Posts Tagged ‘digital photography’

New Horizons In Photography With Better High ISO Performance

Friday, January 29th, 2010

Several months back I upgraded cameras from my trusty Canon EOS 5D to the newer model, the Canon EOS 5D Mark II. The Mark II boasted a range of new features that made it a worthwhile investment, including a larger and clearer LCD screen, a stronger and more weather proof build, easier to navigate menus, customizable settings, HD video, a sensor dust cleaning function as well as greater resolution (21 MP), updated processors and firmware and reportedly better image quality. Over time I have found that, really, just one feature of the newer camera has fundamentally changed the way I can take photos. That feature is the greatly improved performance at higher ISO settings.

Hand held at 1/40 second, f/9, ISO 500

ISO is the standard by which the sensitivity of film or a digital sensor is measured.  Better sensitivity, lower noise and improved in-camera noise reduction at higher ISO settings are hallmarks of the latest generation of digital SLR cameras, and high ISO performance will surely continue to improve in the near future.  I have always used Canon digital cameras by choice, but the most current high end digital SLRs from Nikon, Sony, Minolta and others all have much better high ISO performance than their predecessors.

Hand held at 1/100 second, f/8, ISO 320

I haven’t done quantitative tests to compare the high ISO performance of older DSLRs and current ones, but the improvements are so dramatic to be readily apparent with a simple inspection of the image files at 100%.  There are plenty of independent testers out there who have done careful scientific comparisons if you want the raw data.  My goal in this article is simply to share some images I have taken recently that either would have previously been impossible or would have required more equipment and more labor intensive techniques.  Of course, you would need to see high resolution image files to get a complete understanding of the image quality, but for the purpose of this article I think these screen size images give you the main idea.  I should also point out that in addition to improvements in ISO performance, improved noise reduction algorithms in software like Adobe Lightroom and Camera RAW, as well as improved image stabilization technology in lenses take some of the credit.

Hand held at 1/13 second, f/4.5, ISO 3200

How does better high ISO performance allow for new opportunities in photography? As the sensor becomes more sensitive to light as the ISO setting is increased, the camera is able to maintain faster shutter speeds in lower light conditions and still get a proper exposure. Essentially it means you can shoot in lower light situations or with smaller aperture settings without the need for a tripod.  However, with past cameras the increased sensitivity to light at higher ISO settings came with an unacceptable trade off; increased image noise or digital grain. Until I acquired the Canon 5D Mark II, the higher ISO settings were generally useless to me. My images need to be very clean and sharp, so I would always shoot at the lowest ISO setting (ISO 100) to ensure adequate image quality. This almost always meant the need for a tripod to get a sharp image.

Hand held at 1/15 second, f/5.6, ISO 3200

Experimenting with the ISO capabilities of the 5D Mark II during my travels in Mexico this month have left me impressed and excited about the possibilities. I still use my tripod most of the time, but I find that in situations where a tripod is impractical, time prohibitive or creatively limiting I can often raise the ISO to between 200 and 500 to allow for fast enough shutter speeds for hand held shooting with a very slight loss in overall image quality. Images at these ISO settings are certainly good enough for publishing and even fine art printing.  There are times when having the ability to photograph without a tripod is extremely freeing and allows for flexibility, mobility, spontaneity and creativity that wasn’t possible before.

Hand held at 1/20 sec, f/4, ISO 3200

What’s more, I have found that I can also hand hold my camera in minimal light situations, such as indoors or for night time city scenes, by increasing the ISO dramatically. I have increased the ISO to as much as 3200 and still been able to capture very usable images.  A slight degree of noise in these images is acceptable to me for the fact that they would have been almost impossible to get otherwise. While I still return to the tripod if image quality is essential, it is exciting to be able to photograph people and other moving objects in low light conditions and not have them be blurred. Most of my night city photography does not include people because of the blurring of objects in motion with slow shutter speeds.   Being able to hand hold the camera and get sharp images of moving subjects indoors and at night opens a whole new world of possibilities.

Hand held at 1/30 second, f/4, ISO 3200

I’m sure the technology in ISO performance will continue to improve for some time. Within a couple of years there will be cameras that allow us to photograph in almost complete darkness with fast shutter speeds and produce noise free images. Until then it is exciting to know how good the ISO performance is right now, and that photographers have the ability to take photographs that were previously impossible or impractical.

Hand held at 1/15 second, f/7.1, ISO 500

If you found this article helpful, informative or otherwise useful, feel free to share it on the social media network of your choice using the handy links below.  If you have anything to add, feel free to leave a comment. Thanks!

Hand held at 1/30 second, f/4, ISO 3200

New Photography Possibilities with high ISO Performance

Several months back I upgraded cameras from my trusty Canon EOS 5D to the newer model, the Canon EOS 5D Mark II. The Mark II boasted a range of new features that made it a worthwhile investment, including a larger and clearer LCD screen, a stronger and more weather proof build, easier to navigate menus, customizable settings, HD video, a sensor dust cleaning function as well as greater resolution (21 MP), updated processors and firmware and reportedly better image quality. Over time I have found that one specific attribute of the newer camera has had a bigger impact on the way I can take photographs than any other. That feature is the greatly improved performance at higher ISO settings.

I haven’t run any objective tests to make quantitative comparisons between older DSLRs and current ones, but there are plenty of independent testers out there who have if you want the raw data. My goal in this article is to share some images I have taken recently that either would have been previously impossible or would have required more equipment and more labor intensive techniques.

Better sensitivity, lower noise and improved in-camera noise reduction at higher ISO settings are hallmarks of the latest generation of digital SLR cameras, and high ISO performance will surely continue to improve in the near future. ISO is the standard by which the sensitivity of film or a digital sensor is measured. I have always used Canon digital cameras by choice, but the most current high end digital SLRs from Nikon, Sony, Minolta and others all have much better high ISO performance than their predecessors.

How does better high ISO performance allow for new opportunities in photography? As the sensor becomes more sensitive to light with increased ISO settings the camera is able to maintain faster shutter speeds in lower light conditions and still get a proper exposure. Essentially it means you can shoot in lower light situations or with smaller aperture settings, without a tripod, than at lower ISO settings. However, with past cameras the increased sensitivity to light at higher ISO settings came with an unacceptable trade off; increased image noise or digital grain. Until I acquired the Canon 5D Mark II, the higher ISO settings were generally useless to me. My images need to be very clean and sharp, so I would always shoot at the lowest ISO setting (ISO 100) to ensure adequate image quality. This almost always meant using a tripod.

Experimenting with the ISO capabilities of the 5D Mark II during my travels in Mexico this month have left me impressed and excited about the possibilities. I still use my tripod most of the time, but I find that in situations where a tripod is impractical, time prohibitive or creatively limiting I can often bump up the ISO to between 200 and 500 to allow for fast enough shutter speeds for hand held shooting with a very slight loss in overall image quality. Images at these ISO settings are certainly good enough for publishing and even fine art printing. In some situations the ability to photograph without a tripod can be very freeing and allow for creativity and camera positions that weren’t possible before.

What’s more, I have found that I can also hand hold my camera in very low light situations, such as indoors or with night time city scenes, by increasing the ISO dramatically. I have increased the ISO to as much as 3200 and still been able to capture very usable images. The value of these images in greatly enhanced by the fact that they would have been almost impossible to get otherwise. While I still return to the tripod if image quality is essential, it is exciting to be able to photograph people and other moving objects in low light conditions and not have them be blurred. Most of my night city photography does not include people because of the blurring of objects in motion. Being able to hand hold the camera and get sharp images of moving subjects in low light opens a whole new world of possibilities.

I’m sure the technology in ISO performance will continue to improve for some time. Within a couple of years there will be cameras that allow us to photograph by moonlight without a tripod and produce noise free images. Until then it is exciting to know that ISO performance is at a level right now that allows for types of shooting that were previously impossible or impractical.

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Pacific Northwest Photography Podcast Interview

Monday, December 7th, 2009

Talented outdoor photographer, Adrian Klein, is now producing a great podcast called Pacific Northwest Photography. Adrian recently interviewed me for his podcast, which you can listen to on the player above. During our conversation we chatted about favorite locations, adventures and photography equipment. I also give the behind the scenes tales of the two images below. You can also get the complete story behind my intolerance of goat flavored food products.

I highly recommend checking out Adrian’s photography at www.adrianklein.com

and his photography blog at http://adriankleinphoto.blogspot.com/

On Adrian’s home page you can subscribe to his PNWP Podcast by clicking the red musical note.

Lunar Eclipse Over Mt. Shasta

Lunar Eclipse Over Mt. Shasta

Double Falls, Glacier National Park

Double Falls, Glacier National Park

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Featured Photographer: Al Magnus

Friday, July 31st, 2009

My photography has many sources of inspiration, and not all of them are standard nature photographers. I like to bring an element of fantasy to my images, but very few photographers do it as well as Al Magnus. His photo illustrations are the product of collecting images of various elements, sometime over the course of years, and then painstakingly merging them to create wondrous photo-illustrations.  You can see more of Al Magnus’ work at www.almagnus.com

Les tâches solaires by Al Magnus

Les tâches solaires by Al Magnus

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Organizing The Digital Photography Workflow

Friday, January 23rd, 2009

I recently had the opportunity to take an amazing one day workshop on digital photography workflow from Mac Holbert, co-founder of Nash Editions, widely known as the world’s first digital printmaking studio focusing solely on photography.  Prior to Nash Editions, Mac Holbert was the Tour Manager for the music group Crosby, Stills & Nash.  He co-founded Nash Editions with Graham Nash in 1987.  If you aren’t familiar with Nash Editions or Mac Holbert I recommend reading this interview by John Paul Caponigro.  John and Mac are both instructors with the Epson Print Academy.

Mac Holberts’s workshop revolutionized how I approach my workflow in Photoshop.  While Mac knows and willingly shares a wide range of Photoshop actions, adjustments and techniques, it is his suggestions for how to organize and approach the digital photography workflow that I found most enlightening.  As the saying goes, “give a man a fish and he eats for a day, teach a man to fish and he eats for life”.  Mac refers to specific Photoshop techniques as the fish, but a well organized and purposeful work flow as knowing how to fish.  He also points out that with a program as powerful as Photoshop, there are many ways to get to any single photoshop destination, but having a well organized workflow ensures that you don’t end up at the wrong destination, such as with damaged pixels or with workflow steps that can’t be reversed.

Mac emphasizes that the digital workflow should begin with adjustments that directly affect pixels (those not made on adjustment layers) and more global adjustments and then proceed toward more and more localized adjustments.  He also suggests that your Photoshop layer stack be organized to reflect this progression.

A workflow following this type of progression might go something like this: start with adjustments that affect pixels, such as cloning, noise reduction and perspective adjustments.  Then proceed to global tonal and color adjustments (made with curves adjustment layers) such as setting the black point, gray point, global contrast and global brightness.  After those adjustments are made it is time to start targeting smaller regions of the image that need adjusting such as regional dodging and burning and targeted tone, saturation and contrast adjustments.  Finally, the workflow is finished up with specific “spot” adjustments such as manual dodging and burning, tonal adjustments, midtone enhancement, local sharpening and so on.

Keeping the layer stack organized to reflect this progression is paramount.  The following graphic is the one the Mac uses to give a basic illustration of what a well organized layer stack might look like.

My old workflow, largely self-taught, generally allowed me to achieve what I wanted with an image, but it was highly haphazard and disorganized, and I often worked myself into corners or created hard to resolve issues.  I knew that there was a better, more efficient and less damaging approach.  Mac’s suggetions were just what I was looking for.  If you ever get the chance to attend one of Mac’s workshops, through the Epson Print Academy or elsewhere, I highly recommend it.

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Photo Tip: Blurry Trees

Thursday, November 20th, 2008


Much of my photography is of the greater landscape and I’m often trying to present sweeping vistas with sharp detail.  However, I also like to photograph more intimate scenes and abstracts.  One of my favorite abstract techniques is motion blur.  This can be achieved a few different ways and is a particularly good technique for emphasizing leading lines in a photo while smoothing out distracting elements.  The final result can often look more like a painting than a photograph.

I really like to use motion blur with trees that have staight trunks.  The technique is more an art than a science, so a lot of experimentation and throw away images are required to get something that I like.  I start by setting a relatively slow shutter speed and making a vertical pan (movement) with my camera.  I have found that shutter speeds between 1/4 of a second and 1/20 of  a second work best.  I move the camera up or down, in as straight a line as possible and depress the shutter release as the camera is moving.  At slower shutter speeds I pan slower and at faster shutter speeds I pan faster.  It is hard to know exactly what will be in the frame so I repeat the process over and over so that I will have many images to select from.  Panning the camera while it is on a tripod can help keep the motion steady and smooth, but also limits flexibility.

Physically panning the camera is often all I need to do to achieve the abstract look I’m going for.  Other times I selectively add more blur by using the Motion Blur filter in Photoshop (Filter>Blur>Motion Blur).  To do this I’ll create a duplicate layer of the background image and blur the duplicate.  Then I’ll add a layer mask to the blurred layer and paint with a black brush on the mask to bring through any detail from the original image that I want to keep.  This digital blurring technique can also be applied to images that were taken in focus without panning the camera.  Digital blurring often takes just as much trial and error as panning the camera.

Several of my favorite photographers have used these techniques to create some wonderful abstract images, including Jesse Spear, Eddie Soloway and William Niel.

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Longer Exposures For More Saturation and Luminosity

Monday, October 6th, 2008

 

In situations involving low levels of light it can often be beneficial to obtain a longer exposure to allow the sensor/film more time to absorb color and glow. There can be a lot of color and light bouncing off clouds and hills that our eyes can’t pick up. Cameras are able to “see” into low light scenes by leaving the shutter open and collecting more light. If I really want to pull as much light and color from a scene as possible I’ll often use a neutral density filter (ND) along with my usual filter stack (polarizer and graduated neutral density when needed) and also set the ISO on my camera down to 50 in order to extend what was already going to be a long shutter speed.

A neutral density filter is a neutral gray piece of glass or plastic that is placed in front of the lens.  Since it is neutral it doesn’t change the color of the image or do any other special effects.  All it does is reduce the amount of light that can pass through the lens to the image sensor or film (kind of like wearing color neutral sunglasses).  By reducing the amount of light coming in, the exposure time needs to be longer to get a properly exposed image.  One effect of longer exposure times is the blurring of anything moving within the image (water, clouds, wind blown trees, etc.).  Another affect is that if there is low level colored light washing over the scene it will saturate in the image over time.  I use Singh-Ray neutral density filters because they are some of the most color neutral filters available and give excellent results.  I also use Singh-Ray Graduated Neutral Density (GND) filters.  GND filters are neutral gray at the top and fade to clear near the middle.  They are used to hold back the light in one part of an image (like a bright sky) in order to balance the light across the scene.

The two photos above were taken one right after the other, the first at 6 sec @ f/20, ISO 100 with a 3 stop GND for the sky. The second was taken at 30 sec @ f/20, ISO 50 with a 3 stop GND and a 3 stop ND. Quite a difference 24 seconds of shutter time can make.

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