It’s amazing how the smallest things can have such a massive impact upon a photo (both in a positive and negative way).
One such small thing that can both enhance and detract from an image is the ’sunspot’ (or lens flare). Shoot into the sun on a sunny day (or into bright lights) and you’re sure to get them in your images at some point or another..
Positioned well and in the right type of photo they can actually add something to the shot - giving it a more informal and paparazzi feel (in fact some photo editing software help you add sunspots to create this feel).
However in many instances sunspots or lens flare can be a distracting element - a problem that all but ruins an otherwise great shot. Of course you can try editing them out later, but it’s probably best to eliminate them before they happen. Here’s a few techniques to try:
Lens Hoods
The way that professionals generally deal with lens flare is to use a purpose made lens hood on their DSLR lens. Most DSLRs and prosumer digital cameras these days come with the ability to attach lens hood (in fact most professional grade lenses come with them when you purchase them).
These hoods are specifically designed to overcome sunspots while allowing as much light into the lens as possible. They come in all shapes and sizes depending upon the design of the lens, its focal length, whether it has a zoom etc. The main downside of them is that they can be a pain to transport (some of the lens hoods for my lenses are as big as the lenses themselves) but they do work pretty effectively and really add something to your shots (and they can look quite cool and make you look like more of a pro too!).
Give Your Lens a Hand
If you don’t have a lens hood (or your camera can’t take one) then use your God given hood - your hand (or someone else’s) to help shield your lens from the sun. Just be aware of not putting it in the corner of your frame if you’re shooting at a wide angle focal length - especially if you’re shooting through a viewfinder that is not on a single lens reflex camera (where what you see through the viewfinder is slightly different to what you get in the actual image).
Zoom
If you don’t have access to a lens hood and you’re using a camera with a zoom lens you might find that moving your zoom to a different focal length might help decrease the impact of sun spots. It might not remove them completely but could lessen the impact and/or change the position of them to a less distracting spot in the image.
Reposition Yourself
One of the most effective ways of reducing lens flare is to move yourself to a new shooting position - either so you’re not shooting into the Sun quite as directly or so that your lens is more shaded by some other object from the Sun or main light source. Try moving around your subject but also try changing the height that you’re shooting from (ie get down low or shoot down from a height) as all of these things change the angle at which light hits your lens.
Using Composition to Eliminate Lens Flare
Another option for getting rid of lens flare is to use elements within your image to block it. Sometimes it’s possible to to place a tree, building, person’s head or some other element between the sun and the lens - and as a result remove the flare altogether.
Work With It
If you can’t eliminate lens flare consider working WITH it. You might need to try a few different framings and positions to shoot from to make sure it’s in a good position that adds to the impact of your shot - but don’t be afraid of it. At times it can actually give that special something or point of interest to a shot.
Wednesday, July 8, 2009
How to Eliminate Lens Flare
How to Shoot in Direct Sunlight
Shooting in direct sunlight can lead to images that have high contrast, blown out highlights, lens flare and colors that might even look overly saturated. If you’re shooting portraits they can also lead to the ’squint factor’.
So what’s a photographer to do?
Here are eleven quick and simple tips at combating the problems that bright sunlight might bring when shooting outdoors.
1. Move into the shade
With some subjects you’ll be able to move them (and yourself) into the shade. This is particularly relevant with portraits where your subject is highly portable. Sometimes the simplest solutions are best.
2. Make your own shade
If your subject is not movable (for example if you’re shooting macro work with a flower) create your own shade. Use your own shadow, the shadow of someone else or bring an object with you (like an umbrella, a reflector or large sheet of card) to block out the sun.
3. Use Fill in Flash
Most of us were trained to put the sun behind you when taking a photograph so that your subject will be well lit. Shooting into the sun may lead to lens flare or a dark subject - but at times it can improve it drastically - particularly if you use a flash to fill in the shadows that are created by doing.
4. Use a Reflector
Another way to fill in the shadows caused by direct sunlight is to use a reflector. These bounce light up into the face of your subject and are great because they allow you to shoot into the sun - as with when you’re using fill in flash.
5. Change Your Perspective
Sometimes moving your subject isn’t possible - but moving around it can give a different impact. This might be moving to the other side of the object, shooting from directly above or even getting down low and shooting up. Doing so will change the angle of the sun hitting both your subject and the camera and give your image a completely different feel.
6. Use a Lens Hood
Suffering from lens flare? If your lens came with a lens hood - get it out and use it. If you don’t have one - it’s not difficult to construct one out of card - or to even use your hand to shield your lens from the sun. Just make sure that your shot is free of your hand or the DIY hood that you’re using (learn more about eliminating lens flare).
7. Filters
Sometimes a filter can be handy when shooting in bright sunlight. The polarizing filter will help cut down on reflections and both will cut down the light getting into your camera to let you use slower shutter speeds and smaller apertures if you’re looking for more control over these elements of exposure. Polarizing filters have the added bonus of giving you some control over some colors - particularly when you’ve got a blue sky in your shot.
8. Play with White Balance Settings
Many digital cameras come with the ability to choose different white balance settings. While you can make adjustments later on post processing (particularly when shooting in RAW) choosing the right setting at the time of shooting can be worth experimenting with.
9. Metering
Direct sunlight makes correct metering tricky. In these conditions I generally choose spot metering mode on my DSLR and choose the main subject of the scene that I’m photographing (the focal point) to meter off. Alternatively pick a mid-tone area to meter off if you want everything to be exposed relatively well. Check your shots immediately to see if you need to adjust your technique (your histogram can be handy here) and if you have the luxury of time - take multiple shots metering off different parts of the scene so that you can choose the best one later.
10. Pick the Time of Day to Shoot
For many of us we won’t have the luxury of sitting all day long waiting for the perfect light - but if you do, the time of day can dramatically impact your shot. Dawn and Dusk are particularly good times to shoot as the direction and color of the light is often more usable than the direct overhead light of noon.
11. Shoot Silhouettes
If the bright light of the Sun is causing you a headache - why not use it to your advantage and make your subject into a Silhouette against a bright background.
Tuesday, July 7, 2009
Sony DSC-HX1
Sony DSC-HX1 specifications
| Price | • UK: £429.99 • US: $499.95 |
|---|---|
| Sensor | • 1/2.4" Exmor CMOS Sensor |
| Image sizes | • 3456 x 2592 |
| Image sizes (Panorama) | • 7152 x 1080 • 4912 x 1080 • 4912 x 1920 • 3424 x 1920 |
| Movie clips | • 1440 x 1080 (30fps) • 1280 x 720 (30fps) • 640x480 (30fps) |
| File formats | • Still Image : JPEG (EXIF 2.2), DPOF v1.1, DCF v2.0, MPF baseline |
| Lens | • Sony G lens |
| Conversion lenses | Yes, Tele:VCL-HD1757 (Optional) |
| Digital zoom | Approx. 40x |
| Image Stabilization | Optical SteadyShot |
| Focus | 9 points / Center Weighted AF / Flexible Spot / Semi-Manual / Manual |
| AF area modes | Intelligent |
| Focus Mode | • Multi • Center • Flexible Spot |
| Focus distance | • Normal :W:Approx.1cm(0.03') to Infinity, T:Approx.150cm(4.92') to Infinity |
| ISO sensitivity | • Auto |
| Metering modes | • Multi • Center • Spot |
| Shutter speed | • Auto(2 sec- 1/4,000) • Program Auto(1 sec- 1/4,000) • Aperture Priority(8 sec- 1/2,000) • Manual(30" - 1/4,000) |
| Aperture | • Auto (F2.8./F8.0(W), • Program auto (F2.8/F8.0(W) • Manual( F2.8/F8.0(W) |
| Shooting modes | • Mode dial: Intelligent Auto, P Auto, easy, SCN, movie, Shutter Priority, Aperture Priority, Manual |
| White balance | • Auto |
| Self timer | • Off • 10sec • 2sec |
| Continuous Shooting | 10.0 fps / 5 fps / 2 fps (10 shots max) |
| Flash | • Modes :Auto, Flash On, Slow Sync, Flash Off |
| Viewfinder | • 0.2 inch • approx. 201K pixels |
| LCD monitor | • 3.0 inch TFT LCD |
| Digital input/output | • USB 2.0 High Speed |
| Microphone / Speaker | Stereo / Mono |
| Video output | • HD(1080i) - HDMI • Composite • NTSC/ PAL |
| Storage | • Internal memory (Approx. 11 MB) • Memory Stick Duo/Pro Duo/ Pro HG Duo |
| Power | InfoLITHIUM H type 6.8V |
| Weight (no batt) | Approx. 514g (18.1oz.) |
| Dimensions | 115mm x 83mm x 92mm (4 5/8" x 3 3/8" x 3 5/8") |