Creative Zooming

Zoom lenses are popular with most photographers because of the added versatility they offer compared to fixed-focal-length(prime) lenses. A zoom lens allows the photographer to choose the point of view and then vary the perspective/background by changing the focal length and distance to the subject with a single lens. Zooms also let photographers change the subject size in the image and/or the framing without physically moving to get closer or farther away from the subject.

In addition to the conventional selling points, zoom lenses offer important creative possibilities not available when using prime lenses. One creative use of zooms is to change the focal length during a long exposure. The result is a subject centered in the frame appears to be exploding or imploding depending which direction the focal length changes. This technique has endless possible variations all starting from the same point.

A slow shutter speed is required, preferable at least ½ second or longer. Enough time is needed to smoothly change focal lengths during the exposure. If a sharper main subject is desired, part of the exposure should be at a constant focal length and only part of the exposure zoomed. Another way to get a sharper main subject is to use flash. The long shutter speeds required can be achieved by combinations of: low ISO speeds, small f-stops(f/16-f/22) and use of polarizing and/or neutral-density filters.

This technique is best accomplished with the camera locked down on a solid tripod. Hand-holding will produce much less predictable but possibly more interesting results. Unlike the usual compositional advice, zooming during exposure normally looks best with the main subject centered in the frame(that is where the explosion/implosion lines converge).

Every photographer should experiment with all of the variables to find the results they prefer. Once that result is achieved this is a very repeatable technique. Always try variations for different subject matter. If using flash, try both first-curtain and second-curtain synch to see the difference and decide which is preferred. Try zooming both short-to-long and long-to-short-the results will not be the same.

Another variation of this technique is to shoot many exposures at slightly different focal lengths and combining all exposures into one image(this could be done on one frame of film). The result will be a “stepped” zoom look without the streaks of a continuous zoom. This is also best done with the camera on a tripod to keep framing and focus constant.

New Techniques to keep creativity alive

Keeping photography “fresh” is all about maintaining an open mind to new techniques. This often means applying already-used techniques in new ways or new situation or to new subject matter. A willingness to experiment this way is the key to maintaining creativity. No one has difficulty falling into a rut. Getting out of that rut requires some effort.

The hardest part for me is taking the time and effort to try something new. For me, creativity requires periodically and consciously coming to a complete halt and taking the time to think and speculate about new possibilities. There has to be a willingness to suspend judgments about the possible outcomes. The time must be taken to execute the new ideas and process the results.

This is the way the standard catalog of photography techniques is expanded. It is how the accepted range of subject matter is enlarged. Occasionally setting time aside for experimentation and to just play around with new ideas is what keeps creativity alive.

The photo illustrating this article is a good example. I went to the local park as usual with the intention of getting my morning walk and perhaps some wildlife or nature photos. For the past few days I have been thinking of changing my profile photo on FaceBook. While on a boardwalk through a forested area, quite dim under the foliage and just after sunrise, I decided to take a few minutes to experiment. For my usual nature shots in these conditions I would use a DSLR at ISO800 on a tripod without flash. I took out my compact Canon G10, set ISO200 and f/5.6 with built-in flash “on”. This gave a meter-recommended shutter speed of ¼ second. Holding the camera at arm’s length, I took a dozen shots while spinning slowly in place. The result was three “usable” photos and a new technique that I will continue to use in a variety of situations and subjects.

I have used camera motion during long exposures before, primarily for panning moving subjects but also to render more dream-like and abstract images of trees. Flash combined with slow shutter is also not a new technique but previously I always had the camera locked down on a tripod combined with second-curtain sync. The result is some new creative excitement and thoughts about how to apply this technique to other situations and subjects.

Blurring the lines between types of photo products

This is a time of rapid innovation for photography. A previous post discussed the various types of digital cameras currently available. This post is about new image-making gadgets that are blurring the lines between camera types. Expect much more of this sort of innovation as the general public becomes more accepting of cameras that just don’t look like traditional cameras.

Panasonic has been making the Lumix line of digital cameras for many years. These cameras have been well received by both the general public and by photographers because of their good design, high quality construction and image quality. Panasonic has now introduced a new Lumix camera that is also a mobile phone, so far only for sale in Japan. The camera-back LCD functions for both camera and phone and slides to reveal a dialing/texting keypad. There is a 13 megapixel sensor behind a lens that starts at 27mm-equivalent. It is a pretty basic camera but still far ahead of any other camera/phone. Expect something similar, from someone, in the U.S. before too long.

Also from Panasonic is a 3-D lens to mount on micro-four-thirds camera bodies. There are the usual two lenses, no zoom and apparently no aperture control or low-light ability. Having only seen photos at this point, it looks quite thin and light, certainly smaller than the average micro-four-thirds “kit” zoom lens. For a few hundred dollars this would be a good way to try out 3-D without buying a dedicated camera. Assuming there was already a micro-four-thirds camera body in the bag, of course. To a large extent the future of 3-D will depend upon people willing to replace not-outdated flat-screen televisions with new, smaller, more expensive 3-D televisions that require glasses. This could be a tough sell.

Sony is also innovating and blurring product lines. The new Sony NEX-VG10 is a combination video/still camera accepting interchangeable lenses in the Sony E-mount. A-mount Sony and Minolta lenses can also be used with an adapter. The NEX-VG10 has the form-factor of a traditional video camera, the size of a very small DSLR and a very good top-mounted stereo microphone. The sensor is an APS CMOS capable or recording 14 megapixel still images at 7 frames per second and 1920x1080i HD video at 60 frames per second. Image stabilization is supplied by the lenses. The NEX-VG10 seems to pack in nearly all of the best features of Sony’s DSLR’s in a form more suited to video capture, including a side-mounted 3” LCD. Memory is the Sony-standard memory stick or SD/SDHC.

As the number of photographers who grew up using film cameras declines, acceptance of new camera shapes and combinations of functions will grow. A digital image sensor is much easier to work around than a roll of 35mm film. Video has become a popular feature on DSLR’s recently but is inconvenient to use with that camera shape. Cell phones that can surf the internet and cameras that can send photos or video directly to YouTube or Flickr are popular, so combining a phone with a high quality camera seems an obvious choice.

The types of digital cameras

The most basic digital cameras are those built into cell phone. Many do not even think about their phone being a camera, but some of the newer phones actually produce quite good image quality at five mega-pixels or more. The biggest problem with phone-cameras from a photography standpoint is the total lack of control. ISO speed, color balance, lens aperture and shutter speed settings, file format of the image file and amount of compression used on the image file are all handled by the phone with no input from the photographer. For quick record shots to immediately send to a friend by e-mail or to post to Facebook or Flickr, they are adequate and obviously much better than nothing. For more serious photography they can also produce quite good images as long as their limits are known and worked within.

Next up the image-quality scale are the compact digital cameras. This type of camera has a built-in lens, often a zoom, a small image sensor with correspondingly tiny individual pixels and often lacks an optical viewfinder. Compact cameras cover a very wide range, from barely above cell-phone functional to nearly DSLR quality. The huge majority are in the middle of this range. They offer zoom lenses in the 3x to 6x range, some exposure control(compensation and/or aperture priority but often not full manual settings), often a choice of ISO speeds and usually include some sort of anti-shake mechanism. The best of the compacts also offer a hot shoe for more powerful flash, near DSLR-like control of settings and the choice of saving image files in RAW format for better image quality.

Compact cameras should produce image quality more than adequate for any on-line use and print publication at up to full page sizes. Careful attention to shooting techniques minimizing noise/grain and maximizing sharpness/detail will really pay quality dividends with these cameras. Images taken with my personal compact camera are used regularly to illustrate my on-line real estate column and web sites.

A new type of camera occupies the next rung of the ladder. A real name has not yet been decided but they are being called “compact interchangeable lens”, “micro four-thirds” or “electronic viewfinder interchangeable lens” cameras. They use a sensor much larger than most compacts but about half the size of most DSLR’s. Lacking optical viewfinders, they rely on built-in or accessory electronic viewfinders or just on the camera-back LCD. Because there is no prism or reflex-mirror housing and a smaller sensor, these camera bodies can be made nearly as small as a compact camera with small, light-weight lenses to match. Because the sensors are much larger than those in compact cameras image quality can come close to matching that from DSLR’s. My feeling is this class of camera will really catch on with the public.

DSLR’s are the traditional 35mm film camera in digital form. Sensor sizes range from APS-C to full-frame 35mm, giving large individual pixels for optimum image quality even at higher ISO values. Bright, sharp optical viewfinders occupy the top of the cameras, with some also offering “live view” on the camera-back LCD(emulating compact cameras). All of the functions offered on traditional 35mm film cameras plus many more are available on almost every model. The result is a comparatively large and heavy camera body and accompanying lenses. In practical use, this type of camera is still the most versatile, offers the greatest choice of lenses, flashes and other accessories, and produces adequate image quality for up to 16”x20” prints or even larger.

The final type of digital camera is the “medium” format. Again, these are digital versions of the former film cameras. They are generally considered professional-only because of the high price of the bodies and lenses. Much larger and heavier than DSLR’s, usually only those needing extremely large prints or the ultimate of image quality even consider them.

My personal choice is a combination of camera types. I have a cell phone with a 5MP camera which works fine for a quick snap of a restaurant dish for an on-line review, to record dings/scratches on a rental car or to remember a house for sale. I use a compact camera for on-line illustration shots and whenever a DSLR is too conspicuous or just in the way. My DSLR is still the workhorse because of its versatility and image quality. But I always have at least one of them with me and I will use whatever camera is handy to make the best shot possible.

Compact digital cameras

*Why own a compact digital camera?
Even though I have taken the route of simplifying my DSLR outfit to the bare minimum I still own a compact digital camera as well. There are several reasons for this. The most important reason is for an emergency back-up in case the DSLR goes down. Another is there are times and places it is just not as practical to carry the larger camera, even if only the body and one lens. There is also a down-side to using a compact compared to a DSLR.

*Size, weight, carrying ease and visibility
Sometimes it is just much easier to carry only a compact camera. It might be a windy day on the beach with blowing sand and salt spray or it might be storming with blowing rain or snow. A compact camera can be carried in a pocket and is ready to shoot when pulled out and be quickly protected again. A DSLR is either exposed on a neck strap or in a much less accessible case. Replacement cost in case of damage from the elements is a factor, too. In some areas it might be much wiser not to make a show of carrying camera gear, even if just cheaper “amateur equipment, and becoming a possible target of thieves or hostility. Carrying just a compact camera is less conspicuous. It can be taken from a pocket and a photo taken without bringing it up to eye level and quickly removed from sight again. For “street” photography a compact can be carried hidden in one hand and frames exposed on the fly. A compact is also much quieter than a DSLR so observers don’t know when or if exposures are being made. It can be very liberating to wander around looking for images without a larger and heavier DSLR outfit hanging from the neck or attached to a tripod.

*Image quality
Image quality from compact digital cameras is not the equal of DSLR’s but steps can be taken to maximize that quality. The smaller cameras mostly suffer from a smaller sensor which means smaller individual pixels. Image quality suffers much more as ISO speeds increase than it does with larger sensors. As with a DSLR, always shoot at the lowest practical ISO to get the best image quality. Zoom lenses with very wide focal length ranges tend to suffer much more from linear distortion and aberrations at both the shortest and longest ends of the zoom range. Longer range zooms on compacts are always much slower, too, limiting the usefulness of the longer focal lengths unless a tripod is used.

*Desirable features
When selecting a compact camera I look for a good image stabilization/anti-shake function as a tripod or monopod will not usually be used. Either easily accessible manual exposure or exposure compensation is a must to correct for backlighting or other exposure difficulties. I prefer a zoom in the 4x to 6x range to minimize both image quality fall-off at the focal extremes and speed loss at the long end of the range. I much prefer a zoom range starting at 28mm equivalent or shorter for versatility. It is usually much easier to move closer to a subject than to try to back up through a wall to fit more into the frame. The ability to shoot RAW files is a huge plus but not an absolute deal-breaker. Fitting into a pocket rather than requiring a neck strap or case is high on my list and another reason for choosing a medium-range over a longer-range zoom. A hot-shoe for accessory flash when needed is another plus but also not a deal-breaker.

*What to expect
A good compact digital camera, which includes most of the models currently available, should provide more than adequate image quality for on-screen and web use and for prints up to 8”x10”. Most will start having image-quality issues at larger sizes including softness and noise(grain) as compared to similar shots from a DSLR with a larger sensor. Color and noise problems can be more obvious if RAW shooting is not possible. Using the quality-enhancing techniques outlined in the “Most basic equipment” series will minimize these problems when using compact cameras, too. Just don’t expect to use a compact at maximum focal length and ISO800 for 16”x20” prints for the dining room wall – you will be very disappointed with the results. For images to post on a web site or Flickr or to e-mail to friends or to make 4”x6” prints to show, no one will know what kind of camera was used.

Using the most basic camera equipment-Part 4

This is the fourth and final installment of this series exploring photography using only the most basic of “modern” digital camera gear: one “beginner’s” camera body and two “kit” zoom lenses. I will talk about techniques to optimize the image quality from any camera/lens combination and how these techniques minimize image quality differences between “basic” and “top-of-the-line” equipment.  Part 1 covered my reasons for doing this prolonged experiment. In Part 2 I talked about why I enjoyed using the minimal “amateur” kit. Part 3 discussed the things I missed most about not having a complete “professional quality” camera system.

We will start out by taking a look at some of the differences between “entry-level” and “professional” camera bodies and lenses. There are plenty of differences but not necessarily the ones beginning photographers assume. This will tie the reasons why “basic” equipment is often perceived to produce inferior image quality to more expensive gear.

The most noticeable differences between the two levels of gear are size and weight. The two are tied together and the reason “better” gear is both larger and heavier is build quality. “Professional” cameras and lenses are designed for heavy, every-day use in tough conditions and for continual rough treatment during frequent travel. The bodies and lenses are built inside a metal skeleton, usually with shock-absorbing materials between the skeleton and internal mechanical/electrical components and often with more shock-absorbing material between the skeleton and external shell. Heavily stressed components such as the mechanical shutter and controls in a body or the focus and zoom mechanisms in a lens  are much tougher and longer-lasting than those used in “starter” gear. “Professional” camera bodies have larger memory buffers and faster processing software to allow faster frames-per-second burst rates for more frames than “amateur” bodies. The high-end bodies include a lot more “bells & whistles” features and lenses will have internal focusing and constant apertures throughout the zoom range. “Professional” lenses will often feature elements of special-formulation glass and/or aspherical elements to further minimize optical and color distortions. Some of these differences have a slight impact on final image quality but most do not affect image quality at all.

Another difference between the two levels of gear is price. The “professional” equipment can easily cost five to ten times as much as the “entry-level” gear. This price difference pays for all of the upgraded features listed in the previous paragraph. I expect “professional” gear to last for many years of hard use, taking hard knocks in extreme weather conditions and being constantly vibrated by car and plane travel. It is always a pleasant surprise when an “amateur” body lasts me more than a year or two. This is one of the areas that cheaper gear has really improved in recent years. My Canon digital Rebel XSi and “kit” zooms are nearly two years old and going strong.

The “real” differences of final image quality between “professional” and “amateur” camera equipment are caused by the way the gear is used. There are many techniques used by professional photographers wanting maximum image quality in each and every frame that most casual and beginning photographers don’t know about, don’t think about or just think are too much trouble to deal with. Professional and top amateur photographers do use these techniques, every frame, and that makes the real difference in final image quality.

Maximizing image quality with any camera:
First and most important is to use a tripod with image-stabilization turned off whenever possible. A tripod is much superior to any image stabilizing technology built into a camera body or lens. I f it is not possible to use a tripod, use a monopod with image-stabilization on instead. A tripod will deliver maximum sharpness every frame by eliminating camera shake during exposure. Additional benefits are the ability to use lower ISO’s for minimum digital “noise” as well as better color and dynamic range. A tripod mounted camera promotes more care with framing, composition and focus. The ability to use longer shutter speeds also allows the use of smaller lens’ apertures to maximize sharpness and/or depth of field(most lenses are not at their sharpest at maximum aperture). Using a self-timer or remote shutter release and avoiding shutter speeds between ¼- and 1/60- seconds will reduce camera vibration during exposures even more.

Color accuracy and fine details can often be further enhanced by using a polarizing filter. A polarizer can reduce or eliminate color cast reflections which mask true subject colors and mask fine detail. Using a lens shade designed for a particular lens also helps in these two areas by minimizing internal lens reflections that reduce image contrast and detail.

Get the best exposure each shot to maximize the amount of data in every image. More data means greater ability to adjust the image in editing software without degradation. Digital camera sensors produce more depth of data at higher exposure levels than in the shadow areas of the image. Keep the exposure histograms turned on and pay attention to them. Do a test to see how much a scene can be over-exposed on the camera histogram and still have retrievable detail in the highlights. Give as much exposure as possible to every frame for maximum data and then adjust as needed in editing software.

Sunday gear round-up 9/26/2010

*Aquatech has a new underwater housing for DSLR’s, the CO-7. This is a hard-shell case, so each camera model requires a specific housing. More for snorkeling than scuba, the housing is designed for depths to 33 feet. It should be available for approximately $1,900 on-line.

*Pentax showed a new Model 645D at Photokina in Cologne, Germany. The body has a 40-megapixwl sensor and will accept all previous 645 lenses from Pentax. New lenses with automatic correction in Adobe Photoshop and Lightroom are also planned. Pentax has some heavy competition in this medium-format digital camera category and is getting a late start compared to Hasselblad, Leaf/Mamiya, Leica and the full-frame 35mm digital bodies from Leica, Canon and Nikon.

*Sigma has a new Foveon-sensored SD1 camera body with APS-sized sensor. The sensor is rated for just over 15-megapixels. Sigma claims an improved sensor but people have tended to either really like or really not like the “look” of images made by the Foveon sensor.

*Panasonic has a lens fitting its Micro Four Thirds format cameras that produces stereo images that can be made into 3-D photographs.

*Part of Canon’s upgrade to its telephoto lens line is a smooth powered focusing option to take fuller advantage of the video capabilities of most the company’s current DSLR camera bodies. The long focal-length lenses will also be slightly smaller and significantly lighter in weight. Canon is also introducing a super-wide fisheye zoom lens that will be only the second of its type(Tokina makes the first).

*Fujifilm has a new dual-lens 3-D compact digital camera, the FinePix Real 3D W3.


It will be a very interesting few years ahead of us as we see just how popular 3-D imaging becomes with the general public. I can understand its popularity in the movie theaters, impressed with the 3-D effect but still annoyed by the distorting, low-quality glasses. Will 3-D televisions quickly become a must-have item the way large flat-panel televisions did or will it take a while to catch on? Are stereo-pairs of 3-D photographs really going to become mainstream for amateur and/or professional photography? I want to know now!