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Does anyone have a practical guide to composition that goes beyond Rule of Thirds? one thing I'm quite bad at is composing my photos quickly and I think if I had a set of rules to learn off first I'd learn a lot faster.
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Jan 22, 2010 23:58
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Thanks! I have accsess to a university library I should probably use it.
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Jan 23, 2010 14:07
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Four Banger posted:Maybe I'm an idiot, but I have a question. Taking a guess here, most jpeg compressors have some form of noise reduction (in that the way they store color data ends up acting like noise reduction). Which can be a bad thing. I'm probably wrong.
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Jan 31, 2010 10:52
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MrBlandAverage posted:When you're in Develop press J. I think you have the shadow/highlight clip warning on. If this is the case I will laugh and laugh and laugh. In Lightroom in the Gridview is there anyway to make the images load straight up I'm sick of waiting five seconds for each image to go from pixelated to fine. I tried rendering standard sized previews at 1680 but that doesn't change anything. XTimmy fucked around with this message at 07:53 on Feb 1, 2010 |
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Feb 1, 2010 07:49
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Question, what would be the formula for DOF on a 1.6x crop?
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Feb 4, 2010 09:54
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spog posted:Do you really want the formula? 
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Feb 4, 2010 16:04
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DJExile posted:I just came across some company that makes these really handy sort of turn-wheel charts and for the life of me I can't remember where it was or who it was. I'll try to find it. Thanks  Ahah This would be fantastic were it not like 40$
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Feb 4, 2010 17:05
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evil_bunnY posted:Score an iPhone, problem solved! Ha, the reason I'm doing this is I'm having subjects jump/flip INTO focus and I want to set up some lines for them to use as guides, I was thinking just having three stakes out of shot so they can line themselves up :P
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Feb 5, 2010 05:31
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psylent posted:Aaaaaaaaaaand they want to charge $53 delivery to Australia. loving stupid arse end of the world country. Amen brother.
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Feb 8, 2010 04:48
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I feel like a real amateur asking this but will a tele converter increase minimum focusing distance? I'm asking because I do a fair amount of cinematography on my camera and, being full frame, occasionally I'm asked for an extreme close up that I can't get with my regular lenses because the minimum focusing distance is too large. If I want to shoot just an actors eye I can't currently because none of my lenses can get that close in and still focus. Sadly I don't have the money for a macro lens so I'm looking for a cheaper solution. (It'd also be nice to be able to use my 200mm as a ~300mm or ~400mm for those clichéd Hollywood long shots, which is why I'm not quite so keen on tubes)
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Mar 6, 2011 06:25
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dakana posted:The TC won't increase your MFD, but it won't decrease it either. It magnifies the image, so if you use a 2x on a 200mm lens, you'll get a 400mm FoV from the same spot. So if your 200mm is filling the frame with the actor's head, you might be able to fill the frame with the actor's eye with a 2x TC. Yeah, it's not uncommon to see teleconverters on DSLR sets, if your image is only 1080 rather than 5000 you can get away with a bit more. This more or less answers my question. Thank you.
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Mar 6, 2011 08:28
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I've seen T-stops used on high-end Cine lenses, presumably because of the necessity of maintaining equal exposure between two shots.
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May 10, 2011 15:49
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Mightaswell posted:What's with the blue cast in this picture I took? Looks like glare from a bright spot on the couch hitting the lens at a sharp angle.
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May 17, 2011 15:18
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Whole lotta black in that image. Guessing the camera was trying to expose off that hence the constant over-exposure.
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May 28, 2011 09:00
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Since the photo-business thread has disappeared (or I'm blind) I thought I'd ask this here. I was looking into theft and accidental damage insurance for my gear. I was having a chat to a rep at Aon (http://www.aon.com.au/australia/default.jsp) who come highly recommended from a friend, and I'd been informed that it was a good thing to be totally honest with my company, lest it come and bite me in the rear end. So when I was asked if this was for professional work I said yes, because I occasionally do events and work as a camera operator, and I didn't want to get in poo poo if my gear was broken during something like that. The girl then notified me that I "needed" public liability insurance, and more than doubled my quote to factor this in, now 90% of the time if I'm on set then I'm covered by the producer's insurance and I don't see myself running a mobile studio any-time soon so why do I need it? I get the feeling the girl was misinformed but I'd really like to get this sorted so my gear's safe. Should I just say it's for personal use (which it is most of the time) or what? I live in Perth, Australia. EDIT: Just found the photo business thread but I'll leave this here since I really need it answered. XTimmy fucked around with this message at 09:33 on Jun 12, 2011 |
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Jun 12, 2011 09:10
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Grazing Occultation posted:Is she saying that you "need" it or they won't cover you at all or that you "need" it because she thinks it's vital to your profession and desperately wants to sell it to you? It sounded like the second, I didn't push too hard because I wanted to research more.
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Jun 12, 2011 14:56
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nielsm posted:What's the point of this? Do you mean mounted on the side? Because it kind of has to be there, the viewfinder is on the top and pretty much takes the entirety of the topmost face, the camera currently has it's viewfinder cover down.. If you mean pointing towards the user then I think that's the way they've got the sync->hotshoe adapter placed, not the camera's shoe-mount itself.
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Jun 26, 2011 15:38
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Been having some issues with events (parties) recently, I shoot a 5d2 with a Vivitar DF383 flash, and I'm having a higher than usual rate of overblown subjects, in that quite often the people I'm shooting will be a half stop to a stop over, It's not quite a wash out, but it leaves skin-tones overblown. I normally shoot full manual, at whatever settings match the type of event, normally 1/50th at f4.0, with centre weighted metering, flash compensation down a stop and I normally fire the flash straight up (lots of low ceilings) with a bounce card to fill. I've experimented with partial metering (that's the JUST centre circle, not spot)but the result is often the same. My Ettl is set to Evaluative. Has anyone encountered this issue before? I would just try using Exposure lock but the exposure flash tends to trick people into thinking the photos been taken, and as the night goes on I don't have the time to hit an extra button to expose. It's quite frustrating because no matter how low I turn the flash compensation the effect is the same. EDIT: My flash's zoom varies depending on the time of night, it starts at 35mm when I'm doing sober portraits then widens to 24mm when the wideangle lens goes on. XTimmy fucked around with this message at 03:59 on Sep 11, 2011 |
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Sep 11, 2011 03:44
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Paragon8 posted:Pay me what you think I'm worth sounds like something that should work well but it rarely does. I'd say just do it for a pizza or something and don't stress about it. Yeah this, I shot a family friend's 21st way back, rather than charging the usual 200$ for the night I just asked for some booze in return. She was so happy I ended up with 15 litres of my favourite cider so that all worked out.
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Sep 27, 2011 02:49
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Dead Alice posted:Anyone able to give me a quick run down on how to test if a Minolta Trip 35's light meter still works? Some guy is selling one real cheap but I don't know anything about the specifics and he's being unhelpful about it. Buy a grey card, put it in even light, get a DSLR, set it to spot or centre metering with the same Shutter/ISO as your Minotola, if the Minotola shows near the same fstop when pointed at the greycard then its probably accurate?
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Oct 3, 2011 13:27
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Syrinxx posted:What's the usefulness of a circular polarizing filter? The science behind the difference between a linear and a circular polarizer escapes me, but in short a circular polarizer will cut light coming from a direct angle, say a reflection off water, off leaves or light coming from parts of the sky. You choose that angle by rotating the filter. When you use it is dependent on what you're shooting: Forest scene looking a little too drab? Mount the filter and rotate until the reflections on the leaves are cut, making everything appear more saturated. Shooting a film in a building with lots of glass? Use the polariser to cut reflections from said glass. Sky not looking dramatic enough? If you're facing away from the sun whack it on and twist till the blues look suitably epic. I don't think I ever shoot outside without one on!
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Oct 7, 2011 07:31
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David Pratt posted:Ones with a lower focal length. A standard lens is 50mm which roughly equates to the field of view of the human eye. A wide-angle lens (<50mm) will give you a more distorted, wider field of view than the human eye. An extreme example of this is a fish-eye lens. Regarding this, one thing I've noticed is that the focal length that "matches" my open eye to my view finder eye is actually 70mm (on a full frame), almost bang on, 50mm produces a slight desynchronization between the two. Do I have funky eyes or is it because the focal plane is actually a little bit more forward than that of the eye or what?
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Nov 16, 2011 16:28
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If I'm doing street photography I normally just wear a beer hat with two bottles of vodka mounted to it. It's like a race against my liver to see if I can get a good shot before I pass out.
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Dec 9, 2011 02:25
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So I've come into possession of a Metz 45CT3 flash with a SCA300 handle attachment. I'm wanting to see if I can hook this up to my 5dmk2 with TTL or AE1 with PC Sync but my research has not been going well, Metz's part numbering system is quite complex and convoluted. Does anyone here know anything about these systems?
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Mar 2, 2012 07:40
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TheLastManStanding posted:As far as I know, PC doesn't support ttl (it's just a high and a ground so I don't see how it could, but I could be wrong). If you mean you're just trying to hook it up then you'll have to test it to see what the trigger voltage is. I understand what PC Sync is what I mean is that I'd like to hook it up to my 5dmk2 for TTL, but if that fails PC sync it to my AE1, since (insofar as I know) that doesn't do TTL.
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Mar 2, 2012 08:26
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MrBlandAverage posted:In case it wasn't clear, your 5D2 has a PC sync socket as well. Haha, yup, but I'd very much like to see if this thing can do TTL, and also Metz flashes don't have the traditional sync plug so I'm at a loss there too. VVV This made me note that they're similar models so I should be able to get away with similar cables. Now I need to find a store to go test my theories. XTimmy fucked around with this message at 16:44 on Mar 2, 2012 |
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Mar 2, 2012 15:44
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So I'm needing to get my sensor cleaned, my local offers cleaning for $77AUD, 4 pack of sensor swabs for $55 and 12 for 110, the guy didn't sound too pleased when I mentioned I should probably just buy the swabs and do it myself since it's two isolated spots that I know the location of. He mentioned if it's something that ends up scratching the sensor then obviously nooone will cover it under warranty. If I'm gentle how much of a concern is this? Is it just a marketing thing to get more people in or is a very prevalent concern?
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Apr 10, 2012 03:07
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I don't sadly, only one 5d series body, I don't even qualify for Silver! Thanks though. VVVVVVV Yeah it's definitely not moving with just air. Can tell you that much. EDIT: Actually I lied, I had another go with my blower and I think I've got it to an acceptable stage now! Thanks for putting that idea in my brain. XTimmy fucked around with this message at 05:14 on Apr 10, 2012 |
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Apr 10, 2012 03:36
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Not sure if this is the thread for this, but what's a good stock photography site to sell to? I'm thinking that I could use some of my landscape work for some funsies money but this is definitely an area where you can get scammed badly. Alternatively is there a site that you can just sell photos on in general? I'm not really ready to start a print-business yet but I feel I'm up of a good enough calibre that I can throw my images up and get a few hits.
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Nov 11, 2012 06:25
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Sodium lamps are horrifically warm so I wouldn't try to balance to them, best to balance to whatever light is falling on your subject them mask/correct the other areas. I wish more places would use metal halides, they might be green but at least they're a reasonable temperature.
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Nov 16, 2012 00:05
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In general its useful for judging if the majority of the photo is in the correct zone. Depends, if you're shooting an extreme closeup of the face you can pretty much expose by placing the huge spike in the histo in the correct area. It's a very useful tool that can help you dodge the trap of shoddy rear-LCDs, or in my case, piss-poor uncalibrated rental reference monitors.
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Apr 1, 2013 23:52
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Quickie: Is Understanding Exposure relevant to more advanced shooters or is it only a beginners text. I feel I know my poo poo regarding exposure, but I'm always looking for a chance to consolidate and broaden my understanding, am I going to be bored learning about how to eliminate handshake or does it get more indepth?
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Apr 8, 2013 23:38
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Reichstag posted:It is only useful as far as understanding the basics. If you have the idea of the triangle down (iso-aperture-shutter) and how a light meter works, I don't think there's much else in there. Saved me $20, thanks. Any recommendations for someone who's trying to step up their game as a professional.
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Apr 9, 2013 01:04
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Max Facetime posted:I was comparing the picture quality from the native camera app in my Lumia 920 with a HDR app on a desktop monitor when I noticed something. There's a small faint reddish band in the sky that looks like lens flare and then there's a much bigger red-green band that's visible in the reflection of the sky in the water but not in the sky itself. At work with lovely monitors but from what I can tell its banding from the jpeg. Basically there are not enough colours in the gamut of 8-bit jpegs to accurately render such a graduation of colour so it ends up in bands.
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Jun 13, 2013 03:59
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Max Facetime posted:I'm a bit skeptical of this explanation. Shouldn't there be banding in the sky too? Here's a portion of the original image which is a 3552x2000 JPG, as a PNG for a closer look: Nope, if we're looking at the same green bands the pixelated nature of it means it's a digital issue. For reference I'm looking at the hard step from yellow to pink to green to bluish grey that's present. Banding is more present in darker areas as I think the gamut peters off towards black. This is very present in video and is one reason why DSLR video is so lovely to grade. You're out of colours. Use a format that has more
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Jun 14, 2013 06:33
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CarrotFlowers posted:I have also yet to find an online or local photography club that isn't like flickr (except here). Most people are more concerned about hurting someone's feelings and offering praise as encouragement than actually critiquing a photo. This is what I like about Dorkroom: When I'm wrong, I'm wrong as hell and I'll be told that. And that's tough but it's fine.
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Jul 4, 2013 10:18
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Sigma also makes some beastly telephotos for around the 900-1500 AUD mark that'd be useful for birding if you're happy lugging an extra kilo around.
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Jul 5, 2013 14:06
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TheJeffers posted:It's about to fall into the archives, but I wrote a lengthy post on this subject a while back.
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Jul 8, 2013 14:27
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Ropes4u posted:Do people really use that site? I work with a guy who is a legit good photographer and he regularly gets in touch with aspiring and semi-pro models through MM, the community is godawful but it's like any resource: Use it well and it'll help.
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Jul 10, 2013 14:38
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Everytime someone asks about constant v. strobes I just want to take them on a set with me, point at the big rear end 2.5KW HMI pretending to be a sun and go "That's your 580EX". In terms of sheer lighting power, stills is much much easier. Flashes also generally render color much much better than LEDs, even the professional panels I'm not huge on for anything but news shooting, they're either too green, too blue or not bright enough. while there's been some jumps in LED technology over the last decade, part of the reason they've come into their own in video is more so to do with more sensitive cameras, we used to be limited to around 200-320ISO for our 'ideal' film stock and you'd probably pick a tungsten stock anyway so that lighting interiors wasn't a massive hassle, meaning anything daylight either needed to be gelled or you needed a 85 on the camera, so you were now shooting at ~50 or 100ISO. Kids nowadays with their base 800ISO Epics and BMCCS, if you're not actively sunburning your cast I don't see the point in even making a film.
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Jul 12, 2013 23:26
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