Aperture
1 member found
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aperture
Australia
131 creative works found
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More from the Abstracts Set A leaf at the eden project with bits that look like steps taken on a f1.8 lens hence the small focal point.
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I took this when I was walking on the beach with my girlfriend. 6 shots vertical. Stitched together with The Panorama Factory
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Exposure - for beginners/ intermediate photographers.
by Mark GermanI just answered a question in a certain group forum, and it occurs to me that it may be useful to others. Feel free to ask any questions….
I just answered a question in a certain group forum, and it occurs to me that it may be useful to others. Feel free to ask any questions. So here goes: General rule-of-thumb: expose to the right. What that means, is – use your histogram and get your exposure to the right half without hitting the far right edge. Anything clipped (blown, over-exposed) will be data lost for good. The same goes for black clipping (under-exposed). The reason exposing to the right is better then to the left, is that recovering data/detail from dark areas creates noise – whereas the reverse does not. A little rule that may help you with exposure: / Sunny 16 Basically what this catchy-named rule means, is this: / Given a bright and sunny day outdoors, correct exposure for any scene will be f/16, 1/100 SS, ISO100 (also known as ASA) Working up and down with this you can adjust to suit. For example – a slightly overcast day: / f/11, 1/100, ISO100 (1-stop wider aperture) / or / f/16, 1/50, ISO100 (1-stop slower SS) / or / f/16, 1/100, ISO200 (1-stop more sensitive film/sensor) If you have a specific requirement with SS (stop motion, blur, etc), adjust the other parameters to compensate. To stop your hand motion blur, use the reciprocal of your focal length. Example: 100mm needs at least 1/100th SS. Crop bodies need to be multiplied by the crop. (ask if confused) / If your subject is moving, double SS. If you are also moving, triple it. / Of course using a tripod (and you should whenever feasible) changes this. With photography, each numerical value doubles. / ISO: 100/200/400/800/1600/3200 / SS: 25/60/125/250/500/1000/2000/4000/8000 Aperture can be remembered by using this system: / Use two numbers (f/1 & f/1.4) and double them as you go. f/1, f/2,f/4,f/8,f/16,f/32 / f/1.4,f/2.8,f/5.6,f/11,f/22 Now put them together and you have your full range of full-stop apertures :) Some cameras will list 1/2 or even 1/3 stops. f/1, f/1.4,f/2,f/2.8,f/4,f/5.6,f/8,f/11,f/16,f/22,f32,f/44 Aperture effects Depth of Field (DoF), which is the distance between the closest area in acceptable focus, and the furthest. Choose your aperture to suit your subject/scene. Adjust the other two parameters accordingly. A larger aperture number means a tighter aperture – which means less light. If you ever come up to a situation that has a very high dynamic range (DR) and can’t wait for better light – bracket your shots. That is, expose +/- from the above settings. You can then either decide what you like best, or even combine exposures. (ask how). Of course – if you are a street/candid/journalistic/wildlife style photographer, then you may only get one chance. Which is more the reason to learn the above. There are various filters available to help shoot skies and landscapes – or any scene that has defined high dynamic range. Circular polarisers, graduated neutral density filters – ask. Using additional lighting such as flash adds another element to the equation, and other rules apply. The above is a basic guide to correct exposure for everyday and natural conditions. Hope this helps some people. Feel comfortable in asking anything, or contributing.
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Taken at the ‘Super Secret Sunset Site’, this is a touch of one of the less spectacular Big Sur sunsets. The sun didn’t set on the true horizon; it set on a fog bank well offshore that was so thick it acted as solid as mountain. Obviously, fog isn’t flat so instead of getting a relatively level horizon, I got a weird blend of level and humpy, solid and semi-transparent. But the thrill was in the chase… This location is one of the most photographed sites in Big Sur, tho not as easily recognizable in this framing. The beach is pristine, the rock formations stunning and dramatic, and the sunsets… Well, for a few weeks of the year, the sun sets in a way that creates an extremely artistic vision that one MUST see to truly appreciate. The trick is to know when and how to find this place. It’s clearly unmarked. LOL! For it being as fantastic as it is and not to have even the hint of a sign telling you where it is has to be indicative of very protective residents and a tourist industry that doesn’t need this site’s exact location well known. And the season for seeing the visual miracle is short and rare on a foggy coastline. If you get it all to come together just once tho, you will know exactly what Henry Miller meant when he commented that this was what God intended for a coastline to be. About the shot – There were numerous photographer in this spot because they all knew what was possibly coming and not the sound of a casual tourist to be found. (My guide knew; I didn’t). The area closes at sunset so your window of opportunity is a bit slim to say the least. So getting set up for one of four events is the hard part and getting set up for ALL four possible events is a challenge for the serious photographers only. You need to be able to aim four ways in seconds, know the timing of the waves, know how to get your camera’s ISO adjusted to catch what you want four different ways, deal with sand so thick that the vital tripod will ruin your composition so subtly you won’t know it was lost, and juggle noise reduction (on the digital cameras). In other words, catching all four events is a task for a Master Photographer because luck won’t cut it. I gave up after about 30 minutes of flicking back and forth between shots, copying what the experts did who were standing next to me but hopelessly outgunned with gear and technique. I was missing the two shots I had a chance for and fouling up the timing on the third. The forth wasn’t gonna happen and the pros knew that but didn’t let on. The sunset was the only “easy” shot and it required ISO changes, shutter speed changes, and a great eye for colour. I knew how to do the first with the D80, I bracketed exposures for the second, and I had my guide for the third so I got the sunset and waves fairly well a number of times. The tide rushing in over the huge rocks and thru the tunnels and caves took timing I couldn’t figure out so I just shot a couple hundred shots and hoped for the best, using changes in shutter speed to capture the waves or blend them into cream. Unfortunately, the slower the shot, the brighter it gets so one must work with aperture quickly or get burned out shots between completely black ones as you over-adjust both ways since bracketing doesn’t give enough options. If you’re a professional photographer, this is your location. If you’re an amature wanting to try your hand at the really hard stuff, this is your location. If you love seeing God’s Glory exploding at you in three directions at once, enough to make you gasp from sensory overload, this is your location. If you’re a guy like me who wants it all, this location is where you will see what you’ve got to capture what the REAL MASTER laid out before you. Let it be a challenge to you.
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Just playing around with depth of field. At the Salt Lake City Library Plaza.
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I’ve driven past this fountain for over 7 years and twice before attempted to take photographs of it – once during the day and once at night. The daytime shots were OK and basically showed the fountain in its setting: a large and pretty golf course. I tried to isolate the fountain but its location pretty much prevented that. The nighttime shots were a bit different and hid the greens and fairways of the golf course well while actuating the fountain. Unfortunately, I wasn’t anywhere near up to the challenge of capturing the shot until last week. The difference this time was the combined usage of NO ISO boosting, proper aperture, and much slower shutter speeds. I pulled up the shutter time to a full 29.1 seconds by using the “BULB” setting instead of a preset shutter speed. The D80 will make a 30 second open shutter but I tried it for about 30 minutes and was never satisfied until I found the “sweet spot” at a touch over 29 seconds manually. To offset that much light coming into my Nikkor 18-35 kit lens, I set the exposure bias (what I always call the ‘offset’) to -5 and the camera automatically upped that to -6, tho I don’t know why or how. LOL! Finally, the aperture was set at f/36, much smaller than I’d ever tried before. But the slower shutter speed mandated constant light for a long time so I shrunk the lens opening quite the opposite as I would have with shooting the moon or nighttime buildings. It took a bit over 1 hour for me to eventually get the settings the way I wanted them, lock the tripod down as securely as possible, and use the remote trigger to trip the shutter release. (Using my hand, no matter how carefully, caused shake that blurred the image enough to see.) One other important thing of note: my focal length was 42 mm because I used the kit lens, the wide angle Nikkor that came with the camera. This made the fountain a LOT smaller in the finished shot instead of filling the frame as I used to do using a telephoto lens. The difference there was the PhotoShop Elements program I used to make the shot large enough for Red Bubble but do absolutely nothing else. I had been trying to get the largest shot out of the camera and enlarge less in post-shoot processing. I now know that putting a smaller but better image into the software is far preferable to putting in a large image that sucks anyway. LOL! I hope some of this makes sense to the budding photographers new to DSLR shooting. And as usual, I give enormous credit to the work and comments of oastudios, a master of getting the balance between water and light perfectly. SEE HIS STUFF!
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...an edit of the very slow shot with one simple edits using Corel PaintShop XI program. The slightly edited original shot was processed thru the Solarization tool in a PhotoShop Elements program. I’d love to hear any comparative comments between the two pieces but, as always, all of your comments are welcome and appreciated! :-)
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This shot was a test of my ability to shoot a white (or actually off-white) object in full sunlight without having it blown out anywhere. It was the assignment I gave my budding student with her Nikon D60 and I tied to do it as well with my D80. Both of us got good shots in the end using a rather tiny aperture and a very high speed shutter in the fully manual modes. I actually was a bit surprised it was possible given that I couldn’t even see the flower with my unprotected and light-sensitive eyes. Also the results from the D60 and the D80 were close enough to make a definitive ID of the results from either camera impossible to tell apart. Every day I feel more sure that the Nikon D60 will be the digital “learner camera” for students for a long time to come. :-) The location was the student’s back yard in Penn Valley, California.
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About the image~ I worked a small gig outside Davis, CA for a 60’s party for two people turning 60. It was a very unique event and one of the coolest parts was the constant video of commercials from the era. Mostly in black-and-white, there was some of the worst still photography I’ve seen in AGES in those professional-standard TV commercials. LOL! Lettered graphics were badly stuck on white or coloured paper and it appeared that a single shot or two was duplicated enough times to make a longer image visible as a stagnant image on the screen. That would have been fine if someone had used a tripod for multiple shots. As it was, the image did more jumping around than all the little boys completely decked out in war clothing, shooting actual projectiles from realistic looking weapons. Kids that looked that realistic today would be shot by Homeland Security before they could pull out a metal replica of a Mattel 45 automatic! Worse were the cigarette ads but I couldn’t watch those as I remembered some of the ones that quite literally got my mother and other family members killed from cancer. Chased outside by them, I saw that the sunset was going to be mostly unobstructed so thought I try some early/into the sun sunset shots. About the technique ! ! ! ! ! ! ! WARNING! DO NOT LOOK AT THE SUN, EVEN THROUGH YOUR CAMERA!!! ! ! ! ! ! ! ! That warning seems only partially obvious since your Nikon D80 can both squeeze its aperture to the size of a needle’s eye and let you see it happen using its APERTURE PREVIEW BUTTON. But a small goof can and will damage both your eye and your camera’s image sensor!!! Don’t try it. Ever. That said, how did I shoot this shot? I used the preview button and the shadow of the image on my left hand’s palm. I cranked the aperture down a LOT, set the f-stop at 2000, depressed the preview button, and tipped the camera until direct sunlight came thru the eyepiece onto my hand – NOT MY EYE – and took an IMMEDIATE test shot, lowering the camera afterwards. The image was to dark so I crept the aperture open in tiny increments until my shot was close to the lightness I wanted. Then I dropped the shutter speed a tick at a time until it was where I wanted the over all image lightness. Turned out to be 1250. Step two was to play with the shutter speed/aperture mix to give my shot the depth of field I wanted to see. If you’ve got a good idea already, use the M (manual) setting to lock your aperture in place and experiment with shutter speeds, exposure offsets, or even screw-on filters, tho the latter can play havoc with your sunset’s luminescence. I used no filters or offset; I wasn’t interested in depth of field on this one. Tip: I use my hand instead of a tripod so that I don’t accidentally forget to protect the camera from direct sunlight into the optics or get a nasty flash of sunlight into the eye from the still open viewfinder. Remember, it previews a darker image ONLY when you are holding the preview button down! ! ! ! ! ! ! ! WARNING! DO NOT LOOK AT THE SUN, EVEN THROUGH YOUR CAMERA!!! ! ! ! ! ! ! ! If you’re bright, you’ll probably find other ways to do this. DON’T. Get professional instruction! I’ve said, sometimes light-heartedly, “Anything for The Shot. This is a a firm exception to that credo! Save your camera, save your eyes, save your future! / _______ / Nikon D80 / NIkkor 70-300 mm telephoto lens / F-stop:f10 / Exposure time: 1250 / ISO: 100 (off everywhere!) / Focal length: 70 mm / Nikon exposure program: Vivid with high saturation for sunset with wash-out possibilities from direct white light / November 22, 2008; 4:35:22 pm / Latitude: 38°34’40.15”N / Longitude: 121°51’29.47”W~
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Telephone box , door Hinge This is the Hinge of the telephone boxe that i have in my local country town of Harleston Norfolk. The red is so strong and i love the used look of the frame and glass. Nikon D90 and 18-105vr nikor lens Focal length 34mm / F/. 8 / Exposure 1/800 sec and 0.-7 step / ISO 400 Hand held, Aperture piority, manual focus Processed in nikon color efex pro 3, in Tonal contrast decided to play about and push it a bit.
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Taken on Bungay Common suffolk at 20.58pm on 25.6.09 Simon and I had watched the sun go down and as we stood we noticed a mist slowly lifting off the surface of the River in the distance and slowly creep and crawl over the land. The cows started to move more and more in our direction trying to find their grass to eat that was not disappearing under the mist. It was a wonderful thing to watch Placed 4th inthe out on the plains in the postcard challenge oct. 09 Nikon D90 and Nikor 18-105vr lens / Focal length 90mm / F/.8 / Exposure 1/60 sec / IS0 1/250 Hand Held,Aperture Piority and manual focus Slight gradient layer added for added depth on the ground in Nikon Efex Pro 3.
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Taken in the evening in my Sisters Garden,27.7.09 The late evening sun just caught the top of the red maple in my sister Jane’s Garden it is grown in a pot in her back garden, i loved how the light just made these area more intense and glowing. Nikon D90 with 18-105vr nikor Lens. focal length 105mm / F/.8 / Exposure 1/80th sec and -1step / ISO 280. / Hand held and aperture piotity amd Manua lfocus.
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self portrait, background is stock texture
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Models: Nick and Nichole / Location: Chippewa River, Mt. Pleasant, Michigan / Date: August 20, 2009 / Camera: Canon Rebel XTi / Lens: 18-55mm / Exposure Program: Aperture Priority / Focal Length: 55mm / ISO: 100 / Aperture: F5.6 / Shutter Speed: 1/15 sec / Lighting: Natural, in the shade created by trees, flash did not fire / Other: Handheld / Post Processing: As is, no post processing Top Ten in Depth of Field in Thirds in Photography- Rule of Thirds Nov 29, 2009 Featured in Love is… Sept 6, 2009 Featured in You’re Accepted Aug 31, 2009
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Just a Note on Lens Sharpness
by ericseyesI was reading this week about aperture and the low, middle and upper aperture settings on a lens and learned something interesting I thou…
I was reading this week about aperture and the low, middle and upper aperture settings on a lens and learned something interesting I thought I would share with folks here on RB who may not have heard it either. Sharpness in a lens is best at the middle apertures f/8 or f/11, (I’m sure we’ve all heard this before), but smaller apertures give us a perception of more of the scene in focus (greater depth of field). This means that many people think that f/22 is most often the aperture that gives us the sharpest aperture – but it is not. In fact f/22 is most often the aperture that gives us the worst performance in terms of optical sharpness. Generally anything beyond f/16 yields less overall sharpness. An aperture of say f/16 yields great depth of field and still provides good optical sharpness. The same holds true for wide apertures, say (f/2.8). Optical sharpness is lower with the widest aperture, but is increased by stopping down one stop from wide open, still leaving a very shallow depth of field. So in this case f/4 or one stop above your widest aperture will result in the best optical sharpness. Don’t know how truly accurate this info is, but it makes reasonable sense and I certainly planned to put it into practice. Any added thoughts or opinions are welcome.
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this design was specifically made as a logoform for the centre for reasonable photography tee shirt. I am including it as a stand-alone as I suspect the t-shirt page is a little too low rez for the details. photo featured in, DIMENSIONS Featured in Tone It Down the design incorporated in a double-sided t-shirt / the original t-shirt and graphic /
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This is what greets you as you enter the main front door to the catherdral. it is like a porch area before the main door. Beautiful crafted work by hand the stone is a beautiful colour. The spot lights around the roof adds to the feel of the entrance. Nikon D90 and Nikor 18-105vr lens / Focal length 18mm / F/. 4,5 / Exposure 1/40th sec / ISO 450 Hand held and Aperture Priority, just a slight tweak in photshop CS2
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A girl reviewing her shot on her camera lcd. i really love how the shadows and light came out here. / took this last Canada Day, infront of the art gallery on the georgia street side. Location : Vancouver Art Gallery, Georgia Street, / Vancouver BC Canada
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GOLD in the INTERNATIONAL APERTURE AWARDS
by Naomi FrostOMG!!!! I had to share this – how amazing…... / ...
OMG!!!! I had to share this – how amazing…... “Bad Hair Day” just scored 91 and got a GOLD Award in the International Aperture Awards..WOOHOOO
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