|
Canon Europe today shares its future vision for the rapidly evolving world of consumer imaging. Passionate about developing new ways to help people enjoy and immerse themselves in their memories, Canon will showcase an exciting collection of concepts and technologies that will fundamentally change the way we capture, store and share images in the future, at Canon EXPO 2015 in Paris. |
|
Alessandro Stanzani, Head of Consumer Imaging Group, Canon Europe, commented: “EXPO is an incredibly exciting time for us. Over the past five years we have leveraged our heritage, knowledge and expertise to push the boundaries of imaging. We’re transforming our consumer business to respond to our customers’ needs, focusing on creating new digital consumer services alongside our renowned imaging hardware. “Reflected throughout everything we’re showcasing in Paris is our commitment to enabling powerful experiences that make it easier for everyone to get more enjoyment from imaging. Whether reliving photos at home using our next generation Connect Station wireless imaging hub, or being able to see things the human eye simply cannot using our 4 million ISO camera. The best images represent precious memories, and we want to help people capture and surround themselves with these moments in the best possible quality. At EXPO 2015 we’re showcasing the many exciting ways in which we’re changing how people can and will interact with imaging, today, tomorrow and in the future.” Support at every stage of the imaging journey Reaffirming its commitment to enhance and expand its range of digital services and smartphone photo apps, Canon is showcasing its latest solutions designed to tackle the challenges facing consumers in managing their large and ever expanding photo libraries. Following the acquisition of Lifecake in April 2015, Canon will preview the new capabilities and fresh look and feel for its cloud-based image management service, irista. Also at the show is hdbook EZ – a soon to be launched app for smartphones, tablets & PCs that intelligently selects the best images from your photo and video libraries, and automatically creates a personalised photobook in a few minutes. Other highlights amongst the range of technology concepts, products, solutions and services include:
Those unable to attend Canon EXPO in person can experience the technology concepts and imaging solutions virtually and read about all the highlights from the event here: http://www.canon-europe.com/expo |
Tag Archives: canon
Images shot on the Canon 6D in low light.
Canon 6D image by Ken Rockwell
Hi Guys,
Just wanted to share with you some of the shots taken in the Loire Valley, France a few weeks back.
I used the Canon 6D as many of the internals were very dark and I did not want to use any form of artificial light and the performance of the 6D in low light is incredible.
The images shown (internal) are mainly shot with an ISO boosted up to 6400 and the amount of noise is non existant. The sharpness is superb (lens Canon f/4 17-40mm) and the beauty is that the colours are spot on.
The camera was mounted on my trusty Giottos tripod and shutter speeds varied from 1/60sec to 1 sec. The aperture for me is always f/9.0.
A little work in lightroom to adjust contrast and boost the shadows left me with these finished results and a very happy client.
Fantastic tutorials from Canon.
Hi Guys,
Thought you may be interested in these tutorials from the guys at Canon.. They are very informative and you have the added bonus of uploading them to there gallery for the wold to see.
EOS tutorial
This month we’re exploring new ways to capture authentic emotions. The aim is to help you enhance your images and form deeper connections with your viewers.
Human emotions don’t follow any set rules – they’re spontaneous and based on what someone is feeling – so having your camera close to hand is one of the first rules of capturing them. Unplanned shots can give you great results. Try shooting when your subject’s not expecting it – or press the shutter just after they think you’ve taken a shot. They’ll look far more natural and relaxed.
Whether you’re shooting to share your images or simply for yourself, our tutorials will help you capture moods and feelings more effectively.
Tips on capturing emotions
This month we’re exploring how your photography can capture and convey emotion. Expressing your own feelings or capturing those of your subject or scene can help an ordinary photo to become a unique and powerful image.
Tip: If you are trying to capture human emotion, try focusing on the eyes of your subject. They’re an excellent indicator of how somebody is feeling.
- The basics – being prepared
- Portrait mode
- Capturing atmosphere
- Single point focus and wide shots
- Using advanced effects
Vinoth Chandar – Just Sit Back and Relax!
Usage Rights: https://creativecommons.org/licenses/by/2.0/
Get set up and be prepared
Emotion is often a fleeting thing so the key to capturing it is being well prepared. Before you start taking photos, it’s a good idea to get familiar with your camera and to ensure it’s set up to respond when you need it to.
Did you know? Professional photojournalists spend years honing their skills so that they can be ready for the moment that the emotions of a situation are at their peak.
Use Continuous shooting mode
Try setting your camera to Continuous shooting mode to allow several pictures to be taken in succession. This is a great way to capture your subject off-guard and will give you more of a chance to capture natural emotion. It’s particularly useful if your subject quickly changes from bewilderment to laughter. You may not get the best pictures first time but you can select and edit from the numerous shots you capture. If possible it’s also worth setting your focus to continuously track your subjects. This will help to keep the emotion in front of you in your frame.
Make sure you have a large capacity memory card. Shooting JPEG images (rather than RAW format) will increase the number of frames you can take in a single burst.
Use a wide-angle lens
Shooting with a wide-angle lens can help with framing your image and using one means you’ll be close to your subject, meaning you capture their facial expressions easily. Wide-angle lenses naturally capture the context of the scene and give further visual clues to your viewer about the cause of the emotions pictured – for example, the pleasure on the face of somebody watching a band at a music festival or the determination on the face of a climber.
Portrait mode
The Portrait mode is found on many EOS cameras’ mode dial. It’s the one with an icon like a human head.
Use Portrait mode to:
- Configure the camera to shoot a continuous sequence of frames when the shutter is pressed so you can capture your subject’s natural emotions.
- Tell the camera to select wider apertures that will draw attention to the subject, and minimize the disturbance of a cluttered background, focusing your viewers’ attention on the emotion in the frame.
Portrait mode is often used with longer lenses, but using a wide-angle lens or zooming to the widest setting on your kit lens will combine with a wide aperture for pictures where the key subject is the most important element in the frame.
Capturing atmosphere using lens flare
Shooting without a lens hood on the lens and putting the sun in the edge of the frame can create atmospheric lens flare in your photos.
The unpredictable nature of lens flare often adds a sense of freedom to images as well as softening the image to create a happy, dreamy feel. It’s great for expressing the feeling of a landscape such as an empty beach or a beautiful field of spring flowers.
Tip: Try taking your EOS out on a sunny day and experimenting with your position in relation to the sun.
Lens flaring:
Geraint Rowland – Low Tide, Boat and Flare, Southend
Usage Rights: https://creativecommons.org/licenses/by-nc/2.0/
Single point focus
Use the Creative modes, Program, Aperture priority and Shutter priority to restrict the AF system to a single point. The single point needn’t be at the centre of your frame. In fact, other spots are often ideal for more pleasing compositions.
If your EOS DSLR has multiple AF point groupings then choose one with up to five AF points in a group. This will ensure that you can concentrate on the subject and not be so concerned with the exact placement of the AF point on the subject.
Go wide
A moderate wide-angle lens, like the Canon EF-S 24mm f/2.8 STM for APS-C cameras is small and light and gets more of the scene into one image. For full frame cameras the best lens is an EF 35mm f/2 IS USM. This kind of lens simplifies shooting because you need to move with your subjects and move your feet to change the composition. This connects you better with your subject or the scene you’re shooting, or can connect the two.
Choose a fast aperture lens
Emotion happens spontaneously, so you need to be able to capture it in low light without a flash whenever it happens. This is true whether you’re photographing people or want to capture the fleeting feel of a landscape as the light changes at twilight. Here’s how to do it:
- A simple 50mm lens with a fast f/1.8 or f/1.4 aperture used wide open will let in plenty of light.
- Use Aperture priority and choose a wide aperture to draw the viewer’s eye right in to the key point of the picture.
- Focus is more critical with these lenses, so be sure to know how to quickly move the AF point around the viewfinder.
Did you know? Wider aperture lenses have larger front elements that often make them more liable to the softening and streaks of light that comes with lens flare.
Experiment with visual effects
Try holding subjects close to the front of your lens while taking the pictures to create emotion-filled images. Small mirrors can enhance the lens flare, feathers, glass crystals will add their own happy, wondrous, confused or charmed characteristics to your photos. While the effects are not readily repeatable you will learn how to create many looks that add to the impact of your photos. Even some small LED lights like decorations can be held close to the lens. The out of focus nature of them can add interest, atmosphere and a deeper sense of feeling to your images.
If you’ve felt inspired to capture emotion, why not share your images with the world.
Upload them to The Gallery.
Canon celebrates EOS 5D series 10 year anniversary
|
Canon today celebrates the 10th anniversary of its iconic EOS 5D series. Originally launched in September 2005, the EOS 5D transformed the DSLR market being the first advanced amateur DSLR to incorporate a full frame CMOS sensor (35.8 x 23.9 mm). Available at a competitive price, the camera enabled enthusiast photographers to utilise the camera’s impressive image quality and creative photographic tools that traditionally had been unique to professional DSLRs with 35mm sensors, contributing to the widespread adoption and success of the full frame sensor cameras. |
||||||
In March 2012, Canon introduced the EOS 5D Mark III, which boasted significant improvements over its predecessors still and video capabilities, as well as enhanced AF precision and a faster maximum continuous shooting speed. Since its launch, the EOS 5D Mark III has garnered high acclaim in the market and, as one of the company’s flagship DSLRs, has come to serve as a driving force for the continued innovation of the EOS series. Most recently, in February 2015, Canon launched the EOS 5DS and EOS 5DS R – transforming the EOS system, with a new breed of ultra-high resolution full-frame DSLRs. Breaking the boundaries of 35mm sensors, the new cameras offer the highest megapixels ever seen in a full frame sensor, an astonishing 50.6 MP. Through the in-house production of all key parts for its EOS series digital cameras, Canon has created a highly robust line-up. Each and every model within the series, including EOS 5D models, is equipped to deliver the very best image performance, thanks to the evolution of innovative technology. To support the diverse needs of photographers, Canon will continue to strengthen its EOS DSLR line-up, which enjoys widespread support from professional and consumer users alike. |
Please vote for my image…..Thanks
Hi Guys….really appreciate it if you could vote for my image here…just click on the link and if you like my image called Square Meal then vote away….
https://www.facebook.com/Theimagefile?sk=app_244041225639079&app_data=26946-575488
Many Thanks..
Glyn
Canon supports the next generation of filmmakers at Berlinale Talents 2014
Canon supports the next generation of filmmakers at Berlinale Talents 2014
London, UK, – Canon is continuing its support for budding filmmakers with the second year of its partnership with Berlinale Talents – a creative networking event for emerging film industry talent that is part of the Berlin International Film Festival. As Principal Partner of Berlinale Talents, Canon will present a number of master classes for over 300 promising talents in the film industry, featuring world-class workshops with cinematographers and the latest Canon equipment.
Berlinale Talents 2014.jpg
The main venue of Berlinale Talents – HAU Hebbel am Ufer (HAU1)
© Berlinale 2013, photo Peter Himsel
Taking place from February 8th-13th 2014, a series of workshops presented in partnership with Canon will offer filmmakers and industry professionals invaluable hints and tips that will help them tell their own stories. The workshops – entitled ‘Every Picture Tells a Story’ – will also provide insight into the latest developments in camera technology, with hands-on demonstrations that show how Canon products can assist production. Speakers involved in the workshops this year include distinguished cinematographers Franz Lustig (How I Live Now), Stefan Ciupek (Slumdog Millionaire), and Christopher Doyle (In The Mood For Love).
Canon will also be supporting various master classes which will see renowned Directors of Photography, including Agnès Godard, talk about their experiences and discuss how camera techniques can enhance filmmaking. The ‘Post-Production Studio’, created by Berlinale Talents collaboratively with Canon, will focus on digital workflows, from shooting and editing to colour correction and mastering for the final stages of production. Selected participants will have the opportunity to get hands on with Canon’s latest equipment, including the EOS C300, EOS C500 and EOS 5D Mark III.
For the first time, Canon will also commission a selection of short films from the Talents, to be shot on Canon’s products. The short films will be showcased by Canon, both at industry events throughout Europe and on the Canon Professional Network.
Canon will in addition support a joint initiative between Berlinale Talents and the European Film Market (EFM), which offers filmmakers further insight into the workings of the EFM, as well as allowing them to present themselves to industry professionals and build their individual networks.
“Technology and creativity is only one part of the film-making process, without a suitable network of contacts the task of getting a movie made becomes much harder,” said Kieran Magee, Director of Professional Imaging, Canon Europe. “Berlinale Talents helps filmmakers through every aspect of the process, we are pleased to support this innovative programme.”
As well as a full programme of workshops, acclaimed portrait photographer and Canon Explorer Joerg Kyas will use Canon equipment in his studio set-up to create portraits of each of the 300 Berlinale Talents 2014 participants. Canon equipment will also be used throughout the event to produce promotional reels and trailers.
Berlinale Talents runs over six days during the Berlin International Film Festival, from 8th-13th February, 2014. Eligible attendees include emerging film professionals in the first 10 years of their career, spanning all areas of the industry, including actors, cinematographers, directors, editors, producers, production designers, screen writers, distributors, sound designers and composers.
Photography, Surfing and PTSD
Hi Guys,
I had the pleasure of spending the week with Surf Action in beautiful Cornwall.
Surf Action are an amazing charity that provides support for veterans and their families that are suffering from the devastating effects of an invisible illness called Post Traumatic Stress Disorder. It is a disorder that can not only effect veterans but also civilians that have gone through a severe trauma and with the help of Surf Action these incredible people are given the support and care they need to find peace of mind and the tools they need to help them and their families.
Whilst I was there the guys took me surfing and of course being a photographer it only seemed natural to capture some of the guys on their boards. Although the swell was not as big as they would have liked they still managed to catch some waves and have copious amounts of fun even though Rich Emerson founder of Surf Action kept hijacking other peoples boards whilst surfing.
But it never worked out well as you see from the following image ..
However with the lads enjoying the surf it gave a great opportunity to have a go at surf photography and to find out how my Canon 6D with 70-200mm f/4 lens would perform and am pleased to say they performed admirably as you can see from some of the images below.
Surf photography is not easy due to the fact the reflective light constantly changes and given that your metering is only good for the first few shots of a burst rate. Also it is better if you have an understanding of surfing and how the breaks work to best position yourself. A bigger lens would be better and it is not unusual to see a 600mm on monopod along the Cornish coast.
If you decide you want to do surf photography I advise you to study the works of other photographers within this field in particular photographers who have been and are a part of the surf scene such as Surf Actions Russ Pierre who has mastered his craft of surf photography by being a seasoned surfer and photographer so check out his stuff here.
I will be posting a more thorough How To on surf photography soon covering all the equipment and a typical set up so stay reading.
On a final note I would just like to say please support this amazing charity as they really do care about giving help to PTSD sufferers and their help is absolutely life changing.
Thanks Guys.
Glyn
Al Jazeera Media Network chooses Canon as global lens provider
| Canon today announces that broadcaster Al Jazeera Media Network has chosen to equip its professional news cameramen with Canon’s advanced 2/3″HD Broadcast lenses. Al Jazeera Network will use 172 Premium Standard lenses – the HJ17ex6.2B IRSE – with its new Electronic News Gathering (ENG) cameras, in bureaus across the world. |
Offering improved mobility and flexibility for news crews filming on the move as well as in the studio, the HJ17ex6.2B is equipped with the standard digital drive unit and display, found on all of Canon’s professional broadcast lenses. Paul Quinn, Manager, News Operations, Al Jazeera commented, “Our crews are based worldwide, often covering news and documentary stories in extreme conditions, and the Canon HJ17 has provided the highest quality images and proved itself to be extraordinarily robust and reliable in the field.” The Canon HJ17x6.2B IRSE lens allows cameramen to shoot wider and closer without additional equipment, the Premium Standard lens functions as both a wide-angle and tele-lens. In addition, the lens is Full HD and features a short minimum object distance (M.O.D.) of 0.4 meters and a minimum focal length of 6.2mm for shooting in confined spaces, with a maximum focal length of 106mm or 212mm when paired with a 2x extender. Camera operators can also easily pre-set features such as zoom speed and button function adjustment for more efficient control at their fingertips. “Canon’s proactive engagement with us on preventative maintenance, product advice and training has ensured production efficiencies and business continuity. And the after sales support from Canon has been second to none,” concluded Quinn. |
Lens Filters Buying Guide…
The world of filters can be very confusing so here is a handy guide written by Giles Babbidge to shed some light and simplify their purposes and benefits.
Filters are curious things. So simple in their design and yet to the uninitiated they can be the cause of much confusion – both at the time of purchase and when put into use.
Very often, enthusiastic photographers readily part with their hard-earned cash, purchasing filters which they believe will improve their pictures, only to be disappointed with the results. This actually isn’t anyone’s fault, rather a matter of education; as ever, knowing how to pick the right tool for the job and, more importantly, knowing how to get the best out of it, should be your starting point.
In this guide, I’m going to give you a basic overview of what’s out there. Of course, not all shapes and varieties of filter will suit every photographer (or their budget), but there will be something that’s right for you. With a little thought and pre-purchase research, you can be sure that you’ll be spending your money wisely when the time comes to invest in a set of filters.
What is a filter?
Simply put, a filter is a piece of glass or resin which is (usually) placed in front of your camera’s lens. Some are more elaborate than others in their function, but all share the quality that they change how your pictures will look at the time of exposure (and, in most cases, beforehand through the viewfinder, too). Some filters, for example ultraviolet types, don’t really have a marked visual effect, while others can be quite dramatic, either in cutting out a lot of the light entering the lens or introducing colour and/or contrast to the scene in front of your camera.
So what are filters used for? Well, there are two main reasons why photographers use them – lens protection and creativity. In the case of the former, many people choose to leave a clear threaded filter attached to the front of each of their lenses from the word go. The argument for doing this is that, should the front of your lens get knocked, scratched or otherwise unfortunately damaged, there’s a fair chance the filter will take the brunt of the impact. With lens repair costs enough to send a chill down the photographer’s spine, the cost of merely replacing a damaged filter is understandably very attractive when you put things into perspective.
On the flip side, some people maintain that image sharpness is compromised by the use of these filters. While this may certainly have been true in the past, especially with cheap filters, the quality of materials used these days is so good that the average person would probably be unable to tell the difference in the resulting pictures. At the end of the day it’s your choice but, having had lenses saved by protective filters myself, I know what I’d rather do!
When it comes to creativity, the possibilities are limited only by your imagination. Filters can be used singularly or ‘stacked’ in front of the lens – it really depends on what visual effect you want to achieve. It might be that you want to cut out reflections in glass surfaces or perhaps you want to tone-down a bright white sky – either way, there’s an exhaustive number of combinations available to the photographer.
How is a filter attached to the camera?
There are several main designs but, regardless of the way they attach, all varieties of filter essentially work in the same way once firmly held in place. Perhaps the easiest design to use is the round, screw-in filter (note: this is not the same as a circular filter, which I’ll come on to later), which just screws into the filter thread on your lens. When making your choice, be sure to double-check the thread size of your lens (often clearly marked in millimeters – such as 67mm or 72mm – on the lens itself or on the underside of the lens cap) as this is the key bit of information needed for correctly matching both components.
Screw-in filters are arguably quicker to use, depending on your scenario, so if you are a photographer who is always on the go (such as at public events), they might provide the best option. They also don’t suffer the risk, as with slot-in filters, of slipping or sliding out of a holder if you happen to be changing position in a hurry.
The other route you could take, then, would be to use slot-in filters, which by their nature require you to use a dedicated holder (which can usually hold several filters at a time, if you so wish). For this, you’ll also need to purchase an adapter ring which attaches to the front of the lens in use, onto which the holder then slides. The holders and adapter rings themselves vary depending on manufacturer and individual product specifics, but so long as you stick with the same ‘system’ you’ll be absolutely fine.
Types of filter
As you might imagine, there are hundreds of creative filters available. These span every conceivable effect from colourful light correction to starbursts, soft focus and even aids to focusing. The following list covers the most popular choices, with a brief overview of what each can do for you.
Protective
As the name suggests, these threaded filters are designed to protect the front element of your lens from all manner of scrapes, as well as from dust, dirt, moisture and fingerprints. Because they are essentially just clear glass, they don’t have any discernible effect on the amount of light entering the lens (and therefore they don’t affect exposure time).
The rule of thumb here should be, as ever, buy the best that you can afford. Remember, the light will have to pass through the filter before travelling through the lens and onto the camera sensor, so the higher the quality of that glass, the better. Realistically, this equates to ensuring you get the sharpest pictures possible.
Ultraviolet (UV) and skylight
Before the days of dedicated ‘protective’ filters, threaded UV and skylight filters were popular choices for protecting lenses. Just as with protectors, they allow light to pass through almost uninterrupted. Aside from this, their main purpose is to cut out excessive ultraviolet light and haze, thus improving colour and contrast in your pictures.
A word of warning: if you happen to be heading off to photograph an epic waterfall such as Niagara Falls, do not use one of these filters. Many a time a photographer has come back from their day trip wondering just why the beautiful hazy rainbow they saw hasn’t been captured by their camera. Clearly, their filter did what it was designed to do, which is to cut through the mix of sunlight and moisture hanging in the air. If lens protection is what you’re after, go with a protector filter instead.
Polariser
Polarising filters are something of the golden child in the filter world because they are just so very useful. This is why a lot of people maintain that every photographer should have one in his/her bag.
By far and away the most popular use for them is to reduce (or completely remove) glare and reflections on reflective surfaces, as well as to darken blue skies and bump up the saturation and colours in a scene. For this reason, they are especially popular with photographers who regularly capture images of bright, shiny subjects (such as cars) and vivid landscapes. With the latter, a polariser will particularly make the clouds stand out against a rich sky, adding a sense of atmosphere and drama, with the blue of the sky and green of the land showing up particularly well.
Polarisers come in circular and linear types. The way circular polarisers work is via a rotating motion: with the filter in place, simply turn it one way or the other through 360 degrees; you will see the visual effect changing through the camera’s viewfinder, especially when the camera is positioned at a 90 degree angle to the sun (which is the most effective shooting position). In this way, you have complete control over just how pronounced the effect is, although bear in mind that you will lose two EV stops of light because the filter absorbs light in the process – so keep an eye on your shutter speed in order to prevent camera shake. Linear polarisers can confuse the AF and metering systems on modern DSLRs so, unless you’re using an older analogue model, it’s best to stick with circular polarisers for general use.
Neutral Density (ND)
Neutral Density filters are also regularly to be found on the serious landscape photographer’s kit list. Rather than having an immediately visible effect on the picture, the power of NDs can be seen on both the camera settings before the shutter is released and, of course, in the final images.
Simply put, the purpose of these filters is to reduce the amount of light entering the lens (and so hitting the camera’s sensor). Why would you want to do this? Well, there are times when a slow shutter speed or large aperture is required, but the conditions are too bright for the camera to accommodate them. For example, imagine you want to record the movement of a waterfall; for this, you’ll most likely want to capture the fast-flowing water as an artistic blur, rather than in pin-sharp detail. By cutting out overall brightness, the ND filter allows you to use a much slower shutter speed than would normally be permissible at a given aperture.
These filters are available in a range of strengths, measured in f-stop increments; the higher the number, the greater the effect (and so the longer the shutter speed). They can be bought individually or in sets covering 1, 2, 3 and 4 f-stops of light reduction.
Graduated Neutral Density
Also known as ND grads, or simply grads, Graduated Neutral Density filters are basically half-clear, half-tinted filters, which are usually produced for use with slot-in systems. They work by filtering only part of the scene once positioned accordingly.
When would you use them? A bright, overcast day where there is little or no detail in the sky is a common scenario. On such occasions, the photographer lines up the filter with the darkened area only covering the sky in order to retain what visual information there is (for example, cloud detail). This then helps the camera to capture the scene with detail retained in both brighter skies and darker foreground areas, rather than underexposing the latter or overexposing the former.
Offering a range of colours for you to experiment with, the most popular options are blue or grey tints – but in each case, it is important to make sure you line the filter up correctly for a ‘natural’ look in your scene. The square and rectangular slot-in designs are perfect for this as they allow precise positioning, including some rotation if required. What you don’t want with landscapes, for example, is to have a very obvious point between where the filter tint stops. Equally, overlap on buildings should also be avoided where possible.
Another factor to bear in mind when choosing your grads is what type of gradation you want between the tinted and non-tinted areas. For this, you have two options: ‘soft’, which gives a gentle blending area or ‘hard’ which is more sudden and harsh in its appearance. It’s the former which a great many photographers favour, again because it allows them to create a more natural appearance in the final picture.
Just as with ND filters, ND Grads are available both singularly and in sets to give you the greatest amount of creative flexibility.
Black and white (set)
Back in the days of film photography, you had to make the choice of whether to load black and white or colour film into your camera. On the basis that black and white was your preference, there was one set of filters in particular which would surely be in your kit bag.
Comprising of red, orange, yellow and green, these sets are still available to assist photographers who see the world in black and white (converting their colour digital files at the editing stage). These offer a variation of effects to suit different situations and personal preferences. Red and orange filters are great for bringing out clouds in skies, while yellow and green filters are more subtle in what they do, making them perfectly suited to more gentle tones and textures. The latter two also work well for portraits, having a really nice smoothing effect on your subject’s skin, so they’re good if you want to cover up small blemishes.
As well as the above, film users might also like to think about purchasing what’s known as a black and white viewing filter, which allows you to see contrast, tone, highlight and shadow densities within your pictures before releasing the shutter.
White Balance Filters
Colour casts are often a source of great frustration in a wide variety of situations and variable lighting arrangements. Whether you’re shooting in the studio, an office space, your living room or outdoors, a myriad of light sources can present their own warm or cold casts which have to be corrected either at the time or later on in post-production.
Rather than relying upon computer software, adjusting your camera’s white balance is, of course, what you need to do as a first step. By using the Custom white balance setting along with this filter, you can be more confident of capturing accurate colour right from the moment you prepare to take your pictures.
White balance filters are available in a range of thread sizes specific to the lens in use and are simple to use: simply place them over the front of your lens and take a reading. This is then stored in-camera to provide a constant white balance reference for all subsequent images.
Close-up (set)
Close-up filters (sometimes referred to as macro filters or close-up lenses) are typically the preserve of the macro photographer, offering the chance to really focus closely to one’s subject. For many wildlife enthusiasts, close-up filters provide the next logical step up from using a macro lens alone. They can also be attached to longer focal length lenses. Although they are available individually, close-up filters are often purchased as a set of three in varying strengths (designated by +1, +2 and +4). They can be used on their own or stacked up in order to get a maximum magnification considerably greater than life-size.
Accessories
Ok, so these aren’t actually filters, but it’s worth mentioning a couple of accessories which come handy when using filters. First of all, filters are no good if they are dirty, so make sure you keep them perfectly clean (free from dust, fingerprints etc) right up until the time you need to attach them to the front of your lens. Dedicated pouches and sleeves are available, complete with soft, no-scratch lining. Secondly, for those occasions when you do get a mark on them, be sure to have a soft, lens-friendly cloth to hand to gently remove the offending smudge.
Which is the right filter for you?
This is something of a ‘how long is a piece of string’ question, as everyone has their own requirements and preferences. As a starting point, here would be my suggestions:
Best filter for protection
A designated protector filter is a great choice here. Simply screw it onto the front of your lens and forget about it. It’s a much cheaper option than paying for lens repairs, should the worst-case-scenario happen!
Best filter for landscape photography
The humble circular polariser really is king of the hill if you’re looking for a general-purpose filter. It adds punch, improves colour and removes unwanted reflected detail.
Best filter for black and white
A four-colour set of filters (red, orange, yellow, green) is perfect for black and white photography. If you want to dip you toe into mono filters with just one choice, though, go for orange as a good all-round compromise.
Best filter for managing skies
A graduated neutral density filter is a wise choice here. Position it carefully to control areas of brightness and retain more detail.
Best filter for cutting out reflections
Again, a polarising filter is going to be your friend in these situations.
Best filter for macro photography
A set of three close-up filters will give you multiple combinations of magnification, allowing you to create the level of pulling power you require.
Best filter for neutral white balance
A dedicated white balance filter is, of course, the answer here. Keep it handy to take the guess-work out of colour management on location.
About the Author
Giles Babbidge is a commercial and editorial photographer based in Hampshire. He travels all around the UK and works with a wide range of clients – you can find out more about his day-to-day activities over at his website.
Thanks Giles
www.glynridgersphotography.com
Are you photography Geek?
I was browsing the web and this made me chuckle..it is from the crazy guys at Digital Rev…this lot put a lot of humour into their videos as well as being able to educate us on how to take great pictures and also give unbiased reviews on the latest products.o check them out at www.digitalrev.com. This clip was was found on http://www.picturecorrect.com which is another great place to visit for all photographers…Enjoy!
The first sign that you may be a photo geek is if you clicked on this link to see if you’re a photo geek. So what’s the difference between being passionate about photography and claiming the title of geek? Well, leave it up to Kai to create a top 10 list of the geekiest photographer traits:
- Form Follow Function Fashion – Basically, you think a lot about photography and very little about your clothes.
- Awkward With the Opposite Sex – You’re terrible at social interactions, especially if it’s with someone you’re attracted too.
- Speaks in Coded Language – Your conversations consist of a lot of talk about f-stops, MTF charts, digital noise, sensor size, etc. Most people won’t know what you’re talking about.
- Only Talks About Cameras, All the Time – Your love of photography might spread a little too far when the only thing you can talk to your friends about is your newest lens or the amazing photo that you captured the other day.
- Bring Inappropriate Gear to Occasions – Maybe you don’t need to bring your TLR when riding a rollercoaster.
- Spend Far Too Long on Online Forums – Whether you’re bragging about your photo or gear, or just talking with other photographers because your friends are tired of listening to you, you may be abusing your photography forum account (in which your username isphotographyloverf/4life)
- Spend Far Too Long at 2nd Hand Shops – If you feel a spark of excitement every time you see a flea market hoping that you will find an old rangefinder camera, you may be a photo geek.
- Try to Outdo Everyone by Getting Exclusive Gear – It doesn’t have to be expensive or new or even functional, but it does have to be unique.
- Treat Your Gear Like Your Baby – This one is iffy. Some photo geeks may treat their photo gear better than their baby.
- Need to Take Photos Even Stuck at Desk – When you feel like you’re wasting time at your office because you’re not taking photos, this could be a sign.
Thanks to
Glyn Ridgers Photography 