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Jesito
Joined: 24 Aug 2007 Posts: 5745 Location: Olivella, Catalonia, (Spain)
Expire: 2015-01-07
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Posted: Fri Oct 31, 2008 9:59 am Post subject: Just to remember: the 12 essential facts |
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Jesito wrote:
Found elsewhere in the net...
12 essential facts, formulas, and photographic rules
What happens when your systems go belly-up, when all of that cutting-edge technology dies and you must rely on (gasp!) your own knowledge?
It pays to have these basics in your head. They can get you out of a jam and help you get good shots when nothing else will.
1. Sunny 16 rule The basic exposure for an average scene taken on a bright, sunny day is f/16 at a shutter speed equivalent to one over the ISO setting—that is, f/16 at 1/100 sec at ISO 100. From this you can interpolate, and try f/22 at the beach, f/11 on a cloudy-bright day, etc.
2. Moony 11, 8, and 5.6 rules There are many different rules that work well when shooting the moon. One favorite for a proper exposure of a full moon is f/11 at one over the ISO setting. For pictures of a half moon, use the same shutter speed at f/8, and for a quarter moon, use the same shutter speed at f/5.6.
3. Camera shake rule The slowest shutter speed at which you can safely handhold a camera is one over the focal length of the lens in use. As shutter speeds get slower, camera shake is likely to result in an increasing loss of sharpness. So, if you're using a 50mm lens, shoot at 1/60 sec or faster. Not enough light? Use a flash, tripod, or brace your camera against a solid object.
4. Anatomical gray card Metering off an 18-percent neutral gray card is a good way to get a midtone reading that will give you a good overall exposure of a scene. Forgot your gray card? Hold your open hand up so it's facing the light, take a reading off your palm, open up one stop, and shoot. (Various skin tones rarely account for even a full-stop difference.)
5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, because the depth-of-field zone behind that point is about twice as deep as the depth-of-field zone in front of it. This works for all apertures and focal lengths, but the smaller the aperture and the shorter the focal length, and the greater the distance you shoot at, the greater the depth of field.
6. Largest digital print rule To calculate in inches the largest photo-quality print you can make with a digital camera, divide the vertical and horizontal pixel counts (see your manual) by 200. For critical applications, or if you want exhibition-quality prints, divide the pixel counts by 250.
7. Exposure rules The classic advice is, "Expose for the highlights, and let the shadows take care of themselves." This works with slide film and digital. But with negative film, especially color negative, you're better off overexposing by one stop.
8. Quick flash-fill rule When using an automatic flash unit that doesn't provide auto flash-fill ratios, set the flash's ISO dial to twice the ISO you're using. Meter the scene, select an f-stop, set the autoflash aperture to the same f-stop, and shoot. The resulting 2:1 flash-fill ratio will produce filled shadows one stop darker than the main subject.
9. Flash range rule Want to know how much extra flash range you get by going to a faster ISO? The rule is, "Double the distance, four times the speed." For example: If your flash is good to 20 feet at ISO 100 (film or digital), it will be good to 40 feet at ISO 400.
10. Megapixel multiplier rule To double the resolution in a digital camera, you must increase the number of megapixels by a factor of four—not two. Why? The number of pixels in both the vertical and horizontal dimensions must be doubled to double the pixel density across the image sensor.
11. Action-stopping rules To stop action moving across the frame that's perpendicular to the lens axis, you need shutter speeds two stops faster than action moving toward or away from you. For action moving at a 45-degree angle to the lens axis, you can use a shutter speed one stop slower. For example: If a person running toward you at moderate speed can be stopped at 1/125 sec, you'll need a shutter speed of 1/500 sec to stop the subject moving across the frame, and a shutter speed of 1/250 sec to stop him if moving obliquely with respect to the camera.
12. Sunset rule To get a properly exposed sunset, meter the area directly above the sun (without including the sun). If you want the scene to look like it's a half-hour later, stop down by one f-stop, or set exposure compensation to minus one.
Jes. _________________ Jesito, Moderator
Jesito's backsack:
Zooms Sigma 70-300, Tamron 35-135 and 70-210 short, 70-210 long, 28-70 CF Macro, 35-70, 35-80, Vivitar 70-210 KA, Tamron 70-250.
Fixed Industar-50, , Tamron 24mm, Tamron 135mm, Sands Hunter 135mm, Pancolar 50mm, Volna-3, many Exakta lenses
DSLR SIGMA SD9 & SD14, EOS 5D, Sony A700 and NEXF3, Oly E-330, E-400, E-450, E-1
TLR/6x6/645 YashicaMat, Petri 6x45, Nettar, Franka Solida, Brilliant
SLR Minolta X300, Fuji STX II, Praktica VLC3, Pentax P30t, EXA500, EXA 1A, Spotmatic(2), Chinon CM-4S, Ricoh, Contax, Konica TC-X , Minolta 5000, 7000i, 3Sxi, EOS 500 and CX
Rangefinders Chinon 35EE, Konica C35 auto, Canonet 28, Yashica Lynx, FED-2, Yashica electro 35, Argus C3 & C4, Regula Cita III, Voigtlander Vitoret (many), Welta Welti-I, Kodak Signette 35, Zorki-4, Bessa-R & L, Minolta Weathermatic, olympus XA2
Compact Film Konica C35V, Voigtlander Vitorets, Canon Prima Super 105, Olympus XA2 and XA3
Compact Digital Olympus C-5050, Aiptek Slim 3000, Canon Powershot A540, Nikon 5200, SIGMA DP1s, Polaroid X530, IXUS55, Kodak 6490, Powershot G9 and G10
CSCCanon EOS-M, Samsung NX100 and NX210, Lumix G5, NEX-F3 |
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Poolhall
Joined: 25 Feb 2008 Posts: 1296
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Posted: Fri Oct 31, 2008 11:23 am Post subject: |
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Poolhall wrote:
Nice one, good to see all that in one place. Thanks |
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ryan s
Joined: 26 Sep 2008 Posts: 384 Location: Madison, WI
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Posted: Fri Oct 31, 2008 6:34 pm Post subject: |
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ryan s wrote:
Wow, #12 makes it so easy. Usually I adjust and take pics until it looks right _________________ Pentax Bodies: K10D + D-BG2 | MX |
M: Zenitar 16/2.8 | 28/2.8 | 50/1.7 | M39: Mir-1 GP 37/2.8 M42: Vivitar 28/2.5 AD2: Tamron SP Macro 90/2.5 |
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Jesito
Joined: 24 Aug 2007 Posts: 5745 Location: Olivella, Catalonia, (Spain)
Expire: 2015-01-07
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Posted: Fri Oct 31, 2008 7:01 pm Post subject: |
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Jesito wrote:
Poolhall wrote: |
Nice one, good to see all that in one place. Thanks |
You're welcome!
Jes. _________________ Jesito, Moderator
Jesito's backsack:
Zooms Sigma 70-300, Tamron 35-135 and 70-210 short, 70-210 long, 28-70 CF Macro, 35-70, 35-80, Vivitar 70-210 KA, Tamron 70-250.
Fixed Industar-50, , Tamron 24mm, Tamron 135mm, Sands Hunter 135mm, Pancolar 50mm, Volna-3, many Exakta lenses
DSLR SIGMA SD9 & SD14, EOS 5D, Sony A700 and NEXF3, Oly E-330, E-400, E-450, E-1
TLR/6x6/645 YashicaMat, Petri 6x45, Nettar, Franka Solida, Brilliant
SLR Minolta X300, Fuji STX II, Praktica VLC3, Pentax P30t, EXA500, EXA 1A, Spotmatic(2), Chinon CM-4S, Ricoh, Contax, Konica TC-X , Minolta 5000, 7000i, 3Sxi, EOS 500 and CX
Rangefinders Chinon 35EE, Konica C35 auto, Canonet 28, Yashica Lynx, FED-2, Yashica electro 35, Argus C3 & C4, Regula Cita III, Voigtlander Vitoret (many), Welta Welti-I, Kodak Signette 35, Zorki-4, Bessa-R & L, Minolta Weathermatic, olympus XA2
Compact Film Konica C35V, Voigtlander Vitorets, Canon Prima Super 105, Olympus XA2 and XA3
Compact Digital Olympus C-5050, Aiptek Slim 3000, Canon Powershot A540, Nikon 5200, SIGMA DP1s, Polaroid X530, IXUS55, Kodak 6490, Powershot G9 and G10
CSCCanon EOS-M, Samsung NX100 and NX210, Lumix G5, NEX-F3 |
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Jesito
Joined: 24 Aug 2007 Posts: 5745 Location: Olivella, Catalonia, (Spain)
Expire: 2015-01-07
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Posted: Fri Oct 31, 2008 7:02 pm Post subject: |
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Jesito wrote:
ryan s wrote: |
Wow, #12 makes it so easy. Usually I adjust and take pics until it looks right |
Not with film!
Jes. _________________ Jesito, Moderator
Jesito's backsack:
Zooms Sigma 70-300, Tamron 35-135 and 70-210 short, 70-210 long, 28-70 CF Macro, 35-70, 35-80, Vivitar 70-210 KA, Tamron 70-250.
Fixed Industar-50, , Tamron 24mm, Tamron 135mm, Sands Hunter 135mm, Pancolar 50mm, Volna-3, many Exakta lenses
DSLR SIGMA SD9 & SD14, EOS 5D, Sony A700 and NEXF3, Oly E-330, E-400, E-450, E-1
TLR/6x6/645 YashicaMat, Petri 6x45, Nettar, Franka Solida, Brilliant
SLR Minolta X300, Fuji STX II, Praktica VLC3, Pentax P30t, EXA500, EXA 1A, Spotmatic(2), Chinon CM-4S, Ricoh, Contax, Konica TC-X , Minolta 5000, 7000i, 3Sxi, EOS 500 and CX
Rangefinders Chinon 35EE, Konica C35 auto, Canonet 28, Yashica Lynx, FED-2, Yashica electro 35, Argus C3 & C4, Regula Cita III, Voigtlander Vitoret (many), Welta Welti-I, Kodak Signette 35, Zorki-4, Bessa-R & L, Minolta Weathermatic, olympus XA2
Compact Film Konica C35V, Voigtlander Vitorets, Canon Prima Super 105, Olympus XA2 and XA3
Compact Digital Olympus C-5050, Aiptek Slim 3000, Canon Powershot A540, Nikon 5200, SIGMA DP1s, Polaroid X530, IXUS55, Kodak 6490, Powershot G9 and G10
CSCCanon EOS-M, Samsung NX100 and NX210, Lumix G5, NEX-F3 |
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ryan s
Joined: 26 Sep 2008 Posts: 384 Location: Madison, WI
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Posted: Fri Oct 31, 2008 9:53 pm Post subject: |
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ryan s wrote:
Haha, you're right! _________________ Pentax Bodies: K10D + D-BG2 | MX |
M: Zenitar 16/2.8 | 28/2.8 | 50/1.7 | M39: Mir-1 GP 37/2.8 M42: Vivitar 28/2.5 AD2: Tamron SP Macro 90/2.5 |
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patrickh
Joined: 23 Aug 2007 Posts: 8551 Location: Oregon
Expire: 2011-11-18
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Posted: Tue Nov 11, 2008 8:54 pm Post subject: |
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patrickh wrote:
Wonderful list Jes - thanks
patrickh _________________ DSLR: Nikon D300 Nikon D200 Nex 5N
MF Zooms: Kiron 28-85/3.5, 28-105/3.2, 75-150/3.5, Nikkor 50-135/3.5 AIS // MF Primes: Nikkor 20/4 AI, 24/2 AI, 28/2 AI, 28/2.8 AIS, 28/3.5 AI, 35/1.4 AIS, 35/2 AIS, 35/2.8 PC, 45/2.8 P, 50/1.4 AIS, 50/1.8 AIS, 50/2 AI, 55/2.8 AIS micro, 55/3.5 AI micro, 85/2 AI, 100/2,8 E, 105/1,8 AIS, 105/2,5 AIS, 135/2 AIS, 135/2.8 AIS, 200/4 AI, 200/4 AIS micro, 300/4.5 AI, 300/4.5 AI ED, Arsat 50/1.4, Kiron 28/2, Vivitar 28/2.5, Panagor 135/2.8, Tamron 28/2.5, Tamron 90/2.5 macro, Vivitar 90/2.5 macro (Tokina) Voigtlander 90/3.5 Vivitar 105/2.5 macro (Kiron) Kaleinar 100/2.8 AI Tamron 135/2.5, Vivitar 135/2.8CF, 200/3.5, Tokina 400/5,6
M42: Vivitar 28/2.5, Tamron 28/2.5, Formula5 28/2.8, Mamiya 28/2.8, Pentacon 29/2.8, Flektogon 35/2.4, Flektogon 35/2.8, Takumar 35/3.5, Curtagon 35/4, Takumar 50/1.4, Volna-6 50/2.8 macro, Mamiya 50/1.4, CZJ Pancolar 50/1,8, Oreston 50/1.8, Takumar 50/2, Industar 50/3.5, Sears 55/1.4, Helios 58/2, Jupiter 85/2, Helios 85/1.5, Takumar 105/2.8, Steinheil macro 105/4.5, Tamron 135/2.5, Jupiter 135/4, CZ 135/4, Steinheil Culminar 135/4,5, Jupiter 135/3.5, Takumar 135/3.5, Tair 135/2.8, Pentacon 135/2.8, CZ 135/2.8, Taika 135/3.5, Takumar 150/4, Jupiter 200/4, Takumar 200/4
Exakta: Topcon 100/2.8(M42), 35/2.8, 58/1.8, 135/2.8, 135/2.8 (M42), Kyoei Acall 135/3.5
C/Y: Yashica 28/2.8, 50/1.7, 135/2.8, Zeiss Planar 50/1.4, Distagon 25/2.8
Hexanon: 28/3.5, 35/2.8, 40/1.8, 50/1.7, 52/1.8, 135/3.2, 135/3.5, 35-70/3.5, 200/3.5
P6 : Mir 38 65/3.5, Biometar 80/2.8, Kaleinar 150/2.8, Sonnar 180/2.8
Minolta SR: 28/2.8, 28/3.5, 35/2.8, 45/2, 50/2, 58/1.4, 50/1.7, 135/2.8, 200/3.5
RF: Industar 53/2.8, Jupiter 8 50/2
Enlarg: Rodagon 50/5,6, 80/5,6, 105/5.6, Vario 44-52/4, 150/5.6 180/5.6 El Nikkor 50/2,8,63/2.8,75/4, 80/5,6, 105/5.6, 135/5.6 Schneider 60/5.6, 80/5.6, 80/4S,100/5.6S,105/5.6,135/5.6, 135/5.6S, 150/5.6S, Leica 95/4 |
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mo
Joined: 27 Aug 2009 Posts: 8979 Location: Australia
Expire: 2016-07-30
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Posted: Thu Nov 19, 2009 1:03 am Post subject: |
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mo wrote:
Just found this...and bookmarked for future reference...thanks _________________ Moira, Moderator
Fuji XE-1,Pentax K-01,Panasonic G1,Panasonic G5,Pentax MX
Ricoh Singlex TLS,KR-5,KR-5Super,XR-10
Lenses
Auto Rikenon's 55/1.4, 1.8, 2.8... 50/1.7 Takumar 2/58 Preset Takumar 2.8/105 Auto Takumar 2.2/55, 3.5/35 Super Takumar 1.8/55...Macro Takumar F4/50... CZJ Biotar ALU M42 2/58 CZJ Tessar ALU M42 2.8/50
CZJ DDR Flektogon Zebra M42 2.8/35 CZJ Pancolar M42 2/50 CZJ Pancolar Exakta 2/50
Auto Mamiya/Sekor 1.8/55 ...Auto Mamiya/Sekor 2/50 Auto Mamiya/Sekor 2.8/50 Auto Mamiya/Sekor 200/3.5 Tamron SP500/8 Tamron SP350/5.6 Tamron SP90/2.5
Primoplan 1.9/58 Primagon 4.5/35 Telemegor 5.5/150 Angenieux 3.5/28 Angenieux 3,5/135 Y 2
Canon FL 58/1.2,Canon FL85/1.8,Canon FL 100/3.5,Canon SSC 2.8/100 ,Konica AR 100/2.8, Nikkor P 105/2.5
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Arkku
Joined: 28 Feb 2007 Posts: 1416 Location: Helsinki, Finland
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Posted: Thu Nov 19, 2009 1:36 am Post subject: Re: Just to remember: the 12 essential facts |
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Arkku wrote:
Jesito wrote: |
5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, |
I've never understood this rule, though I've heard it repeated many times. What does “a third of the way into the picture mean”? One third of the distance to the farthest object? If I have a mountain in the distance, should I know how far it is and divide that by three? If I have the sun in the picture, should I focus at 1/3 AU?
Or, does one third into the picture mean one third of the distance to the primary subject that I'd normally focus at? Again, what if it's that distant mountain many kilometres away? Or worse, if it's that flower one metre away and I want to maximise depth of field to have both the flower and that distant mountain in focus, do I then focus at 33 cm? Clearly not.
Can anyone come up with a good definition of “a third of the way into the picture” that makes the rule work? It may sound like I'm intentionally nitpicking, but I honestly can't figure out what this means. =) |
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marty
Joined: 09 Apr 2009 Posts: 767 Location: Italy
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Posted: Thu Nov 19, 2009 2:08 am Post subject: |
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marty wrote:
arkku wrote: |
Jesito wrote: |
5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, |
I've never understood this rule, though I've heard it repeated many times |
If I'm not misunderstanding the initial statement this is due to the fact that when you're focusing on a very distant subject the DOF will not reach the foreground which will be slight out focus. This is usually disturbing for the human eye more than a slight out of focus far in the distance (where you're not going to see much fine detail anyway). Thus the advice to focus on a nearer subject, the DOF will be shifted back giving more apparent sharpness where the human eye demands it. I tried to put it in simple words since I'm not an expert neither in optics nor in physics, so pardon me if something is missing or incomplete. Of course you do not need to measure anything, just try to make an educate guess. The experience will then tell you how to act from case to case, and lens to lens.
Cheers, Marty. _________________ Canon FD
Bodies: AT-1, A-1, T-90
Lenses: nFD 20mm f2.8, 24 f2.8, 28 f2.8, 35 f2, FD 50 f1.8 S.C., 85 f1.8, 100 f2.8, 135 f2.8, 200 f4, 300 f4
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marty
Joined: 09 Apr 2009 Posts: 767 Location: Italy
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Posted: Thu Nov 19, 2009 2:11 am Post subject: |
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marty wrote:
BTW thanks Jesito for sharing. It's always good to refresh the fundamentals from time to time.
Cheers, Marty. _________________ Canon FD
Bodies: AT-1, A-1, T-90
Lenses: nFD 20mm f2.8, 24 f2.8, 28 f2.8, 35 f2, FD 50 f1.8 S.C., 85 f1.8, 100 f2.8, 135 f2.8, 200 f4, 300 f4
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ChrisLilley
Joined: 01 Jan 2008 Posts: 1767 Location: Nice, France
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Posted: Thu Nov 19, 2009 4:15 am Post subject: Re: Just to remember: the 12 essential facts |
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ChrisLilley wrote:
Arkku wrote: |
Jesito wrote: |
5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, |
I've never understood this rule, though I've heard it repeated many times. What does “a third of the way into the picture mean”? One third of the distance to the farthest object? If I have a mountain in the distance, should I know how far it is and divide that by three? If I have the sun in the picture, should I focus at 1/3 AU? |
Lens distance scales calibrated in AU - now, there is a gap in the market.
I suspect that this rule derives from the assumption that the depth of field is twice as much from the point of focus back towards infinity, as it is from the point of focus forward towards the camera.
This assumption is not correct (it depends on the distance), so the rule also falls down.
Since the intention is to have general rules and not worry about the exceptions (such as macro) I feel a better rule would be:
If you are shooting a landscape and want distant objects to be sharp, don't focus at infinity. Back off a little. _________________ Camera (ˈkæ mə rə), n. Device for taking pictures in bright light
There are 10 kinds of people in the world: those who understand binary, and those who don’t. Key: Ai-P, Ai, Ai'ed, AiS
Camera: Nikon D90, D40, DK-21M eyepiece, ML-3 remote MF lenses: Nikkor 20mm f/4 K, AI'ed | N.K. Nikkor-N 24mm f/2.8 | Nikkor-N.C 24mm f/2.8 | Nikkor 28mm f/2.8 AiS late model | Арсенал (Arsenal) Мир-24Н (Mir-24N) 35mm f/2 | Cosina Voigtländer Ultron SL II 40mm f/2.0 | Micro-Nikkor 55mm f/2.8 AiS | Zoom-Nikkor 80-200 f/4.5 Ai | ЛЗОС (LZOS) Юпитер-9 (Jupiter-9) 85mm f/2 | Cosina Voigtländer APO-Lanthar 90mm f/3.5 SL | Nikkor-P 105mm f/2.5 pre-Ai, Ai'ed | Micro-Nikkor 105mm f/4 | Schneider Kreuznach Componon 105mm f/5.6 | Nikkor 135mm f/2.8, Ai'ed 1976 model | Nikkor 180mm f/2.8 ED AiS | Арсенал (Arsenal) ТЕЛЕАР-Н (Telear-n) 200mm f/3.5 | Nikkor 300 mm f/4.5 Ai (full equipment list) |
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patrickh
Joined: 23 Aug 2007 Posts: 8551 Location: Oregon
Expire: 2011-11-18
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Posted: Thu Nov 19, 2009 5:07 am Post subject: |
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patrickh wrote:
Just a caveat on #3 - remember the multiplier effect on DX cameras (a 50mm lens on a Canon eos will be equivalent to an 80mm. Adjust minimum handheld speed accordingly
patrickh - he of the shaking hands _________________ DSLR: Nikon D300 Nikon D200 Nex 5N
MF Zooms: Kiron 28-85/3.5, 28-105/3.2, 75-150/3.5, Nikkor 50-135/3.5 AIS // MF Primes: Nikkor 20/4 AI, 24/2 AI, 28/2 AI, 28/2.8 AIS, 28/3.5 AI, 35/1.4 AIS, 35/2 AIS, 35/2.8 PC, 45/2.8 P, 50/1.4 AIS, 50/1.8 AIS, 50/2 AI, 55/2.8 AIS micro, 55/3.5 AI micro, 85/2 AI, 100/2,8 E, 105/1,8 AIS, 105/2,5 AIS, 135/2 AIS, 135/2.8 AIS, 200/4 AI, 200/4 AIS micro, 300/4.5 AI, 300/4.5 AI ED, Arsat 50/1.4, Kiron 28/2, Vivitar 28/2.5, Panagor 135/2.8, Tamron 28/2.5, Tamron 90/2.5 macro, Vivitar 90/2.5 macro (Tokina) Voigtlander 90/3.5 Vivitar 105/2.5 macro (Kiron) Kaleinar 100/2.8 AI Tamron 135/2.5, Vivitar 135/2.8CF, 200/3.5, Tokina 400/5,6
M42: Vivitar 28/2.5, Tamron 28/2.5, Formula5 28/2.8, Mamiya 28/2.8, Pentacon 29/2.8, Flektogon 35/2.4, Flektogon 35/2.8, Takumar 35/3.5, Curtagon 35/4, Takumar 50/1.4, Volna-6 50/2.8 macro, Mamiya 50/1.4, CZJ Pancolar 50/1,8, Oreston 50/1.8, Takumar 50/2, Industar 50/3.5, Sears 55/1.4, Helios 58/2, Jupiter 85/2, Helios 85/1.5, Takumar 105/2.8, Steinheil macro 105/4.5, Tamron 135/2.5, Jupiter 135/4, CZ 135/4, Steinheil Culminar 135/4,5, Jupiter 135/3.5, Takumar 135/3.5, Tair 135/2.8, Pentacon 135/2.8, CZ 135/2.8, Taika 135/3.5, Takumar 150/4, Jupiter 200/4, Takumar 200/4
Exakta: Topcon 100/2.8(M42), 35/2.8, 58/1.8, 135/2.8, 135/2.8 (M42), Kyoei Acall 135/3.5
C/Y: Yashica 28/2.8, 50/1.7, 135/2.8, Zeiss Planar 50/1.4, Distagon 25/2.8
Hexanon: 28/3.5, 35/2.8, 40/1.8, 50/1.7, 52/1.8, 135/3.2, 135/3.5, 35-70/3.5, 200/3.5
P6 : Mir 38 65/3.5, Biometar 80/2.8, Kaleinar 150/2.8, Sonnar 180/2.8
Minolta SR: 28/2.8, 28/3.5, 35/2.8, 45/2, 50/2, 58/1.4, 50/1.7, 135/2.8, 200/3.5
RF: Industar 53/2.8, Jupiter 8 50/2
Enlarg: Rodagon 50/5,6, 80/5,6, 105/5.6, Vario 44-52/4, 150/5.6 180/5.6 El Nikkor 50/2,8,63/2.8,75/4, 80/5,6, 105/5.6, 135/5.6 Schneider 60/5.6, 80/5.6, 80/4S,100/5.6S,105/5.6,135/5.6, 135/5.6S, 150/5.6S, Leica 95/4 |
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cooltouch
Joined: 15 Jan 2009 Posts: 9096 Location: Houston, Texas
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Posted: Thu Nov 19, 2009 5:37 am Post subject: Re: Just to remember: the 12 essential facts |
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cooltouch wrote:
Great list, Jes! I've saved to to a file. But . . .
Jesito wrote: |
12. Sunset rule To get a properly exposed sunset, meter the area directly above the sun (without including the sun). If you want the scene to look like it's a half-hour later, stop down by one f-stop, or set exposure compensation to minus one. |
Interesting. I'll have to try this. I do it differently, however. I have learned from trial and error shooting with slide film that I get the best, most realistic sunset colors if I meter the sky directly overhead. The sun is overexposed to a white dot, of course, but the colors for the rest of the scene are good. _________________ Michael
My Gear List: http://michaelmcbroom.com/photo/gear.html
My Gallery: http://michaelmcbroom.com/gallery3/index.php/
My Flickr Page: https://www.flickr.com/photos/11308754@N08/albums
My Music: https://soundcloud.com/michaelmcbroom/albums
My Blog: http://michaelmcbroom.com/blogistan/ |
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CarbonR
Joined: 31 Dec 2008 Posts: 1969 Location: Clermont-Ferrand, France
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Posted: Thu Nov 19, 2009 9:43 am Post subject: |
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CarbonR wrote:
I didnt know the #2. But the #3 is not a always-true rule, it depends on (of ?) the photographer, environnement (a windy day asks faster shutter speeds) and the equipment. For example, on my K100D, with the 50/1.7 Pentax, SR on, I already took sharp pictures at 1/6s, and at 1/8s with the 35/2 on my Spotmatic, and 1/4s with the 17/4 (Spotmatic too). _________________ Cameras : Canon 5D, Pentax K100D, Pentax 6x7, Spotmatic
Lenses : 15mm to 1000mm (24x36)
My websites : [FR & ENG]Takumar - the eyes of the Spotmatic : info about all Takumar lenses // Kogaku - My photo site
I am selling : Takumar lenses and rare Pentax bodies, pm me if you're interested in something [MFLenses feed-back]
Information on Takumar lenses with samples :
Wide angle : Takumar 15/3.5 15mm, Takumar 17/4 17mm, Takumar 18/11 18mm, Takumar 20/4.5 20mm, Takumar 24/3.5 24mm, Takumar 28/3.5 V1 28mm, Takumar 28/3.5 V2 28mm, Takumar 35/2 V1 35mm, Takumar 35/2 V2 35mm, Takumar 35/2.3 35mm, Takumar 35/3.5 35mm, Takumar 35/4 35mm
Standard : Takumar 50/1.4 V1 50mm, Takumar 50/1.4 V2 50mm, Takumar 50/3.5 50mm, Takumar 50/4 50mm, Takumar 55/2 55/1.8 55mm, Takumar 55/2.2 V1 55mm, Takumar 55/2.2 V2 55mm, Takumar 58/2 58mm, Takumar 58/2.4 58mm
Short tele : Takumar 83/1.9 83mm, Takumar 85/1.8 85/1.9 85mm, Takumar 85/1.8 85mm, Takumar 100/2 100mm, Takumar 100/3.5 100mm, Takumar 100/4 100mm, Takumar 105/2.8 V1 105mm, Takumar 105/2.8 V2 105mm, Takumar 120/2.8 120mm
Telephoto : Takumar 135/2.5 V1 135mm, Takumar 135/2.5 V2 135mm, Takumar 135/3.5 V1 135mm, Takumar 135/3.5 V2 135mm, Takumar 150/4 V1 150mm, Takumar 150/4 V2 150mm
Long tele : Takumar 200/3.5 200mm, Takumar 200/4 200mm, Takumar 200/5.6 200mm, Takumar 300/4 V1 300mm, Takumar 300/4 V2 300mm, Takumar 300/4 V3 300mm, Takumar 300/6.3 300mm, Takumar 400/5.6 400mm, Takumar 500/4.5 500mm, Takumar 500/5 500mm, Takumar 1000/8 V1 1000mm, Takumar 1000/8 V2 1000mm
Zoom : Zoom-Takumar 45~125/4 , Zoom-Takumar 70~150/4.5 , Zoom-Takumar 85~210/4.5 , Zoom-Takumar 135~600/6.7
Achromatic : Ultra-Achromatic-Takumar 85/4.5 , Ultra-Achromatic-Takumar 300/5.6 300mm |
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cooltouch
Joined: 15 Jan 2009 Posts: 9096 Location: Houston, Texas
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Posted: Thu Nov 19, 2009 6:35 pm Post subject: |
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cooltouch wrote:
CarbonR wrote: |
I didnt know the #2. But the #3 is not a always-true rule, it depends on (of ?) the photographer, environnement (a windy day asks faster shutter speeds) and the equipment. For example, on my K100D, with the 50/1.7 Pentax, SR on, I already took sharp pictures at 1/6s, and at 1/8s with the 35/2 on my Spotmatic, and 1/4s with the 17/4 (Spotmatic too). |
I think heavier cameras, like your Spotmatic, are less likely to show shake than lighter ones, and with wide angle lenses on heavier cameras, one can often get quite slow. I've taken sharp 1/4 second photos as well using my Canon F-1 with winder and a 17mm lens.
Oh, and since you asked, "on", and not "of", is correct. _________________ Michael
My Gear List: http://michaelmcbroom.com/photo/gear.html
My Gallery: http://michaelmcbroom.com/gallery3/index.php/
My Flickr Page: https://www.flickr.com/photos/11308754@N08/albums
My Music: https://soundcloud.com/michaelmcbroom/albums
My Blog: http://michaelmcbroom.com/blogistan/ |
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8310
Joined: 05 Jun 2010 Posts: 123
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Posted: Mon Aug 02, 2010 4:27 pm Post subject: Re: Just to remember: the 12 essential facts |
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8310 wrote:
ChrisLilley wrote: |
[...] I suspect that this rule derives from the assumption that the depth of field is twice as much from the point of focus back towards infinity, as it is from the point of focus forward towards the camera.
This assumption is not correct (it depends on the distance), [...] |
Does anyone have some more detailed information about this? Would be interesting to know how exactly DOF behaves. |
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visualopsins
Joined: 05 Mar 2009 Posts: 11059 Location: California
Expire: 2025-04-11
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Posted: Mon Aug 02, 2010 7:29 pm Post subject: |
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visualopsins wrote:
Quote: |
Found elsewhere in the net...
12 essential facts, formulas, and photographic rules
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A little 'fine-tuning' of these generalizations is in order here.
Quote: |
3. Camera shake rule The slowest shutter speed at which you can safely handhold a camera is one over the focal length of the lens in use. As shutter speeds get slower, camera shake is likely to result in an increasing loss of sharpness. So, if you're using a 50mm lens, shoot at 1/60 sec or faster. Not enough light? Use a flash, tripod, or brace your camera against a solid object. |
That works for 35mm full frame camera. Adjust by 'crop-factor' relative to 35mm full-frame for other formats.
For not enough ambient light to obtain fast enough shutter speed, besides adding light using flash, reflectors, or other means, or bracing or tripod, a wider aperture can be used if the correspondingly reduced dof is acceptable.
As others wrote, minimum shutter speed to 'stop' hand-held shake motion depends greatly on how still the photographer can hand-hold the camera, and how much inertia the weight of the camera provides.
Quote: |
7. Exposure rules The classic advice is, "Expose for the highlights, and let the shadows take care of themselves." This works with slide film and digital. But with negative film, especially color negative, you're better off overexposing by one stop. |
That works when the dynamic range of subject lighting is greater than medium can capture, as in sunlit landscape, otherwise expose for incident lighting at the subject.
Quote: |
11. Action-stopping rules To stop action moving across the frame that's perpendicular to the lens axis, you need shutter speeds two stops faster than action moving toward or away from you. For action moving at a 45-degree angle to the lens axis, you can use a shutter speed one stop slower. For example: If a person running toward you at moderate speed can be stopped at 1/125 sec, you'll need a shutter speed of 1/500 sec to stop the subject moving across the frame, and a shutter speed of 1/250 sec to stop him if moving obliquely with respect to the camera. |
Works for 'normal' focal length on 35mm full frame camera. Adjust by 'crop-factor' relative to 35mm full-frame for other formats.
Dependent on how long are the arms/legs; for a subject with short arms/legs moving across the frame, the hands/feet move faster 'mid-stroke' than a subject with long arms/legs; a faster shutter speed is necessary to stop motion. Similar to how faster-moving ends of a spinning propeller blur yet center appears stopped.
[quote=ChrisLilley]If you are shooting a landscape and want distant objects to be sharp, don't focus at infinity. Back off a little.[/quote]
'Infinity' depends on focal length. For example, using telephoto length, changes in focus at 10km can be seen easily. At extreme telephoto length, even the Sun or Moon is not in focus when lens focus is set at infinity.
If the distant objects desired in focus are relatively near 'infinity', focus on objects, i.e. hyperfocal distance setting is for subjects much closer than 'infinity'; hyperfocal settings will not render 'infinity' or a far away subject in sharp focus. _________________ ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮ like attracts like! ☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮☮
Cameras: Sony ILCE-7RM2, Spotmatics II, F, and ESII, Nikon P4
Lenses:
M42 Asahi Optical Co., Takumar 1:4 f=35mm, 1:2 f=58mm (Sonnar), 1:2.4 f=58mm (Heliar), 1:2.2 f=55mm (Gaussian), 1:2.8 f=105mm (Model I), 1:2.8/105 (Model II), 1:5.6/200, Tele-Takumar 1:5.6/200, 1:6.3/300, Macro-Takumar 1:4/50, Auto-Takumar 1:2.3 f=35, 1:1.8 f=55mm, 1:2.2 f=55mm, Super-TAKUMAR 1:3.5/28 (fat), 1:2/35 (Fat), 1:1.4/50 (8-element), Super-Multi-Coated Fisheye-TAKUMAR 1:4/17, Super-Multi-Coated TAKUMAR 1:4.5/20, 1:3.5/24, 1:3.5/28, 1:2/35, 1:3.5/35, 1:1.8/85, 1:1.9/85 1:2.8/105, 1:3.5/135, 1:2.5/135 (II), 1:4/150, 1:4/200, 1:4/300, 1:4.5/500, Super-Multi-Coated Macro-TAKUMAR 1:4/50, 1:4/100, Super-Multi-Coated Bellows-TAKUMAR 1:4/100, SMC TAKUMAR 1:1.4/50, 1:1.8/55
M42 Carl Zeiss Jena Flektogon 2.4/35
Contax Carl Zeiss Vario-Sonnar T* 28-70mm F3.5-4.5
Pentax K-mount SMC PENTAX-A ZOOM 1:3.5 35~105mm, SMC PENTAX ZOOM 1:4 45~125mm
Nikon Micro-NIKKOR-P-C Auto 1:3.5 f=55mm, NIKKOR-P Auto 105mm f/2.5 Pre-AI (Sonnar), Micro-NIKKOR 105mm 1:4 AI, NIKKOR AI-S 35-135mm f/3,5-4,5
Tamron SP 17mm f/3.5 (51B), Tamron SP 17mm f/3.5 (151B), SP 500mm f/8 (55BB), SP 70-210mm f/3.5 (19AH)
Vivitar 100mm 1:2.8 MC 1:1 Macro Telephoto (Kiron)
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Attila
Joined: 24 Feb 2007 Posts: 57865 Location: Hungary
Expire: 2025-11-18
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Posted: Mon Aug 02, 2010 7:44 pm Post subject: |
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Attila wrote:
Many thanks Jes, great find! _________________ -------------------------------
Items on sale on Ebay
Sony NEX-7 Carl Zeiss Planar 85mm f1.4, Minolta MD 35mm f1.8, Konica 135mm f2.5, Minolta MD 50mm f1.2, Minolta MD 250mm f5.6, Carl Zeiss Sonnar 180mm f2.8
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