I read a blurb on the Internet about the new Class 10 SDXC cards in several brands. This type of memory card sounds perfect: super fast and tons of capacity at 64 gigabytes. Why would anyone want to use any other kind of SD card, except for the high price of the SDXC card? G.R.
Answer
That was certainly interesting news, and the first Extended Capacity cards will be available sometime this spring: Panasonic’s Gold SDXC and SanDisk’s Ultra SDXC. (Other brands, in various speed classes will follow.)
Do note, however, that the Panasonic cards boast a Class 10 speed rating while the SanDisk SDXC cards are Class 4 rated, or not as fast. The SanDisk 64GB card is less expensive however, approximately $350 versus $600 for the Panasonic product.
The new 64 gigabyte SDXC cards are impressive but the SDHC cards are available in Class 10 speed too (in several brands) and in capacities up to 32 GB, plenty for most photo and video enthusiasts.
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
The week before last we talked about moving: about what a difference moving a foot to the left or right, forward or back can make in a composition. Today we’ll continue along that theme, talking about what a difference moving higher or lower can make.
We often photograph from “eye-level.” It’s a fairly natural tendency, if we make photographs after seeing things that move us, we’ll typically end up finding compositions at eye level. This is a good choice for point of view, photographing from “eye level” often produces images that read very naturally to the viewer.
But “eye level” isn’t always your best choice. (more…)
At one point in my life I considered being a furniture maker. I had the woodworking bug. I read books and magazines on the subject. I built really, really bad tables with drawers that didn’t work quite right — all of the things we do when we first start a new endeavor, we screw up. After a close call between my finger and a table saw I rethought things. I’m fine with that. But I still really like good furniture. Having tried to do this myself, I have a great respect for those who do it well. Over the years I’ve had several furniture clients, some of whom make great stuff, others not so much. The clients who make great furniture are still around. (more…)
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
Over the past few months I’ve noted a couple dozen compositional “ideas”, not so much rules as tools that you can use to make more effective photographs. But this leaves a question hanging: How do I actually use all these ideas in practice?
I wish I had a pithy answer for that, but I don’t think there is one. In practice, the right way to approach a new situation comes from intuition and experience, learned by example after example after example. Some of the next few posts in this series, including this one, will take a single image and try and dissect my process, my thinking, when I was creating the image.
I’ll start with a petroglyph image I made in the Eastern Sierra during a visit last month for workshop scouting.
First, let me set the scene: The petroglyph panel in the foreground of this image is nearly horizontal and quite large, with well over one hundred glyphs. It is not well-protected. As such, the ways in which I’m willing to work this panel are strongly constrained by the desire to protect the panel-from vandalism, from damage that might occur if someone were to walk on the panel (scuffing, etc.), and from the damage that even skin oils can do to the “varnish” the glyphs are carved into. This limited my vantage points to places I could get to without damaging the panel, and views that don’t “give away” precisely where the panel is located.
While this is an extreme example, as photographers we are often constrained (by fences, physics, law or ethics) in what compositions we can make. Those constraints are often part of the dance of composition.
Trying to not show a lot of detail (save for distant mountains) beyond the panel meant shooting low, close to the panel. I did want to include the snow-covered mountains, which forced the choice of a particular side of the panel to work from. “Shooting low” suggested a near-far composition, which meant selecting a couple of particularly interesting glyphs (concentric circles, and the square grid) to serve as foreground anchors.
In short, the constraints on taking the photograph suggested a style of composition, and that style led me by the hand to keep in mind a particular guideline (interesting foregrounds are a must for near-far compositions.) (more…)
What kind of a tripod do I need when shooting video clips with my new Nikon D300S? The old tripod that I own is too small and I’m sure I need something better. I’d want one that’s also useful when shooting regular photos but I’d prefer not to pay more than $150. Dawn K.
Answer
That’s a good question, Dawn, but you should also be wondering about the type of tripod head to use. Granted, you may buy a tripod kit that includes a head, but it will probably be a conventional pan/tilt or ball head. Either is perfect for taking still photos but neither is ideal for shooting movies, as I’ll explain in a moment. So, you will probably need two tripod heads; perhaps your old one will be adequate for some purposes.
Start by finding a rigid tripod that is tall enough – without extending the centre post by much – so you don’t need to bend too far down. Extending the centre post too far will really minimize rigidity. Regardless of the size, look for one that is rated for supporting at least 8 lbs. of weight. (more…)
If you like this article, you can now get the book! Joe has expanded the “Tuesday Composition” series into an inspiring new ebook on composition, especially for nature photography. Check it out: The Tuesday Composition.
Keep moving!
Skägafoss Detail
One of the best things about giving “shoot and critique” workshops is that I get the opportunity to see what participants can make out of a given situation. It’s great to see how different and interesting their visions are-I constantly learn things from my students by observing their photographic vision. But it’s also a great environment for me to be able to give knowledgeable feedback. Over the years, one of the most common themes I’ve seen in my feedback, particularly to beginning photographers, is suggesting that the image might have improved if the photographer had moved a little-whether left, right, forward, back, up or down.
Every movement of the camera and photographer changes the “choreography” of the images, some subjects get bigger, some smaller, and the position of the elements involved changes as well. Perhaps some appear – or disappear – around other objects. The positioning of the objects in the frame changes as well, movement is a powerful photographic tool. (more…)
Jack Neubart discovers that this 18 MP single-digit “D” series APS-C EOS camera is indeed a chip off the old block-and then some.
Canon EOS 7D-front. The 7D is shown here with built-in flash ready for action, with EF-S 15-85mm lens attached. I hadn't worked with this lens, but the camera itself should be a model for future EOS designs. Canon photo.
I was all set to begin this review with a diatribe about all the negatives pertaining to movie shooting and Live View, but then thought better of it and opted to take the journey into 7D-dom with a positive foot forward.
When you look at the real meat and potatoes inside this machine, you’ll discover, as I did, that when you peel back the movie capture veneer, the Canon EOS 7D is a very capable DSLR. That’s especially true when it comes to capturing breaking action, owing to a highly responsive, albeit not flawless, AF system coupled with an even more responsive shutter release. There-I took the high road. Too bad Bob Hope isn’t around to do the movie version: “The 7D Road to Bali, the Musical.“ I could even write the music and lyrics. (more…)
Peter Burian tests this improved lens, one of the very best available in the “fast” telephoto zoom category
The preferred “workhorse” among many professional photographers since 2003, Nikon’s AF-S 70-200mm f/2.8G ED VR model was also my favorite lens in the Nikkor series. It was just about perfect in all aspects, except for some slight corner softness at wide apertures with a full-frame digital SLR. Some reviews also mentioned less than ideal flare control, but frankly, that was nit-picking. In any event, Nikon has replaced that earlier model with a new VR II-designated version boasting a superior optical design, more effective VR stabilizer plus some other benefits.
An f/2.8 lens is desirable for several reasons. The very wide maximum aperture allows for faster shutter speeds than the more typical f/4.5-5.6 zooms. That’s valuable in low light or action photography, allowing us to use lower ISO levels for superior image quality. A maximum aperture of f/2.8 also allows more light to reach the AF sensor for faster autofocus. And AF is maintained even when a 1.4x or 2x teleconverter is used. Granted, this 70-200mm f/2.8 lens is very large and heavy, but it’s built to tolerate pro-level abuse and it’s also dust- and moisture-resistant. (more…)
Trying to decide which metering mode to use when photographing a wedding is a bit of a pain. It doesn’t help that there are four different modes to choose from, each with an icon that you need a Rosetta Stone to decipher. Last night I took some photographs that will hopefully shed a little light on the modes I use most: Evaluative (Matrix) and Center Weighted Average.
Evaluative meter mode is the most sophisticated meter mode in the camera. The meter reads the entire scene and then, get this, tries to figure out what you’re taking a picture of. The software has thousands of sample readings from different scenarios in its memory. It compares the readings from your image against the database. So, if the software “sees” all dark on the bottom and all light on the top it thinks, “Must be a landscape!” and alters the exposure a little. Dark in the middle and light all around the outside “Portrait!” Adjust, adjust, adjust …
Here’s another cool thing about Evaluative metering: It’s the only mode that takes into account what the camera is actually focusing on. The meter reads the entire scene but pays special attention to the focus points when determining exposure. This is way cool. If you are taking a portrait and you put the focusing point on the subjects face, the camera will give added consideration to the face when determining exposure. Perfect!
Can you help me solve the exposure problem with my new digital SLR camera? It’s fine when I use the fully automatic modes. But I tried taking photos in a church during a wedding (without flash) and all my photos were underexposed. I was using ISO 400 and set the shutter speed to 1/500 sec. in Shutter Priority mode to make sure the photos would be sharp. But they are all too dark. D.M.
Answer
This is also a common problem among students in my BetterPhoto courses when they first try night photography. The answer is simple, but you need to fully appreciate how this semi-automatic mode works. (more…)
