Iso
111 creative works found
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Taken some time ago while in Kentucky / -Kentucky, some time in highschool
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Taken with an Olympus OM-10 with 55mm 1.2 on APX 400.
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Photograph taken in Devon, UK
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Photograph taken in Devon, UK
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Shot in the flower gardens of greenwich park, / London.
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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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A combination of high-grain/high ISO and soft focus. / Was trying to get a more film-like look from my 350D – there’s a massive amount of colour blocking in the original, but I think it works quite well in mono. Took a while to sort out the conversion to B&W (I didn’t realise it was so complicated!) but here are the results. Entering this for the Black & White group’s Emotion comp. Be gentle – this is my first time! :l
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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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The useful Sunny 16 rule always with you!
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The useful Sunny 16 rule always with you! Version printed in black:
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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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Wheels
by Mike SavadRoanoke, VA – Museum of Transportation – June 2008 – HDR, handheld ISO 1600
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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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I had an experiment using 1600 ISO in conjunction with a Canon 100mm 2.8 macro lens and a 400D. The exposure time was 1/2000 and the focal length 100 at 2.8. I really liked the graininess and the luminescence of this image. / /
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16 pixel bugs
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I stood in the snow behind the tripod, so quietly that one bird landed on my lens! What joy. I couldn’t actually say we bonded, but I was thrilled. I’ve had birds land on my hat, but never one that I could see so closely. Featured in Alaska ~ Beyond Your Dreams – Thank you! Shot in RAW. Slight curves adjustment, at the suggestion of Eivor. The snowfall made it necessary to bump up the ISO to 320. I tried ISO 640 at one point, but those looked a tad grainy. This is a male Common Redpoll in today’s snowfall. Note snowflake on his back. Our area has so far eluded Mt. Redoubt’s harsh volcanic particles, although Alaska Airlines and FedEx had to suspend all flights in and out yesterday. Nikon D200 / Nikon 70-300mm 4.5-5.6G VR / 300mm / f/5.6 / 1/1250 / ISO 320 / -0.33ev / manual exposure mode / Manfrotto tripod One of the faster Redpolls: /
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Common Redpoll Nikon D200 / Nikon 70-300mm 4.5-5.6G VR / Manfrotto tripod
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My first real attempt at some star trails, I thought the South Celestial Pole would be a bit further up in the image but it ended up being just out but I think I still like this one. This tree is the same tree in my image Speed of Light. This technique will definitely require some more practice, the tree is lit from car headlights coming off Lysterfield Road in the distance. Borrowed mum’s new/old Canon 5D for this one with a 24-70mm f2.8 L series attached. / Settings Canon 5D, 24-70mm f2.8 L USM. FL: 54 mm 30 seconds @ f2.8×50 shots, ISO 800 No Filters Adobe Lightroom 2, Startrails software & Adobe Photoshop CS4
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Whilst standing up here this evening I had to ask myself.. is this the safe thing to do? But then I thought, if we never took risks then that would be a boring way to live. This one was taken from the same spot as a couple of my other Portsea images but at a different time and day. My original intention was to get a good sunset around the eastern side of the London Bridge but the tide was a lot higher than I expected so I climbed back up to this spot instead and it was definitely worth it :) I had to put the ISO up a fair bit to keep the exposure time down as it was almost dark. Luckily I can get away with it with this camera, the picture would be a lot grainier had I used my 40D. The London Bridge is located on the ocean side of Portsea in the Mornington Peninsula National Park, Victoria, Australia. It’s only a short walk down to this spot from the car park. / Settings Canon 5D, 17-40mm f4 L USM. FL: 17 mm 2 seconds @ f4, ISO 500 ND8 Graduated Filter Adobe Lightroom 2 & Adobe Photoshop CS4 Click here for my other images of Portsea Click here for my other seascapes
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Featured in The Sisterhood – August 2009 / Featured in A Beautiful Blur – August 2009 / Featured in High Key – August 2009 / Featured in Canon vs Nikon – September 2009 / Featured in Photoshop & Topaz Filters – October 2009 / – thanks so much to those groups and their hosts!! My daughter Mila (2) and I were messing around with my camera while she took her bath. Actually, I was kind of experimenting with ISO 1600 and Topaz, seeing as they claim that if you buy their Topaz DeNoise filter you can save yourself thousands because you won’t need a better camera or lens, you can just take noisy pictures and run them throught the DeNoise filter. I’ve been longing for a Canon 5D MkII, but have settled for the DeNoise filter in the meantime… definitely not the same, but also definitely much cheaper!! ( : Anyway, I quite like the effect, although I’m not sure that you can really claim that cheap camera + topaz = expensive camera… Camera Model Canon EOS 400D DIGITAL / Tv( Shutter Speed ) 1/80 / Av( Aperture Value ) 2.8 / Metering Mode Evaluative Metering / ISO Speed 1600 / Lens EF100mm f/2.8 Macro USM / Focal Length 100.0 mm / Photoshop CS2, Topaz DeNoise
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A macro shot of small balls of leftover yarn from my wife’s crocheting. / For size reference, The red ball in front about 1.5” in dia’.
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/ / Folks we are here in the Danish Catacombes..The Metro of Copenhagen. / Driving forward by a speed of ± 80-100 km/h / (± 50-65m p h ) In this situation what be done in this scares light situation..? Flash ? No.. irritating reflection in to the METRO glass / Like you see sometimes in Zoo’s..people flashing in dark Aquarium ..it never work; / (unless you and put the lens tight to the glass.. same for flash if possible.) What than ? Yes..pump up the ISO! Now for some less pricey camera’s 400 ISO is absolute MAX and lots of grain / blurr to see.. / Some Camera’s are fine till 800 ..even some to 1600 .. but Brother o Brother that is a lot of ISO Let me explain something. A normal SLR (I have two) has a small chip and ± 8 – till 12 million pixels are squeezed on to that ..That is partly responsible for grain at higher ISO Now we all know the term FULL frame Camera’s / The FULL frames have quite larger chips but are very expensive / Often 2-3x the price of a Normal DSLR / My Canon 40 D (excellent Camera-10 mill pix) did cost me 1/3 of my latest 5D Mark II / Same as my 450D (12,3 mill pix) / Why than am I so stupid to buy such an expensive camera? Among others it can make photo’s .. out of hand !.. standing in a dark Metro ..only TL lights / by 6 4 0 0 ISO ! and all looking still nicely sharp Is this a perfect photo ? no .. we always can do better but I thought this would work fine example to use and explain to some beginning RB members the use of ISO Thank you for reading my MAMBO JAMBO Folks.. / John Tech Spechzz Make – Canon Lens 24-105 L is / Model – Canon EOS 5D Mark II Software – Adobe Photoshop CS4 Windows / DateTime – 2009:10:26 20:54:23 ExposureTime – 1/25 seconds / FNumber – 4 / ExposureProgram – Aperture priority / ISOSpeedRatings – 6400 ShutterSpeedValue – 1/25 seconds And a POSTER look: /
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Todays cameras are magnificent. / Just posting this for a short while as an example of what they can do these days. / This is taken with a Nikon D90 at ISO 6400 in the dark. / The camera couldnt see to focus, I couldnt see to focus, I couldnt see my camera controls to focus by numbers. / I could see just well enough to compose. / The camera was on Aperture priority F5.6 and the camera selected 1/4 sec. / No noise reduction applied in camera (correction below) or in software. / The only thing that has been done to this is converted to JPG from NEF. / This is handheld. / David with the yacht in the background at West Inlet, Stanley,Tasmania / The wonders of technology. PS / Should also have mentioned / Focal length 42mm / and I checked my metadata and the camera did have High ISO noise reduction turned on and D-lighting turned on.
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