that you’re shooting within the given parameters that you have presented to it. With movies it’s different. You have two options – you can either shoot Automatic or you can shoot Manual. With Automatic in the movie setting the camera will try to get the best possible exposure for you and in many cases it works very well, so I would suggest that initially at least you shoot in Automatic just to get a feel for how the camera works and you don’t have to worry then about the exposure because the camera will do the best it can for you. However, if you want to go into Manual there are different ways of changing the various parameters for Manual that are different to the way that you would do that for stills. In the Menu, Movie Exposure is in Video Tab 1 and you get the two options, Auto or Manual. If you choose to go into Manual then you have much more control over the settings that you can have. You will see that you have options for setting the Shutter Speed for setting the Aperture and for setting the ISO. For the Shutter Speed, rotate Main Dial. By depressing the AV button here and rotating that Main Dial you can change the Aperture. The ISO is changed by pressing the flash button and rotating the Main Dial.

The Canon 1300D does not have an external microphone socket. It just has an internal microphone, so sound can be a bit limited with this camera. But if you go into Menus and on Shooting Tab 2, the second one down is Sound Recording and you can set that to one of three options. You can have either Auto, Manual or Disabled. I would argue against disabling it entirely because sometimes it’s useful to have sound, even if you don’t intend to use it in the final cut. Auto is not bad but it will try to pick up as much sound as possible and you may not want that – you may not want the ambient sound. Manual is not too bad provided you’re reasonably close to the source of sound. There is a decibel bar going across the bottom and, as with most cameras, the objective is to try to peak on about 12. In terms of its recording in itself it’s actually pretty good, so I wouldn’t be adverse to using the internal microphone, you just have to be a little bit careful.

The next couple of options that we are going to look at are in Video Tab 3 and it may seem that they’re less important than other options, but they do affect the way that your video looks and so they are worth checking out. If we go to Video Tab 3 then at the bottom is the Picture Style option. These are the same options that you get with stills and you can choose to have Vivid or Sepia or many other options and some of them are set so that they bring out the best qualities for portrait and landscape. With video it tends to be better to try and shoot video as flat as possible and so the best option to start with is neutral and so you should always set that to neutral for video until you make the decision that you want to change the Picture Style and shoot something differently. The one just above that in Video Tab 3 is Custom White Balance. It’s very important for shooting videos because if you start moving around and shooting things in different light then the one stable element – the one constant – will be the white balance.

Quality Memory

SELECT ONLY THE BEST MEMORY CARDS

Much like professional photographers know the importance of a great camera and an even better lens, they should also know the importance of choosing a high-quality memory card. Purchasing professional equipment is an investment in a photographer’s business. Regardless of price, the best products available should be used in order to provide the utmost in quality and service to clients. Here are some of the things that photographers should consider when selecting memory cards:

  • Size and Capacity: All capacities are different. Consider your typical file size and how many images you shoot per job. Then choose a card that can handle three or more jobs at a time, to be safe. The capacity is typically relative to the size, which can be misleading when only looking at the card’s physical appearance. They are also sometimes similarly named. For example, there’s miniSD, microSD, SD, SDHC, SDXC, etc. That brings us into our next category, speed.
  • Transfer and Read Speeds: The read and transfer speed varies by product. There are usually icons on the packaging to help define the speeds, but those also vary by product and can be confusing. All you really need to know is that it’s important to have high transfer and read speeds, for ease of use and rapid accessibility. Purchasing a card with inferior transfer and read speeds will cause you to lose time when it comes to loading and moving images.
  • Speed Class: Speed class is something that is very important to be aware of and, again, that varies by product and size. There are four different speed classes and two ultra high speed classes available. Depending on the desired file type and size, image quality, and whether or not you’re shooting HD video, speed class is something that can make or break an important photography or videography job. From fastest to slowest, the speed classes are 10, 6, 4, and 2 for regular memory cards. For devices that support UHD, there are two classes of ultra high speed memory available for professional use. This article from howtogeek.com further explains these specs.

RISKS ASSOCIATED WITH PURCHASING LOW QUALITY MEMORY CARDS

Being a professional photographer is expensive, we know. When you’re just starting out, it may be tempting to purchase the most affordable equipment available – but this will only hinder your business. Professional grade, high-quality cameras, lenses, light sources, batteries (and the list goes on) are crucial to operating a successful photography business, right down to the type of memory card you use in your camera. Understanding what to look for is just as important as understanding what to avoid:

  • Low-quality memory cards may have hidden acronyms or specs that affect the card’s performance. Most buyers are unaware of these attributes.
  • Less renowned manufacturers may put inferior memory cards on the market, causing their products to have a higher failure rate.
  • Memory cards have limitations, and purchasing a low-quality product will make you more susceptible to risks like block erasure, memory wear, read disturb, x-ray effects, etc.

In summary, don’t sell your camera or your photography business short by trying to avoid making the investment in high-quality memory. The right memory cards are designed to save you time, provide optimal service, and make you money. A professional photographer should never skimp on the equipment they need to run a successful business.

Canon EOS Rebel SL1

The body design

In spite of the fact that the SL1 is much smaller to any DSLR that has come out of the Canon assembly line, it surprisingly offers a bunch of physical controls. There is a dedicated exposure compensation button, exposure lock button as well as an ISO button at the top panel among others. To save precious real estate space the movie mode now sits as the third option on the power switch. Press that and then press the record button at the rear of the camera to start recording. Additionally the Q option now is merged with the SET button at the center of the rear wheel. The remaining buttons on the wheel has however no dedicated role to play. The top mode dial now can spin 360 degrees without stop just as in the Rebel T5i.

AF system and AF points

The EOS SL1 carries the same old 9-point Canon AF system with a center cross-type point at f/2.8. Cross-type AF points are capable of locking focus on a subject faster compared to a standard AF points. Additionally, Canon has incorporated the Hybrid CMOS AF II system in this camera. This combines both contrast-detect and phase-detect AF technologies to improve the auto-focusing performance. This means the camera is highly responsive when tracking subjects during movie mode or when shooting stills in live view.

The fixed touch-screen

The 3″ ClearView II LCD touch-screen is non-articulated making it a bit of a damper compared to other Canon entry level DSLRs. Especially when Canon is trying to compete with MILCs this would have been a major USP. Overall though, the touch-screen is very responsive. In fact the capacitive screen works like a charm even when you are trying to shift through the menu in a hurry, giving the distinct feeling that it is a very user-friendly feature. The center SET button also brings up the fabled Q (Quick) menu of Canon and that opens up the entire controls of the camera at your fingertips.

Viewfinder

The SL1 has a pentamirror powered viewfinder that offers a coverage of 95% of what the sensor sees. This is slightly smaller than what other optical viewfinders offer. This generally creates the problem of inability to make a precise composition. So when composing always leave some margin around what you see through the viewfinder because you will capture additional items in the final picture. There is a dioptre adjustment dial which allows you to set the brightness between -3 and +1.

Continuous shooting speed

The SL1 has a burst rate of 4 fps at one-shot AF or Ai-Servo AF. The buffer overruns in about 28 shots as per Canon specifications. While this may be okay for shooting a playful pet or even your kid enjoying a sunny afternoon out in the park, this is in no way suitable for fast action or sports photography pursuits. At 4 fps it is at best humble. If you set the camera to shoot at silent-mode, when the mirror flips up and locks before the shot is taken, burst rate comes down to a modest 2.5 fps.

Pop-up flash

The EOS SL1 comes with a built-in flash. Canon rates the guide number at 9.4 meter, which is again a feeble flash, especially if you are going to take a group shot in low light conditions. However for portraiture or for fill-flash uses it is a handy flash to have.

Proximity sensor

An interesting feature that will make most photographers happy is the proximity sensor. It is located directly below the hot-shoe at the back of the camera. It certainly helps save a lot of battery when you are looking through the viewfinder.

Remote control

The EOS SL1 is compatible with Canon’s infra-red based remote controller the RC-6. The sensor is located on the right hand grip area.

Storage

The camera is compatible with UHS-1 cards. It also accepts SD, SDHC and SDXC cards. Additionally, it is also eye-fi compatible making it possible to remotely transfer images shot with the camera.

The movie mode and Live-view features

The SL1 was launched along with the Rebel T5i and both the cameras boast the Movie-servo feature. What it means? Well, when shooting video the camera is likely to keep tracking as a subject walks into or away from the frame. In real world the feature is not that quick and compared with something like the dual-pixel CMOS AF system of the Canon EOS 70D, this is quite slow.

There is no built-in stereo sound recording like the Rebel T5i and videographers will have to be content only with a mono mic on the top left hand side of the hot-shoe. However, you can plug in an external stereo mic.

My take

This is certainly a small DSLR which has been designed with the sole purpose of miniaturization of all that is best about a DSLR and to compete directly with Mirrorless Interchangeable Lens Cameras that are threatening the entry-level DSLR market. Functional, simple and cost effective are what summarizes this camera in a nutshell. While professionals will never opt for one of these, the camera suitable for someone who is migrating from a point and shoot and is looking for similar size but better controls.