Posts tagged “Fujifilm

Daft Flowers and a Sixth Article on Exposure (Three Photographs)

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Sometimes you want your backgrounds a bit blown out, and I think without a bit of this these daft flowers would not be as interesting.

Most cameras provide a means to look at a histogram of the scene. Mirror-less cameras and cameras with electronic view finders (EVF) can put this in the view finder. On a DSLR most often you only get to see the histogram in review mode. Tests shots help you select the best exposure in circumstances where you might not be able to chimp (review your shots on the back LCD). You could shoot in live view (something I very rarely use outdoors but can be useful to judge exposure). Most experts will tell you that the histogram is one of the better tools. If the histogram shows a line going up the right hand side, something is under exposed, and on the left it means its too bright no detail. Ideally we are told a bell curve, where the line touches each wall and rises toward the top in the middle is the best histogram. Unfortunately a perfect bell curve is rare and while the histogram is illustrating the light from darker to lightest, the middle ground can be harder to interpret. While the blinkies (see previous post) will alert you to burnt out highlights, the histogram is great for seeing under exposure in the shadows.

Landscape and Fourth Article on Exposure (Three Photographs)

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Some fall shots I took before things turned bleak.

If your camera is in auto mode (P mode), the camera choses shutter and aperture and possibly ISO. Using any other mode we have greater control over exposure. As noted in a previous post the camera is not a perfect light meter but it does have some tools we can use, I mentioned the different metering options like spot and centre-weighted.  Spot metering is useful to get a reading off of heavily backlit subjects, and to ensure the subject is properly exposed. It also risks blowing out the background (over brightening or losing all detail). Centre-weighted metering is also good for back-lit subjects and can help avoid blown out backgrounds. The whole area mode in modern cameras uses a computer to judge the scene and give you the best advice. Because every camera is different you need to try these options for yourself. Try lots of different light situations and subjects and you will have a good idea of what works for you.On my Nikon I use the general and spot most often, and very infrequently centre-weighted.

Some Flowers and Second Article on Exposure (Two Photographs)

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These are some random flower shots I took with my macro lens testing the metering on my camera.

Cameras read reflected light from the scene you are shooting. In the days of manual only cameras, you had a handheld exposure meter that could measure reflected and incident lighting. Incident lighting is taken from the subject’s point of view and measures the light hitting the subject. Reflected light captures all light coming at the lens, not just the subject. Clearly, incident lighting is more exact for the subject and reflected lighting more realistic for the entire scene. That is why DSLRs have spot, centre-weighted and a whole frame exposure mode.These modes enable us to narrow the area being measured. Secondly, modern DSLRs do not have the capability of capturing as wide a range of light as say print film had, but that is improving with every new model. Just as higher ISOs are increasingly noise free. When you take in the variables of ISO, aperture and shutter speed and you take into account the limitations of the camera you can see why exposure can be tricky.

The Faces (Two Photographs)

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Every photographer will tell you that at some point or another they saw something in a shot they had not noticed when they took the shot. Sometimes it‘s a good thing and sometimes it’s a bit spooky, have a look at the second photo. They say plants talk, but scowl?

Bringing Yourself to the Party (Three Photographs)

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One of things I mentioned in an earlier post is thinking about what you as a photographer bring to a photograph. On my walks I photograph odd things, not because they are odd, but because I have an idea of how I want to shoot and process the results. In the photo of the peacock mural, being forced to take the photo at an angle made me appreciate the depth and structure of the surface it was painted on. In processing I de-saturated slightly the photo and emphasized the detail in the brick work (to highlight the painting) and used a cinematic crop, that and the angle is my contribution to what is an incredible sight on the corner of a busy street. In the second photo my thinking was to do it both in black and white and colour, I could then emphasize the different textures and the atmosphere with attention to tones and light.I don’t think it’s lost on the viewer that it’s part of a doorway (had I left in the door itself, there would be reflections of cars etc). In short doing this kind of photography can involve much more work than is apparent to the viewer, but in the end the results are in the eyes of the viewer.

Hand of Man (Two Photographs)

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In nature photography there are those who like their photos to be taken in a natural setting, the expression used is without “hand of man”. Still life and many other forms depend on the hand of man, even if it is unintentional and/or not influenced by the photographer. The language of art and photography can be complex and confusing, which is one reason why art is a language of its own. Clearly the most important thing about art is that it either speaks to you or it does not, and the hand of man has little to do with that. So in nature when we speak about “hand of man” it‘s more about our skill in getting natural photographs, the challenge of the hunt and capture. The photographs here are of some plantings on a street, something to spruce up the concrete jungle, clearly hand of man.

Some Reflections and Further Comments on Aperture (Two Photographs)

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Shot with a Fuji XT-2, and a 23mm lens (aspect ratio equivalent to a 35mm lens) at F8. You will notice that pretty much everything is in focus. In landscapes and photographs of events, crowds, and large objects it is not always feasible to use a small F Stop like F 16 and get sharp pictures and everything in focus. A depth of field calculator could provide, for any given  F Stop a definitive distance to focus on ( say ten feet out) called the hyper-focal distance that would make sure everything is in focus. Or if fiddling with your smartphone is too much, use this rule of thumb, focus one-third into the scene this should get most everything in focus, not as much as the calculated hyper-focal distance but good enough. When we use larger apertures (smaller F Stop ) we get the exact opposite effect; selective focus (where your focus is on something close and everything behind is more or less out of focus). A large aperture also allows more light to reach the sensor therefore avoiding having to use a higher ISO and generate noise.