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Posts Tagged ‘Manual’

Manual Exposure Cheat Sheet for Beginners: How to Expose Manually

22 Oct

The post Manual Exposure Cheat Sheet for Beginners: How to Expose Manually appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Photographers are visual people. Learning is often made easier for us with the help of graphics and images. In this article, I want to break down this classic manual exposure cheat sheet:

manual exposure cheat sheet

Beginner photographers, and even more experienced ones, often think that Manual mode is complicated.

It’s not.

But to learn how to use Manual mode well, you need to understand a few basics. These are the three camera controls that manage exposure:

  • Aperture
  • Shutter speed
  • ISO

You also need to use the exposure meter, LCD, or viewfinder to assist you in choosing the best settings. If you read the light, you can then set your exposure.

This manual exposure cheat sheet will help you understand these few essentials.

Woman in a red sofa outdoors manual exposure cheat sheet
© Kevin Landwer-Johan | Nikon D800 | Nikon 35mm f/1.8 | 1/125 sec | ISO 100

Reading the light

All modern cameras have a built-in exposure meter. This tool indicates when you have your settings balanced to achieve a good exposure. In most cameras, it looks something like this:

Exposure meter illustration manual exposure cheat sheet

Some cameras use a number system and a + or – symbol to show the exposure value.

Whatever display method your camera uses, you are aiming to have the meter read “0.” This is the indication you have a good exposure. If the display indicates the exposure is toward the – side, your photo will be underexposed. If it’s showing that the exposure is toward the + side, your photo will be overexposed.

This is a very simplified explanation of the metering system. To gain a more in-depth understanding of how it works, please read this article: Understanding Exposure Metering Modes.

With many cameras, you can also use the rear LCD to help you determine the best exposure settings. Additionally, mirrorless cameras allow you to see the effect of changes you make via the viewfinder.

To discover if your camera has this function, turn on Live View and set your camera to Manual mode. Now adjust your aperture and/or shutter speed. Can you see the brightness value of the LCD change as you do this? If so, you can use your LCD screen and/or viewfinder to help you manage your exposure settings. If you are new to using Manual mode, this method will make learning easier.

Whether you look at the exposure meter graphic or use your viewfinder/LCD to help you choose your settings, treat these as a guide. Your camera does not know what the main subject of your composition is. You must control the exposure so the most important part of your image is well exposed.

Tropical sunset manual exposure cheat sheet
© Kevin Landwer-Johan | Nikon D700 | 20mm | 1/125 sec | f/5.6 | ISO 400

Adjusting your aperture

Every lens has an aperture. This is an adjustable diaphragm that controls how much light can enter the lens. Each aperture setting corresponds to an f-stop.

A smaller f-stop number indicates more light will enter the lens. A higher number means the opening is smaller and less light will enter.

Aperture illustration for manual exposure cheat sheet

On this manual exposure cheat sheet, you can see there is a range of aperture settings. The smallest aperture setting, on the left, is f/16. To the right of the graphic is the widest setting, at f/1.4. Not all lenses have the same aperture settings. Some will have wider or narrower minimum and maximum settings.

Along with governing the amount of light that enters the lens, the aperture setting influences depth of field (DOF).

DOF is the amount of the photo that is acceptably sharp. The wider the aperture setting you choose, the shallower the DOF will be. You can see this on the cheat sheet graphic of the person and tree. At f/16, both the person and tree are sharp. At f/1.4, the person is sharp and the tree in the background is out of focus.

A narrow aperture setting allows less light to enter the lens. It also means you’ll have more of your photo in focus. A wide aperture setting allows more light into the lens and the DOF is shallower.

You can adjust the aperture setting to help balance your exposure and control how much of your composition is in focus. The amount of DOF can be used creatively in your photographs.

Woman taking a photograph manual exposure cheat sheet
© Kevin Landwer-Johan | Nikon D800 | 105mm | 1/320 sec | f/2.8 | ISO 100

Setting your shutter speed

Inside your camera, there’s a shutter. This typically consists of two “blinds” that open and close when you press the shutter release button. Opening the shutter exposes the camera sensor to light, which allows it to create an image.

The duration the shutter is open for controls how much light will affect the sensor. If the shutter is open for too long, the photo will be overexposed. If the shutter is open for a duration that is too short, the photo will be underexposed.

Your choice of shutter speed can also affect how sharp your photos will be.

If you choose a shutter speed that’s too slow and your camera moves during the time the shutter is open, your photo will be blurred. This is known as camera shake.

If you have a moving subject and use a slow shutter speed, your subject will be blurred. This is known as motion blur.

Using a faster shutter speed will help you avoid camera shake and unwanted motion blur.

Shutter speed illustration manual exposure cheat sheet

In the manual exposure cheat sheet, you can see the graphic of a person running. At a shutter speed setting of 1/1000s, the figure is sharp. At a setting of 1/60s, the figure is blurred a little. At a shutter speed of 1 second, the figure is very blurred. The relationship between how fast your subject is moving and the shutter speed will determine how much blurring occurs.

You can adjust the shutter speed to help balance your exposure and to control blur from camera shake or motion. Motion blur and camera shake, or a lack thereof, can be used creatively in your photography.

Woman at the fresh market - manual exposure cheat sheet
© Kevin Landwer-Johan | Nikon D800 |35mm | 1/2 sec | f/11 | ISO 100

Determining your ISO

ISO settings control how responsive your camera’s sensor is to light. A low number means your sensor is going to be less responsive than when you use a high number.

I prefer to use my ISO as a foundation for my exposure. I generally only adjust it when lighting conditions change significantly.

Outside on a sunny day, you will want to choose a low ISO. Inside or at night, you will want to choose a high ISO.

ISO illustration manual exposure cheat sheet

Unlike your other two exposure settings, ISO has no creative influence on your photos. It will affect the technical quality, though. At higher ISO settings, digital noise will start to appear in your photos. The color and contrast will also tend to flatten out.

In the manual exposure cheat sheet, you can see that lower ISO settings mean the sensor is less responsive compared to higher ISO settings. To avoid seeing digital noise in your photos, always aim to use the lowest ISO setting you can.

Thai entertainment
© Kevin Landwer-Johan | Nikon D800 | 105mm | 1/250 sec | f/4 | ISO 6400

Stop! This is important

Each incremental change indicated by the manual exposure cheat sheet is one “stop.” The term “stop” in photography is the measurement of exposure. Plus one stop means the exposure is doubled. Minus one stop means the exposure is halved.

A stop can be controlled by aperture, shutter speed, or ISO. If you adjust one setting by plus one stop, you can always achieve the same initial exposure by adjusting another setting by minus one stop, and so on.

As you can see on the cheat sheet, the increments I have used for the shutter speed and ISO are clearly half or double the adjacent numbers. The f-stop numbers appear a bit random, however. This is because they indicate the aperture opening size in relation to the lens focal length. But each f-stop setting is either half or double the setting on either side of it.

red lanterns against a blue sky
© Kevin Landwer-Johan | Nikon D700 | 20mm | 1/60 sec | f/4 | ISO 400

Manual exposure cheat sheet: Conclusion

Manual exposure of your photographs is not so complicated. All you need to do is manage the relationship between the three exposure settings.

The relationship between aperture settings, exposure, and depth of field is plain to see on this cheat sheet. How your choice of shutter speed affects both exposure and blurring is also well illustrated. Keep your ISO in mind and make it as low as you can. But don’t hesitate to alter it when you need to.

Print the manual exposure cheat sheet to make learning and mastering Manual mode a little easier. It will not happen without some commitment and practice.

But once you become familiar with Manual mode and manage your exposures well, your photography will become more creative.

The post Manual Exposure Cheat Sheet for Beginners: How to Expose Manually appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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7artisans releases $255 35mm F0.95 manual prime for APS-C mirrorless camera systems

20 Oct

7artisans has announced yet another affordable ultra-fast manual prime lens, the 35mm F0.95 APS-C lens for Canon M, Fuji X, Micro Four Thirds, Nikon Z and Sony E mount camera systems.

The lens, which retails for just $ 255, is constructed of 11 elements in 8 groups, has an aperture range of F0.95–16, offers a minimum focusing distance of 37cm (14.5”) and has a 12-blade aperture diaphragm. It offers a 43º angle of view, has a declicked aperture dial and weighs just 369g (13oz).

Photo Rumors, who is an authorized 7artisans retailer, has shared a gallery of sample images taken with the lens attached to a Sony a7 III:

7artisans 35mm f/0.95 sample photos

The 7artisans 35mm F0.95 APS-C lens is available to purchase for $ 255 through 7artisan retailers, including Photo Rumors.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Six techniques to help you nail manual focus

02 Oct

Autofocus has gotten very good. Scarily good, even. But some situations call for good old fashioned manual focus, whether you’re shooting macro, video or channeling your inner Cartier-Bresson on the street. For these occasions, Chris and Jordan have a few quick tips that will help you nail your manually focused shot every time.

  • Introduction
  • Punch in focus
  • Peaking
  • Hyperfocal distance
  • Focus marks
  • Focusing with camera movement
  • Snapping into focus

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

Articles: Digital Photography Review (dpreview.com)

 
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Meike’s 25mm F1.8 manual lens for Nikon Z-mount costs only $75

14 Aug

It’s only been a few days since Meike introduced it’s 85mm F1.8 autofocus prime, but it’s already back with the announcement of another lens, a 25mm F1.8 manual focus prime for Nikon Z-mount cameras.

The lens is constructed of seven elements in five groups, has an aperture range of F1.8 through F16, features a minimum focusing distance of 25cm (9.8”) and uses a nine-blade aperture diaphragm.

The lens measures in at 61mm (2.4”) in diameter, 41mm (1.6”) long and weighs approximately 170g (6oz). Meike notes that the lens is entirely manual to the point that you’ll need to set your camera to release the shutter without a lens, as it won’t recognize a lens is attached.

Meike’s website makes mention of APS-C throughout the entire product page, but also shows the lens attached to the Nikon Z7 we have contacted Meike to confirm whether this lens is exclusively for APS-C or also full-frame

The lens is available now for just $ 75 on Meike’s website. It comes with the lens, front/rear caps, a carry pouch and a microfiber cleaning cloth.

Articles: Digital Photography Review (dpreview.com)

 
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6 Things to Learn After Manual Mode

31 Jul

Now that you know how your camera manual mode works, and you are in control of what it is doing when you take a picture, what’s next? Our brain likes the process of constantly learning something new. That’s why we network with other people, visit conferences, read books and articles, travel, scroll social media feeds, and so on. There are Continue Reading

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Moving to Manual Mode: Which Setting Should You Adjust First?

23 Feb

The post Moving to Manual Mode: Which Setting Should You Adjust First? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

moving-to-manual-mode-photography

Moving to manual mode is often considered too difficult by many beginner photographers. In reality, learning manual mode is not so hard to do. Sure, it’s not for everyone. Many photographers are content to let their camera sort out the exposure settings.

One of the most common questions I get asked by people I am teaching to use manual mode is “which setting should I adjust first?” Unfortunately, there is no set answer to this question. It depends on what you are photographing.

motion and DOF control, moving to manual mode, ballet dancer

© Kevin Landwer-Johan

Moving to manual mode

Shifting your mindset is the most important aspect of moving to manual mode. Are you comfortable using any of the auto or semi-auto exposure modes on your camera? Then you need to make some changes to the way you think.

First, it rarely matters if it takes you a little longer to set your camera. Very few memorable photos are taken as snaps on the spur of the moment. Slow down.

Understand the basics of how you can set the exposure manually, then practice. Once you commit to moving to manual mode, you will find it’s not difficult to manage.

There are only three settings you need to work with to manually control your exposure – shutter speed, aperture, and ISO. These regulate the exposure.

The exposure meter, also known as the light meter, guides your decision making. With many cameras, you can also use the rear monitor to gauge your exposure. With mirrorless cameras, you can typically see the effect of adjustments you make to exposure in the viewfinder.

Woman Photographer at the Shopping Mall, moving to manual mode

© Kevin Landwer-Johan

Balancing these three settings will result in a well-exposed subject. Each setting can also affect your photos in different ways. These are important to understand to be in control of how you want your photos to look.

When you are first moving to manual mode, you may not know where to start in setting your exposure. There are many variations on how to set your camera.

Each photographer may use a different method. I base my choices on what I am photographing.

Here are the answers I give my workshop participants about which setting to change first.

When to adjust your shutter speed first

Photographing a moving subject means you need to consider your shutter speed first. If your shutter speed is too slow, your moving subject may appear blurred.

At times you will want this effect. Often you will want your subject to be sharp, without any motion blur or camera shake fuzziness.

Young woman standing in a busy market. Shot using a slow shutter speed to get the movement of the people blurred. Moving to manual mode

Shutter speed was 1/2 a second. My model stood very still © Kevin Landwer-Johan

You need to consider how fast your subject is moving to know an appropriate shutter speed to use. The faster the movement, the faster the shutter speed you’ll need to use to freeze the action.

Making use of motion blur in your photos also requires you to think about how fast your subject is moving. If you set your shutter speed too slow, you’ll see too much blur, and your subject may not be recognizable.

Alternatively, if your shutter speed is a bit too fast, your subject may only blur a little. This often looks like a mistake has been made.

To capture a person walking and have them look sharp, you’ll need to use a shutter speed of 1/250th of a second or faster. If you want them to blur a little and still be recognizable, you’ll need to set your shutter speed at around 1/10 of a second or a little slower.

Low light may mean your shutter speed needs to be slow. It’s important not to choose a speed that’s so slow you’ll get blurring from camera shake. This happens when you are hand-holding your camera and move it slightly during the exposure. I’ll address this more in the section about ISO setting.

Once you have adjusted your shutter speed, you will then need to set your aperture and ISO. This is what your exposure meter, monitor, or viewfinder can guide you to do.

Image: I used a shutter speed of 1/1250th of a second to ‘freeze’ the flying water © Kev...

I used a shutter speed of 1/1250th of a second to ‘freeze’ the flying water © Kevin Landwer-Johan

When to adjust your aperture setting first

Aperture, among other things, allows you to control the depth of field in your photographs. This is the amount of your photo that is sufficiently sharp. The wider aperture you choose (lower f/stop number), the less you’ll have in focus in your picture.

Choosing to adjust the aperture first is a decision based on how much of your composition you want in focus.

At times, you might want to render as much of your composition in focus as possible. This is a common choice when photographing landscapes.

Setting your aperture to a higher f/stop number (i.e., f/8-f/22) will give you more depth of field. Understanding hyperfocal distance will help you make better choices about getting a deep depth of field.

Isolating your subject by blurring the background requires you use a lower f/stop number (i.e., f/1.2 to f4). Doing so means more light will enter your lens. You’ll need to adjust your shutter speed and/or ISO to make sure your subject is well exposed.

Manipulating the aperture setting first is something I often do when I have a static subject. This is because the shutter speed I use is not so significant as it is when my subject is moving.

Moving to manual mode to photograph a Thai dancer

I used an aperture of f/2 on an 85mm lens to control the depth of field. © Kevin Landwer-Johan

When to adjust your ISO setting first

I treat my ISO setting as the foundation of my exposure. I only alter it when I need to. Unlike shutter speed and aperture settings, ISO has no creative influence. However, it does have an effect on the technical quality of your images.

Changing your ISO first is a good idea when you have moved from one location to another, and the light is significantly different. If you’re outside photographing in the bright sun and move inside, you will most likely need to adjust your ISO. Likewise, if you’re photographing in a dark place, and then want to take photos somewhere that’s well illuminated, you may need to change your ISO.

When you are having to set a slow shutter speed to get a good exposure, you need to consider changing your ISO setting. This is more vital when you are hand-holding your camera, because of the risk of camera shake. When your shutter speed is slow, and your aperture is wide open, increasing your ISO will allow you to also increase your shutter speed.

My rule of thumb is to keep the ISO setting as low as possible. This will ensure the best technical quality. As camera sensors have improved over the years, quality problems at high ISO settings have diminished. I still find keeping my ISO low is a good way of managing my settings.

Monks Lighting Candles at night

I used an ISO setting of 3200 © Kevin Landwer-Johan

Manual mode balancing act

Obtaining a well-exposed subject using manual mode is not very difficult. It’s a matter of balancing your shutter speed, aperture, and ISO settings. The key to managing to do this well is practice.

Moving to manual mode may seem like a big step, especially if you’ve been comfortable letting your camera control the exposure. Once you do make the decision to take control of your camera you will need to stick with it.

Switch back to an auto mode only when you need to. Otherwise, you will never learn how to take charge of your manual exposure settings properly.

 

The post Moving to Manual Mode: Which Setting Should You Adjust First? appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Google Photos starts rolling out manual face tagging feature on mobile

03 Dec

As promised this past summer by Google Product Lead David Lieb, Google Photos has been updated to support manual face tagging. The feature first started rolling out to some users last week, according to Android Police, only days after XDA spotted signs of the new feature in an app teardown. The feature still has not arrived for all users, however.

Manual face tagging is a new Google Photos feature that builds upon the service’s existing face-detection algorithm. With this new tool, users are able to manually correct errors made by the algorithm and to also immediately tag images of new people who haven’t yet been identified by the app.

Users who have access to the feature note one big limitation with the new tool: the app does not allow users to tag faces that weren’t detected by the algorithm. As well, it isn’t yet clear whether manually tagging people and correcting mistakes will help improve the algorithm’s ability to detect those people in subsequent photos.

Users who have access to the new manual face tagging option can find the tool within the Google Photos app’s ‘Albums’ menu. Tap on ‘People & Pets,’ then tap on an image. Swipe up from the bottom of the screen to reveal the menu containing EXIF data, then swipe up again.

The person featured in the image will be listed under a section title ‘People.’ If you have access to the manual face tagging feature, you will see a new pen icon located next to the person within this ‘People’ section. Android Police notes that this feature is rolling out through a server-side update, meaning that users can’t manually update the app to get access to the new tagging option.

Articles: Digital Photography Review (dpreview.com)

 
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Diversify Your Gear Options With Old, Manual Focus Lenses

16 Oct

The post Diversify Your Gear Options With Old, Manual Focus Lenses appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

old-manual-focus-lenses

Photographers like to talk about gear. Discussion about the latest and greatest camera equipment is common. That’s fine to focus on if you think you can improve your photography, or if you like talking about new shiny things. And you have the money to satisfy your desires.

Image: Taken using a 55mm Micro-NIKKOR-P manufactured in about 1970 © Kevin Landwer-Johan

Taken using a 55mm Micro-NIKKOR-P manufactured in about 1970 © Kevin Landwer-Johan

Photographers who can’t afford to keep upgrading their gear tend not to talk about it so much. It can become depressing. Some of them also understand that purchasing the latest camera gear may do very little to improve their photography. Sometimes using older gear invokes more creativity.

What is it about old, manual focus lenses?

I’ve been taking photos for a long time. It was years before I had a camera capable of autofocus, let alone any autofocus lenses. I had to learn the old fashioned way.

This was my first camera and lens – a Nikkormat FTN with a 50mm f/1.4 attached. I continued to use this lens for 27 years until it finally was not in focus all the time. I think it’s worn out; the glass elements are slopping around inside.

Old-Manual-Focus-Lenses

Taken with my phone ? © Kevin Landwer-Johan

Manual focusing is not so difficult. It’s like learning to drive a manual shift car. It takes some practice. Once you can, you never forget how. You may get a little rusty if you haven’t done it for a while, but before long, you’ll be driving along and not thinking about it.

Old lenses were built more solidly and feel different in use. Because of their build quality, they can last longer. Many of them are as sharp, if not sharper, than modern lenses.

Take a look back at some of the famous photographers of the last century. Photographers including Sebastião Salgado, Don McCullin, Henri Cartier-Bresson and others did not rely on modern autofocus lenses.

Image: Taken using my Nikkormat FTN and 50mm lens. Scanned from a slide. © Kevin Landwer-Johan

Taken using my Nikkormat FTN and 50mm lens. Scanned from a slide. © Kevin Landwer-Johan

Using manual focus lenses can help you improve your photography

You have to slow down and think more about what you are doing while using a manual lens. Well, initially, you do. After some practice, you’ll find manual focusing comes pretty naturally.

So much attention in photography is on doing things fast. Manual focus has a bad rap because it’s slower than autofocus. I don’t perceive that this always has to be a negative thing.

Slowing down can help you see more and to think more about what you are doing. Using a manual focus lens can encourage you to become more engrossed in your photography. Without relying on autofocus technology, you have to use alternative means of capturing the photos you want.

Image: Taken using a manual focus 20mm. © Kevin Landwer-Johan

Taken using a manual focus 20mm. © Kevin Landwer-Johan

Creative thinking becomes more to the fore when you do not have autofocus lenses to use. You must consider more carefully what you want to focus on. This is never a bad thing to master.

Learning to prefocus so your subject will be sharp when it’s time to take the photo is a great skill to have. With a manual focus lens, this becomes less optional.

Any of these methods, when practiced enough, will become second nature. You’ll find yourself using them no matter what lens you have on your camera.

Old-Manual-Focus-Lenses

20mm Nikon Lens © Kevin Landwer-Johan

Diversifying your lens options doesn’t have to be expensive

Old lenses are available secondhand almost everywhere at reasonable prices. If you have a new camera with a kit lens and want to add another lens or two, consider buying used.

Picking up an older 50mm lens will not set you back as much as a brand new lens. Depending on what brand camera you have, you may also need to purchase an adapter. This will allow you to mount older lenses to your digital camera. Nikon users have the advantage here.

I was able to keep using my original lens on each camera I upgraded to because Nikon never changed the lens mount. Any older Nikon lens will attach to every Nikon camera. Some very old lenses may lose some metering functionality but otherwise, work very well. Some may also need slight modification.

Adapters are available for just about every camera and lens combination. Once you’ve bought your first old manual focus lens, it may pay to stick to buying the same brand. That way you can use the same adapter.

Image: Taken with a 105mm manual focus lens manufactured around 1973 © Kevin Landwer-Johan

Taken with a 105mm manual focus lens manufactured around 1973 © Kevin Landwer-Johan

Manual focus lens structure and build are much less complicated than autofocus lenses. The higher quality older lenses are sturdy and robust. There are three main things to look out for in second-hand lenses:

  1. Indications that they have been dropped or otherwise mistreated. Dings and heavy scratches on a lens are not a good sign.
  2. Fungus in the lens is another thing to watch for. Dirt on the outside is easy enough to clean off. A lens with fungus on the outside or any of the inner lens elements can be expensive to clean and may well be damaged beyond repair.
  3. Thirdly, the focusing ring can become stiff and hard to turn, particularly if the lens has not been used for a long time. You can repair it, but repairs can become expensive, depending on where you live.
Image: Taken using a manual focus 85mm. © Kevin Landwer-Johan

Taken using a manual focus 85mm. © Kevin Landwer-Johan

I picked up a bag of camera gear at a general household auction years ago. In it was a Nikon FM2 body with an MD4 motor drive. I knew I could sell the drive for $ 400. The camera had a 135mm lens on it with so much mold you couldn’t see through it. That was worthless. Also in the bag was a 55mm micro Nikkor in lovely condition.

I bought the lot for $ 250, then sold the camera and motor drive and kept the lens. I made around $ 350 on the deal, plus I got to keep the lens, which I still love using. If you know what you are buying you can be lucky enough to end up with another lens and it not cost anything.

Old-Manual-Focus-Lenses

Taken using a 55mm Micro-NIKKOR-P manufactured in about 1970 © Kevin Landwer-Johan

Main drawback of older lenses

Build quality and glass are not often a problem in good-quality older lenses. Coatings of lenses have improved over time. Modern lenses have coatings developed for use with digital cameras.

Chromatic aberration, also known as purple fringing, is more prevalent in old lenses. This is because the lens coatings are different. However, post-processing software can often fix the problem pretty well.

Lack of sharpness at wide apertures can sometimes be an issue with older lenses. Avoiding using the widest aperture setting can often alleviate this problem.

Old-Manual-Focus-Lenses

© Kevin Landwer-Johan

Conclusion

Diversifying your gear options with older manual focus lenses is worth considering. If you’re a student on a budget (or anyone else on a budget!), picking up a second-hand lens or two will help you in a number of ways:

  • You’ll be saving money
  • You will have to learn to use manual focus
  • Second-hand lenses keep their resale value more than new lenses
  • Working more slowly will help your photograph in other ways too

When looking to buy older lenses, it’s best to do your research carefully first. There’s no point buying a lens that won’t work with your model of camera. Get on the internet and specifically search for the camera and lens you want to combine. If it can be done, someone has likely blogged about it or posted a video to Youtube already.

 

Do you use old, manual focus lenses? What is your experience with them? Share your experiences and images with us in the comments!

The post Diversify Your Gear Options With Old, Manual Focus Lenses appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Meike launches 85mm F.28 Macro manual lens for Nikon Z-Mount

16 Oct

The previously launched Meike 85mm F2.8 Macro full-frame and APS-C lens is now available for Nikon Z-mount, the company has announced. As with the Canon RF version that followed the model launched for Canon EF, Sony E/FE and Nikon F, the new Nikon Z-mount variant features 8 groups in 11 elements, an F2.8 – F22 aperture, 0 – 1.5x magnification and 0.25m minimum focusing distance.

Meike describes the lens as ideal for macro and portrait photography, offering a durable all-metal body and moisture and dust resistance, a metal bayonet, multi-layer coating to minimize reflections, manual focus ring, and included lens hood.

The full lens specs are:

  • Lens type: Manual macro lens
  • Mount: Canon-RF/Nikon-Z
  • Aperture: F/2.8-F/22
  • Lens Structure: 8 Groups 11 Elements
  • Coating: Multi-layer coating
  • Min. Focus: 0.25m
  • Magnification: 1.5:1
  • Filter size: 55
  • Length: 120mm (Nikon Z / Canon RF)
  • Weight: 500g
  • Lens angle: 28.2°—15.9°

The Meike 85mm F2.8 macro lens for Nikon Z is now available for $ 269.99 directly from Meike Global.

Articles: Digital Photography Review (dpreview.com)

 
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How to Make a Manual Lens Correction in Lightroom

04 Oct

The post How to Make a Manual Lens Correction in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

The job of a camera lens is straightforward: it bends and focuses light, and it does so through the use of several curved pieces of glass that move back and forth. It sounds simple but is actually a lot more difficult than it might seem. Byproducts of all that glass are anomalies such as chromatic aberration and barrel distortion which can mar an otherwise beautiful image. Lightroom can fix these on its own to a degree, but to really take control of your pictures you can use the Manual Lens Correction panel to fine-tune your image until it’s pixel-perfect.

How to Make a Manual Lens Correction in Lightroom

Understanding Chromatic Aberration

Before wading too deep into manual lens corrections, it’s important to understand what causes issues such as chromatic aberration in the first place. Different colors of light travel at different wavelengths. As a result, when the glass elements of a lens bend the incoming light, it can be quite tricky to make everything line up properly on the camera’s image sensor. This is especially prominent when shooting at the widest possible aperture since it gets really difficult to get the light to behave properly when you let so much in at once.

The result is purple and green fringes when you see hard edges in a picture. It can also produce distorted images that look either squished or puffed out in the middle. Cheaper lenses, or lenses with very wide apertures, don’t have as many glass elements to correct for these issues. It’s also why lenses like the Nikon 105 f/1.4 or Canon 85mm f/1.4 cost (and weigh) so much! They have a lot of special glass inside to correct for the problems that often happens with their less expensive counterparts.

How to Make a Manual Lens Correction in Lightroom

If you don’t have a few thousand dollars to spend on ultra-sharp lenses, you can fix these image issues in Lightroom.

When you shoot in RAW, you can use the Automatic option. This does a fine job of removing purple and green fringes and fixing barrel distortion based on what it knows about the characteristics of your lens.

Image: Click these boxes to have Lightroom automatically attempt to fix lens-related picture problem...

Click these boxes to have Lightroom automatically attempt to fix lens-related picture problems.

Nine times out of ten it does the job quite well. However, sometimes you will want to tweak things for yourself or just do the entire operation on your own. This is where the Manual option really comes in handy.

Manual Lens Correction

The Manual Lens Correction panel contains three options, each of which you can control separately.

  • Distortion lets you re-shape your picture so it’s less puffed-out in the middle.
  • Defringe deals with purple and green fringes at areas of high contrast, particularly with a lot of backlighting.
  • Vignetting is for lightening or darkening the corners of a picture.
Manual-Lens-Correction-in-Lightroom

The Manual Lens Correction option gives you full control over lens corrections.

Distortion

This is a common issue with many lenses that isn’t always very obvious. However, once you notice it, you’ll start seeing this phenomenon all the time. Fortunately, the fix is simple. It’s usually just a matter of dragging the Distortion slider to the left or right.

Image: Something’s not quite right here. The composition is fine but the middle is bulging out...

Something’s not quite right here. The composition is fine but the middle is bulging out like a balloon.

As you drag the slider, you will see a grid appear over the picture which can help you get just the right value. Look for straight horizontal or vertical lines in your picture, and drag the slider until they line up with the grid.

Manual-Lens-Correction-in-Lightroom

The roof of the building gives a nice guide when correcting for distortion. It’s not quite lined up with the grid yet, but pushing the distortion slider a bit more will fix the problem.

The Constrain Crop option makes sure the final image stays within a square or rectangular boundary. If you adjust the slider too far to the right, the image can get a little too warped. However, checking this option will fix this by essentially zooming in on the picture as it’s being adjusted to avoid an extreme pincushion effect.

Manual-Lens-Correction-in-Lightroom

 

Final image:

How to Make a Manual Lens Correction in Lightroom

Defringe

This is where you can easily correct purple and green fringes that can show up on your pictures. You can adjust the sliders manually, but my preferred way is to use the eyedropper tool to select specific areas of purple and green fringing that you want to remove.

The picture below is straight out of the camera with no lens correction applied. Notice how the edges of the bench have what appears to be slight purple and green outlines. These are caused by the light being bent and shaped by the camera lens. Once you know to look for these sorts of issues, you start seeing them all over the place!

How to Make a Manual Lens Correction in Lightroom

Here’s a close-up view of the same picture. Notice the purple curve at the base of the seat and the green edges at the knurled edge that goes horizontally across the frame.

Manual-Lens-Correction-in-Lightroom

To manually correct these instances of chromatic aberration, Lightroom needs to know what range of colors you want to remove. Use the eyedropper tool to select either a purple fringe, a green fringe, or both, and then fine-tune by adjusting the sliders for Amount and Hue.

Manual-Lens-Correction-in-Lightroom

After selecting your purple and greens with the eyedropper tool, Lightroom will do its best to remove those specific colors around any high-contrast edges. You can fine-tune the defringing by adjusting the Amount and Hue sliders, but I usually find that Lightroom does a fine job just with a few clicks of the eyedropper.

How to Make a Manual Lens Correction in Lightroom

When viewing the full image, you can see these instances of chromatic aberration are now gone, and the picture is much more pleasing as a result.

How to Make a Manual Lens Correction in Lightroom

This operation can be extremely useful with portraits, which are often shot using larger apertures. Even if you don’t shoot close-ups for a living it’s nice to know that this simple, fast fix is available to you.

Vignetting

This option works much like the regular Vignette tool in Lightroom. You can use it to make the corners of your picture lighter or darker, depending on whether you drag the slider to the right or left.

Nearly all lenses exhibit some degree of vignetting, especially when using their widest aperture, but you can easily correct them using this tool.

Manual-Lens-Correction-in-Lightroom

Original image, straight out of the camera.

Sliding the Amount all the way to the left darkens the corners of the picture. It’s subtle but effective at drawing the viewer’s attention to the subject in the middle.

Image: Vignette amount -100

Vignette amount -100

Conversely, sliding the Amount all the way to the right makes the corners lighter. This is often useful to correct for the vignette that is inherent in many lenses at wider apertures.

Image: Vignette amount +100

Vignette amount +100

Conclusion

While you can use Lightroom’s automatic lens corrections, it’s nice to know how to correct for things like chromatic aberration, distortion, and vignetting on your own using manual lens correction. The best part is that none of these edits are permanent and you can undo your changes any time due to the non-destructive nature of Lightroom. So if you just want to try these out and see what happens, go right ahead!

 

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The post How to Make a Manual Lens Correction in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.


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