Macro -

What is MACRO? 

Macro is 1:1.  Actual = size of the image

WAYS IN ACHIEVING MACRO IMAGES

1.  Close up filter (放大鏡):  +1, +2, +3, +4, +10, etc

-  every len has a limit of the closest distance to the subject (it is shown on the len)

-  add a +1 filter, it will enlarge somewhat

-  add a +2 filter, can move len closer the object plus 2-sec delay setting to avoid shaking

-  can add two filters together on top of len, placing the biggest one at the base, i.e. +3, +2, then +1 = total +6

-  use a tripod with a center column free to move up/down the camera body

-  adding a close-up filter to len does not affect the apecture

-  shortfall however is image will be slightly deformed i.e. rectanglar shape is curved

-  adding a +10 filter can blow up image like inserts, bees, flowers; quality of image however will be sacrified


2.  Adding a tube inbetween the body and len - extension tube

-  it separates the body and the len; the wider the distance, the larger the image

-  no element of glass; hence, no deform of images

-  when get very close, there will be loss of light however which can be compensated by adjusting:

(i)  aperture - problem of depth of field arises; only part of the subject is sharp, rest is blurred

(ii)  iso - high iso creates noises

(iii)  shutter - the lower the speed; the higher the chance in shaking

-  "working distance" a distance between surface of object and the len

-  the shorter the working distance, the more difficult it is to 打燈


3.  增距鏡 (there is a factor of 1.4 or 2)

-  performance downgraded significantly and aperture is down one or two grade

4.  Bellon

-  pull the bellon closer or farther away to focus, like working with manual

5.  Turn the len upside down

-  all lens when used upside down is a macro len

-  use with a reversal ring ($3/400).  look for Yodobashi in Japan for photo equipment

6.  Macro Lens


FLASH

Ring flash - flash in form of a ring in circle

Angle of flash used affects significantly the three-dimensional feel of the object

Release of light flash 收窄 can show the dimensions of the object

Light shed on the object creates shadow and light and dimensions of the object shows - try shooting against light at 45 deg; and 90 deg

Same applies to taking picture at different sun ray levels, i.e. angle of light source

SEMI-OBLIQUE OBJECT

try shooting it in front, and at back - light travels through the object it will be more transparent (通透感)

flowers, leaves, glasses, etc, all are semi-oblique; hence shooting facing the light source, i.e. the sun


 

Night phototaking practice - 16 Apr 2016

Long exposure for light trails

-  set 2 sec delay to ensure no shaking at all
-  set smallest aperture e.g. F22
-  lowest ISO e.g. ISO 100 (if 200, shorter the exposure time by, say, half)
-  shutter speed at ca. 12 sec
-  if ISO is 200, try shutter speed, say, at 6 sec
-  it will capture the light trails of cars and the entire image is clear (beco of small aperture)


拉爆

-  same above setting
-  try rotating from inside out the focal length, steadily
-  or try counting to half of exposure time, then rotate the focal length
-  if shutter speed is 13 sec, starting rotating from 8th sec on, steadily
-  or try rotating from reverse direction resulting in different directions of rays radiating out


Multiple Exposure

-  may try double exposure, with one in focus, the 2nd out of focus


How to shoot light reflections at sea, ocean, etc

-  try iso 100, aperture f8, shutter speed from 10 on

-  longer shutter speed e.g. at 20 sec on will create a froggy, silky feel of the moving water

-  a big rock in front creates a perfect foreground

-  however, the rock is very dark

-  up shutter speed to, say, 20 sec and use a dark card

-  use of a dark card, and flash it in front of camera, continuously, during exposure will block the excessive light comes in, and increase the exposure time on the rock

-  rock will receive some light exposure as a consequence and the light  exposure on the image is balanced

-  try a different WB to achieve a "bluer" sky.

-  try ACTIVE D LIGHTING too in balancing the exposure between two different light contrast

 

Flash - 30 Mar 2016

-  Press the flash button, simultaneously turn the front wheel, it goes from "rear" to "red-eyed"
-  Next to it is TTL - through the len.  TTL is active when camera mode is set to "P" or "auto".

+ + + + +

-  Go to Menu, "Pen", go to "Blacketing Flash .."
-  Adjust power of "flash" - 1/4, 1/8, 1/16, 1/64 etc

-  If environment INDOOR too bright or too dark ---> adjust ISO, aperture, power of flash, but NOT shutter speed

-  Shutter speed does NOT help much in changing 光或暗.  If adjust shutter speed, the different is small.  If adjust aperture, the differene is obvious

-  When the only light source is from the flash, the effect in the change of shutter speed is NOT obvious

-  If there is constant source of light on the subject, shutter speed makes a difference

-  If all light off, use 1-sec shutter speed, object is freezed because source of light is flash.  Flash is 幾千份之一秒.  Hence, action is freezed

-  If light on, still use 1-sec shutter, object is moving.  Movement of object is captured and shadows show

+ + + + + +

Issues on colour - if too yellowdish -----> on the contrary, shutterspeed makes a difference here.

-  If environment has many sources of light (different degree of 色溫), by increasing shutter speed will stop other light sources to come in, which affects the colour tone of the subject

-  Shutter speed however has a limit with built-in flash.  1/200 or highest 1/250

-  A drawback with the design of 單鏡.  When shutter speed is higher than 1/200, different mechanism of shutter opening applies.  Opening of shutter is scanning from top down.  Hence, only part of the subject receives light, rest is in dark

-  Set 'FP' mode, higher shutter speed is allowed because the flash continuously emits light.  Hence when shutter is open, there is continuous supply of light

+ + + + + +

Focal plane

-  FP --> means the focus is located at the shutter placed just in front of the sensor

+ + + + +

White balance setting

-  In an environment with mixed cool & warm lighting, take a middle setting between cool and warm
-  Fluoscent has 7 settings !!
-  Flash (6000k); Bulbs (5000k)  --->  one way to tackle is to wrap the flash with yellowdish / orange paper, set WB to "bulb"; hence, creating an environment of same color tone

---->  or set to monotone B/W, light in the environment will not affect the output then

----->  or LED light (new stuff) colour temperature can be adjusted to the way you want

How to shoot white flowers whiter under sunlight
-  direct sunlight is 5200k
-  if just temperature down 1000k, white flowers will become whiter

+ + + + +

"Bulb" mode comes from the flash bulb in the old times.

"time lapse" setting allowed to take certain # of pic in a designated time (star trek)

+ + + + +

壓光 ---->  when outdoor use flash, increase shutter speed (1/200) background (the sky) be darker.  Light on the subject is just right but background is under beause only light from flash will get on sensor.

------->  increase shutter speed; use powerful flash; small aperture (1/250, f11 + flash)


+ + + + +

Red-eye turned on to avoid red-eye ----> repeated short flash in the beginning, so the subject will get used to it, and avoid red-eye, when shooting

+ + + + +

 增光 -------> lower the shutter to absorb different colours at the background.  Shutter:  1/30 sec

+ + + + +

飛燈 ---------> remote flash, say, @ 45 deg onto the subject

longshutter time with flash - e.g. 追龍.  "IS"  Flash on.  If no, too yellowdish on the head of dragon

Multi-exposure - "repeating mode" - set, say, flash 6 times in 1 sec.  Each flash is an image exposed.  Light painting

-  "b" mode
-  all black background
-  flash 3 times in, say, 6 sec --> one flash, one image

Colour gels ---> placed in front of the flash change colour of the subject

Rear curtain (2nd curtain) ----> shooting at moving objects at night.

Lens - 16 Mar 2016

DX - non full-frame
N - nano coated
FX - full-frame
AF-S - auto focus with silence wave motor
G - aperture adjusting on the body itself
ED - 超低色散
II - 2nd generation

+ + + + +

135 full-frame = 24mm x 36mm
diagonal from A to B = AB = 24(2) + 36(2) = ~ 50mm

non full-frame = 25mm x 18mm
diagonal from K to H = HK = 18(2) x 25(2) = ~35mm

factor:  50mm/35mm = 1.5

hence, 50mm used on FF, when switch to non-FF = 50mm x 1.5 = 75mm

meaning when used on a non-ff, a 50mm len has a much longer focal length of 75mm

when use a DX len on a ff body, a 135 film cannot be used fully then.

+ + + + + +

FF ----->  < 35mm is wide angle lens
                 50mm i.e. the diagonal of the sensor itself is standard lens
                 > 80mm is tele-photo len

Non FF --------> 35mm - diagonal of the sensor itself


+ + + + + +

Feature of wide angle
-  the centre of the object be exegerated; the two sides of the object dragged backward;
-  object at the back of frame look smaller.

Depth of field:
- range of sharpness

Wide angle feature:
-  the closer the object, the bigger the image

+ + + + + +

When shooting semi-oblique object, must face the light

Shadow and light

Fish eye len - shoot closer - exeggerate the closest object

Black background ---> smaller f/x, the darker the background

Reflection ----> squad down to shoot

Mirror len (ball ball len) -----> out-of-focus object becomes "ball ball" or donnuts