Posts Tagged ‘tokina’
—-Nikon D300s + Nikkor 10.5mm f/2.8 at f/5.6, 1/80 sec ISO800
One question I’m often asked is something like : “How do I get sharp photos when taking pictures of my friends dancing indoors? What lens should I get for this purpose?”
Well, in most cases, the answer has less to do with your lens and more to do with whether or not you’re using flash. Just so happened to have hosted a dance party last night at my house, so I took the opportunity to demonstrate what I mean, using a variety of lenses and shutter speeds, and of course, my hot shoe flashes. The dancing took place in my living room at night, which means no daylight pouring through the window to give me f-stoppage. The room is lit by two floor lamps, providing, I dunno, just about f/0.1 inside. Seriously though, even using my fastest lens, I ‘d probably squeeze out a shutter speed of about 1/80th shooting wide open at f/1.4 at ISO3200 in this room. Ouch…not nearly fast enough to stop action under these conditions.
—-Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/5.6, 1/125 sec ISO800
Freezing motion in bright day light out doors is relatively simple, right? You can easily hit say 1/640 or 1/1000 and higher, even stopped down, effectively freezing motion. Can’t really do that in a room like this. There’s simply not enough ambient. Using flash lets you shoot at lower shutter speeds and still freeze action.
Wait a minute! How is it that you can freeze motion with low shutter speeds when you use your flash? Another question I get asked a lot. They key, again, is in the pop of light you’re throwing at your subject. The shutter may be going at say 1/80 or even 1/15, but that flash is hitting your subject at like 1/1500th, fast enough to freeze them in their tracks. If you want to imply motion in your dancing shots, you can drag the shutter at around 1/10 to 1/15 (make sure you camera is set to rear curtain sync):
—-Nikon D300s + Nikkor 10.5mm f/2.8 at f/5.6, 1/15 sec ISO800
Or select higher shutter speeds to freeze them completely:
—–Nikon D300s + Tokina 11-16mm f/2.8 at 14mm f/5.6, 1/80 ISO800
Another note: you gotta go manual exposure in scenes like this. Throw your camera into aperture priority, for instance, and it will select what it thinks is an appropriate shutter speed to expose the scene. Well, you’re pointing your camera at darkness, which means it’ll select shutter speeds that are far too low. Use shutter priority and you camera will open up your lens to its maximum, limiting your depth of field options. For the entire night, I dictated the shutter speed and aperture and let the camera’s intelligent flash system work its magic. Worked well in this case too because in such a small, dimly lit room, almost all of the light is coming from my flash units.
Another question I get asked: “My lens doesn’t have VC/VR/IS. Can I still get sharp shots with it?” Yes! None of the lenses I used last night are stabilized:
—-Nikon D300s + Tokina 50-135 f/2.8 at 95mm f/5.6, 1/80 sec ISO800
—-Nikon D300s + Tokina 50-135 f/2.8
—-Nikon D300s + Tokina 50-135 f/2.8
—-Nikon D300s + Nikkor 10.5mm f/2.8
It’s important to remember that neither lens nor sensor based image stabilization systems help freeze subject motion. They only help reduce blur induced by small movements caused by the photographer hand-holding the camera. They key, again, is the flash.
Of course, when people are standing still, it’s even easier. =)
Suki and I headed out to the beach for a stroll along the water this evening after I got off work. The weather has been totally gloomy in San Francisco lately, however, so there wasn’t any dramatic light to make use of when arrived on sight. The test shot I took of her above gives you an indication of what kind of light was out there tonight. Blegh…Suki knows it too.
There was simply too much wind to use any sort of large light modifier, so I had to add some light in with my bare strobes. What to do? Thought I’d create a sunset-like effect with a single SB-900 placed maybe 20 or 30 feet from our position. Here’s how it turned out:
Placed a full cut of orange gel (CTO) over the bare SB-900 to give it the orange glow you’d expect from the sun when it’s low on the horizon. See? Flash doesn’t have to look like “flash,” right?
Now Suki is getting into it!
Nikon D300s + Tokina 11-16mm f/2.8
[ Canon S90 at 6mm f/3.2 1/30 second ISO160 ]
Wow, had such a great time this weekend! Two great friends from Japan visited our home and stayed for a few days. We took them on a tour of the city, heading to the usual “tourist spots” as well as places we locals like to visit. Running around with them made me realize that I can’t even remember the last time I drove around SF just to see the sights. It was pretty fun actually! Ready for a long post with tons of images spanning the course of 3 days? Ok, here we go!
The wife decided to start sprucing up various rooms in our house this week. Had a friend come over and help paint the walls of one of our rooms in Tiffany blue. I played the lazy photographer husband while they did all the work =)
Gotta hurry! We have some friends coming in from Japan this weekend who will occupy this room during their stay.
Even Suki got involved…well, no more involved than I was actually. No, she’s not sleepy here. It’s just that every time I set my camera to rear curtain sync, she blinks! Oops!
Nikon D300s + Nikkor AF 10.5mm DX // Tokina 11-16mm f/2.8
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/25 second ISO800]
This happened a little while ago, but I’ve been so busy that I haven’t had a chance to post about another of my wife’s recent performances. She spent some time this year training at the Jazz School in Berkeley, California. The training included a performance at the school’s Jazz Cafe, where she had the opportunity to put on a show in front of a full house, together with three very talented instrumentalists.
I roamed around with my latte in one hand and camera in the other, snapping away as the performance continued:
[ Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/2.8 1/40 sec ISO1600]
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/50 sec ISO1600 ]
[ Nikon D300s + Nikkor 35mm f/1.8G at f/2 1/160 sec ISO1600 ]
Bridget sang two beautiful jazz pieces!
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/60 sec ISO800]
Some other people sang too, but I didn’t come for them😉
[ Nikon D300s + Tokina 11-16mm f/2.8 at 11mm f/2.8 1/30 sec ISO1600]
The crowd actually goes way farther back than I’ve shown here. It was packed inside! Many in the audience were friends and family that showed up to support Bridget’s portion of the performances.
[ Nikon D300s + Tamron 17-50mm f/2.8 VC at 50mm f/2.8 1/20 sec ISO800]
I’m always all for my wife pursuing her love of music whenever she can. I know that in photography, you gotta keep shooting to keep improving, and it’s important spend as much time as you can taking the kind of photographs that you enjoy taking in order to keep your passion for the craft alive. Same thing in the art of music it seems. Bridget seems to get better and better with every performance. One thing is for sure: wherever and whenever she performs, I’ll be right there with her, camera in hand.
Found an optical defect in one of the inner elements of my Tamron 17-50mm /f2.8 VC a couple weeks ago. As soon as I discovered the problem, I shipped the lens over to a Tamron service center. I promptly received notice from Tamron that the issue would be repaired under warranty, but I’m still waiting for the lens to return. At first I thought I’d have a real tough time without the lens, but I must say that so far, I don’t miss those mid-range focal lengths very much at all. I think it’s because the 17-50mm range just doesn’t give you a whole lot of control over the perception of space and distance in a photograph.
I usually like to either expand foreground and background elements using an ultra-wide lens, or compress the foreground and background using a long telephoto. An example of the latter is seen in the image above. Shot at 165mm, you can really see how compressed the elements in the frame are, giving Suki a really powerful presence in the photo. In contrast, check out a similar image shot at 78mm:
See? Not quite as dramatic, right? Even Suki is disappointed, as you can see by her facial expression. Now if you really want to isolate your subject from the background, try an even longer focal length:
Same location, only with my lens at 280mm. The background gets so compressed at this focal length that it becomes unrecognizable, which completely isolates Suki in the foreground. This is the kind of creative control that a telephoto zoom lens can give you. So the next time you’re out taking photos, think about what you’re trying to accomplish before you start rotating that zoom ring. Are you zooming because you’d rather stay in one spot instead of moving closer to your subject, or are you trying to alter the perception of space and distance in your image? It’s almost always best to consider the latter first.
Ok, so it’s not that I don’t want my Tamron 17-50 anymore. It’s usually the lens I grab first if I have no idea what I’m going out to shoot. But I know now that I can definitely live without that focal range.
Camera Specs: Nikon D300s + Nikkor AFS 70-300mm f/4.5-5.6 VR
It was out on the town again yesterday for Suki’s week 27 image for my 52 week project. This week I wanted to try adding an accent light into the mix, one that would provide some highlights around Suki and give the impression that she is being lit from behind by background elements. You can see a hint of this effect in the image above. Snoots are great for this. But I realized before we headed out that I don’t have a snoot for my speedlights! So I constructed my own snoot out of the finest of materials:
Here it is. Made of solid, 100% magazine paper, sealed at the seams with ultra-high-strength scotch tape and costing me a whopping fraction of a penny, this rig was placed behind Suki in the photo of her above. The snoot concentrated the light into a tight beam. Instead of spreading all over, the light just hits her back side and appears as highlights around the edges of her fur. It sort of gives the illusion that the headlight from the cable car behind her is lighting her. It’s a subtle detail for sure, but it definitely adds a great element to the image.
Here’s an example of the way a snoot shapes the light coming out of a flash head.
You can even shape the front end a little to create a sliver of light like so.
The biggest challenge for this last shoot was actually the crowds of people around us as we worked. We were approached constantly by people wanting to meet Suki and ask questions about her. Gathering in small crowds around us, they would step in and try to meet her between takes. Amazingly, she was able to focus despite all the distraction.
After all that work, it was time for a leisurely stroll through the Embaracero Center in San Francisco. I enjoyed a cappuccino while Suki sniffed every corner of the area. Such a great area of the city for photographs!
Camera Specs for top image: Nikon D300s + Tokina 50-135 f/2.8 @ 125mm f/4, 1/80 second ISO640. (Aperture priority -0.3EV) SB-900 through softbox camera left (TTL +1.7EV) SB-800 snooted behind subject (SU-4 optical slave, 1/8 power).
Bottom Image: Nikon D300s + Nikkor DX 10.5mm fisheye