tag:blogger.com,1999:blog-78646578873998326472024-03-19T22:09:21.153+02:00M E G A P I X E L . R ODigital photography. Information, techniques, thoughts and comments.
<br>by Alin CiubotaruAlin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.comBlogger109125tag:blogger.com,1999:blog-7864657887399832647.post-89813998672836331632008-04-08T15:40:00.001+03:002008-04-08T15:40:22.741+03:00A Real Fairy Photo EffectsLearn in this tutorial how to make a special gift to a special person.<br /><br />1. To start create a new file in Photoshop File > New with 1280х1024px and 300dpi. Save it with the name A Real Fairy.psd in File > Save as�<br /><br />2. So, in this lesson you will learn how to make your girlfriend/boyfriend a personal wallpaper. Now you must find a picture of your beloved one witch you like the best, or think it's proper for this. It better be in high resolution. <br /><br /><img id="id9671107014996329" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p1.jpg" /> <br /><br />Open it in Photoshop. Save it right away with the name Main elemet.psd. Chose the Polygonal Lasso tool from the tools menu (or just press L key). Zoom in good (hold down ALT key and scroll up the mouse wheel) and start tracing the figure. The more zooming you will do the fewer corners you will have in the end. <br /><br /><img id="id6169274247701726" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p2.jpg" /> <br /><br />3. If you're not satisfied with the resulting selection you can always go to Select > Modify > Smooth and round up some unwanted corners.<br /><br />4. When you're done with the selection, you have to get rid of the background. To do that just double click the Background layer to transform it into a simple layer. New layer dialog box will appear were you can even name your new layer, name it Main element and click OK.<br /><br />To delete all besides your selection just inverse it Select > Inverse or press Ctrl + Shift + I to do the same thing on the fly. Now just press Delete key and voila� To deselect go Select > Deselect or press Ctrl + D. <br /><br /><img id="id08646122236676079" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p3.jpg" /> <br /><br />Now to get the main element ready for the trace you have to make it monochrome. Go Image > Adjustments<br />> Channel Mixer don't touch any settings just check the Monochrome box in the lower left corner of the dialog box and click OK<br /><br /> <img id="id9927355251107913" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p4.jpg" /><br /><br />To get rid of all this halftones a to make a nice a nice picture which will trace nice and easy in Illustrator go Image > Adjustments > Levels and drag the right and left handlers towards each other till you're satisfied. The result must be a nice clean Black and White picture with no minor elements. <br /><br /><img id="id7276926802130358" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p5.jpg" /> <br /><br />5. Now just to be sure that the trace will go even better go Layer > New > Layer or just click on the New Layer button in the Layer Palette to create a new layer. Select the new layer you created and Ctrl + click the Main element layers thumbnail to select it's borders. Now go Select > Modify > Expand enter the value of 1 (or higher if your picture has a very high resolution) and click OK. Now press D key to select Black as the foreground color, and press Alt + Del to fill the selection with it. Press Ctrl +D to deselect. <br /><br /><img id="id31581454852920054" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p6.jpg" /> <br /><br />6. Now drag the filled with black layer under the Main Element layer in Layer's Palette. Select both layers right - click on one of them and select Merge Layers in the appearing dialog box.<br /><br />Choose Magic Wand tool in the tools menu or press W key. In Tool Option bar rise the Tollerance to 80% and make sure that Anti-alias and Contiguous checking boxes are unchecked. Now press in any white area to select all whites in the image and press Del key to delete it. Press Ctrl +D to deselect. <br /><br /><img id="id3850723759740302" alt="A Real Fairy Photo Effects" src="http://www.eyesontutorials.com/images/PhotoEffects/Poser/tut1_A%20_Real_Fairy/p7.jpg" /> <br /><br />7. Now save Main Element file into a PNG format to keep the transparent parts. File > Save as� or press Ctrl + Shift + S. <br /><br /><a href="http://www.eyesontutorials.com/articles/233/1/A-Real-Fairy-Photo-Effects/Page1.html">SOURCE<br /></a>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-8341929715732811232007-10-19T21:59:00.001+03:002007-10-19T21:59:48.744+03:00Palettes for digital photos: RGB, CMYK, and HSV - new<p><img alt="girls-eye-with-purple-flower.jpg" id="image682" src="http://photography-business-tips.com/wp-content/uploads/2007/10/girls-eye-with-purple-flower.jpg" align="left" height="109" width="147" />Imagine drawing a picture using only dots. If you look very closely at a digital photo, you will see that this is exactly the case; the image is made up of millions of tiny pixels. Each pixel has just the right color and intensity to create the desired image when combined with all the other pixels. This is true of any digital picture, whether it be on your computer screen or printed on paper.</p> <p>To get the right color, a pixel uses a combination of three or four base colors. Thousands of colors can be produced by combining these colors in different ways. The configurations discussed here are the most common choices for the base colors.</p> <p><strong>Red, Green, and Blue (or RGB)</strong> is the most commonly used color format because it is based on the primary colors you learned in grade school. (You may have had yellow in your first-grade crayon box, but green is actually the third primary color.) RGB colors are sufficiently different from each other that any other color can be made by mixing them. Computer screens often use the RGB format; each pixel emits a combination of red, green, and blue light. RGB is therefore an “active format,” or a color scheme created by mixing light.</p> <p><strong>Cyan, Magenta, Yellow, and Key (or CMYK)</strong> is another common color configuration. Instead of the primary colors (RGB), the complementary colors (cyan, yellow, and magenta) are used. Again, these colors are different enough that they can be combined into any other color. The most difficult color to make by combining other colors is black. For this reason, CMYK pixels also have a black component known as the “key” (the ‘K’ in CMYK). Most printed work uses the CMYK format, accounting for the cyan, magenta, yellow, and black cartridges in your computer printer. Instead of producing light, the images are formed by mixing ink. For this reason CMYK is known as a “passive format” instead of an active one.</p> <p><strong>Hue, Saturation, and Value (or HSV)</strong> works differently from the other configurations. In this format, each color is described by its hue, saturation, and value. Hue specifies the color of a pixel, while saturation determines the shade of that color. For example, a color with low saturation appears light and faded, while a pure, distinct color has a high saturation. The brightness of the color is determined by the value, or intensity. A very bright color has a high value, while a dim color has a low value. These qualities are independent; any hue can take on several different saturations and values.</p> <p>The HSV format is very commonly used in photo editing software, mostly because it describes colors using the same descriptors a human would use. Here’s an article on <a target="_blank" href="http://photography-business-tips.com/2007/05/20/learning-photoshop-for-beginners-5-tips/">Photoshop for beginners</a>. It is much easier for a person to choose a color using its color, shade, and brightness (HSV) than by specifying the percentages of red, green, and blue (RBG) or yellow, cyan, and magenta (CMYK).</p> <p>While RGB is by far the most popular choice for digital images, it should be noted that any color can be described in any of these formats. Each color is represented by percentages of the base colors, and can be mathematically converted from one color system to another. As you have seen, some formats are particularly suited for certain applications. Conversion between these systems allows the image you have edited with HSV software on your RGB computer screen to be printed on your CMYK printer!</p> You can also gain more technical photography knowledge from <a target="_blank" rel="nofollow" href="http://roybarker.dpsecrets.hop.clickbank.net/"><strong>Digital Photography Secrets</strong></a>. They’ll probably ask you to sign up, that’s OK though because you can unsubscribe straight away if you’re not happy. Moreover, it is full of researched and valuable information - I think you’ll be pleased. I know the owner and he’s a straight up person.<br /><br /><a href="http://photography-business-tips.com/2006/10/04/digital-photo-pixel-color-formats-rgb-cmyk-and-hsv/">SOURCE</a>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com1tag:blogger.com,1999:blog-7864657887399832647.post-58281618928477245752007-10-18T11:04:00.001+03:002007-10-18T11:08:12.732+03:00Building a digital SLR system: Looking at the Canon Digital Rebel XTi, Nikon D40, Nikon D80, and EOS 5D cameras<div id="intro"> <a href="http://philip.greenspun.com/images/200411-frankel-girls/039"><img style="margin: 10px 10px 0pt 0pt; float: left;" alt="" title="" src="http://philip.greenspun.com/images/200411-frankel-girls/039.1.jpg" height="230" width="154" /></a> <br /><br />by <a href="http://philip.greenspun.com">Philip Greenspun</a>; revised April 2007</p> </div> <br /><br /><p> Digital single-lens reflex (SLR) cameras are the standard tool for serious photographers. With the introduction of cameras such as the Nikon D40 and the Canon Digital Rebel XTi the market for digital SLR cameras has expanded tremendously. A point-and-shoot compact digital camera can offer reasonably good image quality, but a digital SLR, which usually looks a lot like an old standard 35mm film camera and may use the same lenses, offers the following advantages: </p> <a href="http://philip.greenspun.com/images/200411-frankel-girls/125.tcl"><img style="margin: 0pt 0pt 10px 10px; float: right;" title="" class="illustration" alt="Canon EOS 20D and 70-200/2.8L lens; note the blurred background from the f/2.8 aperture" src="http://philip.greenspun.com/images/200411-frankel-girls/125.1.jpg" height="154" width="230" /></a> <ul><li>accurate, large, and bright optical viewfinder </li><li>fast operation and large controls </li><li>excellent image quality in low "available" light situations when it is necessary to use higher ISO speeds </li><li>interchangeable lenses </li></ul> <p>With the digital SLR you have a good idea of what you're going to capture by looking through the viewfinder. When you press the shutter release the camera captures the image immediately. If you need to zoom or focus manually there are large rings that you can operate quickly by feel. If you see a beautifully-lit scene you can capture that beauty instead of using an on-camera flash to blast everything with harsh white light. If you need to make a specialized photo, you can buy or rent a specialized lens and attach it to the camera. </p> <p>This article explains the different kinds of digital SLR cameras available, how to choose the right one for you, and what to do once you get it home from the shop. A digital SLR camera system, complete with lenses and accessories, can cost anywhere from $600 to $10,000. This article shows you how to choose and buy the basic items first and the more expensive and hard-to-use components later. </p> <p>[If you don't want to read this article and are impatient to get started immediately, get a <a href="http://www.amazon.com/exec/obidos/ASIN/B000I1ZWRW/photonet">Canon Digital Rebel XTi</a>, $700 (<a href="http://photo.net/equipment/canon/digital_rebel_xti/">review</a>) and <a href="http://www.amazon.com/exec/obidos/ASIN/B0007U0GZM/photonet">Sigma 30mm f/1.4 for Canon</a>, $445; if you must have a zoom, the <a href="http://www.amazon.com/exec/obidos/ASIN/B000EW8074/photonet">Canon EF-S 17-55 f/2.8 IS USM</a>, $1180 (<a href="http://photo.net/equipment/canon/efs_17-55">review</a>) is a good choice.] </p> <h2>What is a single-lens reflex (SLR)?</h2> <a href="http://philip.greenspun.com/images/200404-ecuador-peru/200405-tambopata-research-center/new-yorker-with-camera.tcl"><img style="margin: 10px 10px 0pt 0pt; float: left;" title="" alt="Olympus E1 Four-Thirds System Camera and 14-54mm zoom lens" class="illustration" src="http://philip.greenspun.com/images/200404-ecuador-peru/200405-tambopata-research-center/new-yorker-with-camera.1.jpg" height="230" width="173" /></a> <p>The single lens reflex (SLR) is most folks' idea of a serious camera. "SLR" means that the same lens is used for viewing and taking pictures. A mirror in the body directs the light from the lens up into a prism for viewing, then flips up out of the way just before an exposure is made. The standard photojournalist's Nikon from the 1960s or 1970s was an SLR with a roll of 35mm film behind the mirror. When the mirror came up the light passed through to the shutter, which opened to expose one frame of film for perhaps 1/60th of a second. A Canon Digital Rebel or Nikon D80 looks very similar and works in almost the same way. The only difference is that instead of a piece of film behind the shutter there is an electronic sensor. </p> <p>The mirror and optical viewfinder are what enable a photographer to frame images more quickly and accurately than with a point-and-shoot camera. Regardless of what lens or filters you have attached to the camera you see what the sensor will see. The same can be said for the LCD displays on the back of a $200 point-and-shoot camera but those displays are difficult to interpret in sunlight. The typical digital SLR camera viewfinder offers additional information underneath the image, including all the most important camera settings. </p> <p>The SLR is much larger and heavier than the point-and-shoot camera. If you are leaving the house to socialize and want a camera to keep in your pocket just in case an interesting photo presents itself, the SLR will seem cumbersome. If you are heading out specifically with a photographic project in mind you will appreciate how the SLR and its controls fit into your hands. </p> <div class="minigallery"> <a href="http://philip.greenspun.com/images/200404-ecuador-peru/20040426-genovesa/nazca-booby-and-tourists-3.tcl"> <img alt="Olympus E1 Four-Thirds System Camera and 14-54mm zoom lens" src="http://philip.greenspun.com/images/200404-ecuador-peru/20040426-genovesa/nazca-booby-and-tourists-3.1.jpg" height="173" width="230" /></a> <a href="http://photo.net/photo/pcd0795/piazza-della-rotunda-fountain-photo-79"> <img src="http://photo.net/photo/pcd0795/piazza-della-rotunda-fountain-photo-79.1.jpg" alt="The fountain in Piazza della Rotunda, in front of Rome's Pantheon" height="134" width="196" /></a> </div><!-- closes minigallery div --> <p>Because digital SLRs are more expensive than point-and-shoot cameras the manufacturers typically put in faster computers and better autofocus systems. This makes the cameras more responsive and you are more likely to catch the "decisive moment" as the baby's face lights up with a smile, the soccer ball leaves the player's foot, or the dog catches the frisbee. </p> <p>A digital SLR may offer the same number of megapixels, individual image elements, as a high-end point-and-shoot. Not all pixels are created equal, however. Resolution is important if you intend to make large prints but dynamic range, the ability to capture detail within bright highlights and dark shadows, is more critical in many situations. The sensors in digital SLRs are typically much larger than those found in point-and-shoot cameras. The main advantage of a larger sensor is better performance in dim light. If there are 8 megapixels spread out over a sensor that is 4 times larger than the sensor in a point-and-shoot camera that means more photons of light will fall on any given pixel. If during an exposure 50 photons would fall on the small sensor then 200 photons would fall on the big sensor. If there is a small change in the light from one part of the scene to another the sensor in the point and shoot camera is trying to notice a single extra photon; the electronics in the camera with the big sensor have four extra photons that are much easier to detect. </p> <p>First-time consumers of digital SLR cameras focus on the body. Long-time photographers, however, look at the <em>system</em>. An SLR <em>system</em> includes a body, multiple lenses, flash units, and various connecting cords. For most photographers the investment in lenses will come to dwarf the cost of a body. It is thus important to choose a system whose manufacturer makes the lenses that you need for all of your potential projects and, ideally, whose system is popular enough that you can rent special-purpose lenses for uncommon situations. Each camera system has its own lens mount design and a lens that works on, say, a Nikon camera cannot be attached to a Canon body. </p> <h2>Who makes digital SLR cameras?</h2> <p>The same companies that made 35mm film SLRs make digital SLRs. If you have a lot of Canon EOS lenses from your days as a film photographer, for example, you will probably want to buy a Canon EOS digital camera, because those lenses from the 1990s will work just fine on the new digital camera.</p> <p>The market leader in the professional/advanced amateur photography world is Canon. If you don't have a major investment in lenses you will probably want to buy a Canon digital SLR. The number two spot is occupied by Nikon, which is also a reasonable choice. Fuji and Kodak have made digital SLRs that accept Canon- and Nikon-mount lenses. Once you get beyond Nikon and Canon it becomes very difficult to rent lenses and the companies that make the more obscure systems don't have a large enough market share to invest enough money to build competitive bodies. Leica, Minolta, Olympus, Pentax, and Sigma are the small vendors in the digital SLR market. Unless you have an enormous investment in lenses for one of these brands the only one of these worth considering for purchase is Olympus, due to its innovative Four-Thirds system, discussed below.</p> <h2>What kinds of digital SLRs are available?</h2> <p>There are three kinds of digital SLR systems being made as of September 2005:</p> <ol><li>big lenses, big sensor </li><li>big lenses, small sensor </li><li>small lenses, small sensor </li></ol> <p>We will discuss each in turn.</p> <a href="http://photo.net/photo/pcd0952/boston-marathon-46"><img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/photo/pcd0952/boston-marathon-46.1.jpg" alt="100th Anniversary Boston Marathon (1996)." height="198" width="132" /></a> <p><b>Big lenses, big sensor.</b> Canon and Kodak have taken the most obvious approach to the challenge of transitioning from film to digital: build a digital sensor exactly the same size as one frame of 35mm film. The result is a chunk of silicon 24x36mm in size, which is vast compared to the sensor in a point-and-shoot digicam. The benefit of this vast sensor is reduced noise, which looks like grain, in low light/high-ISO situations. The drawback of a vast sensor is that manufacturing a flawless piece of silicon this big is very expensive. The only consumer-priced camera in this category is the 13-megapixel Canon EOS-5D ($2950; check <a href="http://www.amazon.com/exec/obidos/ASIN/B0007Y791C/photonet">amazon.com</a> for the latest price). If you have a strong back and an unlimited budget, the 16-megapixel Canon EOS-1Ds Mark II ($7000; available at <a href="http://www.amazon.com/exec/obidos/ASIN/B00064O8Z8/photonet">amazon</a>), is a great choice. It is probably the best digital camera made and produces image quality that rivals medium format film (e.g., 6x6cm Hasselblad). </p> <p>The only other full-frame digital SLRs made were the discontinued Kodak DCS Pro SLR/n and SLR/c bodies. The Kodaks were cheaper than the Canon, but not quite as functional and the fact that they were discontinued is a good illustration of why you want to buy a digital SLR from a market leader. I own a 5D and have written <a href="http://photo.net/equipment/canon/5D/">a full review of the Canon EOS 5D</a>.</p> <p><b>Big lenses, small sensor.</b> In order to keep the cost of the body within a range of $700-1500 and allow photographers to use their old 35mm system lenses most digital SLRs fall into this category. The front of the body has the same lens mount as an old film SLR. The back of the body has a sensor that is smaller than the 24x36mm standard frame of an old film SLR. The result is a camera that looks the same as the old film camera but multiplies the magnification of all the lenses. Having a smaller sensor is like cutting the center out of a drugstore proof print. You don't capture all the information on the left and right and top and bottom of the frame. It is as though you took the picture with a telephoto lens. The viewfinder has been adjusted so that what you see optically is what is captured in the digital file. If you're coming from the film world you will need to do a mental adjustment. A 50mm normal perspective lens on a big lens/small sensor camera behaves like an 80mm telephoto lens on a film camera. A 20mm ultra wide-angle lens behaves like a 30-32mm slightly wide angle lens on a film camera. Nearly all the popular digital SLRs fall into this category and their various merits will be discussed below.</p> <p><b>Small lenses, small sensor.</b> The biggest problem with the "big lens, small sensor" situation is that photographers are forced to cart around lenses that are much larger, heavier, and, theoretically, more expensive, than they need to be. A big heavy Canon telephoto lens is big and heavy mostly because it is built to cast an image circle large enough to cover a 24x36mm frame but the Canon EOS 30D body's sensor is only 15x22mm in size. Any engineer would look at this "big lens, small sensor" situation and say "Why not come up with a standard reasonable sensor size and then make lenses that are just large enough to cover that sensor with an image?" That's precisely what the Four Thirds consortium did. Olympus and Kodak seem to be the originators of the standard but Fuji, Panasonic, Sanyo, and Sigma have signed on as well according to <a href="http://www.four-thirds.org">www.four-thirds.org</a>. This seemed like a great idea at the time (2002) but four years later only three Four Thirds system bodies have been built, all by Olympus, and only a handful of lenses, all from Olympus and Sigma.</p> <p>If you have a a robust checking account and/or a lot of Canon EOS film camera lenses an unlimited budget the "full-frame" Canon EOS-5D (big lenses/big sensor; medium weight; $2900) is the obvious choice. If you don't need state-of-the-art performance and value compactness above all, the Olympus E System is a reasonable choice (see <a href="http://photo.net/equipment/olympus/e1">my review of the Olympus E1</a> for more detail; the current best buy is <a href="http://www.amazon.com/exec/obidos/ASIN/B000BK39N4/photonet">a complete starter kit with the E-500 for $630 from amazon</a>). More than 90 percent of photographers, however, will find that the engineering compromise of "big lenses/small sensor" fits their budget and needs. This has led to the introduction of lenses that have the big lens mount for a 35mm film camera but optically cover only the small sensor of a mid-range digital SLR. These are sold as "digital-only lenses" or "digital camera lenses" but in fact they won't work on a full-frame digital SLR--the corners of the image would be black. Canon denotes these lenses as "EF-S", Nikon as "DX". </p> <h2>Which big lenses/small sensor digital SLR to buy?</h2> <p>Canon is the strongest competitor in the digital SLR market. Their current (2006) big lenses/small sensor options include the following cameras:</p> <ul><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000I1ZWRW/photonet">Canon Digital Rebel XTi</a>, $700 (<a href="http://photo.net/equipment/canon/digital_rebel_xti/">review</a>); 485g; called "Canon EOS 400D" outside the U.S.; introduced fall 2006</li><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000DZDTKU/photonet">Canon EOS 30D</a>, $1240 (<a href="http://photo.net/equipment/canon/30D">review</a>); 700g; introduced May 2006</li></ul> <p>These bodies are very similar in performance with sensors that are about the same size and 8-megapixels in resolution. The 30D offers better performance in low light, more responsive operation, and a rear control wheel that makes for faster operation in manual or limited-automation modes. The Digital Rebel is lighter and less bulky.</p> <p>If you have a substantial investment in Nikon-mount lenses you might wish to stick with the Nikon system when buying a digital SLR. At many points in time Canon makes slightly more advanced bodies, but in virtually every photographic situation you'd end up taking the same picture with either the Canon or Nikon big lenses/small sensor body. Nikon's current (2007) options include the following:</p> <ul><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000KJQ1DG/photonet">Nikon D40, 18-55mm kit</a>, $549 (<a href="http://www.photo.net/equipment/nikon/D40">review</a>)</li><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000HGIWN4/photonet">Nikon D80</a>, $1000; 600g; introduced fall 2006 but based on the D70, which was introduced in early 2004</li><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000BY52NK/photonet">Nikon D200</a>, $1700 (<a href="http://photo.net/equipment/nikon/D200">review</a>); introduced in March 2006</li><li><a href="http://www.amazon.com/exec/obidos/ASIN/B000G6JOP0/photonet">Nikon D2Xs</a>, $4600 (<a href="http://photo.net/equipment/nikon/D2X">review</a>); 1070g; introduced early 2005; </li></ul> <p>All of Nikon's digital SLR cameras use the same size 16x24mm sensor, which multiplies lens magnification by 1.5. The D2Xs is the heavy professional 12-megapixel model. The D200 is the advanced amateur 10-megapixel model. The D80 is the mid-range 10-megapixel model, much lighter in weight due to its plastic body. The D40 is a delightful light compact 6 MP camera with an intuitive user interface. The D40 is the only SLR camera that shows example photos to illustrate the appropriate use of different settings.</p> <p>Before you consider buying anything other than Canon or Nikon, remember that a 300/2.8 telephoto lens, the standard tool of sports and wildlife photographers, will cost around $4500 to buy and $50 to rent for a weekend. You can rent lenses for Canon and Nikon, or a backup body, in any larger city.</p> <a name="body"></a> <h3>Get a body and normal lens</h3> <p><a href="http://photo.net/philip-greenspun/photos/pcd0866/boykin-spaniel-16"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" class="illustrationL" src="http://photo.net/philip-greenspun/photos/pcd0866/boykin-spaniel-16.1.jpg" alt="Boykin Spaniel in Harvard Yard. Cambridge, MA 1998." width="132" /></a> </p><p class="marginnote"> Lenses are specified by focal length in millimeters and aperture, a ratio between the diameter of the lens and its length. The longer the lens, the greater the magnification. A 50mm lens gives approximately the same perspective as normal human vision. A 400mm lens gives a view like looking through 8X binoculars and a 20mm lens is a dramatically wide angle lens. Lens apertures or f-stops have the following full steps: 1.4, 2.0, 2.8, 4, 5.6, 8, 11, 16, 22. Each step represents half as much light being admitted to the sensor. "50/1.4" is shorthand for a lens that is 50mm long and has a maximum aperture of f/1.4. Zoom lenses are specified with the focal length range followed by the aperture range, e.g., "24-105/2.8-4" is a lens that goes from a wide 24mm perspective to a telephoto 105mm perspective while the maximum aperture available goes from f/2.8 at the 24mm end to f/4.0 at the 105mm end. A "fast" lens is one with a wide maximum aperture, e.g., f/2.0. A "slow" lens is one with a physically small (though numerically large) maximum aperture, e.g., f/5.6. The slow lens will require a more brightly lit scene in order to deliver adequate illumination to the sensor. </p> <p>You've bought, or rented, a digital camera. </p> <p>It is rather unsatisfying to fool around with a camera unless you can form images on the sensor and therefore you need a lens. The cheap zoom lenses that come packaged with a Canon Digital Rebel or Nikon D50 kit are poor tools for building photography skills or making compelling images. The novice photographer who starts with a zoom lens typically uses it in lieu of backing up or stepping forward. An experienced photographer visualizes the scene first, chooses a focal length, then gets into the appropriate position to capture the scene with that focal length. It is much better to get a lens with a fixed focal length, learn to recognize scenes where that lens can be used effectively, and then add additional lenses once that focal length has been mastered. So even if you have the $1000+ to buy a high quality zoom and the muscles to lug it around it is probably a poor choice of first lens.</p> <p>The $100-200 lightweight zoom lenses that come bundled with digital SLR bodies have some additional limitations. Being a good photographer starts with the ability to recognize a scene that looks attractive under its current lighting conditions. You need a lens with a wide enough maximum aperture, typically f/2.0 or f/1.4, to capture that scene even when the lighting is fairly dim, as it will be indoors or near the end of the day. An inexpensive zoom lenses will have a maximum aperture of between f/4.0 and f/5.6. At an aperture of f/5.6 you will need 8 times as much light to take a picture as you do at an aperture of f/2.0. Thus the cheap zoom will force you to use the on-camera flash, which casts an ugly flat light and in any case will render the scene completely different than it looked to your naked eye. Flash can be useful, especially with multiple strobes in the studio or as a fill-in light to reduce contrast outdoors, but mastering flash photography is a separate challenge. </p> <p>The final problem with a cheap zoom lens is image quality. There is no free lunch in this world and when an optical engineer cuts cost and weight the sharpness and contrast are reduced. In fact, you might get a better quality photo with a point-and-shoot digicam than with a heavy expensive digital SLR with a cheap light zoom lens attached.</p> <p>What you want for a starter digital camera lens is a high-quality "prime" lens with a fixed focal length. You want a "normal" perspective so that the relative sizes of objects in the image will be roughly what you experience with your normal vision. For a 35mm film camera or a full-frame digital SLR (Canon EOS-1Ds; Canon EOS-5D), the normal focal length is 50mm. For a Canon Digital Rebel or similar "big lenses/small sensor" camera the normal perspective is afforded by a 35mm lens. For a Four Thirds camera such as the Olympus E1, the normal lens is 25mm.</p> <a href="http://photo.net/philip-greenspun/photos/pcd0866/luke-hunsberger-15"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" alt="40-year-old Nikon film camera, ancient 50mm Nikon lens, and old formula Kodak Tri-X film; despite the low tech, an accurate portrait of Luke Hunsberger in Harvard Yard" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd0866/luke-hunsberger-15.1.jpg" height="198" width="132" /></a> <p>In the Canon system there are two kinds of autofocus motors available in the various lenses. The best kind of autofocus motor is ultrasonic, denoted by the "USM" designation on a lens. With USM the pure autofocus will be faster and it is also easier to let the camera do most of the focus work but manually change the point of focus if desired. For the EOS-1Ds or EOS-5D, I recommend the Canon 50/1.4 because it has the USM motor, unlike the cheaper Canon 50/1.8.</p> <p>For the Canon small sensor DSLRs, e.g., the EOS 30D and Digital Rebel XTi, the Canon 35/2 lens is an economical lightweight choice, but sadly it lacks a USM motor. Canon makes a very fine 35/1.4L USM that lets you work in light only half as bright as the 35/2 (the "L" designation means that it is part of Canon's expensive lineup of lenses and will have superb optical performance and mechanical construction). This lens costs more than $1000, however, and, at 580 grams, is heavy. Generally speaking, "third party" lenses such as those made by Sigma, Tamron, and Tokina, are not worth considering compared to Canon-brand lenses. The remarkably cheap wide-range third-party zooms deliver terrible image quality. The high quality third-party prime lenses or fast zooms aren't much less expensive than high quality Canon- or Nikon-brand lenses. Sigma's 30/1.4 digital-only lens is an exception. Because it does not cast an image large enough to cover a 24x36mm film frame, the lens is much lighter (422g) than the Canon 35/1.4 and less than half the price (<a href="http://www.amazon.com/exec/obidos/ASIN/B0007U0GZM/photonet">check it on Amazon now</a>). It has an ultrasonic motor, denoted "HSM" by Sigma, and has delivered superb optical performance in magazine tests.</p> <p>With Nikon, your choices are simple. Nikon doesn't make any full-frame digital SLRs, and they only make one 35mm prime autofocus lens, a 35/2. The <a href="http://www.amazon.com/exec/obidos/ASIN/B0007U0H06/photonet">Sigma 30mm f1.4 for Nikon</a>, $420 is probably a better choice due to its extra f-stop of light gathering capability and ultrasonic motor.</p> <p>Olympus makes very few prime lenses and none with a 25mm "normal" perspective. Olympus does offer a choice of three zooms, however. The best image quality and fastest aperture is a 14-35/2.0. The "reasonably good" mid-range zoom is the 14-54/2.8-3.5. The cheapest Olympus zoom for the Four Thirds system is the 14-45/3.5-5.6, only suitable for sunny days due to its small maximum apertures.</p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0866/play-the-chessmaster-17"> <img style="margin-top: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0866/play-the-chessmaster-17.1.jpg" alt="Play the Chessmaster. Harvard Square. Cambridge, MA 1998." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0865/mombasa-66"> <img style="margin-top: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0865/mombasa-66.1.jpg" alt="Mombasa. A Great Pyrenees puppy. Harvard Yard 1998" height="134" width="196" /></a> </div><!-- closes minigallery div --> <p>As noted previously, expensive digital camera bodies are often sold in kits with cheap slow zoom lenses that sell separately for a maximum of $100. If the kit is the same price as the body alone, by all means get the kit and put the included lens aside until you are letting a clumsy child experiment with your camera system. But also shop for a high quality lens of some sort.</p> <p>Distilled shopping advice:</p> <ul><li>cheapest possible system: <a href="http://www.amazon.com/exec/obidos/ASIN/B000KJQ1DG/photonet">Nikon D40, 18-55mm kit</a>, $549 (<a href="http://www.photo.net/equipment/nikon/D40">review</a>) </li><li>basic family camera system: Canon Digital Rebel XTi and Sigma 30/1.4 lens (buy it from amazon.com: <a href="http://www.amazon.com/exec/obidos/ASIN/B0007QKMSC/photonet">body</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B0007U0GZM/photonet">lens</a>) </li><li>transitioning film photographer: Canon EOS-30D and Sigma 30/1.4 lens (buy it from amazon.com: <a href="http://www.amazon.com/exec/obidos/ASIN/B000DZDTKU/photonet">body</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B0007U0GZM/photonet">lens</a>) </li><li>technophile: Canon EOS-5D and Canon 50/1.4 lens (buy it from amazon.com: <a href="http://www.amazon.com/exec/obidos/ASIN/B0007Y791C/photonet">body</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B00009XVCZ/photonet">lens</a>) </li></ul> <a name="accessories"></a> <h2>Get some accessories</h2> <p><a href="http://photo.net/philip-greenspun/photos/pcd3815/dublin-eve-6"> <img class="illustration" src="http://photo.net/philip-greenspun/photos/pcd3815/dublin-eve-6.1.jpg" alt="Eve making her first purchase (cosmetics) in Dublin, Ireland." align="right" height="198" width="132" /></a> </p><p>Big digital SLR cameras take not-so-very-compact Compact Flash (CF) memory cards. Often the camera body does not come with a CF card or the supplied card will only hold a handful of images. A RAW photo from an 8-megapixel digital SLR occupies roughly 10 MB of space on the card, which means that a 2 GB card will hold approximately 200 images. The RAW files from the Canon EOS-5D are approximately 13 MB in size, which means that you can get 300 images on a 4 GB card. In addition to the size of the card, it is worth looking at the maximum writing speed. A card labeled "60X", for example, can theoretically read or write 9 MB per second or one RAW 8-megapixel image per second (folks who've measured the write times of various cards in real cameras never get more than 6 MB per second, even from cards that are supposed to support 20 MB per second). The camera has a memory buffer allowing you to capture 20 or more images in rapid sequence, and then it writes them to disk as fast as the card allows. Even with a large buffer, however, you want a fast card so that the camera is responsive to requests to review recently captured images. You don't want to leave your subjects standing around for two minutes while the camera writes to the card and then you figure out whether you've gotten the images that you need. The SanDisk Ultra II cards are nearly as fast as the fastest available cards and nearly as cheap as the cheapest available cards. Don't pay extra for Lexar "write-acceleration" cards if you're using a Canon body; Canon doesn't support whatever these cards need to write faster. You can buy Sandisk cards at Amazon.com: <a href="http://www.amazon.com/exec/obidos/ASIN/B00065ANY2/photonet">8 GB</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B00065ANYW/photonet">4 GB</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B0001CNMFM/photonet">2 GB</a>; <a href="http://www.amazon.com/exec/obidos/ASIN/B0000CD0B7/photonet">1 GB</a>. Serious photographers don't generally use cases for SLRs. If you're out taking pictures, you want the camera available for immediate use. If you're not taking pictures, you can stuff the camera anywhere. If you are going to be taking the camera out in the rain, however, or tossing it into a backpack with a lot of rocks, I like the Zing neoprene "action covers". </p> <p>A "UV haze" filter, appropriately sized to fit the front of your lens, can be useful if you're taking pictures in a dusty or wet environment or if you're lending your camera to a careless person. For maximum contrast and image quality, however, don't leave the filter on the lens when doing a project in a clean environment.</p> <p>As far as cleaning accessories go, the most useful is a microfiber cloth. Remember to drip the cleaning fluid onto the cloth and then wipe the lens; do not drip cleaning fluid directly onto a lens. Also never try to clean an SLR mirror yourself. Dust on the mirror will not appear on your images and it is very easy to damage the mirror surface. Zeiss makes some good lens cleaning products (<a href="http://www.amazon.com/exec/obidos/ASIN/B0002CH018/photonet">buy a kit from amazon</a>), including their pre-moistened wipes.</p> <h2>Where to Buy</h2> <p>In the old days you saved a lot of money by buying camera equipment from one of the big New York City retailers. These days, however, prices for digital cameras are about the same all over the Web. You'll get about as good a deal at amazon.com as anywhere else, sometimes better. The main problem with buying digital SLR cameras and digital camera lenses at a non-specialty store is that they won't have the serious lenses. You'll be able to get the cheap popular zooms but not the prime lenses, the professional-quality zooms, or unusual accessories.</p> <a name="knowledge"></a> <h2>Get some knowledge</h2> <p>Please take a moment to read <a href="http://photo.net/learn/making-photographs/light">this article on photographic light</a> (written for the film era but still valuable). Read the owner's manual that came with your camera a couple of times.</p> <a name="Friends"></a> <h2>Project: Friends and Family at Home</h2> <a href="http://photo.net/philip-greenspun/photos/pcd0865/nick-gittes-and-alex-107"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd0865/nick-gittes-and-alex-107.1.jpg" alt="Nick Gittes and Alex. 1998." height="134" width="196" /></a> <p>Set the camera to ISO 400 or ISO 800 and learn to make satisfactory images with available light indoors. Since you will usually find people indoors, you might as well include them in your pictures. The normal perspective lens is wide enough to show a person plus some part of the activity in which he or she is engaged.</p> <p>If you got your digital SLR camera as a kit with a cheap zoom lens this would be a good time to compare the utility of the slow zoom lens with the fast prime lens. Try the same portraits indoors with the kit lens and the 35/1.4 or 50/1.4 lens. See if the small maximum aperture of the kit lens forces you to use either very slow shutter speeds (blurry due to camera shake) or very high ISO speeds (lots of digital noise in the images when viewed later on a computer screen).</p> <h2>Get some image editing software</h2> <a href="http://photo.net/philip-greenspun/photos/pcd4553/hydro-plant-70"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" class="illustrationL" src="http://photo.net/philip-greenspun/photos/pcd4553/hydro-plant-70.1.jpg" alt="Hydroelectric plant on the Connecticut River in Vernon, Vermont." height="134" width="196" /></a> <p>On the computer side, you need to come up with a plan for storing and selecting photos. My personal strategy is to start with directories named YYYYMMDD-subject, e.g., "20050813-newport-jazz-festival". Prefixing with the date in that format ensures that the directories, sorted by name, will appear in chronological order. The really bad photos I move into a subfolder called "rejects". The better photos I rename to something more descriptive than the camera-generated serial number. All of this can be done within the Windows XP file explorer, even for camera RAW images, if you download the free <a href="http://www.microsoft.com/downloads/details.aspx?FamilyID=d48e808e-b10d-4ce4-a141-5866fd4a3286&displaylang=en">"Microsoft RAW Image Thumbnailer and Viewer for Windows XP"</a>. The latest versions of Macintosh OS X also provide support for viewing RAW images.</p> <p><a href="http://www.picasa.com/">The Picasa system</a>, which was purchased by Google and is free (Linux/Windows-only), does almost everything most people want for image organization and editing. Picasa works with RAW-format files.</p> <p><a href="http://www.amazon.com/exec/obidos/ASIN/B00081I76A/photonet">Adobe Photoshop CS2</a> is a great system but it is more of a professional graphic artist's tool than a photographer's tool. If you want software that can handle all of your requirements as you gain experience, Photoshop is it. I personally do all of my browsing, renaming, and editing in Photoshop and have developed <a href="http://philip.greenspun.com/photography/photoshop-scripts/">scripts for processing camera images into JPEGs with copyright info for the Web</a>.</p> <a name="Shadows"></a> <h2>Project: Shadows</h2> <p>Set the camera to ISO 50 or 100 (the lowest numerical setting, which will be the highest quality) and walk around on sunny days looking for interesting shadows. Photograph the shadows either by themselves or in conjunction with the objects casting the shadows. One of the goals here is to train your eye to look for interesting shadows.</p> <a name="angle"></a> <h2>Project: Low-angle</h2> <a href="http://photo.net/philip-greenspun/photos/pcd0795/dog-and-woman-25"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd0795/dog-and-woman-25.1.jpg" alt="Christmas shopping near the Piazza di Spagna (Spanish Steps)" height="198" width="132" /></a> <p>Set the camera to ISO 400 and walk around on an overcast day looking for interesting pictures that you can take with the camera no more than one or two feet off the ground. People tend to make nearly all of their photographs while standing erect. It is good to train yourself to experiment with crouching or even lying down to get a different perspective.</p> <p>When photographing dogs and children, it is particularly important to consider the effect you'll have on the picture by standing over your subject. </p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd4320/boca-grande-florida-tailfin-44"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" src="http://photo.net/philip-greenspun/photos/pcd4320/boca-grande-florida-tailfin-44.1.jpg" alt="Boca Grande. Gasparilla Island. SW Florida" /></a> </div><!-- closes minigallery div --> <a name="tripod"></a> <h2>Get a tripod</h2> <p> Many interesting pictures require keeping the shutter open for several seconds, much longer than human beings are capable of holding still. A tripod will enable you to fix the camera in a compositionally satisfying position and take 30 second or longer exposures.</p> <p>Read <a href="http://photo.net/equipment/tripods/philg">our tripod primer</a> and buy whatever fits your budget. Rest assured that as you get serious, you'll probably end up with another tripod or two.</p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0558/powerscourt-japanese-14"> <img src="http://photo.net/philip-greenspun/photos/pcd0558/powerscourt-japanese-14.1.jpg" alt="Japanese Garden. Powerscourt. South of Dublin, Ireland." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd3815/wicklow-mountains-61"> <img src="http://photo.net/philip-greenspun/photos/pcd3815/wicklow-mountains-61.1.jpg" alt="Military Road (R115) in the Wicklow Mountains, south of Dublin, Ireland." height="134" width="196" /></a> </div><!-- closes minigallery div --> <p>Some good tripod choices for typical digital SLRs:</p> <ul><li>reasonable quality: <a href="http://www.amazon.com/exec/obidos/ASIN/B00009R6CM/photonet">Bogen/Manfrotto 3001 legs</a> and <a href="http://www.amazon.com/exec/obidos/ASIN/B00009R6MQ/photonet">Bogen ball head with quick release</a> </li><li>high quality: <a href="http://www.amazon.com/exec/obidos/ASIN/B0007WTAX4/photonet">Bogen 190MF3 legs</a> and <a href="http://www.amazon.com/exec/obidos/ASIN/B00009R6MQ/photonet">Bogen ball head with quick release</a> </li></ul> <p>More expensive tripods are either lighter or provide better dampening of vibration or both.</p> <a name="City"></a> <h2>Project: City at Night</h2> <a href="http://photo.net/philip-greenspun/photos/pcd0795/pantheon-at-night-80"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd0795/pantheon-at-night-80.1.jpg" alt="Rome's Pantheon, built by Hadrian as a temple around AD 120 and converted to a church in the middle ages" height="134" width="196" /></a> <p>Drive to the nearest city with interesting buildings that are illuminated at night. Set the camera to ISO 100 (the relatively slow speed is irrelevant now that you have the tripod) and bracket your exposures. In addition to learning about low-light metering and the use of the tripod, you want to see the aesthetic effect of differing exposures. There really isn't a correct exposure for night photography. Do you want the building to look sort of dark and mysterious? Bright and inviting? It is your choice with a flip of the shutter speed dial. Note that none of your slides will record the full range of tones in the original scene. Some parts of the building that you could see with your eyes will register on film as pure black. Some parts that are close to street lights will be blown out into pure white.</p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0803/verona-arena-at-night-41"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" src="http://photo.net/philip-greenspun/photos/pcd0803/verona-arena-at-night-41.1.jpg" alt="At Christmas time, the Veronese tack this bizarre sculpture onto the Roman Arena, indicating that the creche exhibit is on." height="134" width="196" /></a> </div><!-- closes minigallery div --> <a name="lens"></a> <h2>Get a wide-angle lens</h2> <a href="http://photo.net/philip-greenspun/photos/pcd2668/feet-low-angle-53"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustrationL" src="http://photo.net/philip-greenspun/photos/pcd2668/feet-low-angle-53.1.jpg" alt="Feet" height="198" width="132" /></a> <p>You should be comfortable with the normal lens now and have a pretty good idea of when you can successfully use it. The uninteresting and obvious thing that a wide-angle lens does is capture more of the surrounding scenery on film (something that you could achieve with the normal lens, simply by backing up). The non-obvious thing that a wide-angle lens does is change the relative prominence of objects in a scene (see the image at left, which was taken with a 14mm extreme wide-angle lens on a 35mm film camera).</p> <p>As a growing photographer, whenever you're using a wide-angle lens, you have to learn to look for interesting objects to fill the foreground. If you don't find one, you'll end with a flat postcard-like image. If you do find an interesting object, move in close so that it fills at least one-third of the frame. The interesting thing about the resulting image is that your viewers will get a good look at the object you've selected but will also see a wide swath of background.</p> <a href="http://photo.net/philip-greenspun/photos/pcd1765/cedars-24"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd1765/cedars-24.1.jpg" alt="The Cedars Trail, Glacier National Park (Montana)" height="134" width="196" /></a> <p>In the image at right, note how the foreground log and ferns are the main subject but you can still see a lot of the background forest. This was taken with a 20mm lens on a film camera (and a tripod, in the rain, with a towel over the lens, exposure for almost 1 second). </p> <p>For comparison, below right is an image that was <b>not taken with a wide-angle lens</b>. In fact, it was made with a telephoto (narrow-angle or high-magnification) lens, about 200mm long on a film camera. Note that foreground and backgrounds trees all have roughly the same relative prominence. That's because the foreground trees aren't much closer, percentage-wise, to the camera than the background trees. </p> <a href="http://photo.net/philip-greenspun/photos/pcd2488/maple-trees-12"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd2488/maple-trees-12.1.jpg" alt="Maple trees near Peacham, Vermont" /></a> <p>How wide a lens to get? Technically 35mm on a 35mm camera is wide but it is the same focal length as most point and shoot cameras so I don't recommend it. If you're going to lug an SLR around you want something at least a little bit dramatic. I recommend starting with a lens that is gives a 24 or 28mm perspective on a film or full-frame digital camera, which means a 16-18mm lens on a mid-range Canon EOS or Nikon D80 digital SLR. After you've made a lot of images with which you're happy (i.e., where you successfully found a good object for the foreground), then consider widening out to 16 or 20mm, which translates to 10-14mm on a "big lenses/small sensor" digital SLR. </p> <p>In practice it is difficult to find reasonably priced ultra-wide prime (non-zoom) lenses. There isn't a very large market for a 14/2.8 lens and therefore they are built almost by hand. It therefore makes sense to buy a wide-angle zoom lens. A good place to start experimenting in the Canon small-sensor world is the <a href="http://www.amazon.com/exec/obidos/ASIN/B0002Y5WXE/photonet">10-22/3.5-4.5 zoom lens</a>. This is unfortunately a little bit slow, with a maximum aperture of f/3.5 at 10mm and f/4.5 at 22mm. However with a digital camera you can always push up the ISO when the light gets dim and compensate for the lack of lens speed, albeit with an increase in noise. In the Nikon line, I recommend the <a href="http://www.amazon.com/exec/obidos/ASIN/B000092M1T/photonet">Nikon 12-24mm f/4G ED IF Autofocus DX</a>, $935. Olympus makes a 7-14mm lens for the E-system. </p> <p>If you're using a full-frame Canon EOS 5D, the professional choice is the 16-35/2.8L (<a href="http://www.amazon.com/exec/obidos/ASIN/B00006I53Q/photonet">amazon</a>). </p> <a name="People"></a> <h2>Wide Project: People in the City</h2> <a href="http://photo.net/philip-greenspun/photos/pcd0923/san-francisco-chinatown-45"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd0923/san-francisco-chinatown-45.1.jpg" alt="Chinatown. San Francisco, California" /></a> <p>The most common example uses for wide-angle lenses are all dramatic landscapes. I don't like this for learners, though, because (a) it is time-consuming for most people to have to drive to a dramatic landscape, (b) photojournalists make frequent and brilliant use of wide-angle lenses to illustrate people interacting with each other or with their environment.</p> <p>So get out there with your new wide-angle lens and get up close to your subjects. You need to learn how to stick a camera 12 inches from your subject. Remember that the ruder your personality, the better a photojournalist you will make. Here are a few examples to motivate you.</p><br /><br /><p><br /> </p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0074/george-boston-garden-12"> <img title="" style="" src="http://photo.net/philip-greenspun/photos/pcd0074/george-boston-garden-12.1.jpg" alt="George. Boston Garden." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1660/seldovia-cafe-93"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1660/seldovia-cafe-93.1.jpg" alt="Seldovia Cafe, Seldovia, Alaska (Kenai Peninsula)." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1765/easy-rider-10"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1765/easy-rider-10.1.jpg" alt="Motorcycle convention in North Dakota" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1312/money-for-beer-42"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1312/money-for-beer-42.1.jpg" alt="Money for beer. Times Square, 1995." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0952/boston-marathon-65"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0952/boston-marathon-65.1.jpg" alt="100th Anniversary Boston Marathon (1996)." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0923/san-francisco-painted-wall-37"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0923/san-francisco-painted-wall-37.1.jpg" alt="Painted wall on the border between Chinatown and North Beach. San Francisco, California" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1312/hate-37"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1312/hate-37.1.jpg" alt="Hate. Manhattan 1995." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1253/big-guy-and-horse-6"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1253/big-guy-and-horse-6.1.jpg" alt="Manhattan, 1995." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1253/chinatown-kids-on-ride-46"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1253/chinatown-kids-on-ride-46.1.jpg" alt="Chinatown. Manhattan 1995" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0795/smoking-in-a-cafe-39"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0795/smoking-in-a-cafe-39.1.jpg" alt="My Italian women friends love to laugh at American smoke-o-phobia and blow smoke in my face; the men are usually much more polite" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0795/smoking-in-a-cafe-40"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0795/smoking-in-a-cafe-40.1.jpg" alt="My Italian women friends love to laugh at American smoke-o-phobia and blow smoke in my face; the men are usually much more polite" height="134" width="196" /></a> </div><!-- closes minigallery div --> <a name="telephoto"></a> <h2>Get a telephoto lens</h2> <a href="http://photo.net/philip-greenspun/photos/pcd1641/leaf-nest-37"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd1641/leaf-nest-37.1.jpg" alt="A small bird in his nest of leaves." height="134" width="196" /></a> <p>With the wide lens, you've explored the possibilities in showing a subject plus its environment. With the telephoto lens, you must learn to find good compositions where you isolate your subject from its environment. Telephoto lenses accomplish this isolation first by having higher magnification than a normal perspective lens. So without you having to move forward, the lens will record a smaller portion of the scene on film. The telephoto lens compresses perspective. As in the tree image above, foreground and background objects won't be given dramatically different prominence. However, if you don't stop the lens aperture down, background objects may be so out of focus as to be imperceivable by the viewer. With the image at right, taken with a 300/2.8, the viewer's eye is immediately led to the subject because everything else is out of focus. </p> <p>Note that depth of field, or what is in and out of focus in the scene, is a function of the absolute length of the lens and the aperture used for exposure. Thus to get this kind of background blur with a mid-range digital SLR you would still need to use a 300/2.8 lens even though the same magnification and subject scale could be achieved with a 200mm lens. </p> <p>It is probably worth buying a prime telephoto lens equivalent to 100-150mm on a film or full-frame digital SLR. This is short enough to be cheap and long enough to be noticeably different from your normal lens. Note that 100mm was typically considered the ideal lens for portrait photography on a 35mm SLR. An excellent lens for the Canon EOS system is <a href="http://www.amazon.com/exec/obidos/ASIN/B00009USVW/photonet">the 100/2 USM</a>. If you must have a zoom telephoto, restrict yourself to the L-series, the cheapest of which is <a href="http://www.amazon.com/exec/obidos/ASIN/B000053HH5/photonet">the Canon 70-200/4L USM</a>. Although this lens is a full f-stop faster than the cheap zoom telephotos, which are usually f/5.6 at their long ends, it is two f-stops slower than the 100/2 prime lens and that is going to hurt if you are taking portraits in natural light. Most people don't look their best in contrasty bright direct sunshine. In the Nikon system look at <a href="http://www.amazon.com/exec/obidos/ASIN/B00005LE75/photonet">the 85/1.8D AF lens</a>. There are no high quality lightweight medium-speed zoom telephotos in the Nikon line as of December 2005. Your only optically reasonable option is the <a href="http://www.amazon.com/exec/obidos/ASIN/B00009MDBQ/photonet">standard professional workhouse 70-200/2.8</a>, which is an incredibly large and heavy lens. To experiment with telephoto photography on a sunny day, and wait for the day when Nikon makes better lenses specifically for their small-sensor cameras, spend $250 on <a href="http://www.amazon.com/exec/obidos/ASIN/B0009HN57Y/photonet">the Nikon 55-200/4-5.6</a>. Note that, due to its small maximum aperture, this lens will not produce a blurred background for portraits. </p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0728/nika-96"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0728/nika-96.1.jpg" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1765/gruyere-68"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1765/gruyere-68.1.jpg" alt="Gruyere, Switzerland" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd4553/vermont-farm-52"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd4553/vermont-farm-52.1.jpg" alt="Farm, just south of Brattleboro, Vermont." height="134" width="196" /></a> </div><!-- closes minigallery div --> <a name="Portraits"></a> <h2>Telephoto Project: Portraits</h2> <p> Park your subject near a window, traditionally north-facing, that provides indirect sunlight. Get a piece of white cardboard to reflect light back from the window onto the side of your subject facing away from the window. Put your camera on the tripod. Take pictures. When you're done, you'll be a "window-light portrait" expert. Here's some inspiration (only one of these was taken by window light). </p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd1255/tal-18"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1255/tal-18.1.jpg" alt="Tal. French Roast, 6th Avenue and 11th, Manhattan 1995." height="198" width="132" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd3391/soft-portrait-7"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd3391/soft-portrait-7.1.jpg" alt="Soft Portrait" height="198" width="132" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd1313/portrait-15"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd1313/portrait-15.1.jpg" height="198" width="132" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0866/shirley-greenspun-12"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0866/shirley-greenspun-12.1.jpg" alt="Shirley Greenspun. Manhattan 1995." height="198" width="132" /></a> </div><!-- closes minigallery div --> <a name="bag"></a> <h2>Get a camera bag</h2> <p> You now have enough stuff for your first camera bag. Read <a href="http://photo.net/equipment/bags">the photo.net camera bags primer</a>. Go to a good camera shop and see which bag comfortably holds all the stuff you've got plus maybe one more small item. Don't get a bag that is too big. Even as your system expands, you'll still want a bag that is just right for a body plus three lenses. </p> <a name="breather"></a> <h2>Take a breather</h2> <p> You've now got a comprehensive digital SLR camera system. Stop buying stuff. At this point, you need only buy or rent stuff in the context of trying to realize a particular photographic project. Remember that no matter how much equipment you lug around you will never have the right lens for every picture at every moment. One needs to accept that some great photos will slip by without being captured. </p> <p> If you feel that you have to buy something new, here are some good project-based excuses. </p> <a name="Macro"></a> <h2>Macro lens project: Think Small</h2> <p> If you want to explore the world up close (real close) then you need a macro lens. Read <a href="http://photo.net/learn/macro">my macro photography primer</a> and get a lens that suits your desired working distance from the subject. Then head out into a flower garden with your tripod. An overcast day is probably best. Below is some inspiration from <a href="http://photo.net/philip-greenspun/collections/flowers-hawaii">my Hawaiian flowers exhibit</a> and <a href="http://photo.net/travel/ca/joshua-tree">my page on Joshua Tree National Park</a>. </p> <div class="minigallery"> <a href="http://photo.net/philip-greenspun/photos/pcd0091/flower-32"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0091/flower-32.1.jpg" alt="Hawaii." height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0278/joshua-tree-weird-flower-91"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0278/joshua-tree-weird-flower-91.1.jpg" alt="Joshua Tree National Park" height="134" width="196" /></a> <a href="http://photo.net/philip-greenspun/photos/pcd0091/spider-18"> <img style="margin-bottom: 5px;" src="http://photo.net/philip-greenspun/photos/pcd0091/spider-18.1.jpg" alt="Hawaii." height="198" width="132" /></a> </div><!-- closes minigallery div --> <p>Some good macro lenses for digital cameras:</p> <ul><li>small sensor Canon: EF-S 60/2.8 USM -- will not work on a full-frame camera (<a href="http://www.amazon.com/exec/obidos/ASIN/B0007WK8KS/photonet">amazon</a>) </li><li>full-frame Canon: EF 100/2.8 USM (<a href="http://www.amazon.com/exec/obidos/ASIN/B00004XOM3/photonet">amazon</a>) </li><li>small sensor Nikon: AF Micro 60/2.8D (<a href="http://www.amazon.com/exec/obidos/ASIN/B00005LE77/photonet">amazon</a>) </li></ul> <a name="Wedding"></a> <h2>Wide-to-Tele Zoom lens project: Photojournalistic Wedding</h2> <a href="http://photo.net/philip-greenspun/photos/pcd2898/harry-and-katerina-wedding-27"> <img style="margin: 10px 10px 0pt 0pt; float: left;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd2898/harry-and-katerina-wedding-27.1.jpg" alt="Harry and Katerina's wedding. Lake Placid. September 4, 1999." height="198" width="132" /></a> <p>If you care about quality, zoom lenses are heavier, more expensive, and never quite as sharp or contrasty as fixed ("prime") lenses. </p> <p>If you're rich and lazy, you can get professional zoom lenses simply to avoid having to change lenses. The cost is $1000-2000 per lens and the quality loss is small. If you're poor and quality-conscious, you're much better off sticking to prime lenses. </p> <p>When does a zoom lens help you accomplish a photographic objective? Event photography. The one constant of photojournalism is that your subjects probably won't wait around for you to set up a tripod or change lenses. It helps to be fleet of foot and unencumbered by a huge camera bag full of lenses. It helps to be ready with the right focal length lens on your camera instantly. </p> <a href="http://photo.net/philip-greenspun/photos/pcd2898/harry-and-katerina-wedding-45"> <img style="margin: 0pt 0pt 10px 10px; float: right;" title="" class="illustration" src="http://photo.net/philip-greenspun/photos/pcd2898/harry-and-katerina-wedding-45.1.jpg" alt="Harry and Katerina's wedding. Lake Placid. September 4," height="134" width="196" /></a> <p>Anyway, if you're going to take pictures at your cousin Shlomo's wedding, that's a good excuse to buy a zoom lens covering 24-85mm (full-frame digital SLR or film perspective) or so. If the official wedding photographer is delivering images in color, you can really impress Shlomo and the rest of your family by delivering all of your images knocked down to black and white. Unless your family is very chic, their mutual color coordination will probably be ineffective. They'll look better in black and white and remember that you'll be free to take pictures using incandescent and fluorescent light sources without worrying about adjusting the white balance. </p> <p>For the Canon EOS-1Ds and 5D, the 24-70/2.8L USM (<a href="http://www.amazon.com/exec/obidos/ASIN/B00009R6WT/photonet">amazon</a>) is the lens of choice. For the Canon EOS 20D and Canon Digital Rebel, the 17-55/2.8 IS USM (<a href="http://www.amazon.com/exec/obidos/ASIN/B000EW8074/photonet">amazon</a>) is a high-performance lens offering roughly the same range of perspectives. For a Nikon "big lenses/small sensor" digital SLR you want the 17-55/2.8 lens (<a href="http://www.amazon.com/exec/obidos/ASIN/B000144I2Q/photonet">amazon</a>). </p><div id="endmatter"> <hr> <p> Text and photos <a href="http://philip.greenspun.com/copyright/">Copyright 1995-2007 Philip Greenspun</a>.</p><p><a href="http://photo.net/equipment/building-a-digital-slr-system/">SOURCE</a><br /></p> </div>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-50725024301812049992007-10-17T22:25:00.000+03:002007-10-17T22:26:57.658+03:00How can I prevent users from using USB removable disks (USB flash drives)?I have seen this question several times at different message boards, so I've decided to write an article about it.<br /><br />USB removable disks (also known as flash drives or "Disk on Key" and other variations) are quickly becoming an integral part of our electronic life, and now nearly everybody owns one device or another, in forms of small disks, external hard drives that come enclosed in cases, card readers, cameras, mobile phones, portable media players and more.<br /><br />Portable USB flash drives are indeed very handy, but they can also be used to upload malicious code to your computer (either deliberately or by accident), or to copy confidential information from your computer and take it away.<br /><br />Whenever a new USB device is plugged-in to a USB port, the operating system checks the device and hardware id to determine if it's a storage device or not. If it determines that it is indeed a mass storage device it will load the appropriate driver, and will display the device as a drive in the Windows Explorer tree view. This is done by using the usbstor.sys driver.<br /><br />If the device does not have a drive letter, you will need to assign one to it by using the Disk Management snap-in found in the Computer Management tool.<br /><br />If you disable the ability of the usbstor.sys driver to run on the computer, you will in fact block the computer's means of discovering the flash drive and loading the appropriate driver.<br /><br />Note that this will only prevent usage of newly plugged-in USB Removable Drives or flash drives, devices that were plugged-in while this option was not configured will continue to function normally. Also, devices that use the same device or hardware ID (for example - 2 identical flash drives made by the same manufacturer) will still function if one of them was plugged-in prior to the configuration of this setting. In order to successfully block them you will need to make sure no USB Removable Drive is plugged-in while you set this option.<br /><br />Note: This tip will allow you to block usage of USB removable disks, but will continue to allow usage of USB mice, keyboards or any other USB-based device that is NOT a portable disk.<br /><br /><a href="http://www.petri.co.il/disable_usb_disks.htm">SOURCE</a>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-78759225077100713672007-09-14T19:45:00.001+03:002007-09-14T19:48:04.876+03:00Canon EOS 40D Preview<h3 class="H3-ruler">Phil Askey, August 2007 </h3> <p align="center"><br /></p><div style="text-align: left;"><img alt="Canon EOS 40D" src="http://a.img-dpreview.com/previews/CanonEOS40D/Images/frontview-001.jpg" border="0" height="423" width="540" /></div><p align="center"></p> <p class="justify">The EOS 40D becomes the sixth Canon 'prosumer' digital SLR, a line which started back in 2000 with the EOS D30, and how far we've come. It's been eighteen months since the EOS 30D and although on the surface the 40D looks like a fairly subtle upgrade there's a lot that makes this an even better camera. Of course we expect a step up in megapixels, and so the 40D comes with a ten million pixel CMOS sensor with the same sort of dust reduction as the EOS 400D, an ultrasonic platform which shakes the low pass filter. Other improvements bring the EOS 40D closer into line with the EOS-1D series, these include a move to the same page-by-page menu system, both RAW and sRAW (2.5 MP), 14-bit A/D converter and 14-bit RAW, cross-type AF points for F5.6 or faster lenses, a larger and brighter viewfinder, interchangeable focusing screens, a larger LCD monitor (3.0") and faster continuous shooting (6.5 fps). </p> <p class="green">UPDATE 25/Aug/07: We have just added a gallery of sample images from a pre-production EOS 40D. </p> <h4 class="justify">Model line history</h4> <table class="table-std" align="center" width="520"> <tbody><tr> <th width="53"><span style="font-weight: bold;">Model</span></th> <th width="70"><div align="center"><span style="font-weight: bold;">Announced</span></div></th> <th width="92"><div align="center"><span style="font-weight: bold;">Effective pixels </span></div></th> <th width="67"><div align="center"><span style="font-weight: bold;">Auto focus </span></div></th> <th width="128"><span style="font-weight: bold;">Continuous (JPEG) </span></th> <th width="82"><span style="font-weight: bold;">LCD monitor </span></th> </tr> <tr> <td><a href="http://www.dpreview.com/reviews/canond30/">EOS D30</a> </td> <td align="center">Apr 2000</td> <td align="center">3.1 mp </td> <td align="center">3 point </td> <td>3.0 fps, 3 frames </td> <td>1.8"</td> </tr> <tr> <td><a href="http://www.dpreview.com/reviews/canoneosd60/">EOS D60 </a></td> <td align="center">Feb 2002</td> <td align="center">6.3 mp </td> <td align="center">3 point </td> <td>3.3 fps, 8 frames </td> <td>1.8"</td> </tr> <tr> <td><a href="http://www.dpreview.com/reviews/canoneos10d/">EOS 10D</a> </td> <td align="center">Feb 2003</td> <td align="center">6.3 mp </td> <td align="center">7 point </td> <td>3.3 fps, 9 frames </td> <td>1.8"</td> </tr> <tr> <td><a href="http://www.dpreview.com/reviews/canoneos20d/">EOS 20D</a></td> <td align="center">Aug 2004</td> <td align="center">8.2 mp </td> <td align="center">9 point </td> <td>5.0 fps, 23 frames </td> <td>1.8"</td> </tr> <tr> <td><a href="http://www.dpreview.com/reviews/canoneos30d/">EOS 30D</a> </td> <td align="center">Feb 2006 </td> <td align="center">8.2 mp </td> <td align="center">9 point </td> <td>5.0 / 3.0 fps, 30 frames </td> <td>2.5"</td> </tr> <tr> <td>EOS 40D </td> <td align="center">Aug 2007 </td> <td align="center">10.1 mp </td> <td align="center">9 point </td> <td>6.5 / 3.0 fps, 85 frames </td> <td>3.0" (Live view) </td> </tr> </tbody></table> <h4 class="justify">Canon EOS 40D vs. EOS 30D feature and specification differences</h4> <table class="table-std" align="center" width="520"><tbody><tr> <th><br /></th> <th align="center" width="205"><div align="center"><img alt="Canon EOS 40D" src="http://a.img-dpreview.com/previews/CanonEOS40D/Images/sideby_40d.jpg" height="153" vspace="5" width="190" /><br /> <strong>Canon EOS 40D<br /> <img src="http://www.dpreview.com/images/one.gif" height="4" width="20" /> </strong></div></th> <th align="center" width="205"><div align="center"><img alt="Canon EOS 30D" src="http://a.img-dpreview.com/previews/CanonEOS40D/Images/sideby_30d.jpg" height="153" vspace="5" width="190" /><br /> <strong>Canon EOS 30D<br /> <img src="http://www.dpreview.com/images/one.gif" height="4" width="20" /> </strong></div></th> </tr> <tr> <th>Weatherproof</th> <td class="bg_high">Battery door and storage compartment </td> <td>No</td> </tr> <tr> <th>Sensor</th> <td class="bg_high">• 10.1 million effective pixels<br /> • 5.7 µm pixel pitch </td> <td>• 8.2 million effective pixels<br />• 6.4 µm pixel pitch </td> </tr> <tr> <th>A/D converter </th> <td class="bg_high">14-bit</td> <td>12-bit</td> </tr> <tr> <th>Image sizes </th> <td class="bg_high">• 3888 x 2592<br /> • 2816 x 1880<br /> • 1936 x 1288</td> <td>• 3504 x 2336<br /> • 2544 x 1696<br /> • 1728 x 1152</td> </tr> <tr> <th>RAW files </th> <td class="bg_high">• CR2 format, 14-bit<br /> • RAW full resolution<br />• sRAW (2.5 MP) </td> <td><span class="bg_high">• </span>CR2 format, 12-bit<br /> <span class="bg_high">• </span>RAW full resolution </td> </tr> <tr> <th>Image processor </th> <td class="bg_high">DIGIC III </td> <td><span class="bg_high">DIGIC</span> II </td> </tr> <tr> <th>Dust reduction </th> <td class="bg_high">High speed vibration of filter </td> <td>None</td> </tr> <tr> <th>Auto focus </th> <td class="bg_high">• 9-point TTL CMOS sensor<br /> • Points cross-type for F5.6 or faster lens<br /> • Center point additionally sensitive with lenses of F2.8 or faster</td> <td> 9-point TTL CMOS sensor</td> </tr> <tr> <th>Metering range </th> <td class="bg_high"> 0.0 to 20 EV </td> <td>1.0 to 20 EV </td> </tr> <tr> <th>Spot metering </th> <td class="bg_high">Approx. 3.8% at center</td> <td>Approx. 3.5% at center </td> </tr> <tr> <th>Auto ISO </th> <td class="bg_high">ISO 400 to 800 / 100 to 800 depending on exposure mode </td> <td>ISO 100 to 400 </td> </tr> <tr> <th>Kelvin WB </th> <td class="bg_high">2500 - 10000 K in 100 K steps </td> <td>2800 - 10000 K in 100 K steps</td> </tr> <tr> <th>Viewfinder </th> <td class="bg_high">• 95% frame coverage<br /> • Magnification: 0.95x<br /> • Eyepoint: 22 mm</td> <td>• 95% frame coverage<br /> • Magnification: 0.90x<br /> • Eyepoint: 20 mm </td> </tr> <tr> <th>Focusing screen </th> <td class="bg_high">• Interchangable precision matte<br /> • Two other screens available </td> <td>• Fixed precision matte </td> </tr> <tr> <th>Viewfinder info </th> <td class="bg_high">Now includes ISO sensitivity, B&W icon </td> <td><br /></td> </tr> <tr> <th>LCD monitor </th> <td class="bg_high">• 3.0 " TFT LCD<br /> • 230,000 pixels</td> <td>• 2.5 " TFT LCD<br /> • 230,000 pixels</td> </tr> <tr> <th>LCD Live View </th> <td class="bg_high">Yes, including mirror-drop AF </td> <td>No</td> </tr> <tr> <th>Main LCD settings display </th> <td class="bg_high">When changing settings such as AF mode or White Balance </td> <td>No</td> </tr> <tr> <th>Tilt correction </th> <td class="bg_high">Yes</td> <td>No</td> </tr> <tr> <th>Opening CF door </th> <td class="bg_high">Warning message shown</td> <td>Power down, loses images </td> </tr> <tr> <th>Mirror lock-up </th> <td class="bg_high">Single or multiple exposures </td> <td>Single exposures </td> </tr> <tr> <th>Mirror mechanism </th> <td class="bg_high">Motor up / down, quieter, faster </td> <td>Spring up / motor down </td> </tr> <tr> <th>Playback modes </th> <td class="bg_high">Exposure line at top in single image view </td> <td>No exposure in single image view </td> </tr> <tr> <th>User modes </th> <td class="bg_high">Three custom user modes on mode dial </td> <td>No user modes </td> </tr> <tr> <th>High-speed continuous </th> <td class="bg_high">• 6.5 fps<br /> • Up to 75 JPEG Large/Fine images </td> <td>• 5.0 fps<br /> • Up to 30 JPEG Large/Fine images </td> </tr> <tr> <th>Portrait grip </th> <td class="bg_high">WFT-E3/E3A, BP-E2N, BP-E2 </td> <td><p>BP-E2</p> </td> </tr> <tr> <th>Wireless connectivity </th> <td class="bg_high">• WFT-E3/E3A<br /> • Integrates as vertical hand grip </td> <td>• WFT-E1/E1A<br /> • No grip </td> </tr> <tr> <th>Menu UI </th> <td class="bg_high">Same as EOS-1D series </td> <td>Sames previous xxD series </td> </tr> <tr> <th>Menu languages </th> <td class="bg_high">18</td> <td>15</td> </tr> <tr> <th>Custom functions </th> <td class="bg_high">24</td> <td>19</td> </tr> <tr> <th>AF-ON button </th> <td class="bg_high">Rear 'under thumb' </td> <td>None</td> </tr> <tr> <th>Rear buttons </th> <td>• Direct print<br /> • Menu<br /> • Play<br /> • Erase<br /> • Jump<br /> • Info<br />• Picture Style</td> <td>• Direct print<br /> • Menu<br /> • Info<br /> • Jump<br /> • Play<br /> • Erase </td> </tr> <tr> <th>Top right buttons </th> <td>• Lamp<br /> • Metering / WB<br /> • AF / Drive<br /> • ISO / Flash comp. </td> <td>• Lamp<br /> • AF / WB<br /> • Drive / ISO<br /> • Metering / Flash comp. </td> </tr> <tr> <th>Dimensions</th> <td>146 x 108 x 74 mm(5.7 x 4.2 x 2.9 in)</td> <td>144 x 106 x 74 mm (5.6 x 4.2 x 2.9 in)</td> </tr> <tr> <th>Weight</th> <td>• No battery: 740 g (1.6 lb)<br /> • With battery: 822 g (1.8 lb)</td> <td>• No battery: 706 g (1.6 lb)<br /> • With battery: 785 g (1.7 lb</td></tr></tbody></table><!-- technorati tags begin --><p style="font-size: 10px; text-align: right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/canon" rel="tag">canon</a>, <a href="http://technorati.com/tag/eos" rel="tag">eos</a>, <a href="http://technorati.com/tag/40D" rel="tag">40D</a>, <a href="http://technorati.com/tag/CanonEOS40D" rel="tag">CanonEOS40D</a>, <a href="http://technorati.com/tag/news" rel="tag">news</a>, <a href="http://technorati.com/tag/release" rel="tag">release</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-39320702197830087942007-09-14T19:25:00.001+03:002007-09-14T19:25:29.391+03:00Notes on a few inexpensive Canon EF Lenses`<FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/reviews/ef-lenses/#Copyright">Copyright</a> © 2000-2007 NK Guy</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/reviews/ef-lenses/">http://photonotes.org/reviews/ef-lenses/</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">First off, the main reason I put this information here is because when I was shopping for second-hand lenses I couldn’t easily find a lot of the information I actually wanted to know. Like whether a given lens had a distance scale, or a plastic or metal mount, or internal focusing or zooming. Hopefully these notes will be handy for somebody.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Now, I have used a bunch of pro Canon lenses, such as the 28-70 2.8L, the 70-200 2.8L, the 135mm 2.0L. But I don’t review them here because I don’t feel I have as much to say about them. They’re absolutely fabulous lenses. And they’re also extremely expensive. If you can afford them and don’t mind the weight and bulk, go for it and don’t waste your time with cheap consumer lenses like those reviewed on this page. But if you’re on a budget you may want to read on.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Next, this document consists of a listing of factual information about each lens (focal length, aperture range, number of diaphragm blades, etc) and some subjective personal opinions. There are no objective ratings (MTF numbers or whatever) here, nor are there any cross-lens test results. I did some general testing with each lens (shooting the same subject with different lenses using a tripod, etc) and these informal tests helped form my opinions, but my tests weren’t controlled enough to be particularly rigorous. If you want hard numerical data have a look elsewhere. <a href="http://www.photodo.com/">Photodo</a> is one site that provides such less subjective test information.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, if you’re unfamiliar with some of the terms used in this document - such as prime versus zoom, focal length, aperture, etc., please consult my <a href="http://photonotes.org/dictionary/">online dictionary</a> of photographic terms.</FONT></p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Categories of Canon EF lenses. </strong> </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon officially divide their EF-mount (EOS compatible) SLR lenses into just two categories - the “L” class lenses, which are heavy, expensive, professional lenses with red rings painted around the ends, and all the others. However, there are several basic unlabelled quality categories within the non-L glass as well. So here’s my summary of EF lens categories.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Category 1 - cheapies.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">At the bottom of the consumer line are the cheapies - ultra-low cost, low-quality, slow lenses with plastic mounts and no distance scales. Most of the kit lenses - 28-80 and 28-90 lenses with typical aperture ranges of 4.5 to 5.6 - fit into this category. These lenses are built to be sold as inexpensively as possible and don’t have very good optical quality. The only exception to this basic rule is the 50mm 1.8 II - plastic lens mount - which has excellent optical quality despite its cheap build quality, because it isn’t a zoom lens like all the others. The cheapies are easily recognizable by their all-plastic construction and straight, parallel-sided lens barrels. Most of the new cheapies have a silver (chrome) ring around the end for looks.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I don’t deal with any of these lenses in this review because, at risk of sounding like a snob, I don’t believe most of them are really worth buying. As noted, Canon optimize them for cheapness. They want products to sell for peanuts in shopping mall camera shops and department stores. This market does not, it seems, place a great deal of value on image quality - cheap prices for impulse buys are everything. That’s great for Canon, but frankly, if I’m going to be dealing with the hassle of carrying around an SLR camera I want at least half-decent optical quality for the attached lens. Otherwise I think it’s a lot easier just to carry around a cheap lightweight point and shoot camera.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So what if you’re on a budget? Obviously, there’s no point commenting on how these cheapies don’t produce photos as good as an L series lens - one lens costs 1/10 or 1/15 the cost of the other. That’s true, but don’t forget there are many other options. You can buy a 50mm 1.8 lens, for example. This gives you crisp sharp photos and the ability to shoot in low light levels without flash. If you really miss the convenience of a zoom you could pick up a used 28-70 3.5-5.6 II for nearly the same price as a new 28-80 cheapie. You don’t have to put up with shopping mall quality just because you’re on a tight budget.</FONT></p> <p><strong><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Category 2 - midrange zooms.</FONT></strong> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In the midrange are better lenses with improved optics, sturdier build quality, metal mounts and distance scales. These often have ring USM motors. The 24-85, 28-105 and 100-300 USM are typical examples. They’re decent consumer lenses but don’t have the optical clarity of the pro lenses. However, they generally cost a fraction of the price of the top of the line stuff. These lenses are generally fairly elegantly designed, with slightly rounded and tapered lens barrels.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There is also a number of older low-end zooms with decent optical quality, such as the aforementioned 28-70 3.5-4.5 II, which don’t use modern USM drives but which nonetheless offer good value for money on the used market.</FONT> </p> <p><FONT size="-1"><strong><FONT face="Verdana, Arial, Helvetica, sans-serif">Category 3 - inexpensive primes.</FONT></strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon also build a number of prime (ie: non zoom) lenses with acceptable optics and average build quality (usually with noisy motor drives, metal mounts and distance scales), such as the 28mm 2.8 and 50mm 1.8 (metal lens mount). Despite their low cost and pretty unremarkable construction they nonetheless can provide quite decent photographic results. All lenses in this category are mostly normal or near normal lenses - no super wide angles and no long telephotos. These designs generally date back to the early days of the EOS lineup, so they tend to look a bit old-fashioned, style-wise. Canon just haven’t seen the need to update any of them.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since it’s technically much easier - and cheaper - to construct an optically decent prime lens than it is an optically decent zoom lens you’re usually going to get much better optical quality for the same amount of money if you buy primes. Prime lenses also tend to be faster (larger maximum apertures) than zooms for the same reason.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The tradeoff is, of course, in convenience - you have to “zoom with your feet” and move around more when taking photos. But if you want optical quality a cheap prime is something to keep in mind if you’re on a limited budget.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Category 4 - good primes.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is a group of prime lenses which offer excellent optics and decent build quality, but which don’t really need and thus don’t use ultra low-dispersion glass or calcium fluorite crystals or other hallmarks of L-class lenses. Remarkably good lenses like the 85mm 1.8 and the 100mm 2.8 macro fit into this category. Most have ring ultrasonic motors. They generally resemble the category 2 lenses - slightly rounded and tapered lens barrels. These are professional lenses in all but the name, though they’re usually not quite as heavy-duty as the fancier L lenses.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Category 5 - L series lenses.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, Canon make a number of expensive lenses which they designate as L for “luxury.” These are intended for professional heavy-duty use by photojournalists, studio photographers and so on. The 16-35 2.8L USM, 28-70 2.8L USM and the 70-200 2.8L USM are popular lenses of this type.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All the L series lenses today are made of metal or heavy plastic, have ring USM drives and are identified by the characteristic red ring painted around the end of the barrel. Many, but not all, L lenses are painted an off-white colour rather than black. This is done partly because white lenses don’t get as hot in the sun and partly because it makes them easy to recognize at professional sports events and the like. All L class lenses have one technical design aspect in common - at least one fluorite (rather than glass) or ground aspheric (rather than moulded/replicated aspheric) or ultra-low dispersion lens element.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I don’t discuss most of the L series lenses for the reason mentioned above - they’re mostly great lenses but highly expensive and very heavy. The 100-300 5.6L reviewed here is one exception. Since it’s one of the first generation EOS lenses it’s of a considerably cheaper construction than the current lineup.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Category 6 - specialized lenses.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon also make a handful of expensive specialized lenses for unusual applications which I’ll just lump into this category for lack of anywhere else to put them. These include their tilt-shift TS-E lenses, the MP-E 65mm macro lens and the new DO (diffractive optics) lenses.</FONT></p> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Roman numerals:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This lens categorization sometimes gets very confusing. For example, Canon release newer versions of lenses all the time, numbering them with Roman numerals. Sometimes the new lens is an improvement. Other times it’s not.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For example, the EF 28-80 3.5-5.6 USM isn’t a bad lens. It has a metal lens mount, similar build quality to the EF 28-105 and fits into the second of the six tiers listed above. However, the EF 28-80 3.5-5.6 II USM is an all-plastic cheapie which fits into the first of the six tiers above. (all 28-80 3.5-5.6 lenses from marks II through V are plastic cheapies, in fact) The EF 50mm 1.8, as noted below, is generally considered to be a better lens than the EF 50mm 1.8 II.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sadly there’s no easy way to know the difference without a lot of careful research. Note also that the first version of a lens is often casually referred to as the mark I version, though Canon never identify lenses as such. Only post-I lenses (II and up) have the Roman numeral designation.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon also release updated versions of lens hoods using Roman numeral designations. Quite often the mark II version of a hood will fit the same lenses as its predecessor but will have a black flocked interior lining to reduce lens flare.</FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Motor types.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon employ a number of different motor technologies in their lenses. These are the basic types:</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Arc-form drive (AFD).</strong> Generally used in a number of older lower-cost lenses, AFD motors are simply little electric motors which drive a geartrain. They’re somewhat noisy - electric buzzing and grinding of gears - and not terribly fast. This isn’t a big deal on smaller lenses since the distances the motors must move the focussing elements isn’t very far. However, telephoto lenses with AFD motors can be quite sluggish.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Micromotor (MM) drive.</strong> Generally used on a few older lower-cost lenses. Similar to AFD - slow and noisy and based around an electric motor driving a geartrain.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Ring ultrasonic (USM) drive.</strong> The kind you want. These motors consist of two metal rings which vibrate at a very high frequency, causing ultrasonic vibrations inaudible to humans. (have a look <a target="_blank" href="http://www.photoscene.com/sw/tour/inside.htm">here</a> for photos of these rings) Ring ultrasonic lenses are great because they focus quickly and silently and also support full-time manual (FTM). This means you can touch up the focus manually without first having to switch the lens from autofocus to manual focus mode. The majority of L series lenses use ring ultrasonic motors, as do most of the lenses in categories 2 and 4 above.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Micromotor ultrasonic (USM) drive.</strong> This is the kind you generally don’t want. It’s a form of USM motor that Canon designed for their cheapie lenses so they can bill them as ultrasonic for marketing purposes. However they lack most of the advantages of ring USM lenses. Micromotor USM lenses are moderately fast and fairly quiet, but (with two notable exceptions - the 50mm 1.4 USM and the 28-105 4-5.6 USM mentioned below) do not support full-time manual focussing.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Also, a couple of points here. First, all lenses with “USM” in the name contain an ultrasonic motor. Canon do not, however, distinguish between ring and micromotor USM drives in the name - you have to look up the specs for the individual lens to find that out. Second, all non-L lenses with USM drives have striped gold lines painted around the end of the barrel. However, all L lenses have red lines painted around the end, whether or not they use USM.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Image stabilization (IS).</strong> This is not a lens focussing technology, but I mention it here since it doesn’t fit conveniently anywhere else. IS is a Canon-developed technology that stabilizes the image optically. In other words it uses a complex system of gyroscopic sensors, computers and servomotors to compensate for camera shake. IS lenses therefore let you take sharp photos with handheld cameras at shutter speeds you couldn’t ordinarily use - typically up to a couple of stops slower. Canon make a number of midrange to high-end lenses with IS technology. I don’t review any such lenses here.</FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Third party lenses?</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I only look at a few Canon EF lenses. EF stands for “electrofocus” and is Canon’s technical designation for the line of lenses they sell which are compatible with EOS cameras. Virtually all of the EF lens range is autofocus (AF) capable with the exception of a few unusual and specialized lenses, so you sometimes see EF lenses referred to as Canon AF lenses.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I don’t deal with third party lenses, such as those made by Tamron, Tokina and Sigma. These third party makers build a wide range of lenses designed to work with EOS cameras, but I’ve chosen to stick with Canon for compatibility reasons. Canon sometimes redesign new cameras in such a way that third-party lenses no longer work with them, but to date all Canon EF lenses work with all Canon EOS cameras. (though to be fair, it should be noted that Tamron have an excellent track record to date and all Tamron lenses work with all Canon cameras, unlike some Tokina and Sigma lenses)</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I’m sure there are many decent third-party lenses out there but you’ll have to look elsewhere for information on them since I have no experience with them.</FONT></p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Lenses reviewed:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Mainly lenses in the second and third categories above. I don’t own any of the rock-bottom Canon lenses. I owned a <a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_28%7E80_35v2_usm.html">28-80 3.5-5.6 II</a> cheap zoom for a few days, but the quality was rather depressing so I quickly took it back to the shop.</FONT></p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Prime lenses:</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon EF 20mm 2.8 USM<br/> Canon EF 28mm 2.8<br/> Canon EF 50mm 1.8</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Zoom lenses:</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon EF 28-105mm 3.5-4.5 USM<br/> Canon EF 100-300 4.5-5.6 USM<br/> Canon EF 100-300 5.6L</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The idea was to try and cover the basic shooting range (20mm to 300mm). I want as many prime lenses as I can, since prime lenses invariably offer higher quality than zooms at the consumer level - the obvious tradeoff being convenience.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> My next planned lens purchase is the 100mm macro lens, since it’s said to offer both excellent macro capabilities and also sharp general-purpose performance. It’s quite a bit more expensive than the other lenses I own, however, so it’ll be a while before I pick up one of those.</FONT></p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_20_28_usm.html"><strong>EF 20mm 2.8 USM</strong></a><strong>.</strong></FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I bought this lens for a number of reasons. I do landscapes a lot and I wanted a super wide-angle so I could get in sweeping vistas and the like. Wide-angle lenses also have good depth of field, so you can do interesting near-far photos. And finally I wanted to try making QuickTime VR panorama photos on my computer. This lens isn’t as dramatic as a 14mm one, but it’s also within my budget. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I liked it. It was pretty sharp, had very low distortion, had the quiet USM motor with full-time manual focusing. It was reasonably big for a consumer lens, particularly when the petal-shaped lens hood was attached. I didn’t get the 20-35 USM, even though it costs basically the same, mainly because I didn’t see myself using much more than the 20mm end. I already have a 28mm prime and a 28-105 zoom. The 20mm is also said to have less flare and distortion. It used rear focussing, so the end did not extend or rotate. It had a floating group and so its near focusing is pretty close.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, you’ll note that I’ve been using the past tense here. My house was burgled and this lens stolen.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Here’s a <a href="http://burningcam.com/00/regular/source/46.html">photo</a> that I took with this lens. Note the huge depth of field. A bunch of my <a href="http://burningcam.com/00/panoramas/">QuickTime panoramas</a> were taken at 20mm as well.</FONT></p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 20mm 2.8 USM</strong></FONT></TD> <TD width="72%"> </TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">USM (ring ultrasonic motor with full-time manual).</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">94°.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">9 and 11.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range.</FONT></TD> <TD width="72%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">2.8 -<i> f</i>/22.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.14x.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.25m or 0.8'.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">72mm.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EW-75 bayonet-mount “perfect” (petal-shaped) hood.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">71mm or 2 13/16".</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">405g or 14.3 oz.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Other features.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Full-time manual, rear focus, floating group.</FONT></TD> </TR> </TBODY></TABLE> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_28_28.html"><strong>EF 28mm 2.8.</strong></a> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I bought this lens primarily because it was pretty cheap. As noted above, I do landscapes a lot, and 28mm is useful for that. It isn’t really wide enough to give trippy wide-angle effects, but is quite a bit wider than a normal 50mm lens. It uses a slow and noisy arc-form drive for focusing, but since I tend to use it on a tripod for landscape purposes, that’s rarely an issue. The end does not rotate, which is convenient for polarizing filters, but the lens does extend during focusing. (about a half centimetre from near focus to infinity) </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> However, I find I don’t use it very much these days since I end up just slapping the 28-105 zoom on my camera out of laziness. When I do more landscape stuff in the summer I’ll hopefully find more use for it, since I’ll then have more time to exchange lenses at leisure. Landscapes don’t run around the way people do. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The 28mm 2.8 has a 52mm filter thread. I use the EW-65 II clip-on hood, which fits fine, though it’s intended for the 35mm 2.0. The only difference between the EW-65 and the later EW-65 mark II hood is that the II has some black flocking on the inside surface to reduce reflections.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This lens was one of the earliest models released when the EOS lineup was introduced. It uses, therefore, a more-dated feeling type of plastic for the lens barrel and design-wise looks a bit old-fashioned. Newer lenses like the 28-105 use a different type of plastic which feels a bit less brittle and slightly more resilient and better able to absorb blows.</FONT></p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 28mm 2.8</strong></FONT></TD> <TD width="72%"> </TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">AFD (arc form drive).</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">75°.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5 and 5.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range .</FONT></TD> <TD width="72%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">2.8 -<i> f</i>/22.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.3m or 1'.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.13x.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">52mm.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EW-65 II clip-on hood.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">42.5mm or 1 11/16".</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">185g or 6.5 oz.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Other features.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aspherical lens element (probably moulded glass; possibly replicated).</FONT></TD> </TR> </TBODY></TABLE> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_50_18.html"><strong>EF 50mm 1.8.</strong></a> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I bought this lens because optically it’s an amazingly sharp lens that costs virtually nothing. Sure, it’s a modest 50mm focal length, but there’s nothing wrong with that. It’s relatively easy for manufacturers to make a 50mm lens, since that focal length is quite close to the diagonal of 35mm film (42mm or so) and the optics are thus less complex. And this example is really quite crisp and sharp optically. Good colour and contrast. Like the 28mm 2.8 the end does not rotate during focusing, but it does extend outwards a half-centimetre or so. Unlike the 28mm 2.8, however, it has a very deeply recessed lens. You could probably get away without using a hood if you wanted, assuming you weren’t using a filter. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Mechanically it’s a pretty ancient design with a noisy slow micromotor drive, but I don’t usually find that to be a huge hindrance. Lack of full-time manual focusing is a minor inconvenience, though. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Basically I find myself using this lens in low-light conditions a lot, when the slow 28-105 (at f4 or whatever it is at 50mm) isn’t much use. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The ES-65 clip-on hood was sold for use with this lens, though I just use the same EW-65 II clip-on hood as my 28 mm 2.8. The EW-65 isn’t quite as deep as the recommended hood, but it’s compatible with my 28mm lens as well, so I went for that. Actually, the ET-65 II clip-on hood that I use with my 100-300 USM 4.5-5.6 fits onto the 50mm 1.8 as well, though it’s rather oversized. I’ve heard that it doesn’t vignette despite the size, but I’ve never tried it. </FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You could also use the hood designed for the newer 50mm 1.8 II, but I don’t see the point - the newer hood is a clumsy screw-on design that requires you to install an adapter on the filter threads.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This lens was one of the earliest models released when the EOS lineup was introduced. It uses, therefore, a more-dated feeling type of plastic for the lens barrel and design-wise looks a bit old-fashioned. Newer lenses like the 28-105 use a different type of plastic which feels a bit less brittle and slightly more resilient and better able to absorb blows.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that this lens is no longer available. It was superseded - or downgraded to - the <a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_50_18v2.html">50mm 1.8 II</a> lens. The mark II has a plastic lens mount, no distance scale, cheaper build quality and a crappier lens hood design. Optically it’s said to be identical, though its focus speed is slightly faster.</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Because the first version of this lens (the non II one) has better build quality it tends to command ludicrously high prices on online auction sites - often more than the price of a new mark II.</FONT></p> <p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 50mm 1.8</strong></FONT></TD> <TD width="72%"> </TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">MM (micromotor drive).</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">46°.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5 and 6.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range.</FONT></TD> <TD width="72%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1.8 -<i> f</i>/22.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.45m or 1.5'.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.15x.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">52mm.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">ES-65 clip-on hood.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">42.5mm or 1 11/16".</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">190g or 6.7 oz.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="28%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="72%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> </TBODY></TABLE> </p> <p> <strong><FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_28%7E105_35_usm.html">EF 28-105mm 3.5-4.5 USM</a>. </FONT></strong> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This lens is generally held as being a very convenient all-purpose decent lens. So I bought one. But I have to say I was not overwhelmed. Though not as execrable as a cheap 28-80, its optical quality is visibly much weaker than the primes. It’s nowhere near as sharp and the colour saturation and contrast are quite poor. Oh well. It’s still an okay lens when you consider how inexpensive and convenient it is. The build quality isn’t bad - the lens feels nice and solid compared to the really cheap lenses. It’s got a USM drive with full-time manual focusing. It’s large compared to the dirt cheap lenses, but isn’t as awkwardly large as an L lens. Here are some <a target="_blank" href="http://www.photoscene.com/sw/tour/inside.htm">photos of the inside</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> It has a two-touch zoom (ie: the zooming is adjusted by turning a ring - it’s not a push-pull design) and does not use internal zooming - the lens extends outwards as you zoom out. This design means air and dust get sucked into your lens and camera each time you zoom in or out. However, it does use internal focusing, so it doesn’t extend outwards or rotate when you focus. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> It’s fine as my general-purpose wander-around-with lens. Useful for snapshots of friends at parties, etc, though admittedly it’s a bit big for that, particularly with the hood on the end and extended out to 105mm. Ultimately I’d like to replace it with the 28-135 IS. Image stabilizing would be nice for low-light conditions, and I often find the 105mm end to be too short for snapshots of friends and the like, since people generally don’t like having cameras shoved in their face. (though the 28-135 IS is much bigger than the 28-105, so perhaps I’d be no further ahead in terms of not intimidating camera-shy friends) </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are three versions of this lens. There seem to be two versions of the first generation (non II) 28-105, and in late 2000 Canon definitely replaced them with the 28-105 3.5-4.5 USM II. The version II of this lens is apparently only cosmetically upgraded - the plastic barrel has been modified slightly but the internal optics supposedly remain unchanged. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As noted, there is allegedly a notable difference between the two versions of the first edition of this lens. The earlier version is said to have the flower macro icon printed on the barrel and has a 5-blade diaphragm. The later version, which is the one I have, has instead the word MACRO printed on the barrel and has a 7-blade diaphragm. With a 7-blade diaphragm out-of-focus highlights appear has near-circles, whereas with 5 blades they appear as pentagons, which can be distracting. All things being equal, I prefer 7 blades. <i>Note that this information is based on info I’ve read online - I can only personally confirm that my lens has the word MACRO and has 7 blades.</i></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">To confuse things somewhat, in autumn 2002 Canon announced two new lenses with the 28-105 focal length and discontinued the 3.5-4.5 lenses. The new lenses are inexpensive lenses targeted at the low end of the consumer market rather than the advanced amateur/upper end of the consumer market like their predecessors. The new 28-105 lenses are optically slower and not as sharp (ie: they’re in the “cheapie” category).</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The new lenses are the EF 28-105 4-5.6 and the EF 28-105 4-5.6 USM. The latter of these lenses has a cheap micromotor USM focus drive and the former has an even cheaper non-USM motor drive. (though interestingly enough the USM version has full-time manual focussing even though it uses a micromotor drive)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So when you specify a Canon EF 28-105mm lens it’s vitally important to get the maximum f-stop (lens aperture) for the lens correct, as this is the only way to differentiate between the earlier lens design and the newer, less expensive and cheaper design. This review is of the 3.5-4.5 lens only, <i>not</i> the 4-5.6 lens.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, note that not everybody shares my not entirely positive opinions of the 3.5-4.5 lens. Check out Russ Arcuri’s <a target="_blank" href="http://www.photo.net/canon/28-105">Photo.net review</a> for a different point of view (he loves the lens).</FONT> </p> <p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="31%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 28-105mm 3.5-4.5 USM</strong></FONT></TD> <TD width="69%"> </TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">USM (ring ultrasonic motor with full-time manual).</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">75° to 23° 20'.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">12 and 15.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range.</FONT></TD> <TD width="69%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">3.5 -<i> f</i>/22 and <i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i>4<FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">.5 -<i> f</i>/27.</FONT></FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5 or 7 (see above).</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.14x.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.5m or 1.6'.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">58mm.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EW-63 bayonet-mount “perfect” (petal-shaped) hood.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">75mm or 3".</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">375g or 13.1 oz.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when zooming.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Zoom control type.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Two-touch (zoom ring).</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Other features.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Full-time manual, internal focus.</FONT></TD> </TR> </TBODY></TABLE> </p> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_100_300_45%7E56_usm.html"><strong>EF 100-300 4.5-5.6 USM</strong></a><strong>.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I bought this one since there are times when I want to shoot in the 200-300mm range. Unfortunately it’s not particularly impressive optically, particularly at the longer end. I don’t know why Canon don’t make 200mm or 300mm primes in the consumer range anymore. (They used to make 200mm and 300mm non-L primes back in the days of FD mounts.) This lens has the same decent build quality and is made of the same type of plastics as the 28-105, but optically isn’t that great. Still, I bought it since it lets me take photos I wouldn’t otherwise be able to take. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The 100-300 4.5-5.6 does not have internal zooming - it extends outwards as you zoom. As noted above, this design means dust gets sucked into the lens. However, it uses two-touch zooming (ie: a zoom ring, not push-pull), it uses internal focusing and the end does not rotate or extend during focusing. The USM autofocus drive is wonderfully fast and precise, and it was great having full-time manual.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This was actually the second Canon lens in this range that I’ve bought. The first was the <a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_75%7E300_4%7E56_usm.html">75-300 II USM</a>. It didn’t really suit me, however, since it lacks a distance scale, has a rotating end, lacks fulltime manual focusing (it uses a cheaper version of USM, not the ring USM) and has a lower build quality than the 100-300. Optically the 100-300 seems very slightly better, but not by much. They’re both pretty weak lenses, especially at 300mm. However, this lens was also stolen from me, so I no longer have it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The recommended hood is the clip-on ET-65, though I’ve found that the EW-65 clip-on I use for my 28mm 2.8 and 50mm 1.8 lenses fits the 100-300 also. Which is convenient, since the EW-65 isn’t a small hood. Even when reversed onto the lens it sticks out a bit. Though of course the smaller EW-65 is much more shallow and thus affords considerably less protection.</FONT> </p> <p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 100-300mm 4.5-5.6 USM</strong></FONT></TD> <TD width="70%"> </TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">USM (ring ultrasonic motor with full-time manual).</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">24° to 8° 15'.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">10 and 13.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range.</FONT></TD> <TD width="70%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">4.5 -<i> f</i>/32 and <i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i>5.6<FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> -<i> f</i>/38.</FONT></FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">8.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.26x.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1.5m or 4.9'.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">58mm.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">ET-65 clip-on hood.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">121mm or 4 3/4".</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">540g or 1.2 lb.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when zooming.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Zoom control type.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Two-touch (zoom ring).</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="30%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Other features.</FONT></TD> <TD width="70%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Full-time manual, internal focus.</FONT></TD> </TR> </TBODY></TABLE> </p> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/data/ef_100_300_45%7E56_usm.html"><strong>EF 100-300 5.6L</strong></a><strong>. </strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I replaced the stolen 100-300 USM lens with an older lens with the same focal range - the 5.6L. This is actually quite an elderly lens by EOS standards. It came out in the late 1980s and represents a typical EOS lens for the time. In fact, it’s barely an L series lens. It may have a fluorite element, a low-dispersion (UD) element and decent optics, but its construction isn’t anywhere near as good as any modern L lens. It uses the older-style hard black plastics and just feels kind of clunky.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The 100-300 5.6L design is basically of the same era as the 28mm 2.8 and the 50mm 1.8. It’s got an all-plastic barrel, a noisy and slow AFD (arc-form drive) focus motor and has a poorly damped manual focussing ring. It’s nothing like the hefty metal and silky smooth 70-200 2.8L, say. It’s also optically slow, with a maximum aperture of only <i>f</i>/5.6. It has a three-position focus mode switch - manual focus, autofocus and autofocus limiter. In regular autofocus mode the lens will focus across its full range. In limiter mode the lens focusses from 2 metres to infinity only. (ie: it doesn’t try to focus any closer than 2 metres) Unfortunately this switch is very stiff, isn’t raised very far above the lens barrel, and is generally irritating and fiddly to adjust when the lens is mounted onto a camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The lens is also of the push-pull design. This means that you simply slide the outer tube back and forth to adjust the focal lens. Unfortunately it does not have the more convenient rotating ring setup of a two-touch zoom lens such as the 100-300 4.5-5.6 USM. Push-pull zooms suck in a lot of air and dust every time you zoom by definition. The lens also suffers from zoom creep if it’s tilted up or down - the weight of the lenses causes the lens to slide, zooming inadvertently. The lens isn’t compatible with Canon’s teleconverters - they physically do not fit. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The recommended hood is the clip-on ET-62 or ET-62 II, which are included with the lens along with a strange-looking lightweight ribbed soft lens case. I don’t know what the difference is between the ET-62 and the ET-62 II, as the latter does not have a flocked interior, which is common with mark II lens hoods. Note that the lens ships with an unusual removable rubber ring at the end, and this ring must be removed for the lens hood to fit. Disappointingly, no tripod mount is included with the lens nor is one available from Canon. This is a real shame, since the lens is just long and heavy enough to benefit from a tripod mount on the lens rather than relying on the one on the camera body.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> In short, this lens is kind of annoying to use, particularly if you’ve spent any time using any similar lens with an ultrasonic motor and full-time manual focussing. When the lens can’t achieve focus, which is often, it racks back and forth quite slowly, making high-pitched buzzing noises. Grm. However, it’s the only 100-300 EF lens which Canon has ever built which offers half-decent optics. And, since it’t discontinued, you can buy used examples of this lens for about as much as a new 100-300 USM.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So your choice basically comes down to convenience versus image quality. Since I generally try to use an inconvenient tripod with a lens this long and slow anyway, I’ve opted for image quality.</FONT> </p> <p> <TABLE width="100%" border="0"> <TBODY><TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Canon EF 100-300mm 5.6L</strong></FONT></TD> <TD width="69%"> </TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus drive type.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">AFD (arc-form drive).</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diagonal angle of view.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">24° to 8° 15'.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Groups and elements.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">10 and 15.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Aperture range.</FONT></TD> <TD width="69%"><i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">f/</FONT></i><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5.6 -<i> f</i>/32<FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">.</FONT></FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Diaphragm blades.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">8.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maximum magnification.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">0.26x.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Close focus distance.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1.5m or 4.9'.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filter diameter.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">58mm.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Hood type </FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">ET-62 II clip-on hood.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Length.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">167mm or 6 5/8".</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Weight.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">695g or 1 lb 8 1/2 oz.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End rotates when focussing.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when focussing.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">End extends when zooming.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Zoom control type.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Push-pull (no zoom ring).</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance scale. </FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metal lens mount.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Yes.</FONT></TD> </TR> <TR> <TD width="31%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Other features.</FONT></TD> <TD width="69%"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Focus limit switch, nice red ring painted around end.</FONT></TD> </TR> </TBODY></TABLE> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Links:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The Canon (Japan) Camera Museum page is authoritative, though some older lenses are missing:</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.canon.com/camera-museum/camera/lens/ef/f_ef.html">http://www.canon.com/camera-museum/camera/lens/ef/f_ef.html</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon USA maintain a site with marketing information:</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.usa.canon.com/eflenses/">http://www.usa.canon.com/eflenses/</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Swedish site Photodo have a list of MTF curves (lens testing data) for most Canon lenses. I wouldn’t make a lens purchasing decision solely on the basis of MTF data (there are many other factors to consider), but it’s interesting to look at:</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://www.photodo.com/">http://www.photodo.com/</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">German site Photozone.de have a useful Canon lens FAQ:</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://photozone.de/2Equipment/canonFAQ.htm">http://photozone.de/2Equipment/canonFAQ.htm</a></FONT></p> <p><a href="http://photonotes.org/reviews/ef-lenses/"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank">SOURCE<br/> </a></FONT></a></p> <!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/canon" rel="tag">canon</a>, <a href="http://technorati.com/tag/EF-S" rel="tag">EF-S</a>, <a href="http://technorati.com/tag/lense" rel="tag">lense</a>, <a href="http://technorati.com/tag/tips" rel="tag">tips</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-44717227721587976462007-09-14T19:10:00.001+03:002007-09-14T19:10:50.215+03:00Flash Photography with Canon EOS Cameras<FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#Copyright">Copyright</a> © 2001-2007 NK Guy</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Version 1.7. 23 February, 2007.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/">http://photonotes.org/articles/eos-flash/</a></FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><FONT size="-1">The invention and subsequent automation and miniaturization of electronic flash revolutionized photography. If you’re a photographer you’re no longer tied to available light. A reliable and portable light source is immediately at your disposal if you choose.</FONT></FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><FONT size="-1">But flash photography has always been a very difficult technique to master on any camera system. It’s easy to take a snapshot of your friends in a restaurant and get that hideously blown-out rabbit-in-the-headlights look from built-in automatic flash. But using electronic flash well - achieving natural-looking images - is quite tricky. </FONT></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This is in large part, of course, because the human eye can’t fully discern the effects of a flash burst at the time an image is taken - the brief pulse of light is just too short for us to process. And you can’t even see the flash if you’re looking through the viewfinder of an SLR camera anyway, as the mirror will have been raised for the duration of the flash. It’s also because small light sources mounted close to the lens produce a very unnatural form of light.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So you have to read manuals and experiment. But with film-based photography there’s a long lag time in the feedback loop - you have to take your film in to be processed before you see what worked and what didn’t. Taking notes can be cumbersome because of the highly automated nature of modern flash. Even professionals don’t rely entirely on their experience and flash meters and do test shots with a Polaroid instant film back in studio flash situations. Digital photography has one of the benefits of shortening this feedback loop considerably, but that doesn’t really help those of us who still use film.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So, here’s some information that may help you understand some of the mysteries of flash photography with Canon EOS camera equipment. Much of the information presented herein is fairly general in nature and thus covers similar flash systems used by other manufacturers, but much is very specific to Canon EOS products.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that this document covers Canon EOS products, including digital EOS cameras. Canon’s PowerShot series of digital cameras can use Speedlite EX-series flash units, but since they aren’t EOS cameras there are significant differences in the way they work.</FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Table of Contents </strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#eosflash">Part I - Flash Photography with Canon EOS Cameras</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#existing">Existing documentation</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#faq">Top Ten Frequently Asked EOS Flash Questions</a>.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq1">My camera already has a built-in flash. Do I need an external one? If so, what kind?</a></FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">2 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq4">I have an old flash unit. Will it work on my new Canon digital EOS camera</a>?</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">3 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq2">I’m not happy with my flash photos. The lighting always looks harsh and unflattering</a>.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">4 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq3">Are my friends possessed by demonic powers? Their eyes are glowing an evil red!</a></FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq5">I took two flash photos in rapid succession and the second one is totally dark</a>.</FONT></p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">6 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq6">I’ve put a diffuser or reflector on my flash. Do I have to compensate for this somehow?</a></FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">7 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq7">I tried to take a flash photo and the camera wanted a really slow shutter speed</a>. </FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">8 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq8">I tried taking a flash photo and the camera wouldn’t let me set a very high shutter speed</a>. </FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">9 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq9">I took a flash photo and the background is pitch black or very dark</a>.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">10 - <a href="http://photonotes.org/articles/eos-flash/index.html#faq10">My camera meters in P and Av modes very differently when I have a flash turned on</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#flashmetering">Flash metering systems used by Canon EOS</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#controlling">Controlling flash exposure</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#principles">Flash metering principles</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#ttl">TTL (through the lens) flash metering</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#refinements">Refinements to TTL flash, including Canon AIM</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#attl">A-TTL (advanced TTL)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#attllimitations">Limitations of A-TTL</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#ettl">E-TTL (evaluative TTL)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#ettllimitations">Limitations of E-TTL</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#ettlii">E-TTL II</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#distancedata">Canon EF lenses with distance data for E-TTL II</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#fp">FP (focal plane) flash mode</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#ttlsupport">TTL and E-TTL and EOS film cameras</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#digital">TTL and E-TTL and EOS digital cameras</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">Type A and type B bodies</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#disableettl">Disabling E-TTL</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#eossystemflash">EOS system compatible flash units</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#internalflash">Internal flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#picflash">Basic (PIC) modes and external flash units</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index.html#externalflash">Canon external flash unit types</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#nomenclature">Nomenclature of external flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#olderspeedlite">Older Canon Speedlite flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#hotshoeflashes">Hotshoe flashes</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#handle">Handle-mount (grip) flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#macro">Macro flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#thirdparty">Third-party flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#achiever">Achiever</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index.html#metz">Metz</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#sigma">Sigma</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#soligor">Soligor</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#sunpak">Sunpak</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#vivitar">Vivitar</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#otherflashes">Other flashes</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#whichflash">Which flash unit should I buy?</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#flashmodes">Part II - EOS flash photography modes</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#subjectbackground">Subject and Background in flash photography</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#fillflash">Fill flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#fillflashratios">Fill flash ratios</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#autofill">Auto fill reduction</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#slowshutter">Slow shutter sync</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync (flash sync) speed</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#xsynceos">Maximum X-sync speed and EOS bodies</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#confusion">EOS flash photography confusion</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#programflash">Program (P) mode flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#tvflash">Tv (shutter priority) mode flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#avflash">Av (aperture priority) mode flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#manualexposureflash">Manual (M) exposure mode flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">Multiple flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#meteringpatterns">Metering patterns for the background when using flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#flashmeteringpatterns">Flash metering patterns</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#recompose">Do not focus and recompose</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#flashterminology">Flash terminology</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index2.html#strobeflash">Strobe and flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#inversesquare">Inverse square and inverse fourth power laws</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">Guide number</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">Exposure values (EV)</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#dedicated">Dedicated or non-dedicated flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#shoemount">Shoe mount</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#redeye">The redeye effect</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#redeyereduction">Redeye reduction</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#firstcurtain">The first curtain sync problem</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">Second-curtain sync</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#colourtemp">Colour temperature theory</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#colourtempfilm">Colour temperature and film</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#colourtempflash">Colour temperature and flash photography</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#filters">Colour filters</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#filterlimit">Limitations of filters</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#mireds">Mireds</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#wratten">Wratten numbers</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#trigger">Trigger circuit voltage</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">Slave flashes</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#flashmeters">Flash meters</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index2.html#synctrivia">Flash sync trivia</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#common">Part III - Common EOS flash features</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">Bounce flash - swivel and tilt</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">Zooming flash heads</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#zoomconfig">Flash head coverage</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#afassist">AF assist light</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#afassistnotes">Camera-specific notes on AF assist lights</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#fec">Flash exposure compensation (FEC)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#bodiesfec">Which bodies/flash units have FEC</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#feclist">List of which bodies/flash units have FEC</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#fakefec">Faking flash exposure compensation</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">Flash exposure lock (FEL)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#feb">Flash exposure bracketing (FEB)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#enablesecond">Enabling second curtain sync</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#whichsecond">List of which flash units and camera bodies have second-curtain sync</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#range">Range warning</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#manualflash">Manual flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#flashlevel">Flash exposure level</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#rapidfire">Rapid-fire mode</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#stroboscopic">Stroboscopic flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#enablestroboscopic">Setting stroboscopic flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#confirmation">Flash exposure confirmation</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">Wireless remote control</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#whichwireless">List of wireless-capable flash units and cameras</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#modelling">Modelling flash</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#awb">Automatic white balance compensation</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#se">Save Energy (SE) mode</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#hv">High-voltage connector</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#pc">PC terminals/sockets</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#autoflash">Autoflash</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#customfunctions">Custom functions on flash units.</a><br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#test">Test flash (manual firing)</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#reardial">Rear control dial</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#weatherproofing">Weather seals</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#lightpainting">Manual flash triggering for light painting</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#noise">Noise</a>. <br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#safety">Flash safety</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#accessories">Accessories</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#cords">Extension cords</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">Flash diffusers</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#brackets">Flash brackets</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#batterypacks">External battery packs</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#extenders">Flash extenders</a> <br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#powersource">Power source options for external flash units</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#nonalkaline">Standard AA non-alkaline (zinc carbon) cells</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#alkaline">Standard AA alkaline cells</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#nicad">Rechargeable nickel-cadmium (NiCad) cells</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#lithium">Lithium AA cells</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#nimh">Rechargeable nickel metal hydride (NiMH) cells</a>.<br/> <a href="http://photonotes.org/articles/eos-flash/index3.html#external">External battery pack</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#flashtips">Flash tips</a>.</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#quality">Quality of light</a>.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <a href="http://photonotes.org/articles/eos-flash/index3.html#generalflash">General flash photography</a>.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <a href="http://photonotes.org/articles/eos-flash/index3.html#indoors">Shooting indoors in a small space</a>.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <a href="http://photonotes.org/articles/eos-flash/index3.html#outdoors">Shooting outdoors or indoors in a large space</a>.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#links">Links to other useful documents</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#copyright">Disclaimer and copyright</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="existing" />Existing documentation.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Learning more about flash photography with EOS cameras is hard as there’s relatively limited information available on the topic. Canon’s manuals tend to be fairly short, and not much information has been published about the flash algorithms used by EOS cameras. There’s a brochure on the topic - Canon’s “<a target="_blank" href="http://www.camera.canon.com.my/photography/art/13lighting/">Flash Work</a>,” but unlike the excellent and similarly titled book “Lens Work,” the flash brochure does not go into much detail. Hove/Silver Pixel Press published a book on the Canon Speedlite 540EZ flash unit, which also briefly described other Canon flash units sold at the time, but the book is now apparently out of print.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon USA did publish two technical booklets on the subject in the early 1990s - the “Canon Speedlite Reference Guide” and the smaller “Canon EOS Speedlite System.” However, these are now out of print and don’t cover E-TTL technology. The Speedlite Reference Guide is a very useful resource for learning more about TTL and A-TTL flash, however. Many thanks to Brett Cheng for mailing me a copy!</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> When the Elan II (EOS 50) was released, Canon USA’s Chuck Westfall provided some valuable information that Mark Overton wrote up in the form of an <a target="_blank" href="http://bobatkins.photo.net/info/faq30/flashfaq.htm">FAQ</a>. This document is very useful, but somewhat terse - it doesn’t cover a lot of the terminology and background. It also deals primarily with one camera/flash combination - the Elan II and the Speedlite 380EX. So I decided to write a somewhat more detailed account of how EOS flash works.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><i>The document you are currently reading is, however, extremely long and detailed. So if you want a quick précis of EOS flash technology you should probably consult the Westfall/Overton FAQ on Bob Atkins’ Web site.</i></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, please note that I have no particular insight into or access to the mysterious ways of Canon’s flash engineers. I wrote this document partly because I thought it might be helpful to others and partly because explaining something is a great way to learn something yourself. But there may, of course, be technical errors in this document. If you spot any errors or ambiguous or vague sections, Please <a href="http://photonotes.org/cgi-bin/article-feedback.pl">send feedback</a>! </FONT> </p> <p> <FONT face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq" />Top Ten Frequently Asked EOS Flash Questions.</strong></FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Before we start, however, I’d like to provide quick answers to the top ten Frequently Asked EOS Flash Questions, since they come up an awful lot.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I’m also going to mention my Canon EOS <a href="http://photonotes.org/lookup/">Camera/Flash Compatibility Lookup</a> page, which allows you to compare different camera and flash models to determine their compatibility and what functions are available to you.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq1" />1) My camera already has a built-in flash. Do I need an external one? If so, what kind?</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This question crops up all the time on discussion forums, much to the irritation of oldtimers. And their irritation usually arises for two simple reasons. First, they’re grumpy cantankerous curmudgeons and second, the question is sort of meaningless without knowing what your photographic requirements and interests are.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It’s very much like asking, “Which car should I buy?” The answer depends on your needs and budget. But here’s a brief overview of what you should consider.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you just want something to take snapshots with, a <a href="http://photonotes.org/articles/eos-flash/index.html#internalflash">built-in popup flash</a> is probably sufficient. It can’t produce much light and so doesn’t have a lot of range, but then friends in restaurants aren’t going to be very far from you. It has a harsh quality, but for snapshots most people don’t seem to mind much. And internal flash units are convenient - you can’t lose them unless you lose the whole camera, and they don’t add any additional weight or bulk.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, if you want to get into more advanced photography you’ll probably want either to buy a good external flash unit or else eschew flash as often as possible and rely more on available light. As noted above, the light from an internal flash unit is very harsh, whereas external units let you soften the light by <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bouncing</a> it off of walls or ceilings, or attaching light-softening <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">diffusers</a>. Most importantly, an external flash unit can be taken off the camera - either with an <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">extension cord</a> or <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">wireless</a>. This is important since on-camera flash provides unnatural head-on lighting.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">At this point it’s largely a matter of how much you want to spend and how much weight you want to carry around. Please consult the “<a href="http://photonotes.org/articles/eos-flash/index.html#whichflash">which flash</a>?” section of this document for more details.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Nonetheless, remember that flash is no panacea for photographic lighting problems. It’s obviously a valuable tool, but often the best way to ruin a nice picture is to blast tons of light onto the scene with a flash unit. Available light photography forces you to slow down and consider the light around you, which ultimately can help you become a better photographer.</FONT></p> <p><a name="faq4" /> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>2) I have an old flash unit. Will it work on my new Canon digital EOS camera?</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Maybe. That depends on what type of flash unit you have.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon digital cameras can only use Canon Speedlite flash models with names ending in EX. If your Canon flash unit has a model name which ends with E or EZ or anything else then it will not work with any Canon digital EOS camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As for flash units manufactured by other makers, check its specifications to see if it supports “E-TTL flash metering.” If it does not, or only lists “Canon TTL flash metering” then it most likely will not work. For details see the section on <a href="http://photonotes.org/articles/eos-flash/index.html#digital">flash metering with digital cameras</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq2" />3) I’m not happy with my flash photos. The lighting always looks harsh and unflattering.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash is like that. Basically, soft lighting is light which originates from a large area. Portable camera flashes, by contrast, have very small light-producing areas and, therefore, produce very hard-edged light with pronounced shadows. Flash units also tend to be mounted right next to the camera lens, producing an unnatural look. How often do you see the world illuminated by light emanating from your head? You probably don’t - unless you’re wearing a caving helmet or a head-mounted camping light. Light tends to come from overhead sources - the sun, ceiling lamps, etc.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The easiest way to soften the lighting in your flash photos is to <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce</a> the light from the flash unit off a large white surface. Walls and ceilings work for this, as do portable folding reflectors. You can also buy <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">diffusers</a> that attach to your flash that help a little bit as well. For more information have a look at the section on <a href="http://photonotes.org/articles/eos-flash/index3.html#quality">quality of light</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq3" />4) Are my friends and family possessed by demonic powers? Their eyes are glowing an evil red!</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is the “redeye” effect; a common problem with the internal flash units built into cameras. It’s caused by the white light from the flash unit reflecting off the red blood vessels lining the interior of the eye. The light shines back into the camera, resulting in the famous red glow.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The easiest way to minimize the risk of redeye is to use an external flash unit rather than a built-in flash. The problem is fully explained in the <a href="http://photonotes.org/articles/eos-flash/index2.html#redeye">redeye section</a> of this document, as is the related problem of greeneye in cats and dogs.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If, however, your friends’ and family’s eyes glow an evil red in real life and not just in your flash photos of them then you should probably consider arranging an exorcism. Contact a tabloid first if you want to exploit the situation to your financial advantage.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq5" />5) I took two flash photos in rapid succession and the second one is totally dark. Why?</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All flash units take a number of seconds to charge up between flash bursts. Some flash units have “<a href="http://photonotes.org/articles/eos-flash/index3.html#rapidfire">rapid-fire</a>” abilities which let them fire the flash even if the internal capacitor is not yet fully charged - but others don’t.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So if your second photo is dark it probably means that your flash unit lacks rapid-fire capabilities. You have to wait for the unit to charge up fully (and the pilot light on the back of the unit goes on) before taking the second photo. However, if your flash does have rapid-fire capabilities then you probably took the second photo too quickly and the flash unit hadn’t enough time to recharge to an adequate power level.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that different types of batteries charge up the flash at different speeds, so if this is a consistent problem you should look into your <a href="http://photonotes.org/articles/eos-flash/index3.html#powersource">battery options</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq6" />6) I’ve put a diffuser or reflector on my flash. Do I have to compensate for this somehow?</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">Diffusers</a> of any kind obviously reduce the amount of light that your flash unit produces. You’ll find a similar effect if you bounce the light from your flash unit off a wall or into a <a href="http://photonotes.org/articles/eos-flash/index3.html#quality">photographic umbrella</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, so long as you’re using automated (TTL, A-TTL or E-TTL) metering then the camera will compensate automatically. There is no need to adjust anything.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You’ll have decreased range, but you shouldn’t have any exposure problems unless you’re too far away from the subject and the decreased range now means you’re out of range. Diffusers can easily cost you at least half your flash range, depending on the type.</FONT></p> <p><a name="faq7" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>7) I tried to take a flash photo and the camera wanted a really slow shutter speed. Why?</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This occurred because you are trying to take a flash photo in low-light conditions and the camera is in Av (aperture priority) mode or the night PIC (icon) mode if your camera has it.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In Av, night and Tv (shutter speed priority) modes the camera meters for ambient (existing) light and fills in the <a href="http://photonotes.org/articles/eos-flash/index2.html#subjectbackground">foreground subject</a> using the flash. It does <i>not</i> assume that the primary light source is the flash, and therefore the shutter speed it sets is the same as it would set if you weren’t using flash at all. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> In low light this results in <a href="http://photonotes.org/articles/eos-flash/index2.html#slowshutter">slow shutter</a> photography. If the shutter speed is very long you will, therefore, need a tripod to avoid motion blur during the exposure. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Alternatively you can switch to full auto (green rectangle) or <a href="http://photonotes.org/articles/eos-flash/index2.html#programflash">Program (P) mode</a>, which automatically expose for the flash-illuminated subject and not the background. These modes try to ensure that the shutter speed is high enough to let you handhold the camera without a tripod. The drawback of P and basic modes is that photos taken in dimly lit areas usually end up with black or poorly lit backgrounds.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="faq8" />8) I tried taking a flash photo and the camera wouldn’t let me set a very high shutter speed. Why wouldn’t it?</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Each camera model has a top shutter speed that can be used with flash. This is known as its flash sync or <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync speed</a>, and varies from 1/90 sec on low-end cameras to 1/250 on pro cameras. (1/500 sec on the digital 1D)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you have a newer camera and an EX series flash you can use FP mode to circumvent this limit - see the <a href="http://photonotes.org/articles/eos-flash/index.html#fp">FP section</a> for more details.</FONT> </p> <p><a name="faq9" /> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>9) I took a flash photo and the background is pitch black or very dark. Why?</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This is the flip side of question 7. In P (program) mode and all flash-using PIC (icon) modes except for night mode (if your camera has it) the camera uses the flash as the primary light source for the foreground subject.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the ambient light levels are low, therefore, the background will turn out very dark. This is because the flash is not illuminating the background and the shutter speed is too short to expose adequately for background areas. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Remember that the light from any battery-powered flash is somewhat limited. You can’t expect a small flash unit to light up the Grand Canyon or Eiffel Tower. You can only reasonably expect it to light up people standing in the foreground or close backgrounds such as room interiors. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> To avoid this problem of black backgrounds you will need to take a photo in Av, Tv or M modes, as mentioned in question 7. If the ambient lighting is very low you may need a tripod to avoid motion blur for the time required to expose the background adequately. Using fast film (eg: ISO 800) and wide lens apertures (the smaller the f stop you can get on your lens) will help bring up the background as well.</FONT> </p> <p><a name="faq10" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>10) Why does my camera meter in P and Av modes very differently when I have a flash turned on?</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">That’s how EOS cameras are designed to work. P, Av, Tv and M modes all meter for flash in different ways. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">See the section on “<a href="http://photonotes.org/articles/eos-flash/index2.html#confusion">EOS flash confusion</a>” for details. Here’s the short version, which repeats some of the points made in previous FAQ questions.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Keep in mind that the camera meters for ambient (existing) light conditions and flash illumination independently.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">P (program) mode keeps the shutter speed between 1/60 sec and the maximum <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">flash sync</a> speed your camera can handle. It does this so that you shouldn’t need a tripod, even if light levels are low. It then tries to illuminate the foreground using flash.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Av (aperture priority) and Tv (shutter speed priority) modes set the shutter speed or aperture to expose for the existing light conditions correctly. They then <a href="http://photonotes.org/articles/eos-flash/index2.html#fillflash">fill in</a> the foreground using flash. If light levels are low you will need a tripod to avoid blur.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">M (manual exposure) mode lets you set both aperture and shutter speed to be whatever you want. The camera then automatically controls the illumination of the foreground subject using flash.</FONT></p> <p><a name="flashmetering" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash metering systems used by Canon EOS.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Electronic flash has come a long way since <a target="_blank" href="http://www.edgerton.org/biography.html">Harold “Doc” Edgerton</a>, an American researcher and inventor, made modern electronic flash photography a reality in 1931. But simple or complex, the basic principle of electronic flash remains the same - you charge up a capacitor (or “condenser”) with electricity and then release the stored energy in a brilliant split-second burst of light from a flash bulb - a glass tube filled with inert gases.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The light output <a target="_blank" href="http://eosdoc.com/manuals/notes/discharge/">changes instantly</a> in response to the presence or absence of power being delivered to the tube, so the primary form of control you have over the light output is duration of the electrical pulse, which is switched off by a component called a “thyristor.” Old-fashioned manual flashes require you to calculate the distance to the subject and then set the flash duration time yourself; a cumbersome and error-prone process. Modern flash units automate this process completely through the use of computer-controlled electronics.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="controlling" />Controlling flash exposure.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In regular photography you have two basic ways by which to control the amount of ambient (available) light entering the camera and exposing the film. You can adjust the shutter speed, which affects the duration of the exposure since ambient light is essentially constant in this context. And you can adjust the lens aperture - the physical diaphragm on most lenses which governs the quantity of light that enters the lens. (you can also use different lenses, add filters to the lens and so on, but we’re talking about the fundamental issues here)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, flash photography is quite different since it involves split-second bursts of light. A key point to remember in flash photography is that <i>the shutter speed of the camera normally does not have any bearing on flash exposure</i> - an exception being <a href="http://photonotes.org/articles/eos-flash/index.html#fp">FP</a> mode, mentioned later. Light from a continuous source is affected by shutter speeds, but flash bursts are so brief - in the milliseconds - that a mechanical shutter mechanism has no way of limiting the amount of light from a flash unit that hits the film. Shutter speed only affects the amount of ambient light.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You therefore have four basic ways to control how much light from a flash unit exposes the film.</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">First, you can adjust the lens aperture. However, lens apertures also affect the amount of ambient light striking the film as well, so it would obviously be hugely inconvenient if that were the only option at our disposal.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Second, you can adjust the distance from the flash unit to the subject. Light falloff follows <a href="http://photonotes.org/articles/eos-flash/index2.html#inversesquare">known physical laws</a> and so can reliably be calculated, but of course it’d be very inconvenient if you had to move the flash unit around all the time just to adjust flash exposures. That sort of thing is fine in a studio setting, but not for casual or photojournalist photography. Additionally, altering flash unit/subject distances affects the relative size of the flash light source, which results in different <a href="http://photonotes.org/articles/eos-flash/index3.html#quality">qualities of light</a> (hard vs soft).</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Third, you can put various diffusers or light baffles between the flash unit and the subject, which would be a nuisance to carry around and deal with.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Fourth, you can adjust the duration of the flash pulse as mentioned above, which thereby affects the intensity of the light produced. And this is the primary method of control we use for electronic flash.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So that’s what flash metering is really all about, in a nutshell. You need to adjust the duration of the flash pulse so you can expose the film correctly and achieve your photographic goal. Determining what this flash duration should be is not an easy thing to do, however, and so camera makers over the years have come up with various automated systems to do it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="principles" />Flash metering principles.</strong> </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash metering has very different requirements from normal ambient light metering for the reasons outlined above. Ambient light metering is performed well in advance of the shutter opening. EOS cameras, for example, activate the internal light meter when you press the shutter release button down halfway. But the subject-illuminating flash pulse, however, occurs <i>after</i> you press the shutter release all the way. That means that the flash pulse appears after the mirror has flipped up (blocking the ambient light meter) and the shutter has opened.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are thus two basic ways you can meter for flash automatically. First, you can measure the flash pulse as it is being emitted or second, you can send out a low-power test pulse (preflash) of known brightness first and base your light calculations on that data before the shutter opens.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These two flash metering methods are used by Canon’s automated flash metering systems. TTL and A-TTL flash use the former and E-TTL the latter. Flash units capable of E-TTL also support FP mode flash. Here’s an explanation of these technologies. </FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="ttl" />TTL (through the lens) flash metering. </strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As noted above, the earliest electronic flashes required the photographer to perform distance calculations by hand. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Later, the first generation of automatic electronic flash units relied upon external sensors to determine the flash exposure setting. These sensors, mounted on the front of the flash unit, simply recorded the flash bulb’s light, reflected back from subject, and cut off the power when enough light for a satisfactory exposure was determined. The venerable Vivitar 285 still sold today works this way, in fact. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Of course, such external sensors were easily fooled. The sensor might, for example, cover more or less area than the lens currently in use. So Olympus pioneered through-the-lens flash metering in the mid 1970s with the OM2. Canon introduced their version of TTL flash metering with the T90 a decade later, then incorporated the feature as standard with the EOS line of film cameras. It’s for this reason that the Canon T90 is the only non-EOS camera capable of using Canon’s TTL flash metering system.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">TTL flash metering works by measuring the pulse of flash-generated light bouncing back off the subject and entering the lens. It actually measures this light reflecting off the surface of the film itself, in realtime, by using an off the film (OTF) sensor. The light from the flash bulb is quenched when the sensor determines enough light has been produced to achieve a satisfactory flash exposure to get a mid-toned subject. Since digital cameras do not have film, digital EOS cameras do not support TTL.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For those interested, the OTF sensor is buried deep in the camera body, and is visible if you put the camera in bulb mode (ie: flip up the mirror and open the shutter) and open the camera back. It’s a small lens pointing back at a 45° angle towards where the film surface would be, and is located at the bottom of the camera in the ridged black area right in front of the shutter curtain. The rectangular or cross-shaped hole or holes immediately in front of it are the autofocus sensors.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The TTL sequence of operation is as follows:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When the shutter release is depressed halfway the current ambient light levels are metered by the camera as usual. Shutter speed and aperture are set by the camera or user depending on the current mode - P, Av, Tv or M. In P mode the camera sets the shutter speed to a value between 1/60 and <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync</a>. In the other modes it meters normally. (except on certain cameras which have a custom function that can lock the camera to X-sync in Av mode)</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When the shutter release is pressed all the way the camera flips up the mirror and opens the shutter, exposing the film.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash unit sends power to the flash tube, illuminating the scene. The start time of the flash triggering depends on whether <a href="http://photonotes.org/articles/eos-flash/index2.html#firstcurtain">first</a> or <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">second</a> curtain sync has been set.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Duration of the flash pulse is determined by the OTF sensor, which meters for an average scene. If the photo is being taken under bright lighting conditions (10 <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">EV</a> or brighter), <a href="http://photonotes.org/articles/eos-flash/index2.html#autofill">auto fill reduction</a> is applied. (unless it has been disabled by a custom function, as is possible on some bodies) This can reduce the flash output by anywhere from 0.5 to 1.5 stops. </FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As soon as the flash unit determines that the foreground subject has been adequately lit - by this realtime measurement of reflected flash light - it cuts off the power to the flash tube and the light from the flash unit is immediately quenched.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter stays open for the full duration of the shutter speed time.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter closes and the mirror flips back down. If the flash unit has a <a href="http://photonotes.org/articles/eos-flash/index3.html#confirmation">flash exposure confirmation</a> light and if the flash metering was deemed adequate then the light glows.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">One note - since the sensor records light reflecting off the surface of the film itself it will of course react differently to film with very different reflective properties. According to B&H’s Henry Posner on the EOS list, all cameras with TTL flash are calibrated to work with the emulsion characteristics of typical colour print film and there may, therefore, be very subtle differences in flash metering when you use slide film. Since slide film has very narrow exposure tolerances (latitude) this might be an <a target="_blank" href="http://www.markcassino.com/essays/ttlflash.htm">issue</a> for you.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras which support TTL flash:<br/> The T90 and virtually all EOS film cameras except the EF-M and the Rebel T2/EOS 300X/EOS Kiss 7. The digital cameras - all cameras with a D in the name (including the D30, D60, 1D, 1Ds, 10D, 300D/Digital Rebel/Kiss Digital, 1D mark II, 1Ds mark II, 1D mark II, 1D mark IIN, 1D mark III, 20D, 20Da, 350D/Digital Rebel X/Kiss Digital N, EOS 400D/Rebel XTi Digital/Kiss X Digital) do <i>not</i> support TTL.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support TTL flash:<br/> All “E’ series Speedlites plus the 300TL: 160E, 200E, 220EX, 300EZ, 380EX, 420EZ, 420EX, 430EZ, 430EX, 540EZ, 550EX, 580EX, 580EX II, 480EG, MR-14EX, MT-24EX and 300TL.</FONT></p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="refinements" />Refinements to TTL flash, including Canon AIM.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> TTL metering is typically more reliable than systems which rely on external sensors, but it can still be fooled. For example, a highly reflective subject or a subject in white surroundings can result in a lot of light reflecting back, so the resulting picture may well be underexposed as the camera quenches the flash too soon. An off-centre subject poses similar problems. Another issue is that the flash metering occurs while the shutter is open, so the camera can’t accurately factor flash in with ambient light metering. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon refined TTL control on their multiple focus point cameras by adding a feature they call AIM, (“Advanced Integrated Multi-point Control System”) which is basically multiple-segment flash metering. This lets the camera bias the flash exposure to the currently selected focus point, thereby increasing the chances of getting accurate flash exposure for off-centre subjects.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The AIM system means that it’s best to rely on selecting off-centre focus points for flash photography rather than using the centre point and then <a href="http://photonotes.org/articles/eos-flash/index2.html#recompose">recomposing the image</a>. (unless you use <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">flash exposure lock</a>, explained below) For more information on AIM consult the <a href="http://photonotes.org/articles/eos-flash/index2.html#flashmeteringpatterns">flash metering patterns</a> section. Note that older EOS cameras with multiple-segment flash metering didn’t use the term “AIM” in their documentation - Canon came up with the marketing term sometime in the mid 90s - so the fact your multiple focus point camera doesn’t mention AIM doesn’t mean it hasn’t got it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Nikon improved their TTL flash metering system by incorporating subject distance into flash calculations - their “3D” system. This system determines distance information by reading the current focussing distance from the lens. Canon did not incorporate a similar distance-data system in their flash technology until 2004, with the introduction of <a href="http://photonotes.org/articles/eos-flash/index.html#ettlii">E-TTL II</a>. However, while distance data is valuable, it’s important to keep in mind that distance data isn’t very useful when using a flash in bounce mode or when using any diffusion system in which the light from the flash unit does not travel directly to the subject, since both cases increase the flash to subject distance over the lens to subject distance.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="attl" />A-TTL (advanced TTL).</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon’s first step in altering flash exposure design was the creation of A-TTL, or “advanced through the lens” flash metering, which was introduced with the T90 camera and continued on to the EOS series of film cameras.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A-TTL flash units (300TL and EZ series Speedlites only) send out a brief burst of light during the metering phase. (ie: when the shutter release button is pressed halfway) This preflash is recorded by an external sensor on the front of the flash and used to determine a reasonable aperture to ensure adequate depth of field, particularly at short distances. The flash unit then sends out the actual scene-illuminating flash once the shutter has opened.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The A-TTL sequence of operation is as follows:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When the shutter release is depressed halfway the current light levels are metered by the camera. In P and Tv modes the ambient aperture value is determined and stored, but not set. In Av and M modes the ambient aperture value is user-set.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash unit fires a preflash (either near-infrared light from a front-mounted secondary flash bulb or white light from the main flash bulb, depending on the flash unit and operating mode) in conjunction with the ambient light metering, in order to determine the approximate distance from the flash to the main subject. In P mode only, the correct aperture value to expose the main subject is then calculated.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In P mode only, the two aperture values (ambient and flash) are compared when the shutter release is fully depressed. The camera typically sets the smaller of the two apertures, particularly if the distance to the subject is determined to be fairly close. In Av and M modes the aperture is determined by the user setting and in Tv mode the aperture is determined by the ambient light meter settings.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the photo is being taken under bright lighting conditions (10 <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">EV</a> or brighter), <a href="http://photonotes.org/articles/eos-flash/index2.html#autofill">auto fill reduction</a> is applied. (unless it has been disabled by a custom function, as is possible on some bodies) This can reduce the flash output by anywhere from 0.5 to 1.5 stops.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, the camera flips up the mirror and opens the shutter, exposing the film.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash unit then sends out the actual scene-illuminating flash. The start time of the flash pulse depends on whether <a href="http://photonotes.org/articles/eos-flash/index2.html#firstcurtain">first</a> or <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">second</a> curtain sync has been set. Duration of the flash pulse is determined by the standard OTF sensor - exactly the same as TTL flash.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter stays open for the full duration of the shutter speed time.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter closes and the mirror flips back down. If the flash unit has a <a href="http://photonotes.org/articles/eos-flash/index3.html#confirmation">flash exposure confirmation</a> light and if the flash metering was deemed adequate then the light glows.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which support A-TTL:<br/> All EOS bodies which support TTL (see above).</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support A-TTL:<br/> Speedlites 300EZ, 300TL (T90 only), 420EZ, 430EZ, 540EZ.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong><a name="attllimitations" />Limitations of A-TTL.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sadly A-TTL, despite its name, offers little over regular TTL. For one thing, use of A-TTL in bounce mode on some flash units such as the 420EZ and 430EZ results in blinding flashes of white light from the main bulb each time you press the shutter halfway, which can be very annoying to human subjects. Although these flash units use a small separate A-TTL tube to flash fairly discreet near-infrared red light during the preflash stage when the head is pointed straight on, they flash the main flash tube (white light) instead when the flash head is tilted or swivelled.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If that weren’t enough, the preflash isn’t even really used by most EOS cameras when it’s in Av, Tv or M modes, since unlike P mode you aren’t setting aperture automatically for flash metering purposes. And, unlike E-TTL, the A-TTL preflash is never used for actual flash metering. The original purpose of the A-TTL preflash in those modes was to provide information to the flash out of range warning light in early EOS cameras - the 630, RT and 1. Canon had to drop that whole system for patent reasons by the late 80s, but the A-TTL preflash in non-P mode still lives on as a kind of <a target="_blank" href="http://www.geo.tu-freiberg.de/docs/eos-faq/3flash.html#q7">useless appendix</a> in most A-TTL flash units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It’s interesting to note that the 540EZ flash avoids these problems simply by ditching A-TTL in bounce mode altogether and reverting to TTL. In fact, the 540EZ doesn’t use A-TTL for Av and Tv modes either, unlike the earlier flash units. Presumably by that point Canon decided that most 540EZ buyers weren’t going to be 630, RT and 1 owners as well.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since the A-TTL sensor is on the front of the flash unit - behind a recessed plastic lens and not inside the camera, metering through the camera lens, it’s conceivable that a very heavy filter on the lens might result in some metering problems since the filter doesn’t cover the sensor as well. And, speaking of the flash-mounted sensors, be sure not to block it with your hand or anything for the same reason. Some flash diffusers can also present a problem in that the light spilling downwards from the diffuser can enter the A-TTL sensor inadvertently.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Finally, despite the additional complexity of the preflash circuitry, A-TTL simply ends up setting a pretty small aperture most of the time, to assure wide depth of field, which isn’t always what you want.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In short, A-TTL adequately assures reasonable flash exposure and depth of field in a point and shoot fashion in P mode. It isn’t so useful for more subtle or complex lighting techniques and isn’t useful at all in Av, Tv and M modes. </FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="ettl" />E-TTL (evaluative TTL).</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> With the Canon Elan II/50 camera in 1995, Canon introduced another form of flash technology - E-TTL, for “evaluative through the lens” flash metering. While still metering through the lens, E-TTL is completely incompatible with its predecessors and works on a very different technical basis. E-TTL fires a low-power preflash of known brightness from the main bulb to determine correct flash exposure. It measures the reflectance of the scene with the preflash, then calculates proper flash output to achieve a midtoned subject, based on that data. It uses a preflash, but doesn’t suffer from A-TTL’s drawbacks for two reasons.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">First, the E-TTL preflash occurs immediately before the shutter opens and not when the shutter release is pressed halfway. Unlike the A-TTL preflash, therefore, the E-TTL preflash is actually used to determine flash exposure and isn’t fired during the ambient (existing) metering stage. Some users may be surprised to learn that E-TTL actually fires a prefire flash before the main flash at all. Using regular settings the process happens so quickly that the preflash is difficult to notice, though you might catch glimpse of it before the mirror blackout - an exception being <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">second-curtain sync</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Second, the preflash light is analyzed by the same evaluative metering system that the camera uses to meter ambient light. This means it meters through the lens and is harder to fool than external sensors, isn’t confused by bounced light and does not read anything off the surface of the film. For what it’s worth, unlike the TTL flash meter, the E-TTL metering sensor cannot be seen by the curious - it’s hidden away up in the pentaprism (or roof mirror in low-end EOS cameras) housing.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">E-TTL is also generally superior to TTL and A-TTL when it comes to fill flash. The E-TTL algorithms are usually better at applying subtle and natural fill flash light to daylight photographs. E-TTL exposure is also linked to the current AF focus point, which in theory results in finer-grained exposure biasing than most multiple-zone TTL flash sensor systems. E-TTL support is built into all recent EOS film cameras and all EOS digital cameras since the D30.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The usual E-TTL sequence of operations, not counting the optional <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">flash exposure lock</a> (FEL) feature or <a href="http://photonotes.org/articles/eos-flash/index3.html#wirelesshow">wireless operation</a>, is as follows:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When the shutter release is pressed halfway the current ambient light levels are metered by the camera as usual. Shutter speed and aperture are set by the camera or user depending on the current mode - PIC (icon) modes or P, Av, Tv or M.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When the shutter release is pressed all the way the flash unit immediately fires a low-power preflash from the main flash tube. (ie: white light)</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The reflected light from this preflash is analyzed by the same evaluative metering system that the camera uses for metering ambient light levels. The appropriate power output (ie: flash duration) of the flash is determined and stored in memory. The entire sensor area is evaluated and compared to the ambient metering, and the area around the active focus point is emphasized. If you are in manual focus mode then either the central focus point or averaged metering is used.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the photo is being taken under bright lighting conditions (10 <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">EV</a> or brighter), <a href="http://photonotes.org/articles/eos-flash/index2.html#autofill">auto fill reduction</a> is applied (unless it has been disabled by a custom function, as is possible on some bodies) and the flash output is decreased by anywhere from 0.5 to 2 stops. However, the E-TTL auto fill reduction algorithm has never been published to my knowledge, so nobody outside Canon knows exactly how it works.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The mirror flips up and the shutter opens, exposing the film - or sensor chip if it’s a digital camera.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash tube is then fired at the previously determined power level to illuminate the scene. Start time of the flash burst depends on whether <a href="http://photonotes.org/articles/eos-flash/index2.html#firstcurtain">first</a> or <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">second</a> curtain sync has been set. The OTF sensor in the camera, if present, is <i>not</i> used in E-TTL mode.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter stays open for the full duration of the shutter speed time.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The shutter closes and the mirror flips back down. If the flash unit has a <a href="http://photonotes.org/articles/eos-flash/index3.html#confirmation">flash exposure confirmation</a> light and if the flash metering was deemed adequate then the light glows.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera units which support E-TTL:<br/> All <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type A</a> EOS cameras (see below) including all EOS D-series digital cameras.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support E-TTL:<br/> All EX series Speedlites: 220EX, 380EX, 420EX, 430EX, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong><a name="ettllimitations" />Limitations of E-TTL.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">By far the biggest drawback of E-TTL is that the preflash can cause people who blink quickly to be photographed mid-blink. The preflash normally occurs an extremely brief period of time before the main flash, but there’s still enough time for rapid blinkers to react. The problem is heightened when using second-curtain sync with slow shutter. It’s not uncommon for group photographs to have a number of people with droopy or closed eyelids. A similar problem can affect nature photographers who photograph skittish birds. The only reliable way around the issue is to fire the preflash manually by pressing the FEL button, waiting a moment, then taking the actual photo. If you do this it’s wise to warn your subjects that there’ll be two flashes because otherwise they might look away after the preflash, thinking the photo has already been taken.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another problem is that the use of preflash can trigger <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">studio slave flash units</a> which work by detecting the light from the triggering camera - analogue optical slaves. This results in flash exposure going very wrong, since the optical slave is triggered too soon. The preflash can also confuse handheld <a href="http://photonotes.org/articles/eos-flash/index2.html#flashmeters">flash meters</a>, making manual flash metering very difficult.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">More abstractly, E-TTL is a very automated system and isn’t well documented for the user. For instance, as noted above, Canon have never published details on the E-TTL auto fill reduction algorithm. It takes a bit of experimenting to figure out how the system is likely to respond. And there’s relatively little user selection or choice in operation modes. Most flash units don’t, for instance, let you manually choose TTL, A-TTL or E-TTL flash metering at will.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> E-TTL has also been a problem for a lot of digital users (see <a href="http://photonotes.org/articles/eos-flash/index.html#digital">TTL and E-TTL and digital EOS cameras</a> below) because of the way E-TTL flash metering is performed. Some of these issues are addressed by E-TTL II, which is described in the next section.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, not every E-TTL feature is supported by every type A body and E-TTL flash unit. Some wireless E-TTL features and other functions such as the modelling light, for example, require both newer type A EOS bodies like the EOS 3 or EOS 30 and flash units like the 580EX or 420EX. <a href="http://photonotes.org/articles/eos-flash/index3.html">Part III</a> of this article describes which features are available for which combinations of camera body and flash unit.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong><a name="ettlii" /> E-TTL II.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Introduced in 2004 with the EOS 1D mark II digital camera and the EOS Elan 7N/EOS 30V/7S film camera, E-TTL II is an improved version of regular E-TTL which includes two key innovations.</FONT> </p> <p><strong><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Improved flash metering algorithms.</FONT></strong> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">First, E-TTL II examines all evaluative metering zones both before and after the E-TTL preflash goes off. Those areas with relatively small changes in brightness are then weighted for flash metering. This is done to avoid the common E-TTL problem of highly reflective materials causing specular highlights in a flash-illuminated image and throwing off the flash metering. Normally E-TTL II uses evaluative algorithms for its flash metering, but the EOS 1D mark II has a new custom function (CF 14-1) that lets you use centre-weighted averaging rather than evaluative metering for flash metering if you prefer.</FONT> </p> <p><strong><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance data incorporated into some calculations.</FONT></strong> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Second, E-TTL II can use distance data when it’s available. Many EF lenses (see list in next section) contain rotary encoders that can detect the current focus distance. For example, if your camera is focussed on an object 4 metres away then the lens will send this approximate focus distance data to the camera body.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Under certain conditions the distance data is factored into the calculations for determining proper flash output. This is particularly useful if you use the focus and recompose method without setting FEL - the new system can help minimize flash metering errors under these conditions. Canon describe the new system as essentially metering flash data across a flat plane rather than a point.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Up until now distance data hasn’t really been used much by EOS cameras. Some PIC (icon modes) apparently incorporate distance data into their exposure calculations, but that’s really been about it. E-TTL II is the first really useful application of this information that Canon have implemented, and is obviously very similar to the fashion in which Nikon have long relied on distance data for their flash metering system.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Cases in which distance data is not used.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Distance data is not always used by E-TTL II. There are three very significant cases in which distance data is not used, aside from the obvious case when it isn’t available because the lens doesn’t provide it. These three conditions are bounce flash, macro flash and wireless E-TTL flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When you’re using bounce flash (ie: when the flash unit’s head is in basically any position other than full-on straight or, with those flash heads which support it, with 7 degree downward tilt) then there is no way for the camera to know the distance the light took to reach the subject from the flash. Light will be scattered off walls or ceilings or reflectors and won’t travel directly to the subject. Since bounce flash is a common technique to improve the quality of a flash-illuminated scene it means that the primary advantage of E-TTL II in this situation is just better evaluative flash metering.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The other two conditions are similar. With macro flash you’re too close to the subject for the lens to determine useful information, and with wireless E-TTL flash the camera will have no idea where the flash units are positioned in relation to the subject. Note that E-TTL II can still use distance data if the flash unit is connected to a camera via an Off-Camera Shoe Cord. (there was some confusion about this early on, but Canon USA’s Chuck Westfall has confirmed it) This means that users of flash brackets won’t be left out, though it does mean that if you position the flash unit closer to or further from the subject than the camera, or if you point the flash unit away from the lens axis while keeping the flash head locked in a straight ahead position, then you might throw off the flash metering slightly. You can’t directly disable the use of distance data if the lens has it, though in this case you could take the simple precaution of setting the flash head to a very slight off-centre bounce position that would disable distance data while not significantly altering the flash coverage.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">To summarize, there are two important points to keep in mind. First, E-TTL II does not <i>require</i> any changes to either the flash units or lenses used with an E-TTL II camera - the changes are all basically internal to the camera body. And second, while E-TTL II does use distance data when it’s available and when it’s appropriate (eg: when using direct non-bounce flash), it doesn’t prevent you from using older lenses.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera units which support E-TTL II:<br/> EOS 1D mark II, EOS 30V/33V/7S/Elan 7N/Elan 7EN, EOS 20D/20Da, EOS 350D/Rebel X Digital/Kiss N Digital, EOS 400D/Rebel XTi Digital/Kiss X Digital, 1D mark IIN, 1Ds mark II, 1D mark III, 5D, 30D.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support E-TTL II:<br/> All EX series Speedlites: 220EX, 380EX, 420EX, 430EX, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="distancedata" />Canon EF lenses with distance data for E-TTL II.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The following lenses are capable of returning distance data for use with those cameras which can use them. This list was published by Canon USA’s Chuck Westfall in March 2004 and is reasonably comprehensive, though does have a few omissions.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that most of the lenses with distance data capabilities contain ring USM focus motors. In fact, the first three lenses with distance encoders were introduced in 1990 along with the EOS 10/10S - the 35-135mm 4-5.6 USM, 70-210mm 3.5-4.5 USM, and 100-300mm 4.5-5.6 USM. It’s also not clear what the resolution is of a typical lens distance decoder. Photos I’ve seen of the <a target="_blank" href="http://photonotes.org/articles/eos-flash/%20http://www.photoscene.com/sw/tour/inside.htm">decoder rings</a> (not quite like children’s toys in a cereal packet) in one lens suggest that the distance data is fairly approximate, with each combination of distance contacts returning a certain distance range.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I have no information as to whether any third-party lenses compatible with the EF lens mount are capable of returning distance data.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EF 14mm 2.8L USM <br/> EF 20mm 2.8 USM <br/> EF 24mm 1.4L USM <br/> EF 28mm 1.8 USM <br/> EF 35mm 1.4L USM <br/> MP-E 65mm 2.8 1-5x Macro<br/> EF 85mm 1.2 II L<br/> EF 85mm 1.8 USM <br/> EF 100mm 2 USM <br/> EF 100mm 2.8 Macro USM <br/> EF 100mm 2.8 Macro (discontinued) <br/> EF 135mm 2L USM <br/> EF 180mm 3.5L Macro USM <br/> EF 200mm 2.8L II USM <br/> EF 200mm 2.8L USM (discontinued) <br/> EF 300mm 2.8L IS USM <br/> EF 300mm 4L IS USM <br/> EF 300mm 4L USM (discontinued) <br/> EF 400mm 2.8L IS USM <br/> EF 400mm 4 DO IS USM <br/> EF 400mm 5.6L USM <br/> EF 500mm 4L IS USM <br/> EF 600mm 4L IS USM <br/> EF 1200mm 5.6L USM</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EF 16-35mm 2.8L USM <br/> EF 16-35mm 2.8L II USM <br/> EF 17-35mm 2.8L USM (discontinued) <br/> EF 17-40mm 4L USM <br/> EF 20-35mm 3.5-4.5 USM <br/> EF 24-70mm 2.8L USM <br/> EF 24-85mm 3.5-4.5 USM <br/> EF 24-105mm 4L IS USM<br/> EF 28-70mm 2.8L USM (discontinued) <br/> EF 28-80mm 3.5-5.6 USM (discontinued) <br/> EF 28-105mm 3.5-4.5 USM (discontinued)<br/> EF 28-105mm 3.5-4.5 II USM <br/> EF 28-105mm 4-5.6 USM <br/> EF 28-105mm 4-5.6 <br/> EF 28-135mm 3.5-5.6 IS USM<br/> EF 28-200mm 3.5-5.6 USM <br/> EF 28-200mm 3.5-5.6 (discontinued) <br/> EF 28-300mm 3.5-5.6L IS USM <br/> EF 35-135mm 4-5.6 USM (discontinued) <br/> EF 70-200mm 2.8L IS USM <br/> EF 70-200mm 2.8L USM <br/> EF 70-200mm 4L USM <br/> EF 70-200mm 4L IS USM <br/> EF 70-210mm 3.5-4.5 USM (discontinued) <br/> EF 70-300mm 4.5-5.6 DO IS USM <br/> EF 90-300mm 4.5-5.6 USM <br/> EF 90-300mm 4.5-5.6 <br/> EF 100-300mm 4.5-5.6 USM <br/> EF 100-400mm 4.5-5.6L IS USM</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EF-S 18-55mm 3.5-5.6 USM (Japan only)<br/> EF-S 18-55mm 3.5-5.6<br/> EF-S 18-55mm 3.5-5.6 II<br/> EF-S 60mm 2.8 USM macro <br/> EF-S 17-55mm 2.8 IS USM<br/> EF-S 17-85mm 4-5.6 IS USM<br/> EF-S 10-22mm 3.5-4.5 USM</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If your lens doesn’t appear on the list above then it may or may not have distance data capabilities. However, here are a few current and recently discontinued lenses in the EF lineup which definitely do not have distance data. Note the 50mm 1.4 USM and the 85mm 1.2L USM mark I (not mark II) are in this list. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EF 15mm 2.8 fisheye<br/> EF 24mm 2.8 <br/> EF 28mm 2.8 <br/> EF 35mm 2.0<br/> EF 50mm 1.4 USM<br/> EF 50mm 1.8 II<br/> EF 85mm 1.2L USM <br/> EF 135mm 2.8 SF</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EF 28-80mm 3.5-5.6 II<br/> EF 28-90mm 4-5.6 II USM<br/> EF 28-90mm 4-5.6 II <br/> EF 35-80mm 4-5.6 III<br/> EF 55-200mm 4.5-5.6 II USM <br/> EF 75-300mm 4-5.6 IS USM<br/> EF 75-300mm 4-5.6 III USM<br/> EF 75-300mm 4-5.6 II<br/> EF 80-200mm 4.5-5.6 II </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="fp" />FP (focal plane or high speed sync) flash mode.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Synchronizing flash exposure with both curtains of focal plane shutters was as much of a problem in the days of single-use flash bulbs as it is today with electronic flash units. For that reason flash bulbs designed to work with focal plane shutters were developed. Such bulbs produced light quite rapidly and sustained their light output for the full duration of the shutter opening. They were called FP bulbs.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">With E-TTL Canon introduced an implementation of an electronic FP flash mode, which is a way of circumventing the <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync</a> limitation in certain cases, and another flash technology pioneered by Olympus. FP flash lets you take flash photos at any shutter speed you like, and works by pulsing the flash bulb at an extremely high rate - 50 KHz - simulating constant light at the cost of total light output. FP stands for “focal plane,” by analogy to the old FP flash bulbs, though Mark Overton memorably refers to it as “fast pulse” mode in his FAQ, since that’s exactly how it works today. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This mode is useful for shooting with fill flash outdoors with wide apertures. Normally you can’t shoot outdoors and use fill flash unless you stop down the lens or use very slow film. However, changing film is a nuisance and stopping down the lens increases the depth of field. If you’re shooting a portrait, say, you probably want to blur the background and the only way to do this is to shoot with a wider aperture. But the wider aperture lets in more light, and you can’t compensate by increasing the shutter speed if you then bump up against the camera’s X-sync limit.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">FP mode flash solves this problem by letting the shutter speed exceed the X-sync limit and reach the camera’s maximum shutter speed (usually 1/2000 or 1/4000 sec) instead. The primary drawback is that pulsing the light causes a reduction in overall light output and thus range.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When you have FP mode engaged you typically get about a third less range than you would if you were shooting with normal flash. With a powerful flash unit like the 580EX this may not be a big problem, particularly if your flash subject is fairly close to you. But this loss of range could be a serious impediment if you’re using a smaller flash unit (eg: the tiny 220EX), if the subject is far away, or if you’re using slow film. Of course, if you’re using FP mode simply for a little fill flash (rather than relying on it to illuminate your subject) then this loss of range shouldn’t be a huge problem.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note an important point - FP mode does not help you freeze motion; the name “high-speed sync” is a bit misleading in this regard. Normal flash photography is very good at freezing motion on film, since a burst of electronic flash is so incredibly brief. When a scene is illuminated primarily by a really brief flash of light then you aren’t going to get much motion blur - it’s almost as if you used an incredibly high shutter speed in the thousandths of a second. However when you use FP mode flash, the flash unit pulses the light output over a longer period of time in order to simulate a longer-duration burst of light. Since the flash burst is no longer particularly brief you can’t freeze motion as easily, even with high shutter speeds. The mode is called high-speed sync since it lets you synchronize flash exposure with high <i>shutter</i> speeds, not that it lets you take high-speed photographs.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Since Canon’s FP mode is tied in with E-TTL technology it’s only available when using EX-series flashes attached to A-type bodies. There are two exceptions to the “type A gives you FP flash” rule. First, the type B EOS 1N body can be <a target="_blank" href="http://www.a1.nl/phomepag/markerink/cf_eos1n.htm">reprogrammed</a> by Canon at great expense to support FP mode but cannot support any other feature associated with E-TTL even when so reprogrammed. And second, the digital SLRs with built-in flash (10D, 300D, etc) support FP mode on external flash units but have E-TTL compatible internal flashes which cannot support FP mode.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">FP mode is indicated on type A cameras and flash units by a small lightning bolt symbol and the letter H, for “high speed sync.”</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera units which support FP mode flash:<br/> All <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type A</a> EOS cameras plus the EOS 1N if reprogrammed as above.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support FP mode flash:<br/> All EX series Speedlites: 220EX, 380EX, 420EX, 430EX, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="ttlsupport" />TTL and E-TTL and EOS film cameras.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most film-based Canon EOS cameras support TTL flash metering. The exceptions are the latest consumer EOS film cameras and the oddball Canon EF-M. (the EF-M was a manual-focus camera that could accept EF-mount lenses but which lacked both autofocus and TTL flash circuitry as a cost-saving measure; you had to buy an optional flash unit with an external sensor, the Speedlite 200M, if you wanted to do <a href="http://www.geo.tu-freiberg.de/docs/eos-faq/3flash.html#q19">flash photography with the EF-M</a>) Those film-based EOS cameras with built-in flash units and TTL support rely solely on TTL for flash exposure control of those internal flash units. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon cameras designed prior to the Elan II/EOS 50 of 1995 don’t support E-TTL. With the release of this camera Canon divided their camera bodies into two types - A and B. Type A bodies are bodies which support E-TTL, <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">FEL</a> and FP flash technologies. Type B bodies are bodies which do not.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">With flash units it’s easy - if the name of the flash unit ends with the letter X (eg: 550EX, MT-24EX) then it’s an E-TTL unit. If it ends with anything else (eg: 430EZ, 480EG) then it is not.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> However, there are three points of note here. First, Canon continued designing and selling type B bodies for many years after the introduction of the Elan II/EOS 50, such as the EOS 3000 and venerable EOS 5/A2, so the date you bought your camera won’t determine if it’s a <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type A or B</a> body. Second, since Canon came up with the whole A/B naming convention in 1995, older cameras are obviously not described as being “type B” in their manuals. And third, type A simply means support for E-TTL, FEL and FP mode - it doesn’t mean that the camera necessarily supports other recent flash features such as wireless flash ratios or modelling flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So the upshot of all this is the following:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">TTL/A-TTL and E-TTL are incompatible flash metering systems which can’t be combined in any way. Some film cameras support both technologies, but you can’t use them simultaneously.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All EX-series (ie: E-TTL capable) flash units also support TTL metering and automatically revert to TTL metering when used with an older type B camera body. However, no EX-series flash units support A-TTL metering.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since virtually all EOS film cameras (all type B and nearly all type A bodies) support both TTL and A-TTL metering they can all use E-series flash units in TTL mode and EZ-series flash units in A-TTL mode. All EOS digital cameras support either E-TTL or both E-TTL and E-TTL II (see below).</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If both the camera and flash unit support E-TTL (ie: the camera is a type A body and the flash an EX series) then they will use E-TTL unless specifically overridden (see “disabling E-TTL” below).</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="digital" />TTL and E-TTL and EOS digital cameras.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> All current Canon digital cameras with hotshoes - both the interchangeable-lens SLR cameras and the point and shoot digital cameras - support E-TTL only flash metering (or both E-TTL and E-TTL II) and do not support either TTL or A-TTL flash metering. Even Canon digital cameras with internal popup flashes are E-TTL only. (though if you want to use flash with a non-EOS camera you should probably check out <a target="_blank" href="http://www.botzilla.com/photo/G1strobe.html">Kevin Bjorke’s page</a> for its limitations. Canon have also written a <a target="_blank" href="http://www.fredmiranda.com/D30FAQpage/letter.html">letter to D30 users</a> concerning proper use of EX flash units)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since digital bodies lack film they can’t use regular off the film flash sensors for TTL metering. The mirrorlike surface of a CMOS or CCD imaging chip has very different reflective properties from film. Besides, Canon have clearly switched to E-TTL, only supporting TTL for back compatibility with older products.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This means that <i>only</i> Canon EX flash units or third-party flash units with E-TTL support can be used with Canon’s current lineup of digital cameras. Older E and EZ flash units will <i>not</i> work correctly - no automatic through the lens metering is possible.</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can get manual-capable EZ flash units like the 540EZ to fire in manual flash mode but this requires external flash metering; not a practical option for most beginning or amateur photographers.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">To summarize, if your flash unit ends with E or EZ then it will not work with a digital EOS camera. If you have a third party flash unit you must consult its user manual and see if supports TTL flash metering only (no good) or E-TTL flash metering (great).</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>E-TTL flash metering issues with digital</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unfortunately, E-TTL was a particular problem for early digital EOS models. Many users reported serious problems with wildly varying exposure when using an E-TTL flash unit with earlier model Canon DSLRs, particularly the D30 (not the later 30D) and D60. Some of these problems stem from the users focussing and recomposing and failing to use the flash exposure lock (FEL) feature, which sets the wrong area around which the flash will meter. But many problems can’t be blamed on this. The main problem appears to stem from the way in which E-TTL on these bodies biases flash exposure heavily to the focus point. For more information please consult the section on E-TTL <a href="http://photonotes.org/articles/eos-flash/index2.html#flashmeteringpatterns">flash metering patterns</a>. For this reason some early digital EOS users gave up on E-TTL and went back to the old-style autoflash units. Others routinely set their lens to manual focus once focus had been achieved, since the camera uses a centre-weighted average metering pattern for flash metering when in manual focus.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This issue is no longer as prominent as it was. The EOS 10D brought revised E-TTL algorithms which relied on centre-weighted average metering for E-TTL flash, even with the lens set to autofocus mode. And <a href="http://photonotes.org/articles/eos-flash/index.html#ettlii">E-TTL II</a>, introduced with the EOS 1D mark II, analyzes all metering zones before and after the preflash for improved flash metering. These later digital cameras seem less vulnerable to metering errors caused by bright highlights. Some, such as the EOS 5D, also let you choose centre-weighted averaging or evaluative modes for flash metering through a custom function.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that this applies to the wholly Canon-designed generation of digital SLRs - the D30 onwards. It’s not clear how the first generation of Canon digital SLRs (developed in conjunction with Kodak), the long-discontinued EOS DCS1, DCS3 and D2000 cameras, support flash. It seems the DCS cameras theoretically support TTL, albeit poorly, and the D2000 and D6000 support E-TTL as well, but Canon’s Web site doesn’t really go into much detail.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="aandb" />Type A and type B bodies.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As noted above, Canon cameras built before 1995 don’t support E-TTL. With the introduction of E-TTL flash metering, Canon officially divided their camera bodies into two groups - types A (support for E-TTL) and B (support for TTL only). </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However there are also subvariants of type A. Specifically, the first generation of type A cameras does not have support for wireless E-TTL flash ratios and modelling flash; the second and third generations do. The third generation adds support for E-TTL II. To confuse matters further, most type A film cameras support legacy TTL flash, but some later type A cameras including all modern EOS digitals do not. Finally there are sometimes subtle variations in E-TTL functionality between one specific camera model and the next, but that obviously goes beyond the scope of simple type A and B categories.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Type A bodies</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Support for E-TTL flash, FEL and FP mode:</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS Elan II(E), EOS 50(E)/55<br/> EOS D2000, D6000 (digital)<br/> EOS IX, IX 7, IX Lite, IX 50 (APS)<br/> EOS Rebel G/500N/New EOS Kiss, Rebel G II<br/> EOS Rebel 2000/EOS 300/Kiss III, Kiss IIIL<br/> EOS 300V/Rebel Ti/Kiss 5<br/> EOS 3000N/Rebel XS N/EOS 66<br/> EOS 3000V/Rebel K2/Kiss Lite<br/> EOS EOS 300X/Rebel T2/EOS Kiss 7 (no TTL support)<br/> </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>As above plus support for wireless E-TTL flash ratios and modelling flash:</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS 3<br/> EOS Elan 7(E)/EOS 30/33/7<br/> EOS 1V<br/> EOS D30, D60, 10D (digital; no TTL support) <br/> EOS 1D, 1Ds (digital; no TTL support)<br/> EOS 300D/Digital Rebel/Kiss Digital (digital; no TTL support)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>As above plus support for E-TTL II:</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS 1D mark II, EOS 1Ds mark II, EOS 1D mark IIN (digital; no TTL support), EOS 1D mark III (digital; no TTL support)<br/> EOS 20D, EOS 20Da, EOS 30D (digital; no TTL support)<br/> EOS 350D/Rebel XT Digital/Kiss N Digital (digital; no TTL support)<br/> EOS 5D (digital; no TTL support)<br/> EOS 400D/Rebel XTi Digital/Kiss X Digital (digital; no TTL support)<br/> EOS Elan 7N/Elan 7EN/EOS 30V/33V/7S</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Type B bodies</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Support for TTL and A-TTL only:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS 600 series - 600, 620, 630, 650, RT<br/> EOS 700, 750, 800<br/> EOS 1<br/> EOS 10/10S/10QD<br/> First generation Rebel series - Rebel, Rebel S, EOS 1000 and all 1000 variants, Rebel II, Rebel X, XS/EOS 500/Kiss<br/> EOS Elan/100<br/> EOS A2(E)/5<br/> EOS 1N, 1NRS<br/> EOS 3000/88, 5000/888<br/> EOS DCS3, DCS1 (first generation digital)</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Neither type A nor type B</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon EF-M</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="disableettl" />Disabling E-TTL.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are times when TTL metering may be more desirable than E-TTL. A common example is a studio setting where analogue <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">optical slave units</a> can be fooled by the E-TTL preflash. The 550EX, 580EX, 580EX II, MR-14EX and MT-24EX let you disable E-TTL via a custom function, but they’re the only Canon Speedlites with this ability. All other EX flash units (220EX, 380EX, 420EX, 430EX) will always operate in E-TTL mode when mounted to an E-TTL-capable camera, even if the camera is also capable of supporting TTL and even though they’ll work in TTL mode just fine on a type B camera. (though the 430EX can also be used in manual mode if you wish)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">One way around this is to buy Canon’s <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">Hot Shoe Adapter</a> for wired multiple-unit flash. This adapter works only in TTL mode, so putting an E-TTL flash unit onto an HSA will force it to work in TTL only. This is a pretty expensive approach, however. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another option is to tape over one of the data contacts in the hotshoe. Covering the lower left contact (the left contact out of the hotshoe’s group of four that’s closest to the back of the camera when looking at the camera from the top) will disable all E-TTL functionality. (though it’ll also disable second-curtain sync along with FP flash and FEL) For more details have a look at <a target="_blank" href="http://www.eosdoc.com/manuals.asp?q=EX-M-TTL">this article</a> on EOSDoc.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that digital EOS cameras will not fire the flash if the flash is in TTL mode. Digital EOS cameras work with E-TTL or E-TTL II flash only and support neither TTL nor A-TTL, but they can fire flash units which are set to manual flash metering mode.</FONT> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="eossystemflash" />EOS system compatible flash units.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This document is concerned primarily with two types of flash technologies built by Canon for use with their EOS cameras - the pop-up integral flash units built into most low and midrange EOS cameras and the external shoe-mounted Speedlite flash units which can be attached to any EOS camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I do not discuss <a target="_blank" href="http://www.keradwc.com/articles/studiolights.html">studio flash units</a> (large flash units for studio photography, usually powered by AC current and not batteries, and called “studio strobes” in North America) in any detail here.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="internalflash" />Internal flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most low to mid-range Canon EOS cameras contain integral flash units, built into the top housing that contains the camera’s prism or mirror. Some are motorized and pop up immediately in all basic (PIC or icon) modes except sports and landscape if the camera thinks you need flash, or upon the touch of a button if you’re in an advanced (creative zone) mode. Others require the user to lift up the flash manually. A few early EOS models, specifically the 750, 700 and the 10/10s, had motorized flash units which could both pop up and retract mechanically, for those interested in trivia. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> These internal flash units are useful for quick snapshots and the like, but aren’t usually useful for quality photography for a number of reasons. First, they’re very small and offer very low output levels - low <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">guide numbers</a> such as 11 or 13. Second, they’re located quite close to the lens axis and so are very likely to cause the <a href="http://photonotes.org/articles/eos-flash/index2.html#redeye">redeye effect</a> when photographing people. Third, since they don’t extend very far above the top of the camera body their light is easily partially blocked by large lenses or lenses with large lens hoods. And fourth, they don’t offer any tilt or swivel options and generally have coverage areas of only 28mm or 35mm at the wide end.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, since they’re built-in they’re obviously eminently portable and handy at a moment’s notice. They’re useful for applying a touch of <a href="http://photonotes.org/articles/eos-flash/index2.html#fillflash">fill flash</a> when outdoors. And they recharge very rapidly as they use the camera’s lithium battery as a power source. This latter can be a bit expensive, though, as using the built-in flash runs down the camera battery alarmingly quickly.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No EOS camera lets you use the internal flash when an external flash unit is mounted on the <a href="http://photonotes.org/articles/eos-flash/index2.html#shoemount">hotshoe</a>. In fact, external flash units physically prevent the internal flash from being raised. Additionally, EOS cameras with motorized internal flashes have small electrical switches built into the hotshoe which detect the presence of a device and disallow internal flash popup. So the internal flash won’t rise automatically if anything’s in there - even, say, a hotshoe-mounted spirit level or something else non-electrical. These switches, incidentally, have been known to stick, rendering the internal flash inoperable.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> None of the professional EOS cameras (1, 1v, 3, etc) have built-in flash units, for the reasons listed above and possibly also because of the difficulty of waterproofing a popup flash mechanism. All EOS film cameras use TTL only for internal flash control. At time of writing the only EOS cameras to use E-TTL for internal flash unit control are those digital EOS cameras with built-in flash though their internal flash units do not support FP mode. Sadly no camera with internal flash at present can act as a wireless E-TTL master, though as far as I’m aware there’s no technical reason why not.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with internal flash units:<br/> Please consult the <a href="http://photonotes.org/articles/eos-flash/index3.html#zoomconfigcameras">flash coverage list</a>.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="picflash" />Basic (PIC) modes and external flash units.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Older EOS cameras, such as the 10/10s and Elan/100, have PIC (“programmed image control” or icon) modes that don’t handle external flash units correctly. The PIC modes which use flash when necessary (all but landscape and sports) are designed to use the internal flash and are optimized for its characteristics. Check your manual to see if your camera fits in this category - probably pre 1995 or so.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Newer EOS cameras, such as the Elan II/EOS 50 or Elan 7/EOS 30, can use an external flash unit with the PIC modes. But nonetheless for best control you’re better off using one of the “creative” zone modes anyway - P, Av, Tv or M. Remember that there are <a href="http://photonotes.org/articles/eos-flash/index2.html#confusion">significant differences</a> in the way each of these four modes handle flash exposure.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Because the full auto (green rectangle) and PIC modes afford very little control over the way the camera works I primarily discuss how flash works with the “creative” zone modes.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="externalflash" />Canon external flash unit types.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are three basic types of external flash units considered here - standard hotshoe flashes, handle flashes and macro flashes. (as noted above, studio flashes of the kind that require household AC power are not discussed in this document) </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> For a complete list of Canon’s EOS flashes over the years check out Dave Herzstein’s comprehensive <a target="_blank" href="http://www.kjsl.com/%7Edave/speedlites.html">EOS flash page</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="nomenclature" />Nomenclature of external flash units.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon have made a number of flash units compatible with EOS cameras. The naming system is fairly logical - they’re given names such as “Speedlite 550EX”. Here’s what the parts of the name mean:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Speedlite is the product name for all Canon flash devices. (versus “<a target="_blank" href="http://www.mir.com.my/rb/photography/hardwares/classics/nikonf2/flash/index2.htm">Speedlight</a>” for Nikon)</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">550 is the maximum <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">guide number</a> - output rating of the flash in metres - multiplied by 10 to make it sound cooler. (I very much doubt that Canon marketing measure things in decimetres)</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">E means it works with EOS cameras.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">X means that it supports <a href="http://photonotes.org/articles/eos-flash/index.html#ettl">E-TTL</a> flash technology. At time of writing only flash units which end in the letter X support E-TTL.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which end with “Z”, such as the 430EZ, are flash units with <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">zooming motors</a> and support for A-TTL but <i>not</i> E-TTL. The 480EG flash has a built-in grip. Flash units ending in “E” only, such as the 200E, are basic models with neither zooming heads nor E-TTL support.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Although this naming system is very reasonable it does mean it’s easy to confuse different models which happen to have identical guide numbers. For example, the 430EZ and 430EX flash units are very different indeed. The former was top of the line for its time, but supports only TTL and A-TTL and is now quite dated. The latter is considered a midrange flash unit in today’s lineup, and although is technologically much more sophisticated as it supports both E-TTL and wireless flash slave mode, it lacks stroboscopic mode and cannot serve as an E-TTL master. The 420EZ and 420EX flash units are similarly easily confused. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="olderspeedlite" />Older Canon Speedlite flash units.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Older Canon Speedlite flash units which lack the letter E in their product name were not designed for EOS cameras. There were Speedlite A models (eg: 199A) for old A-series Canons such as the A1 and AE1 and Speedlite T models (eg: 277T) for T-series Canons such as the T50 (but not the T90) and various other special-purpose models.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can put these older flashes on your EOS camera and they’ll trigger OK when you take a photo, but they can’t use modern automated flash metering. So you have to either use them in auto mode if they have such a setting (set your camera to a shutter speed up to the camera’s <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync</a>), dial in manual power and calculate the flash distance yourself if they have manual controls or else expect the flash to fire at full power.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> I don’t know if all earlier Speedlite products have safe <a href="http://photonotes.org/articles/eos-flash/index2.html#trigger">triggering voltages</a> or not. The <a target="_blank" href="http://www.botzilla.com/photo/strobeVolts.html">list</a> maintained by Kevin Bjorke on his Web site suggests that T series flash units are OK and most A series and older flash units are in a grey zone, but you should probably check for yourself.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The one exception is the 300TL flash unit. It was designed for the old Canon T90 camera, and its more advanced features (such as its versions of FEL and second-curtain sync) are not supported by EOS cameras. However it can be used with EOS cameras as a basic TTL flash unit even though it lacks an E designation.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="hotshoeflashes" />Hotshoe flashes.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon sell and have sold a number of different standard <a href="http://photonotes.org/articles/eos-flash/index2.html#shoemount">hotshoe</a> flash units, which can be divided into three basic categories. Have a look <a target="_blank" href="http://bobatkins.photo.net/info/faq30/flash1.htm">here</a> for a brief comparison of E and EZ (ie: non-EX) flash units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Basic flash units - 160E*, 200E, 220EX.</strong><br/> These small devices have very limited power output - you could think of them as little flash units for those cameras which lack built-in flash. The 160E and 200E support TTL only, but the 220EX supports both TTL and E-TTL. They do not <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">zoom</a>, <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">swivel or tilt</a>, but are extremely compact and lightweight. The tiny 160E is the only Canon flash unit which does not use four <a href="http://photonotes.org/articles/eos-flash/index3.html#powersource">AA cells</a> - it uses a lithium 2CR5 battery instead. That means that it’s very small and light, but expensive to operate as lithium batteries are very costly.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Midrange units - 300EZ*, 380EX*, 420EX*, 430EX.</strong><br/> These flash units have more power and have zooming flash heads but, except for the 430EX, no manual controls. The 300EZ supports TTL and A-TTL and the EX units support TTL and E-TTL. When it comes to flash heads, the 300EZ neither tilts nor swivels, the 380EX tilts only and the 420EX and 430EX both tilt and swivel. The 420EX and 430EX can also serve as a slave unit in <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless</a> E-TTL flash. The 430EX is unusual for this category in that it has a rear-panel LCD screen.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>The high-end units - 420EZ*, 430EZ*, <a target="_blank" href="http://www.eosdoc.com/manuals.asp?q=540EZ">540EZ</a>*, 550EX*, 580EX*, 580EX II.</strong><br/> These are of course the largest and most powerful flash units of the standard type. They support the most advanced Canon flash technology at the time they </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">were introduced; TTL and A-TTL in the case of the EZ units and TTL and E-TTL in the case of the 550EX, 580EX and 580EX II. They also have both manual controls and tilt and swivel flash heads. Of these the 420EZ is the most limited - it has no <a href="http://photonotes.org/articles/eos-flash/index3.html#fec">flash exposure compensation</a>, for example.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* Discontinued product at time of writing.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="handle" />Handle-mount (grip) flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon still make one large flash unit of this type, the 480EG. It’s basically a <a href="http://photonotes.org/articles/eos-flash/index3.html#brackets">flash bracket</a> with a massive heavy-duty flash attached to the side. The camera sits on the bracket and is held in place via the tripod mount. This type of handle flash is sometimes jokingly referred to as a “potato masher” flash unit.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 480EG is a high-output flash unit meant for press or wedding photographers, but hasn’t been updated in some time and is a TTL-only flash (no A-TTL or E-TTL support). Nowadays people usually just buy flash brackets and put a regular 580EX flash unit on them for this sort of application. This setup also lets you mount the flash unit vertically above the lens rather than to the side only, like the 480EG. But if you want the sheer light output you can’t beat the 480EG or similar flash units from manufacturers such as Metz.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The 480EG is also the most powerful flash unit that Canon make, even though its advertised guide number is only 48 and thus seemingly lower than flash units like the 540EZ or 550EX. This is because the 480EG’s flash head does not zoom and cannot, therefore, automatically concentrate light output when used with longer focal lengths - it can just blast the same amount of light regardless of lens zoom setting. See the sections on <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">guide numbers</a> and <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">zooming flash</a> for a more detailed explanation.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The unit does, however, ship with a wide-angle attachment and a telephoto attachment which can be clipped on and used to diffuse or concentrate the unit’s light output. (the telephoto attachment gives the unit a guide number of 68 at 135mm, so you may occasionally see the 480EG being misleadingly described as a flash unit with a guide number of 68) The 480EG has twin bulbs, a slave connector and full tilt and swivel capabilities, but it does not support second-curtain sync or exotic features like stroboscopic flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Interestingly, it also has an old-style external auto flash sensor built in. So if you have an older pre-EOS camera that doesn’t support TTL metering - or if you want to avoid TTL metering altogether for some reason - you can still use it. You can even use the optional Synchro Cord 480 to link the flash to a camera via a <a href="http://photonotes.org/articles/eos-flash/index3.html#pc">PC socket</a>.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="macro" />Macro flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon sell three flash units for macro (closeup) photography. Two, the TTL-only ML-3 flash and the E-TTL MR-14EX flash, are ring-shaped flashes designed to fit directly around the end of a macro lens. The other, the luxurious and hugely expensive E-TTL MT-24EX “macro twin lite,” contains two small flash heads on the end of a pair of short swivelling arms which can be adjusted independently and which can also be clipped to a ring that fits macro lenses. The MT-24EX flash heads can even be detached and mounted separately on other mounts, since each head includes a shoe mount and a standard 1/4-20 tripod mount. Both the MR-14EX and the MT-24EX can control slave flash units in <a href="http://photonotes.org/articles/eos-flash/index3.html#wirelessratios">wireless E-TTL mode</a>, which is very handy - you use the macro flash units (the two tubes are assigned to groups A and B) to illuminate the foreground and then use slaved Speedlites (assigned to group C) to illuminate the background. Note that the older and long-discontinued ML-2 macro ring lite flash supports TTL, but only with the T90 camera - Canon states that it cannot meter TTL reliably with EOS cameras.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Macro flashes are specifically designed for closeup photography, and let you take shadowless photos of small objects. Additionally, since each macro flash has two independent flash tubes you can adjust the lighting ratio between them, for more directional lighting. Unfortunately, only newer-model mid to high end type A cameras support <a href="http://photonotes.org/articles/eos-flash/index3.html#wirelessratios">ratio control</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It was trendy for a while in the 1990s to take fashion photos with large ring flashes to get a flat shadowless look to the models, but macro flashes aren’t really powerful enough to do this sort of thing well. (though the MT-24EX is bright enough to be used for this in closeup portrait setups if you really want to)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For some bizarre reason people consistently mistype “macro” as “marco,” as if the flash unit type were of Italian provenance. Please note that it’s not.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="thirdparty" />Third-party flash units.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A number of manufacturers other than Canon build flash units that can be used with EOS cameras. Here’s a bit of information on them.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that one problem with third party flashes is that Canon have not published the data protocols used by its cameras, lenses and flashes. So any flash unit designed to be compatible with EOS TTL, A-TTL or E-TTL flash metering has been reverse-engineered based on the behaviour of existing products. It’s quite possible that Canon will release a future camera that uses some modification to the protocol and your flash won’t work with it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This may or may not be a big issue for you, but it’s worth keeping in mind as it has been a problem in the past. For instance, the EOS 30/Elan 7 does not work with some Metz adapters and the EOS 300V/Rebel Ti/Kiss 5 doesn’t work with any Metz adapters - see the note below.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another common problem involves AF assist lights. As far as I know no third party flash unit is capable of illuminating the AF assist light when a focus point other than the centre point is selected when used with multiple focus point cameras.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="achiever" /><a target="_blank" href="http://www.achiever-hk.com/">Achiever</a>.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Achiever, a Hong Kong third-party manufacturer of flash units, point and shoot cameras and various sundry other products like paper shredders, list a <a href="http://www.achiever-hk.com/flash/dedicate.html">number of flash units</a> that they say work with EOS cameras.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I understand that their products are all TTL only. But useful feature lists of their products aren’t published on their site at all, so who knows?</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a name="metz" /><a target="_blank" href="http://www.metz.de/"><strong>Metz</strong></a><strong>.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metz, a respected German maker of flash units, sell quite a few “<a target="_blank" href="http://www.metz.de/1_metz_2000/m_pages_english/main_index_e.php3?link=4&sub=1&linkname=mecablitz">Mecablitz</a>” flashes that work with EOS cameras by means of an adapter system. <a target="_blank" href="http://photozone.de/2Equipment/canonflash.htm">Photozone</a> list some of them - the 54MZ-3, 50MZ-5, 40MZ-3, 40MZ-1, 40MZ-3i, 40MZ-1i, 40MZ-2, 40AF-4 and 32MZ-3 - and describe their features. The Metz range is, in fact, much more extensive than Canon’s, and Metz offers features that Canon do not - such as flash units with memory settings, built-in secondary reflectors, clip-on coloured filters and audio warning signals.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Metz’s Web site has an excellent listing of which features are available with which Canon cameras and what adapters are required, though some of the vocabulary has been translated rather literally from German and may be unfamiliar. A “lighting control indicator” is what Canon call a “flash exposure confirmation” light, for example. An “AF measuring beam” is the confusing name for the “AF assist light” or “AF auxiliary light.” </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that some users of Metz products have reported that the SCA3101 adapter, which works using TTL with older Canon-compatible bodies, will not work with the Elan 7/EOS 30. Even though the Elan 7/EOS 30 supports TTL on Canon flashes you must apparently use the SCA3102 Metz adapter. So you’re best off consulting the Metz site and, preferably, doing some testing of your own before buying. Note also that Metz have a wireless flash triggering system, but it’s not compatible with <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">Canon’s</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, I understand that Metz have acknowledged that none of their flash units with the SCA3102 adapter currently work correctly with the new EOS 300V/Rebel Ti/Kiss 5 camera, owing to changes in the design of the flash shoe electronics.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a name="sigma" /><a target="_blank" href="http://www.sigmaphoto.com/"><strong>Sigma</strong></a><strong>.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sigma, Japanese maker of many third-party lenses, build <a target="_blank" href="http://www.sigmaphoto.com/flashes/flashes_flashes.asp">a number of flash units</a> compatible with Canon EOS. The now apparently discontinued EF-430 ST and the EF-500 ST supported TTL only, but the newer models support E-TTL. The EF 430 Super and the EF-500 Super were the first E-TTL models and the later models are the EF 500 DG Super and the EF 500 DG ST. The DG models are E-TTL units designed to be compatible with digital EOS cameras. Some of these flash units are listed on <a target="_blank" href="http://photozone.de/2Equipment/canonflash.htm">Photozone</a>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The <a target="_blank" href="http://www.sigmaphoto.com/flashes/flashes_flashes_details.asp?id=3257&navigator=1">EF 500 DG Super</a> and the <a target="_blank" href="http://www.sigmaphoto.com/flashes/flashes_flashes_details.asp?id=3256&navigator=1">EF-500 DG ST</a> are particularly well regarded by a lot of EOS users, since feature-wise they’re nearly identical to Canon’s 550EX, which costs twice as much. The Sigma units are not built as sturdily as the Canon, but it’s hard to argue with the price. They even have wireless capabilities compatible with Canon’s system and has the ability to operate as an optical slave. For more information on EF-500 Super, specifically how it compares with the 550EX, please consult the <a target="_blank" href="http://photonotes.org/reviews/sigma-ef-500-super/">brief article</a> co-authored by Jim Strutz and myself. Sigma also sell the EM-140 DG Macro Flash, which is a ring flash for macro applications.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="soligor" /><a target="_blank" href="http://www.soligor.com/">Soligor</a></strong>.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">German photo accessory marketer Soligor sell a few Canon-compatible flash units; likely rebranded products. Their <a target="_blank" href="http://www.soligor.com/ebene2.phtml?e1=1&sprache=e&id=10100851507908649&von=ebene1">Web site</a> lists some details. The flashes appear to be TTL only.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="sunpak" /><a target="_blank" href="http://www.sunpak.com/">Sunpak</a>.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sunpak, a Japanese marketer of photo products, sell the TTL-only AF4000 and AF5000 flash units. The information on the <a target="_blank" href="http://www.sunpak.com/sunpak.html">Tocad America Web site</a>, their US distributor, is fairly limited, however. </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a name="vivitar" /><a target="_blank" href="http://www.vivitar.com/"><strong>Vivitar</strong></a><strong>.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">American camera accessory and snapshot camera marketer and designer (they don’t build products) Vivitar sell the 283 and 285HV flash units. These are self-contained flashes that rely entirely on their built-in flash sensors - they don’t support TTL metering of any kind. In fact, Vivitar apparently pioneered the autoflash concept with the 283, which is probably the best-selling flash unit of all time.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">283s and 285s are relatively cheap and commonly used by photo professionals as remote flashes triggered by optical slaves and so on. You should be aware, however, that older models have a very high <a href="http://photonotes.org/articles/eos-flash/index2.html#trigger">trigger voltage</a> that can damage EOS cameras. Newer models are fine, but check first before attaching any such flash unit to your camera, just to be sure.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Vivitar also sell a number of EOS-compatible flashes, some of which are said to be rebranded Sigma products. There’s a list of their flash units on their <a target="_blank" href="http://www.vivitar.com/Products/Flashes/flash.html">Web site</a>, and several are said to be Canon compatible, though TTL only. Their Web site is pretty uninformative.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="otherflashes" />Other flashes.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, any electronic flash unit that mounts on a camera hotshoe and which has a <a href="http://photonotes.org/articles/eos-flash/index2.html#trigger">trigger voltage</a> of less than 6 volts will fit an EOS camera and will be fired when you take a photo. However, it won’t work with any form of TTL flash metering. See the section on “<a href="http://photonotes.org/articles/eos-flash/index.html#olderspeedlite">Older Canon Speedlite flash units</a>” for details.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I would also be extremely wary of buying a generic flash that’s branded as being for Canon EOS. A lot of these cheap flash units are TTL only, which means they won’t work on a Canon EOS digital camera. Some of them are even simple autoflash units despite their misleading packaging. Buyer beware.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="whichflash" />Which flash unit should I buy?</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This question obviously comes down to your light output and feature needs, your budget and your weight and size requirements. Here are a few notes to help you make a decision. If you don’t know whether your camera is a type A or type B model, consult <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">this list</a>. All flash units marked with an asterisk are discontinued models. </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>I have a type B camera with no plans to buy a type A camera in the future.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You should probably stick with an E or EZ series flash unit, since buying an EX unit means you’re paying for features you can’t use. Also, since EZ units are all discontinued you can get a used unit fairly cheaply.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Recommended:</FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 200E, but only if you need something really tiny for occasional close-range fill flash work. Particularly if your camera lacks a built-in flash unit. I’d avoid the 200E if size and weight are not critical, as it’s got feeble output, doesn’t tilt or swivel and lacks flash exposure compensation buttons for use on older EOS cameras which lack FEC controls.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you want a reasonably powerful and feature-complete unit for cheap then the 430EZ* is your best bet.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you want the best you can buy in terms of features and output then the 540EZ is for you. This unit gives you slightly more output and flash exposure confirmation compared to the 430EZ. It also doesn’t generate irritating flashes of white light each time you press the shutter release halfway when in creative zone modes other than P.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Not recommended:</FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 160E* offers little unless size and weight are a really serious issue. The 160E uses a 2CR5 lithium battery, which is a costly way to power a flash unit. However it’s this small lithium cell which explains its incredibly tiny size.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 300EZ* is a fixed unit which can neither swivel nor tilt - get a 430EZ instead. The 430EZ is larger and heavier, but more flexible than the 300EZ.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 420EZ* isn’t a bad unit but lacks convenient flash exposure compensation buttons. The 430EZ has these plus an external battery socket and doesn’t cost much more.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>I have a Canon digital camera, a type A camera, or a type B camera but plan to buy a type A camera soon.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you have a type A camera you should get an EX-series (<a href="http://photonotes.org/articles/eos-flash/index.html#ettl">E-TTL capable</a>) flash. All EX-series flash units will work fine in TTL mode with type B cameras as well - the only missing feature being A-TTL, which is <a href="http://photonotes.org/articles/eos-flash/index.html#attllimitations">fairly useless</a> anyway. Finally, if you have a digital Canon camera then you don’t have a choice - you must get an EX-series flash unit as the earlier models won’t work.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Recommended:</FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 220EX, but only if you need something really tiny and lightweight for occasional close-range fill flash work. Particularly if your camera lacks a built-in flash unit. However, I’d avoid the 220EX if size and weight are not critical, since it doesn’t produce much light and doesn’t tilt or swivel.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 430EX is great for general-purpose fully-automatic flash photography. It’s surprisingly capable, with full manual controls and a rear LCD. It can also serve as a wireless E-TTL slave. The 420EX is an okay buy if you can find one cheap, but it lacks manual controls, only supports flash exposure compensation (FEC) on midrange and pro EOS bodies (ie: those cameras with custom functions) and lacks a rear panel LCD. </FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The top of the line 580EX II flash is quite powerful and can do anything a portable flash unit can be expected to do, but it’s quite large (though it’s smaller than the earlier 550EX) and both costs more and weighs more than a brand new low-end EOS camera. However it can serve as an E-TTL wireless master, has manual controls and works in stroboscopic mode.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Not recommended:</FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 380EX* can tilt but can’t swivel. It also can’t be used as a wireless slave. Unless money is a serious concern and you find a 380EX on sale for a really good price I’d get a 420EX or 430EX instead, since the price difference is usually fairly minor.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>I have specialized requirements:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Macro photography with a type B body: the ML-3*.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Macro photography with a type A body: the MR-14EX.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Macro photography with a type A body and a huge budget: the MT-24EX.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">News or wedding photography for which massive light output is important and subtle control is not: the 480EG. Though Metz offer many high-powered grip models which offer more control over the Canon unit.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>What about third party units?</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A number of companies other than Canon sell EOS-compatible flash units. The vast majority, however, are TTL only. There is also a small risk of compatibility problems with both current and future EOS camera bodies.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you’re satisfied with TTL operation (particularly if you have a type B camera with no plans to upgrade to a type A) and you’ve tested the flash unit to ensure that it works with your existing camera body, then an inexpensive third party unit may be the way to go if you’re on a tight budget. But I can’t offer any recommendations for such cheap units because there are so many different brand names which sell them. Many of these units are actually the same basic product, rebadged and sold by different distributors. So if a cheap third-party product is of interest to you I’d recommend you go to your local camera shop and look around.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are some better units worth considering as well. <a href="http://photonotes.org/articles/eos-flash/index.html#metz">Metz</a> make a wide range of well-featured and powerful flash units with interchangeable adapter modules (including an E-TTL capable module for type A cameras), and <a href="http://photonotes.org/articles/eos-flash/index.html#sigma">Sigma</a> sell the popular EF 500 Super, which supports E-TTL and wireless E-TTL operation.</FONT></p> <p><br/> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>EOS flash photography modes.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The four main Canon EOS “creative” zone modes (P, Tv, Av and M) each handle flash metering in very different ways. These differences are probably one of the primary sources of confusion in the world of Canon EOS flash photography.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Here are a few important terms and concepts that you need to know before understanding how these confusing points originate.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="subjectbackground" />Subject and Background in flash photography.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The typical flash photograph is assumed to have two basic regions. The <i>foreground</i> or <i>subject</i> is the area around the autofocus metering point - perhaps a person. <i>Background</i> ambient lighting is just everywhere else.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is an important distinction because all portable flash units have a limited range. As noted in the FAQ section, you can’t expect a small flash unit on your camera to illuminate the Eiffel Tower or the Grand Canyon or even a large space such as a ballroom. The camera, therefore, handles the subject and background metering differently and independently.</FONT> </p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="fillflash" />Fill flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Flash photography takes on two very basic forms. In regular flash photography, the flash is the primary light source for the photo. Flash metering is done for the foreground subject, and the background is metered by the camera’s regular exposure metering system. This can lead to the background being underexposed and dark if ambient light conditions are low. This is how most people think of flash - as a way of taking photos in dark places.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, flash can also be used in bright locations or in daylight to lighten shadows, reduce the harsh contrast of full sunlight or brighten up dull images without being the primary light source for the photo. This is called “fill flash” or “fill-in flash,” though the latter term’s more commonly used in the UK. And it’s often a source of surprise for non-photographers, who don’t expect to see photographers using flash units outdoors on sunny days in brightly lit settings. In such situations the fill flash is being used as a sort of portable reflector - shining a little extra light in certain areas. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A typical example might be a person who’s wearing a hat outdoors on a sunny day. Hat brims often cast dark shadows over the subject’s face, and a little flash can lighten up this shadow nicely. A backlit subject is another common use for fill flash - you can’t simply crank up the exposure compensation to expose the subject correctly as then the background lighting would be too strong. Or perhaps you want a little sparkle of light reflecting back from a person’s eyes - the “catchlight.” </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sometimes wildlife photographers use flash units at great distances from their quarry for the same reason - they aren’t using the flash to illuminate the animal but to provide a lively catchlight to the eyes.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In all these cases you are, from the point of view of the camera, using two light sources at the same time. There’s ambient lighting, which is all the available light around you - reflected light from the sun or artificial light sources. And there’s the light from the flash unit, which is supplementing this existing light. As always, ambient light levels hitting the film are governed by the lens aperture and shutter speed and flash levels are governed by flash metering. By adjusting the output of the flash unit you’re essentially adjusting the ratio between flash-illuminated and ambient light-illuminated scene.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In fact you could argue that the two cases I present above - flash as primary light source and ambient light as primary light source - are an artificial distinction and that all flash photography is fill photography in a sense; just that in the first case the ambient lighting is so low as to be insignificant, whereas in the second case it’s the reverse. This is true enough, but I think the distinction is useful to make, particularly in terms of the way full auto and P modes work versus Tv, Av and M modes.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unlike certain other camera systems (particularly Nikon), Canon EOS cameras always default to fill flash mode when the camera is in Tv, Av and M modes. They also perform fill flash in P mode if ambient light levels are high enough. There’s no separate switch or pushbutton to engage fill flash. For details have a look at the section on <a href="http://photonotes.org/articles/eos-flash/index2.html#confusion">EOS flash photography confusion</a> below.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="fillflashratios" />Fill flash ratios.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The “fill flash ratio” is commonly described in terms of the ratio of ambient light plus fill flash combined, compared to the fill flash alone. Canon EOS gear, however, usually lets you adjust the fill flash in terms of stops of flash output, in either 1/2 or 1/3 stop increments. What’s the relationship between the two ways of describing fill flash?</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A ratio of 1:1 would mean that the flash unit is the sole source of light (0 ambient + 1 flash) and therefore you wouldn’t have a fill flash situation.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A 2:1 ratio would mean that the ambient light and flash are at the same level (1 ambient + 1 flash). That basically means 0 stops of compensation given a fairly flat-lit scene, and usually results in rather unnatural looking fill flash.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A ratio of 3:1 means that there is twice as much light from the ambient source as the flash (2x ambient plus 1 of flash). Such a ratio requires a -1 stop fill flash setting on the flash unit, since each stop means a doubling or halving of the amount of light.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A ratio of 5:1 means that there is four times as much light from the ambient source as the flash (4x ambient plus 1 of flash). This is a -2 stop difference. Typically photographers use between 1 and 2 stops of fill flash to lighten shadows without creating a phoney flash-illuminated look.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, the term “ratio” is confusing and seems to mean different things to different people. Sometimes people talk about a 1:1 ratio when the ambient and fill lights are of equal intensity. So a 2:1 ratio might mean -1 stop fill flash and 4:1 would mean -2 stop fill flash. In this case they’re talking more about the light output than they are about the reflected light.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The concept of ratios works well in studio situations where you have total control over the lighting. You can turn off the main light and measure the fill lighting with a meter, you can move lights around to vary their strength, etc. But if you’re taking a candid photo outdoors you have no such control. You can hardly turn off the sun, and automated TTL flash is going to have its own ideas as to what constitutes correct lighting.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For those reasons I prefer not to deal with ratios at all for non-studio flash photography but just in terms of the number of stops compensation used by the flash. Note that the term “ratio” is also used in flash photography in conjunction with multiple flash setups, particularly <a href="http://photonotes.org/articles/eos-flash/index3.html#wirelessratios">multiple wireless units</a> in the case of wireless E-TTL flash. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="autofill" />Auto fill reduction.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Also called “automatic reduction of flash output” in some Canon documentation. EOS cameras automatically use regular flash exposure with no compensation when ambient light levels are low - 10 <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">EV</a> or lower. However, when ambient light levels are brighter - 13 EV or higher - the camera will switch to fill flash mode and reduce the flash unit’s output level. It does so in TTL mode by dropping flash output by 1.5 stops. Between 10 and 13 EV the camera will smoothly lower the flash unit’s output by half a stop for each EV.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">E-TTL flash works in a similar fashion, though apparently flash output will be lowered by as many as 2 stops when ambient lighting is bright. Canon have not, however, divulged their secret E-TTL fill reduction algorithm, so it’s total guesswork exactly how it works. Apparently, though, the algorithm compares the brightness level of each zone both before and after the preflash, in part to compensate for highly reflective areas.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some mid to high end EOS cameras allow you to disable this auto fill reduction by means of a custom function. See the section on <a href="http://photonotes.org/articles/eos-flash/index3.html#fec">flash exposure compensation</a> for details. Note that any flash compensation you may apply manually is in addition to this auto fill flash reduction, unless of course you’ve disabled it via a custom function.</FONT> </p> <p><a name="slowshutter" /> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Slow shutter sync.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are two basic ways in which a camera can take a flash photo when light levels are low. The camera can either use a short shutter speed to minimize camera motion blur and have the flash blast out enough light to illuminate the foreground objects whilst leaving the background dark, or the camera can extend the shutter time to allow more of the background to show up and flash-illuminate the foreground subject. This latter technique is called slow sync, slow shutter sync or “dragging” the shutter.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It’s only possible in Tv, Av and M modes - you can’t use it in P mode or most of the PIC (icon) modes. The one exception is the night scene PIC mode on many EOS cameras, which uses slow shutter exposure with <a href="http://photonotes.org/articles/eos-flash/index2.html#firstcurtain">first-curtain</a> flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> A typical example is a tourist snapshot of someone standing in front of a famous landmark at night. If you keep the shutter speed fast then you’ll have a nice flash-illuminated photo of your friend against a pitch black backdrop, unless the landmark is extremely brightly lit or unless you’re using very fast film. However, by slowing down the shutter speed you can take a photo of the person standing against a properly exposed background.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The drawback is obvious, of course. By slowing the shutter speed you’re going to need a tripod to avoid blur induced by camera movement, especially with long shutter speeds like 1/15 second or slower. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Sometimes slow shutter sync is used to provide a dynamic motion effect in flash photos. A photo taken with flash and a slow shutter speed can provide an interesting mix of flash-illuminated subject and ambient-light-illuminated motion blur. The effect is difficult to predict, but can be very striking and exciting when it works.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Take my <a target="_blank" href="http://burningcam.com/2000/large-27.html">photo of fire performers</a> for example - the flash freezes the motion of the performers but the slow shutter captures the swirling motion of their fire chains. Have a look at the discussion of <a href="http://photonotes.org/articles/eos-flash/index2.html#colourtemp">colour temperature</a> theory to find out why the right-hand flash-illuminated performer has a bluish tinge to his skin whereas the rest of the photo is illuminated with very yellow-orange light. </FONT> </p> <p><a name="xsync" /> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>X-sync (flash sync) speed.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Timing is critical for flash photography. The burst of light from a flash unit is extremely brief (in milliseconds), and must occur when the shutter is fully open. If the flash burst occurs when the shutter is still opening or closing then the shutter itself may prevent the entire image area from being fully exposed.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Modern SLR camera shutters are equipped with a pair of moving curtains which wipe across the opening to the image area. They travel vertically because the travel distance is less than if they travelled horizontally, and there are two curtains to make fast shutter speeds possible. At high shutter speeds the opening is actually an open slit between the two curtains, travelling the height of the image area. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This presents a problem with flash photography. If you have only a slit exposed at the time the flash happens to go off then you won’t be able to illuminate the entire image area with the flash burst. An electronic flash burst is always much briefer than the fastest shutter speed motion that the shutter mechanism can achieve.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Different cameras have different shutter designs - some are faster than others. But each camera will have a maximum shutter speed at which a flash burst will expose the full image area of the film. This maximum flash-compatible shutter speed is called “X-sync speed.” X-sync and flash sync are the same thing on modern cameras, since they all use electronic flash.</FONT> </p> <p><a name="xsynceos" /> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Maximum X-sync speed and EOS bodies.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> 1/90 second.<br/> All low-end Canon EOS cameras. These are cameras of the Rebel series in North America (eg: Rebel G, Rebel 2000), the Kiss series in Japan (eg: EOS Kiss, Kiss III), and the EOS three-digit series (eg: EOS 300, 500 but <i>not</i> the EOS 100, 600 series or 750/850) and all EOS four-digit series (eg: EOS 1000, 3000) elsewhere.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note, however, that some users report that their Rebel/EOS three/four-digit cameras are actually physically capable of attaining a 1/125 second X sync. That is, the shutter mechanism can sync that fast but the camera’s computer has been deliberately programmed not to allow flash sync at speeds faster than 1/90 second. It’s not clear why Canon did this. One theory is that it was an intentional move on Canon’s part to cripple their low-end cameras for marketing reasons. (ie: so that they compete less with midrange models) Another theory is that this was done because of flash duration tolerances - Canon decided to play it safe and ensure that their low-end shutters always can record a full flash burst.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Either way you can’t override the camera’s programming and perform flash sync with any dedicated flash unit which meters through the lens. But if you’re using an externally triggered flash with an optical slave or adapter cable you may be able to take advantage of this higher sync speed if your camera falls into this category (non-dedicated flash units do not communicate with the camera concerning flash exposure and thus the programmed 1/90 sec limit is not an issue). Unfortunately empirical testing is the only way to find out.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1/125 second.<br/> Mid-range EOS cameras. These are EOS two-digit cameras (eg: EOS 10 and 50) and the Elan series in North America (eg Elan II, Elan 7). Most of the first generation EOS cameras (600, 630, 650, 750 and 850) also have a 1/125 sync, as does the original Elan/EOS 100.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1/200 second.<br/> Semi-pro</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> EOS cameras</FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">. These are the single-digit EOS cameras that aren’t in the 1 series - the EOS 3 and 5 (A2 in North America). The digital D30 and D60 also have an X-sync of 1/200 sec as does, surprisingly enough, the APS IX. (apparently the smaller physical dimensions of the IX shutter allow it to reach a higher X-sync speed)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1/250 second.<br/> Top of the line professional EOS cameras - the EOS 1, 1N, 1V, 1Ds, 1D mark II, 1Ds mark II. The two exceptions are the EOS 620, an old camera from the late 80s which nonetheless could sync at 1/250 sec, and the EOS 20D/20Da.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1/300 second.<br/> The EOS 1D mark III.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1/500 second.<br/> The digital 1D camera has a startling 1/500 sec X-sync and a 1/16 000 sec top shutter speed. This is because both X-sync and shutter speed are normally handled electronically by the CCD and not by a mechanical shutter. The 1D does have a mechanical shutter but it’s used for bulb mode. Note, however, that the CMOS-based 1Ds and 1D mark II have a top X-sync speed of 1/250 - the higher X-sync speed of the 1D derives from its use of a CCD image sensor.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><i>All EOS cameras will deliberately prevent you from exceeding the X-sync value for shutter speed when you’re using non-FP flash.</i></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note the first exception - if you have an E-TTL flash on a type A body with FP mode flash enabled you’re fine. You can exceed X-sync at the cost only of lowered flash output. But there is a possible second exception, and that is if you’re using third party flash gear, particularly studio flash units that use optical slaves or generic flash units. Such a setup likely won’t notify the camera properly of your use of flash, so be careful. </FONT> </p> <p><a name="confusion" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>EOS flash photography confusion.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The main area of confusion in EOS flash photography is the fact that P, Tv, Av and M modes handle flash illumination differently, especially when ambient light levels are not bright. Here’s a summary of how the modes basically work when you have a flash unit turned on. This summary assumes that you do <i>not</i> have <a href="http://photonotes.org/articles/eos-flash/index.html#fp">FP mode</a> flash enabled if that option is available to your particular camera and flash unit combination.</FONT> </p> <TABLE width="90%" cellpadding="4" border="0"> <TBODY><TR> <TD width="11%" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Mode</strong></FONT></TD> <TD width="53%" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Shutter speed</strong></FONT></TD> <TD width="36%" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Lens aperture</strong></FONT></TD> </TR> <TR> <TD width="11%" valign="top" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>P</strong></FONT></TD> <TD width="53%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Automatically set from 1/60 sec to the camera’s maximum <a href="http://photonotes.org/articles/eos-flash/index2.html#xsync">X-sync</a> speed. </FONT></TD> <TD width="36%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Automatically set according to the camera’s built-in program.</FONT></TD> </TR> <TR> <TD width="11%" valign="top" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Tv</strong></FONT></TD> <TD width="53%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can set any shutter speed between 30 seconds and the camera’s maximum X-sync speed. </FONT></TD> <TD width="36%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Automatically set to match the shutter speed you have set.</FONT></TD> </TR> <TR> <TD width="11%" valign="top" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Av</strong></FONT></TD> <TD width="53%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Automatically set between 30 seconds and the camera’s maximum X-sync speed to match the lens aperture you have set.</FONT></TD> <TD width="36%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can set any lens aperture you like.</FONT></TD> </TR> <TR> <TD width="11%" valign="top" bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>M</strong></FONT></TD> <TD width="53%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can set any shutter speed between 30 seconds and the camera’s maximum X-sync speed. </FONT></TD> <TD width="36%" valign="top"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can set any lens aperture you like.</FONT></TD> </TR> </TBODY></TABLE> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">And here are the details:</FONT></p> <p><a name="programflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Program (P) mode flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The overriding principle of Program (P) mode in flash photography is that the camera tries to set a high shutter speed so that you can hold your camera by hand and not rely on a tripod. <i>If that means the background is dark, so be it.</i></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Program mode operates in one of two modes, depending on the ambient (existing) light levels.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1) If ambient light levels are fairly bright (above 13 <a href="http://photonotes.org/articles/eos-flash/index2.html#ev">EV</a>) then P mode assumes you want to fill-flash your foreground subject. It meters for ambient light and uses flash, usually at a low-power setting, to fill in the foreground.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">2) If ambient light levels are not bright (below 10 EV) then P mode assumes that you want to illuminate the foreground subject with the flash. It sets a shutter speed between 1/60 sec and the fastest X-sync speed (see above) your camera can attain. The aperture is determined by the camera’s built-in program.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Because the camera tries to keep the shutter speed at a reasonable speed for handholding the camera you will end up with dark or black backgrounds if you take a flash photo in P mode when ambient light levels are not bright.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">On most if not all EOS cameras, P mode is not shiftable when flash (internal or shoe-mounted Speedlite) is used. Note also that DEP mode cannot work correctly with flash - its metering settings basically revert to P mode if you try it. </FONT> </p> <p><a name="tvflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Tv (shutter priority) mode flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In this mode the camera lets you change the shutter speed. It then automatically chooses an aperture setting to expose the <i>background</i> correctly. Flash duration (flash output) is determined by the flash metering system. In other words, the camera always works in fill flash mode when it’s in Tv mode - it always tries to expose the background adequately, unlike P mode. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the maximum aperture value of your lens starts flashing in the viewfinder it means the <i>background</i> of the scene you’re shooting is too dimly lit. If you want to try and expose the background then you should decrease the shutter speed to compensate. Otherwise the camera will just try and expose the foreground with flash and the background will come out dark. Naturally at slower shutter speeds you’ll need to use a tripod to avoid blurring caused by camera shake.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As always, the camera will prevent you from exceeding its built in X-sync speed unless FP mode is available to you and engaged. If the minimum aperture value of your lens starts flashing then your scene is too brightly lit. You must then either engage FP mode if it’s available or perhaps put a neutral density filter on the camera or use slower film. Or turn off flash altogether and simply use a reflector of some type to bounce ambient light onto the subject.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 420EZ and 430EZ flash units will operate in A-TTL mode in Tv mode, but the 540EZ works only in TTL mode. Note also that some people have reported that in this mode their type A camera bodies underexpose the background by up to a stop when light levels are low and an E-TTL flash unit is engaged. If this is the case try testing by comparing the aperture setting with M mode, which does not do this. You may need to apply exposure compensation if this effect exists on your camera and is undesirable.</FONT> </p> <p><a name="avflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Av (aperture priority) mode flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Av mode lets you set the depth of field by specifying the lens aperture. The camera then chooses a shutter speed ranging from 30 seconds to the camera’s X-sync speed, in order to expose the <i>background</i> correctly. <i>If that means the shutter speed is some really low value so that you need to use a tripod to avoid camera-shake blur, so be it.</i> In dark conditions, therefore, Av mode works in slow sync mode.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash duration (flash output) is determined by the flash metering system. Like Tv mode the camera always works in fill flash mode when in Av mode.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There is one exception to this. A number of EOS cameras have a custom function you can set to ensure that the shutter speed in Av mode when using flash is locked to the X-sync speed. The EOS 10/10s and Elan II/EOS 50, for example, have such a custom function, which lets your camera behave more like P mode when in Av mode. However this custom function will only lock the camera to X-sync in Av mode and will not choose a shutter speed from 1/60 sec to X-sync, the way P mode does.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As always, the camera will prevent you from exceeding its built in X-sync speed unless FP mode is available to you and engaged. If the shutter speed value of 30" flashes in the viewfinder then there isn’t enough light to expose the background correctly and you’ll need a larger aperture or faster film. If the camera’s X-sync flashes in the viewfinder then you’ll need to decrease the lens aperture, engage FP mode if it’s available or use slower film.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 420EZ and 430EZ flash units will operate in A-TTL mode in Av mode, but the 540EZ works only in TTL mode. Note also that some people have reported that in this mode their type A camera bodies underexpose the background by up to a stop when light levels are low and an E-TTL flash unit is engaged. If this is the case try testing by comparing the shutter speed setting with M mode, which does not do this. You may need to apply exposure compensation if this effect exists on your camera and is undesirable.</FONT> </p> <p><a name="manualexposureflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Manual (M) exposure mode flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">In manual exposure mode you specify both the aperture and shutter speed, and your exposure settings will determine how the background (ambient lighting) is exposed. The subject, however, can still be illuminated by the automatic flash metering system since the flash can automatically calculate flash output levels for you. This is a marked contrast to the olden days, when photographers would carry around little flash exposure tables with them in order to work out manual flash settings.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is how flash works in manual mode. Note that we’re talking about the manual <i>exposure</i> mode setting only, which can use automatic TTL flash metering (it will not use A-TTL metering in manual exposure mode). Also, we <i>aren’t</i> talking about setting the output of the flash manually - that’s <a href="http://photonotes.org/articles/eos-flash/index3.html#manualflash">manual flash</a> and a different topic altogether.</FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Set your camera to M for manual exposure mode.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Set the aperture and shutter speed to expose the background correctly.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Press the shutter button down halfway if your flash has a rear-panel LCD (liquid crystal display). The flash coupling range will appear in the flash unit’s LCD. This range is the distance that can safely be covered by the flash.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If your lens has a distance scale you can check the current focussing distance to ensure that the distance to your subject falls within this range. Otherwise you’ll have to estimate.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the “flash ready” lightning bolt symbol appears in the viewfinder you can press the shutter all the way to take the photo. The flash’s TTL or E-TTL system will determine the flash exposure level of the subject.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If your flash lacks a rear-panel LCD you won’t have a preview of the flash coupling range, of course. Also, LCD-equipped flash units will not calculate the flash coupling range if you’re using bounce flash, and the coupling range will not necessarily be correct if you have a diffuser on the flash head.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some Speedlite flashes, such as the 540EZ and 580EX, can display the coupling range in either feet or metres, depending on which measurement system has been set by the small switch in the battery compartment. Others, such as the 430EZ, are hardwired to one measurement system or the other, depending on where the flash was sold. US market flashes used feet and all other countries on the planet* had only metre flashes available to them. And the 580EX II can set the measurement system through a custom function.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* Trivia note - even countries such as Canada and the UK which are officially metric but which are nonetheless full of people who still use imperial measurements. Also Yemen, Rwanda, Burundi and Burma, which used to stand proudly with the USA as the planet’s only officially non-metric countries and which have now given up and are switching over to metric. Liberia is the only holdout I can find, and even there it’s only the government - apparently businesses and schools use metric.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="multipleunits" />Multiple flash units.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As noted above, the basic problem with balancing ambient light and shutter speed requirements is that the output from a flash unit is only sufficient to illuminate the foreground, unless you’re in a small interior space in which you can bounce the light.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you’re in a larger space or an area in which you can’t bounce light effectively you could consider using multiple flash units - a unit or two for subject illumination and another unit or two for the background. Such a setup gives you increased range and affords more control over the lighting.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are three common ways to do this - wired, optical slaves and wireless.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Wired multiple flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">With a wired system you buy the necessary connecting cords and adapters to hook up more than one unit to your camera. Each flash unit fires simultaneously when you take a photo, and you can use TTL metering or configure the output for each flash unit manually (assuming the unit in question has the ability to have its output set manually). For details check out the <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">extension cord</a> section.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Optical slave multiple flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">With optical slaves you position your various flashes - big AC-powered studio flash units or small battery-powered units - around the scene and connect tiny optical sensors to each one. These sensors respond to a flash being fired and trigger their own flash units immediately. For more information have a look at the <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">slave flash</a> section.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Wireless multiple flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can use a wireless control system to trigger your flashes. Canon’s offering in this regard is wireless E-TTL, which lets you set up multiple Speedlite flash units and trigger them remotely using light pulses. (ie: this system does not use radios) The Canon system essentially requires E-TTL and supports all associated features - FP flash, FEL and so on. On certain camera bodies, ratio control between different flash units and modelling flash is also available. For more information consult the <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless E-TTL</a> section.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A number of companies manufacture radio remote systems that also let you trigger flash units remotely. Radio remotes are mostly incompatible with wireless E-TTL and thus generally do not support automated flash metering. But they do avoid the limited range and line of sight restrictions imposed by wireless E-TTL. The Pocket Wizard <a href="http://pocketwizard.com/HTML/products.asp">Multimax</a> system, the Quantum <a href="http://www.qtm.com/">Radio Slave</a> and the <a href="http://www.bowens.co.uk/catalog/product_info.php?cPath=24_30&products_id=44">Bowens Pulsar</a> system are three such popular products. These third party devices have a long range and can be used in conjunction with optical slave units if necessary. The Quantum <a href="http://www.qtm.com/QFlash/">QFlash</a> is the one exception to this in that it supports E-TTL flash metering even though it transmits radio commands.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, if you’re on a tight budget there are also popular and very inexpensive <a href="http://photonotes.org/reviews/radio-flash-trigger/">cheap radio slaves</a> from auction sites. These are essentially modified garage door openers in terms of their technology, and have a very limited range compared to the professional units. Still, they’re terrific toys for not much money. They let you trigger flash units without line of site restrictions, but again offer no support for automated flash metering.</FONT></p> <p><a name="meteringpatterns" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Metering patterns for the background when using flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS cameras have different metering patterns, depending on the model. These metering patterns include evaluative (varying number of zones from 3 to 35), partial (from 6.5% to 10.5%, sometimes centred around the active focus point), centre-averaged and spot. When you aren’t using a flash these metering patterns are used for metering the <i>subject</i> of a photo.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, in flash photography the camera needs to meter for the <i>background</i> and not the subject, so the metering pattern should change when possible. This varies from camera to camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS cameras with single zone ambient metering such as the T90 and the original Rebel/1000 cameras use centre-weighted average metering for TTL and A-TTL flash. EOS cameras with multiple metering zones for ambient metering use the outer segments of their evaluative metering sensor for TTL and A-TTL flash. (their evaluative sensors are divided into patterns depending upon the number of zones and the segments closest to the edge of the frame are selected)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that most EOS cameras with partial metering buttons won’t use the outer evaluative zones for ambient metering when the button is pressed. Instead they use partial metering patterns for ambient light metering in flash photography as well. The T90, EOS 1, 700, 750 and 850 are exceptions - they do not let you switch to partial metering for flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unfortunately, the way in which E-TTL meters ambient lighting has not been publicly documented by Canon, so far as I know.</FONT> </p> <p><a name="flashmeteringpatterns" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash metering patterns.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As above, information on flash metering patterns is fairly scarce, particularly for E-TTL flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>TTL and A-TTL flash metering patterns:</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash metering pattern is determined by the type of flash sensors built into the camera. If the camera has only one focussing point then it will have a single zone flash sensor. Flash metering is conducted using this sensor in a centre-weighted averaging pattern. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the camera has multiple focussing points then it will have multiple zones; what Canon call their <a href="http://photonotes.org/articles/eos-flash/index.html#refinements">AIM</a> system. The number of flash metering zones depends on the camera model. For instance, the EOS 10/10s has three focussing points and three flash metering zones, and flash metering uses whichever corresponding autofocussing point or points are active. However, the EOS 5/A2 uses the same sensor as the 10/10s so it too has <a target="_blank" href="http://www.geo.tu-freiberg.de/docs/eos-faq/3flash.html#q15">3 flash metering zones</a> even though it has 5 autofocus points. The Elan II/EOS 50 has 3 AF focussing points and a 4 segment/3 zone flash sensor. (this latter means that the flash sensor has 4 segments but it chooses two consecutive segments, yielding 3 possible zones)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These multiple zone flash sensors let the camera bias the flash exposure to the currently selected AF point. When you focus manually the camera does not bias any flash zone but chooses the central zone instead.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that the A2/5 is somewhat different from other multiple AF point cameras in that it will only bias flash exposure correctly to the nearest AF point if that point was manually selected. In automatic and ECF modes it apparently always chooses the centre zone. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>E-TTL flash metering patterns:</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The camera uses its evaluative metering system to meter the flash output, based upon the preflash. When in autofocus mode most EOS bodies which do not use E-TTL II bias flash metering toward the currently selected AF point, but always in an evaluative mode pattern - they don’t use spot or partial metering patterns. When in manual focus mode it appears that at least some EOS bodies switch to centre-weighted averaging.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note, however, that this biasing of E-TTL metering to the active point is potentially problematic, since it means that the flash metering is done in almost a spot-metering fashion. Many user complaints regarding flash metering problems in E-TTL mode appear to be linked to this issue. If the camera happens to be over a dark object, for example, flash metering can be considerably overexposed, and vice-versa. The standard answer to this problem is to use FEL and meter off something mid-toned, but this is clearly not a solution for rapid-shooting situations such as weddings and sports. Another approach is to set the camera lens to manual focus, since the body apparently switches to centre-weighted average metering in that mode, but that’s obviously not a useful answer much of the time either.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Users of the digital D30 and D60 have been <a href="http://photonotes.org/articles/eos-flash/index.html#digital">particularly unhappy</a> with E-TTL flash metering. The 10D apparently reduces this problem by defaulting to a centre-weighted averaging metering pattern in E-TTL, even when the lens is set to autofocus.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a href="http://photonotes.org/articles/eos-flash/index.html#ettlii">E-TTL II</a> addresses this problem by altering flash metering considerably. It examines each evaluative metering zone before and after the E-TTL preflash. It then calculates the weighting for each zone independently, biasing against those zones with high reflectivity in the preflash. This means that E-TTL II does not have a flash metering pattern as such, since it’s calculated dynamically.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that since I’ve been unable to find definitive published statements from Canon on this topic it isn’t as authoritative as it could be. Please contact me if you have further information about E-TTL flash metering.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="recompose" />Do not focus and recompose with flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The fact that the camera biases flash exposure to the nearest focus point, if the camera has multiple focus points, is important to keep in mind. If you’re in the habit of using </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">the old “focus, lock AE and recompose image” technique, be sure not do this when taking flash photos.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash metering occurs <i>after</i> ambient light metering, so in this case you’re locking AE but not flash metering, and therefore recomposing messes up your flash metering. Instead, select the focus point that’s closest to your subject in order to bias flash exposure to that area.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are two exceptions to this rule, however. First there are type A bodies which support <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">FEL</a>. You can use FEL in such situations to lock flash exposure to a given area of your photo before recomposing. Second, cameras with support for E-TTL II are supposedly less vulnerable to this problem because they can include distance data in flash metering.</FONT> </p> <p><a name="flashterminology" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash terminology.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Here are a number of other terms and concepts related to EOS flash photography and flash photography in general. For more information on the principles of electronic flash, check out <a target="_blank" href="http://www.chem.helsinki.fi/%7Etoomas/photo/flash-faq.html">Toomas Tamm’s page</a>.</FONT> </p> <p><a name="strobeflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Strobe and flash.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">We have a little UK/US terminology problem here. In the UK a “strobe” is something which emits blinking pulses of light whereas in the US a “strobe” is any electronic flash unit, whether it fires once or continuously. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">We also have the additional confusion that arises from “flash” having four meanings - a verb meaning to produce a pulse of light, a flash of light, flash-based photography in general and a flash-producing device. Finally, we have “Speedlite” and “Speedlight,” which are the tradenames used by Canon and Nikon respectively for their series of electronic flash units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So. In this document I adopted the following convention:</FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I don’t use the word “strobe” at all in order to minimize confusion.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I refer to electronic devices designed to emit pulses of light for photographic purposes as “flash units” if there’s any possibility for ambiguity with any other meaning of the word. Yes, that leaves me vulnerable to crappy adolescent jokes. Oh, well.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I refer to electronic flash units that are emitting pulsating flashes of light as “stroboscopic.”</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, speaking of UK/US stuff, I’ve used the antiquated convention of referring to corporations in plural form (as groups of people) rather than independent entities. Since everyone assumes I’m just making a grammatical error rather than a feeble ideological point I might change that...</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="inversesquare" />Inverse square and inverse fourth power laws.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Light dropoff from a light source always seems very rapid. Consider a campfire at night - a pool of light surrounded by darkness. Or a flashlight (electric torch in the UK) being shone into the night sky - a bright bar of light that rapidly fades to nothing. You might think that when you double the distance from a light source you get half as much light, but it doesn’t work like that - you actually get just a quarter as much light.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Space is three dimensional, so imagine a sphere drawn around a light source that’s producing photons. As you get further away from the light source this imaginary sphere increases in size. The surface area of the sphere also increases, but it’s being illuminated by the same amount of light - the same number of our photons. It’s not a simple 1:1 relationship - the sphere is not twice as large when you get twice as far from it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The actual relationship between distance from the light source and size of the imaginary sphere can be described mathematically as the <i>inverse square law</i>. It states that light output is proportional to the inverse square of the distance. (ie: divide 1 by the distance, then square the result) So if you double the distance you get 1/2 <SUP><FONT size="-2">2</FONT></SUP>, or one quarter as much light. If you quadruple the distance you get 1/4 <SUP><FONT size="-2">2</FONT></SUP>, or only one sixteenth as much light. You’ll notice how the light falls off quite quickly.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All ordinary light sources (lasers are a somewhat different category) follow this rule, which is why light from a flash unit tends to drop off in intensity pretty rapidly. In fact, things are even worse when it comes to flash photography, because the light travels both <i>from</i> the flash unit to the subject and back from the subject <i>to</i> the camera again, weakening the light still more.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Add the fact that much of the light from the flash unit is absorbed by the subject and not reflected, and it’s a wonder that flash units work at all. This also explains why you don’t necessarily gain much more flash range when you buy a moderately more powerful flash unit, and why foreground objects are much more brightly illuminated by your camera-mounted flash unit than distant objects.</FONT> </p> <p><a name="guidenumber" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Guide number.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The maximum distance range of a flash unit is indicated by its guide number. If you use automatic flash metering you may never have to deal with guide numbers at all, except when you’re shopping for a flash unit and want to know how powerful each one is. But guide numbers are critical for all manual flash work.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The guide number is used in flash calculations to determine the appropriate aperture required to cover a certain distance or vice-versa. Note that technically the guide number describes the distance coverage of a flash, <i>not</i> its actual power output as such. Because of the <a href="http://photonotes.org/articles/eos-flash/index2.html#inversesquare">inverse square law</a> of light falloff, a flash unit has to have four times the power output in order to throw light twice as far.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> To find the aperture (<EM>f</EM> stop number) required to take a photo of a subject you divide the flash unit’s guide number by the distance to the subject. To find the maximum distance that can be reasonably illuminated using the current aperture setting you divide the guide number by the <EM>f</EM> stop number. In each case it’s the distance from the flash to the subject that’s important, <i>not</i> the distance from the camera to the subject. These two distances may be the same with on-camera flash, but not with off-camera flash or when using <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce flash</a>.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><EM>f</EM>-stop number = GN / distance<br/> distance = GN / f-stop number</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon’s guide numbers are measured in metres and are for ISO 100 film. Their Speedlite product names, for example, include the highest guide number of the flash (which is the guide number for the flash when on maximum zoom in the case of zooming flashes) multiplied by 10 - eg: 550EX. Note, however, that Canon USA express guide numbers in feet in their material, so always double-check the measurement system. For example, US advertising material says that the Elan 7’s built-in flash has a guide number of 43, which sounds quite remarkable until you realize that that translates to a metric guide number of 13. (the built-in flash units in EOS cameras typically have a guide number of 12 or 13 unless they have a <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">zoom motor</a>)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I refer solely to metric guide numbers in this document. Here are approximate metric conversion values:</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">1 metre = 3.3 feet</FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><br/> 1 foot = 0.3 metres</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> An important point is that the guide number is rated for ISO 100 film. So if you’re using film of a different speed you have to factor that in to your calculations. Once again the math is based on the <a href="http://photonotes.org/articles/eos-flash/index2.html#inversesquare">inverse square law</a> - quadruple the film speed and you double the guide number. Thus the maximum range possible with your flash unit increases when you use faster film. Here’s a quick way to do the conversion if you want to avoid thinking about square roots:</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Film speed doubles: GN x 1.4<br/> Film speed halves: GN x 0.7</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another thing to remember when comparing flash units is that <a href="http://photonotes.org/articles/eos-flash/index3.html#zoom">zooming flash heads</a> affect the advertised guide number. For instance, the 480EG flash contains more powerful flash tubes than the 540EZ, even though the former has a guide number of 48 and the latter a maximum guide number of 54. This is because at 35mm coverage the 540EZ’s guide number is only 36. However, the 540EZ’s zooming head can concentrate the unit’s light output at longer focal lengths, whereas the 480EG’s non-zooming head essentially wastes light by illuminating areas not covered by lenses with focal lengths longer than 35mm, except when an optional lens is installed. Such <a href="http://photonotes.org/articles/eos-flash/index3.html#extenders">flash extenders</a>, which can concentrate the light to a tighter area and thus throw light even further distances, are available as add-on accessories for other flash units as well.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As noted above, the guide number does not describe the amount of light output as such. Flash unit capacity is also described in terms of light output units such as beam candlepower seconds (BCPS) or effective candlepower seconds (ECPS) or in terms of energy capacity units such as joules or watt-seconds. None of these measuring systems are commonly used with portable electronic flash units, so I’m not going to cover them here. They also measure different things and are, therefore, not convertible or interchangeable units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, a fair bit of subjectivity goes into determining the guide number, which is presumably why it’s called a “guide.” After all, how is an “adequately exposed” subject determined? Guide values are, therefore, not a very reliable way to compare flash units built by different manufacturers. Particularly since manufacturers tend to be wildly and cheerfully optimistic when it comes to assigning guide numbers to their products.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="ev" />Exposure value (EV).</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The sensitivity of camera gear at autofocussing or determining correct exposure metering is rated in terms of EV - exposure value - for a given lens type and film speed.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since the amount of light hitting the surface of film is determined by exposure time (shutter speed) and lens aperture, exposure values are simply combinations of shutter speeds and apertures. For example, f4 at 1/30 sec has an EV of 9, which is the same EV as f2 at 1/125. Toomas Tamm has a complete <a target="_blank" href="http://www.chem.helsinki.fi/%7Etoomas/photo/ev.html">EV table</a> on his Web site. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Both speed/aperture combinations let the same amount of light hit the film - the only differences between the two are depth of field and type of motion recorded. Depth of field decreases as the aperture increases and subject motion blur increases as shutter speed decreases.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, it’s only meaningful to compare exposure values when they’re rated for the same film speed. Canon rate EV values in their documentation for a standard 50mm f1.4 lens using ISO 100 film.</FONT> </p> <p><a name="dedicated" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Dedicated or non-dedicated flash units.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> In the olden days of electronic flash, when the flash sensor was self-contained in the flash unit itself, the flash trigger controlled by the camera was the only control the camera had over the flash. The output level and shutoff time were both determined by the flash unit itself since two-way communications between camera and flash unit were not possible. For this reason a lot of generic flashes were sold and basically worked the same way on every manufacturer’s camera. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> However, by the 1980s camera makers started designing dedicated flash systems which would only work with their own cameras, in order to achieve more precise control over the final results. (and also probably to sell more of their product by discouraging third-party sales) Canon’s Speedlite flash units are, therefore, dedicated flash units since they can communicate digitally with EOS cameras. They can work on other cameras in the most basic of ways, but advanced through the lens metering and other features reliant on two-way communication will not work on cameras built by another manufacturer. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Some makers of <a href="http://photonotes.org/articles/eos-flash/index.html#thirdparty">third party flash units</a>, such as Metz and Sigma, get around the dedicated interface problem by figuring out the camera system-specific protocols and either building generic units with custom flash adapters designed to work with specific camera makes or else building different flash models for each camera make.</FONT> </p> <p><a name="shoemount" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Shoe mount.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most SLRs today have a squarish slide-in socket on the top of the prism or mirror housing which accommodates external flash units. These are called hotshoe mounts - “hot” because they contain a flash-triggering electrical contact. (though it should be noted that no modern camera lacks this contact, so this term exists now for historical reasons) Despite the dramatic name the contacts do not carry any significant electrical current when a flash unit is not installed, so there’s no risk of electrocution from a hotshoe.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> EOS cameras have shoe mounts containing 4 additional small contacts in addition to the large central flash-triggering contact. These small contacts carry digital signal data, proprietary to the Canon EOS system, to the flash. They aren’t compatible with flashes made by Nikon, Pentax, Minolta, etc. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Another Canon feature is the presence of a small hotshoe locking pin on most EOS flashes. This pin extends out when the tightening wheel is rotated, fitting into a small hole on most EOS bodies and preventing the flash from sliding accidentally out from the shoe. The pin is spring-loaded so the flash will still fit in hotshoes which lack the locking pin hole.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that the plastic shoe of most external flash units isn’t quite as sturdy as it should be. It’s a bad idea to pick up a camera and flash by the flash unit. Pick up the camera body to be on the safe side.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with metal hotshoe with quick release mechanism:<br/> Speedlite 580EX II.</FONT></p> <p><a name="redeye" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>The redeye effect.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Redeye, the common bane of snapshots, occurs when the light from the flash unit bounces off the blood vessels lining the retina of a person’s eye and makes it back to the camera. The result is the familiar evil satanic glowing red eye effect that shows up disconcertingly often with point and shoot cameras. It happens a lot in restaurant and living room photos because the low ambient light levels mean that the subject’s pupils tend to be dilated fairly wide to let in more light. The problem doesn’t occur very often in daylight partly because the pupil of the eye contracts and reflects less light and partly because the relative brightness of flash illumination to ambient light is much lower during the day.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The problem of redeye is intensified the further you are from your subject and so becomes very apparent when shooting portraits using telephoto lenses. The greater the distance from the subject the further you have to lift the flash away from the lens to eliminate redeye. This is because it’s an issue of how narrow the angle between the subject-flash and subject-lens distances is. The smaller this angle - whether because you’re a long way away from the subject or because the flash is too close to the lens or both - the greater the chance of redeye. Built-in flash units, located very near to the lens, are thus extremely likely to cause redeye.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Interestingly enough, flash photography of cats and dogs can involve a similar, but slightly different, problem. Cats and dogs have a reflective membrane in their eyes called the tapetum lucidum, which helps their night vision. The tapetum reflects light from a flash unit very efficiently, and tends to colour it green, yellow or blue. The membrane also explains why the eyes of animals like cats or deer by the side of the road at night are clearly visible as brilliant points of light.</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Humans lack this layer and so we don’t have tapetal reflections.</FONT> </p> <p><a name="redeyereduction" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Redeye reduction.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are a number of ways of dealing with redeye. The first, and generally most effective, way is to move the flash as far away as possible from the lens or point the flash head away from the subject (ie: bounce the light). As noted above, the closer the flash source is to the lens axis the worse redeye is going to be. So if you detach the flash unit from the camera and lift it up in the air a short distance you’re likely to reduce redeye considerably. This is one reason why wedding and news photographers tend to mount their flash units on external metal brackets attached to the camera itself - <a href="http://photonotes.org/articles/eos-flash/index3.html#brackets">flash brackets</a>. And <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce</a> flash eliminates redeye by definition.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">One drawback with moving the flash, aside from the inconvenience of moving the flash unit, involves low-light photography. When light levels are low the pupil of the eye will dilate to let in more light, just like a lens diaphragm. If you take a photo of a person with flash their irises don’t have enough time to react to the burst of light, so their pupils will remain dilated. The result is a photo of someone with huge pupils, as if they were on drugs.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Another way of reducing redeye (and also minimizing the huge pupil problem) is to have the subject look at a bright light shortly before taking the flash photo. This usually sort of works because the person’s pupils will contract in response to the bright light, reducing the amount of light reflected back from the retina to the camera. For this reason many EOS cameras have bright white lamps built into them which the photographer can illuminate at will.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">On some EOS cameras, such as the Elan/100 or Elan II/50/55, the redeye reduction lamp is mounted in the built-in flash housing and cannot work with external flash units. On other cameras, such as the D30, the redeye reduction lamp is mounted lower on the body and also works with external flashes. On other bodies the redeye reduction lamp won’t work with external flash units even though it’s body mounted. However, redeye reduction lamps aren’t so useful with external flash units anyway, as they tend to be raised fairly high off the lens axis and are often used in a bounce mode which spreads light across a wide area. And if the subject is some distance away the redeye lamp won’t be of much use. It’s for this reason that no Speedlite external flash unit has any form of redeye reduction lighting system - it’s really just a feature for point and shoots and built-in flash.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The downside to redeye reduction lights is quite severe - people tend to look stunned and glazed after staring at an intensely bright light for a few seconds. Stunned and glazed or evil and satanic - with onboard flash photography, the choice is yours!</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can also colour over the redeye with a black pen on the final prints or scan the image into a computer and use an image editing program to correct the redeye, but obviously these are rather clumsy ways to solve the problem.</FONT> </p> <p><a name="firstcurtain" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>The first curtain sync problem.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As noted in the section on X-sync, Canon EOS cameras (and basically all SLRs) have two moving “curtains” in the shutter mechanism. The first curtain opens the shutter and the second curtain closes it.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Let’s say you take a flash photo of a static object combined with a long shutter speed. Normally the shutter opens, the flash fires, time passes and then the shutter closes. Now let’s say you’re taking a photo of a moving object. The object is illuminated enough to leave light trails recorded on the film as the object moves along. But if you fire the flash immediately <i>after</i> the shutter opens then you’ve got a bit of a problem, since the light trails will appear to be moving in front of the flash-illuminated object. The object will actually sort of look like it’s moving backwards. </FONT> </p> <p><a name="secondcurtain" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Second-curtain sync.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> To solve the first-curtain sync problem mentioned above, and to get the light trails looking like they’re following behind the moving object as they should, you need to fire the flash right <i>before</i> the shutter closes. This is called second curtain or rear curtain sync flash since the flash is fired about 1.5 milliseconds before the second curtain of the shutter starts to close. The result is a photo which expresses motion nicely - it will show light trails <i>following</i> the moving object. The Canon T90/Speedlite 300TL was apparently the first camera/flash combination to support this feature.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The drawback to second curtain sync is that it can make it harder to take a photo if you’ve got a really long shutter period. With first curtain sync you can see the moving object in the viewfinder and can thus trigger the shutter at the exact moment. But with second curtain sync you a) can’t see the moving object when the shutter is open, because with SLRs the mirror flips up out of the way and b) you have to predict accurately whether or not the object will still be in the frame at the end of the exposure period. For these two reasons EOS cameras ship with first curtain sync as the default. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There’s one minor issue to be aware of if you use E-TTL flash with second-curtain sync. The E-TTL preflash occurs prior to the shutter opening, and so the flash will visibly fire twice when you’re using long shutter speeds and second-curtain. (the preflash always fires before the shutter opening - it’s just that with a long shutter speed and second curtain sync, the time delay between the two flashes is increased and thus more noticeable)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This delay between preflash and subject-illuminating flash usually doesn’t have any negative side-effects, but there are two cases in which it might be a problem. First, if the subject is moving then the preflash metering obviously won’t be right for the final exposure - FEL may be required. And second, the preflash might confuse human subjects if they’re expecting just one flash. They might assume you’ve taken the photo and walk off or look away from the camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">See the <a href="http://photonotes.org/articles/eos-flash/index3.html#enablesecond">section</a> on how to enable second-curtain sync, if it’s available on your particular camera and flash combination.</FONT> </p> <p><a name="colourtemp" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Colour temperature theory.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> (nb: this section gets pretty detailed, but it’s a useful basis for understanding colour shifts in photography)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The human eye (or, more accurately, the brain) is extremely adaptable. If you look at a sheet of white paper in a room lit only by an overhead incandescent tungsten lamp, the paper will look white. If you carry the same sheet of paper outdoors and look at it in sunlight it’ll still look white. But tungsten light and sunlight produce very different types of light - tungsten light is orange in tone whereas sunlight is quite blue.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is because they are light sources of different colour temperatures - so called because they represent the colour of light produced by a theoretical “black body” object that’s heated to a certain temperature, measured in degrees Kelvin. (Kelvin is similar to the Celsius scale but uses absolute zero, -273°C, as the starting point rather than the freezing temperature of water) Note that some of the terminology is a bit confusing here. In colloquial English we say that reddish light is “warmer” than bluish light. But in terms of the colour temperature model, light becomes more blue as the colour temperature <i>increases</i>. Note also that we’re talking about a photographic colour temperature model, which by dealing just with red and blue light is a huge simplification of the colour temperature model used by physicists.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Regular incandescent tungsten light has a theoretical colour temperature of about 3200 degrees Kelvin, though household bulbs are often a bit lower at about 2900°K. (they go down in colour temperature as they age or when supplied with lower voltages, such as from a dimmer circuit) Tungsten halogen bulbs (usually just called “halogens” even though they have tungsten filaments just like regular incandescent bulbs) and non daylight-corrected photoflood bulbs are usually slightly higher, sometimes reaching 3400°K. The light from a candle flame is quite low in temperature, hovering at around 1400-2000°K.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Daylight has a colour temperature of between 5000°K and 6000°K; often given as 5500°K for the midday sun. Naturally these values can vary. Just as regular light bulbs drop in colour temperature, as noted above, the colour of daylight varies at different times of the day and because of different weather conditions. In fact, natural light can vary from around 2000°K at sunset to over 20 000°K in blue evening shade. Skylight, or the sun’s light scattered by the atmosphere, is extremely blue in colour.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Normally the human brain compensates for these differences in colour temperature automatically. One of the few times they become really noticeable is when you encounter both types of light at, for example, dusk. If you’re outside looking at the windows of a building you’ll see that the tungsten light of a household lamp looks quite orange-yellow in tone and the sky and your surroundings look quite blue.</FONT> </p> <p><a name="colourtempfilm" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Colour temperature and film.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Colour temperature isn’t a purely theoretical issue. It’s a real problem for colour photography, because film records light as it sees it, does not offer interpretation and cannot automatically adapt. So film has to be formulated from the start to assume a certain colour temperature is white.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is what is meant by “daylight” film and “tungsten” film - they’re film types designed to assume that daylight and regular tungsten light bulbs are white, respectively. You’ll get weird colour shifts if you shoot with the wrong type of film. A tungsten-lit room shot on daylight film will look quite orange and a daylight-lit room shot on tungsten film will look quite blue. So it’s important to use film which matches your lighting conditions. It’s not normally essential to be absolutely precise about this, but pros who need exact colour will buy expensive <a target="_blank" href="http://www.photodo.com/art/Take14.shtml">colour meters</a> to determine the exact type of colour in a given scene.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Colour casts also occur from lighting types other than incandescent tungsten bulbs. Other forms of artificial light yield strange colour casts on daylight film as well. Most fluorescent lamps tend to result in a somewhat greenish tinge unless a special magenta filter is put over the lens, though there are significant colour differences between manufacturers. (indeed there are now daylight-balanced fluorescent bulbs which avoid this problem) High pressure mercury and sodium lamps used for industrial lighting result in somewhat unpredictable colour casts depending on the formulation of the bulbs being used. Note that the term “colour temperature” does not technically apply to fluorescent and high-pressure lamps. However, approximate equivalent colour temperature numbers are often supplied by manufacturers as a convenience. Finally, daytime colour temperature varies throughout the day and depending on weather conditions. A snowy evening can be very blue and a dusty sunset very orange.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Colour temperature issues are one area in which digital photography has a significant advantage over chemical-based photography. Most good digital cameras let you set the white balance - the assumed white point - of your subject at will. The EOS digital D-series cameras all let you use auto white balance settings or preset settings for common lighting situations. This sort of adjustment isn’t possible with film-based photography since the colour temperature balance (white balance information) is permanently built into the film emulsion chemistry at time of manufacture and cannot be altered afterwards. All you can really do with film is to put filters in front of the lens to cut out certain wavelengths of light or perform various filtration tricks in the darkroom when printing - or scan the pictures and alter them in a computer.</FONT> </p> <p><a name="colourtempflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Colour temperature and flash photography.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Since most photography is done with the sun as a light source, most film is balanced for daylight. Until recently, in fact, tungsten-balanced film was only widely available as slide/transparency film (as two types - the rare tungsten A and the more common B, which have slightly different colour temperatures - 3400°K and 3200°K respectively). And for that reason flash units also have bulbs designed to produce light approximating midday sunlight in temperature. However, since sunlight is more blue than tungsten, light from a camera flash will look quite blue compared to the orange-yellow light of indoor tungsten light. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This difference in colour temperature is particularly noticeable with slow shutter sync photography. If you take a photo indoors using slow shutter sync with flash and daylight-balanced film, you’ll get a normally coloured subject with strange orange-yellow fringing. This results from the subject being illuminated brightly by the daylight-balanced flash and then any motion blur from the slow shutter being illuminated dimly by tungsten light. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> You can also exploit these differences in colour temperature to achieve certain effects. For example, shooting with flash and tungsten-balanced film can yield blue-tinged results. Or you could take a photo of someone outdoors with tungsten film and an orange tungsten-light compensation filter on the flash head. The result would be a normal coloured person with a cold, bluish background.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> One other way in which colour temperature theory is relevant to photography is related to the way in which output voltage can cause the colour temperature of a flash tube to vary slightly. Normally this slight variation cannot be adjusted for or controlled in any way, but the most recent digital EOS cameras and flash units can communicate voltage data to one another in order to compensate automatically for subtle differences in flash tube colour temperature.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="filters" />Colour filters.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are specific filters you can use to perform this type of colour temperature conversion when you take a photo; the type of filter depending on the kind of effect you want to achieve. You might want to balance the light of a flash unit to match ambient lighting, for example. Or you might want deliberately to make the two types of lighting very different in colour for creative effect.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can put the filters in different places. For instance, if you want to affect the look of the entire scene you could put a filter over the lens. To affect the output of a specific lamp you could buy a gel filter and put it over the lamp only. Or you could tape a filter or <a target="_blank" href="http://www.dpreview.com/learn/Lighting/Sto_Fen_Omni_Bounce_01.htm">coloured diffuser</a> over your flash unit’s head to affect just the light it produces.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A great way to alter the light colour from a flash unit on the cheap is to go to a theatrical lighting store and ask for a Lee or Rosco gel swatch booklet. This is a little bound collection of gel filter samples - each coincidentally just large enough to cover the lens of a typical flash unit. The booklet lists the exact properties of each gel, and quite often you can get one for free.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This sort of colour temperature conversion can go in either of two ways, of course. If we want to go from yellow-orange light (tungsten) to blue light (daylight) we want a <i>cooling</i> filter. To go the other way we want a <i>warming</i> filter. As noted earlier these are somewhat confusingly named since cooling involves an increase in colour temperature and vice-versa, but the names reflect ordinary casual usage of the words and not colour temperature theory. Naturally, cooling filters are blue and warming filters orange-amber (light orange-yellow filters are sometimes called “straw”).</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="filterlimit" />Limitations of filters.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">One important thing to remember about filters is that they cannot shift colours over along the spectrum, as it were. All a filter does is simply prevent certain wavelengths of light passing through - hence the name. So by definition colour-correction filters always cut the amount of light entering the lens.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Filters can change the colour of white light since white light consists of colours from across the spectrum, as Newton discovered with his famous <a target="_blank" href="http://micro.magnet.fsu.edu/primer/java/scienceopticsu/newton/">prism experiments</a>. But if you’re taking a photo of a scene illuminated by, let’s say, pure red light you can’t simply slap a filter on the lens to make everything a different colour. Filters can’t add light of any wavelengths or convert incoming light to a different wavelength.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Taking photos of scenes illuminated by yellow-orange sodium and mercury vapour streetlights is a real problem for this reason. Such lamps produce light of very narrow spectral bands. You can’t alter this light much by putting a filter on your lens, since filtering out the yellow light doesn’t leave much else.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This problem of filtration limits your colour-correction choices considerably when dealing with chemical-based photography. There are ways of doing colour alteration in the darkroom, but they’re expensive and cumbersome. So again, moving your images into the digital realm has real advantages. Once your photo is inside a computer you can alter the colours as much as you like.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="mireds" />Mireds.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Colour temperature of light is usually measured in degrees Kelvin. But another unit you often see in photography is the mired, for “micro reciprocal degrees,” and pronounced “my-red.” To obtain the mired value for a colour temperature simply divide 1 million by the colour temperature. So, for instance, 5500°K is the same as 182 mired, since 1 000 000 / 5500 = 182.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Mireds are commonly used for converting light from one colour temperature to another using a colour conversion filter. For example, let’s say we want to take a photo using electronic flash but we have tungsten film in our camera. So we need to tape a coloured gel over the flash head. The question is, what kind?</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Let’s assume the light from the flash unit is 5500°K and the tungsten film wants 3200°K light. These are 182 mired and 312 mired respectively, so the difference we want to make up is about +130 mired, our mired shift value. (a positive number is a warming filter; a negative number a cooling)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Now we consult a gel filter catalogue or swatch book (as noted above, available from theatrical lighting shops) and see what the closest filter to a +130 mired shift is. If we went with Rosco we could buy a “Roscosun CTO” gel that performs a +167 mired shift. Or if we went with Lee Filters we could go with a “Full C.T. Orange” gel to get +159. Neither gel is precisely the same as our calculation, but they’re close enough for print film, where you can always do some adjustment in the lab. And when using slide film you might want to overcompensate on the side of warm like this anyway, unless you’re deliberately looking for a cool blue look. But this is all assuming the flash unit actually has a colour temperature of 5500°K - it’s probably slightly higher.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Of course, lots of filter companies simply specify the colour temperature conversion range so you can avoid the whole conversion to mireds altogether if you’re just doing a simple tungsten to daylight conversion, say. But the mired model is useful for more complex colour conversion tasks where multiple filters are involved.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wratten" />Wratten numbers.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Many filter companies follow the Wratten series of numbers to describe their colour conversion products. Frederick Wratten was a British inventor who developed a fairly arbitrarily-numbered series of colour filters a century ago. His company was bought by <a target="_blank" href="http://www.kodak.com/global/en/professional/support/techPubs/b3akic/b3akic.shtml">Kodak</a> in 1912, though Wratten-branded filters are now sold by Tiffen.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>80 series: blue-coloured cooling filters. For daylight film with tungsten light sources. </strong></FONT></p> <TABLE width="90%" cellpadding="4" border="0"> <TBODY><TR valign="top"> <TD bgcolor="#cccccc"> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Wratten number</strong></FONT></p> </TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Colour temperature increase</strong></FONT></TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Typical light source to be converted</strong></FONT></TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Approximate mired shift</strong></FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>80A</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">3200-5500°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Tungsten</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">-131</FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>80B</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">3400-5500°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Non-blue photofloods</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">-112</FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>80C</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">3800-5500°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Old flash bulbs</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">-81</FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>80D</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">4100-5500°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> </FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">-56</FONT></TD> </TR> </TBODY></TABLE> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>85 series: yellow/amber-coloured warming filters. For tungsten film with daylight.</strong></FONT> </p> <TABLE width="90%" cellpadding="4" border="0"> <TBODY><TR valign="top"> <TD bgcolor="#cccccc"> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Wratten number</strong></FONT></p> </TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Colour temperature decrease</strong></FONT></TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Typical use</strong></FONT></TD> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Approximate mired shift</strong></FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>85</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5500-3400°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Converting type A tungsten film</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">+112</FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>85B</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5500-3200°K</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Converting type B tungsten film</FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">+131</FONT></TD> </TR> <TR valign="top"> <TD bgcolor="#cccccc"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>85C</strong></FONT></TD> <TD><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5500-3800°K</FONT></TD> <TD> </TD> <TD> </TD> </TR> </TBODY></TABLE> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These filters are fairly dark and cost 1 stop (80 series) to 2/3 stop (85 series) of light.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are also more subtle and commonly used filters for cooling and warming, such as the 81 warming filters and 82 cooling filters. These filters aren’t used for colour conversion but for less extreme applications - minimizing unwanted colour casts. For example, an 81B is useful for reducing the blue cast of daylight film shot in the shade.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">German manufacturers use their own system in which KB is a cooling (blue) filter and KR is a warming (orange) filter.</FONT></p> <p><a name="trigger" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Trigger circuit voltage.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Old flash units - both AC-powered studio and battery-powered hotshoe-mount - used pretty high voltages between the camera and the flash. These trigger circuit voltages often ran from 25 to 250 volts, because they were fired by simple electric switches.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Modern cameras, however, rely on electronic circuitry rather than electric switches. This allows for more flexibility and the possibility for computerization, but the circuits often can’t withstand high circuit voltages (anything above 6 volts, in the case of most EOS cameras, according to Canon) and can be damaged when connected to a high voltage device.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that this 6 volt limit sometimes applies to PC sockets and sometimes doesn’t, depending on the specific product. Canon state that the 1D, 20D, 20Da and 5D digital cameras are capable of withstanding trigger voltages of up to 250 volts when firing flash units with their PC sockets. The 6 volt limit applies to the camera hotshoe only. Unfortunately Canon don’t always state what trigger voltage the PC sockets on all of its PC-socket-equipped cameras can withstand, so if this information is not supplied in the manual you should probably contact Canon or avoid the risk altogether and use a voltage-limiting adapter.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Anyway. If you intend to connect an old flash to your EOS camera’s hotshoe be absolutely sure that its trigger voltage does not exceed 6 volts if you aren’t sure whether or not the camera can handle it. You can <a target="_blank" href="http://www.botzilla.com/photo/G1strobe.html">measure this</a> with a voltmeter. Various accessories, such as the <a href="http://www.saundersphoto.com/html/body_wn_accss.htm">Wein Safe-Sync HS</a> hotshoe unit, can be used to protect the camera from these high voltages if you want to use such a flash. If you’re technically inclined and are feeling adventuresome you could even <a href="http://www.carlmcmillan.com/images/Optoisolated_Adapter.GIF">build your own</a>. Even safer are <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">optical</a> triggers, since there are no physical connections between the camera and flash unit at all. Most studio flash units have optical triggers built in which can respond immediately to a pulse of light. I’ve used an old 430EZ flash unit, which is otherwise useless on my digital 10D since it lacks E-TTL support, in manual mode to trigger studio strobes to great effect. Just dial the manual setting to its minimum and point the head away from the subject to minimize the light from the portable flash unit.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Note that the damage to the camera can be subtle and cumulative - simply hooking up the flash and seeing if it works is no guarantee that the high voltage isn’t slowly damaging your camera’s flash circuit - arcing and pitting connectors and breaking down internal components. (of course, Canon is probably being a bit conservative with its 6 volt limit, so you might not be taking a huge risk if the voltage of your flash unit is a tiny bit over) Note also that the power supply used by the flash is irrelevant - it has no bearing on the trigger voltage. Many Canon Speedlite flash units, for example, can use high voltage battery packs but they still have low trigger voltages. And portable battery-powered flash units may require 6 volts in battery power but nonetheless may step up the trigger voltage considerably.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">An additional problem is that some older flash units have reversed polarity. EOS cameras all have a negative ground and a positive centre pin on the hotshoe itself, though some pro models have polarity-detecting PC connectors that can work with either type of flash unit.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, some flash units have all-metal hotshoes. This can be a problem if they inadvertently short out any of the four small data contacts on EOS cameras. If you have such a camera you could cover up the contacts with electrical tape or use a PC cord adapter so the flash unit doesn’t plug directly into the camera’s hotshoe mount at all. The same applies if your flash unit has a really large central contact. EOS cameras have fairly small hotshoe central contacts with four tiny data contacts below it. If your flash unit’s hotshoe contact is so large that it shorts out any of the data contacts you may damage your camera.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The old Canon EOS FAQ also has a great deal of information on the subject of <a target="_blank" href="http://www.geo.tu-freiberg.de/docs/eos-faq/0toc.html#3flash21">trigger voltages</a>, and Kevin Bjorke maintains a comprehensive table of trigger voltages for <a target="_blank" href="http://www.botzilla.com/photo/strobeVolts.html">various flash units</a>.</FONT> </p> <p><a name="slave" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Slave flashes.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Slave flashes are simply self-contained flash units which respond to external triggers of some kind. They’re frequently used in studio situations. For example, you might have a <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">multiple-flash</a> setup - one flash to illuminate the subject and another unit or two to illuminate the background separately.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Many slave flashes are triggered by light: optical slaves. They have small sensors built in or attached that detect the light pulse from another flash unit and then trigger immediately themselves. Since they respond so rapidly, the time delay between the trigger flash and the slave flashes going off does not affect the exposure of the photo. The <a href="http://www.saundersphoto.com/html/body_bat_free.htm">Wein Peanut</a>, a tiny and inexpensive accessory, is a popular optical trigger that’s basically compatible with most flash units out there. (though ironically not entirely compatible with a lot of Canon Speedlites - see further down in this section for details)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since the sensors watch for flash bursts, you use one flash unit as the triggering flash - typically the built-in flash unit on your camera or an external unit connected to the camera’s <a href="http://photonotes.org/articles/eos-flash/index2.html#shoemount">hotshoe</a> or <a href="http://photonotes.org/articles/eos-flash/index3.html#pc">PC connector</a>. The triggering flash can be set to a low power output so that it doesn’t affect the scene if you want - optical slaves are usually sensitive enough. The slaves are also usually sensitive to infrared energy, so another popular trick is to tape an infrared filter gel over the internal flash unit. This lets you trigger the flash units with a burst of energy that’s invisible to the human eye and to most types of film.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon E-TTL flash metering poses a problem for optical slave setups, since standard analogue optical slaves are likely to be triggered by the flash unit’s metering preflash rather than the actual flash. And since the slave flash requires time to recharge it may not have enough power to fire in response to the actual flash. The usual solution to this is to switch over to regular TTL flash in lieu of E-TTL. There are two problems to this approach, however. For more details have a look at the section on <a href="http://photonotes.org/articles/eos-flash/index.html#disableettl">disabling E-TTL mode</a>. The other option is to use FEL to trigger the slaves once, then wait for them to recharge and then take the photo. (or use FEL to trigger the slaves, immediately use FEL again, before the studio units recharge, to set the correct flash exposure lock and <i>then</i> take the photo) This can be rather inconvenient, however.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Standard optical slaves are also a problem outside the controlled environment of the studio. They’re a real nuisance in wedding photography when, for instance, Uncle Charlie’s point and shoot camera flash triggers your optical slaves. Situations like that call for expensive <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">radio-controlled wireless</a> systems or, if battery-powered slaves have enough power output for your needs, Canon’s E-TTL wireless system. An alternative is the new generation of optical slaves, such as the <a target="_blank" href="http://www.weinproducts.com/safesyncs.htm">Wein Digital Smart Slave</a> products, which are capable of distinguishing between a preflash and a genuine scene-illuminating flash and only respond to the latter.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A significant problem with multiple slave flash photography (at least, one which doesn’t rely on automated metering like Canon’s <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless E-TTL</a>) is that it’s difficult to preview or visualize the final result without a lot of testing and experience. Usually each flash unit has to have its output set manually. In fact, unless you’re replicating a predetermined lighting formula that works for you or you’re configuring a fairly simple one or two flash setup with a light meter, I’d say that it’s pretty well a requirement that you have a Polaroid back for your film camera or a digital camera to do this sort of thing well. Digital is particularly beneficial here since you can take dozens of test photos at no cost and determine exactly how the various flash units are illuminating your scene, where the shadows fall, etc.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, using cheap optical slave flash units can be an affordable way to set up your own studio. Buy a few old battery-powered Vivitar 283s or second-hand studio units, slap some cheap optical triggers onto them and you’re in business.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon do not build any flash units specifically intended for use as studio equipment. However, you can buy hotshoe adapters - <a target="_blank" href="http://www.botzilla.com/photo/G1strobe.html">optical</a> or wired - to turn any flash you want into a slave, and the 480EG can be slaved via the optional Synchro Cord 480. Hotshoe adapters aren’t always reliable with every camera and flash unit combination, so it’s worthwhile doing some testing first. In particular, a lot of people have reported problems with small optical slaves not being able to trigger Canon Speedlite flash units more than once without the flash being turned off and turned on again between each shot. The <a href="http://www.ikelite.com/web_pages/lite_link.html">Ikelite Lite-Link</a> is one device designed to work with Canon flash units that apparently does not have this problem. It also has a sort of simulated TTL feature - it can cut the light from the slave flash as soon as the master flash has quenched its light, rather than simply firing at full power.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, Canon state in their literature that a sync speed of perhaps 1/60 or 1/125 is required for studio flash. There are two reasons why they suggest speeds this low, even if the camera’s capable of higher flash sync with TTL-metering portable Speedlite flash units. First, many older studio units take quite a while to attain full brightness or have slight colour shifts depending on the flash duration. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">And second, the triggering delay (the time that elapses between the camera triggering the flash and the flash unit actually firing) with slaved studio flash units is often longer than the very brief and known triggering time with TTL flash units. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For these reasons you’re probably best off doing a series of tests with a new slaved flash unit setup at different shutter speeds to determine what the top shutter speed for your configuration is going to be. Particularly with optical and radio slave units or older flash units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that Canon do sell a number of flash units that can serve as slave units in a wireless E-TTL setup - see the section on <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless E-TTL</a> for details.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="flashmeters" />Flash meters.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Regular light meters cannot measure the split-second burst of light from a flash unit. For that you need a specialized flash meter, though of course many devices can meter for both ambient and flash light.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These are useful in studio situations, when you’re using flash units that don’t have any TTL or E-TTL capabilities. You might, for example, have a large studio flash unit bouncing light onto the subject by means of a flash umbrella. You could use the handheld flash meter to determine accurately the correct flash output settings to expose the subject properly.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Since this article deals primarily with automated through-the-lens metered flash I don’t deal with flash meters. There are many other online resources and books to help you learn more about flash metering, however.</FONT> </p> <p><a name="synctrivia" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash sync trivia.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I haven’t been able to find out why shutter sync with electronic flash is referred to as “X” sync, though X standing for xenon and electric contacts are the most popular theories. Really old cameras also had M-sync connectors, which were designed for non-electronic single-use flash bulbs (the kind of bulbs which contain a metal filament or piece of metal wool which burns out).</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unlike electronic flash, which achieves maximum brightness almost instantaneously, old electric flash bulbs required a longer period of time to reach maximum brightness. So with “M-sync” the shutter opening was delayed by 20 ms or so after the bulb was fired, to provide adequate time for the light output to build. No EOS camera has M-sync capabilities, since hardly anybody uses electric flash bulbs these days. Apparently the M stood for “medium” speed flash bulbs.</FONT> </p> <p></p> <p><br/> </p> <p><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Common EOS flash features.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Here are some features found on various Canon EOS Speedlite flash units. Note that not every flash has every feature, and some features only work in conjunction with certain camera bodies. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">For further details please consult my Canon EOS <a href="http://photonotes.org/lookup/">Camera/Flash Compatibility Lookup</a> page, which allows you to compare different camera and flash models to determine their compatibility and what functions are available to you.</FONT></p> <p> </p> <p><a name="bounce" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Bounce flash - swivel and tilt.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Many of Canon’s external flash units have the ability either to tilt or both tilt and swivel the flash head independently of the flash body. The 430EZ, for example, lets you tilt the head from 0° (straight on) to 90°. Left swivel goes from 0° to 180° - facing backwards! Right swivel only goes from 0° to 90°. There are click stops at various detent positions, and a spring-loaded bounce latch keeps the flash head pointed head-on. The 580EX goes even further. It can rotate a full 180° left or right, and it uses a single pushbutton latch to release both tilt and swivel actions.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Tilt and swivel let you bounce (reflect) the flash unit’s light off walls, ceilings, reflectors, etc, in order to soften the light. Non-bounced flash light tends to be fairly harsh, since it originates from a relatively small area. This harsh light tends to result in unflattering photos of people, for reasons outlined in the <a href="http://photonotes.org/articles/eos-flash/index3.html#quality">quality of light</a> section. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Bounce flash softens light nicely, but does have some disadvantages. For one, you obviously can’t bounce flash outdoors unless you carry a reflector or something with you - it’s most immediately useful in interior spaces. Some interiors, in fact, aren’t much good either if they have really dark surfaces or high ceilings. Another drawback is that coloured surfaces (such as painted ceilings or walls) can end up tinting the light from the flash, resulting in unwanted colour shifts. Relying on ceiling bounce flash can sometimes result in unattractive shadows appearing under the eyes and nose - some photographers elastic-band an index card around the back of vertically-pointing flash heads in order to bounce a little bit of light forward to minimize this problem. (the Speedlite 580EX, in fact, has a built-in pull-out catchlight card for those who don't want to rely on cardboard and elastic) And finally, bouncing the light obviously reduces the amount of light hitting the subject and this costs about half your range. For this reason you may want to use faster film or larger lens apertures when using bounce flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Low-end flash units which lack tilt and swivel heads can also be used for bounce flash - you simply attach an <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">Off-Camera Shoe Cord 2</a> and then you can point the flash unit in any direction you like. Note, however, that this technique doesn’t work well with flash units that rely on external sensors such as A-TTL devices since the sensors will be recording the light bouncing back from the reflective surface and not the subject.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You probably won’t want to use bounce flash in manual flash mode. You can do it, but you have to perform the flash calculations manually, as described in the section on <a href="http://photonotes.org/articles/eos-flash/index3.html#manualflash">manual flash</a>.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which neither tilt nor swivel:<br/> Speedlites 160E, 200E, 220EX, 300EZ, ML-3, MR-14EX, MT-24EX*.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit which tilt only:<br/> Speedlite 380EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which both tilt and swivel:<br/> Speedlites 300TL, 420EZ, 430EZ, 540EZ, 420EX, 430EX, 550EX, 580EX, 580EX II, 480EG.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which swivel 180° both left and right, with a single-button release for tilt and swivel:<br/> Speedlite 580EX, 580EX II, 430EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with an additional downward tilt for macro shots:<br/> Speedlites 540EZ, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with pull-out catchlight panel:<br/> Speedlite 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* The MT-24EX macro flash unit has independently movable swivelling arms with detachable heads. So it’s not fixed, but it doesn’t tilt or swivel in the way that shoe-mount Speedlites do. As a macro flash it’s not meant for illuminating rooms with bounced light, though it can be used for lighting small spaces.</FONT></p> <p> </p> <p><a name="zoom" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Zooming flash heads.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon’s mid to high-end external flash units contain small motors which move the flash bulb closer to or further away from the clear plastic screen at the front. This allows the flash to alter the coverage area of the light emitted from the unit - the closer the bulb is to the screen, the wider the coverage angle and vice versa. It also means that the flash’s light output can be concentrated for greater distances and used more efficiently. (ie: you aren’t wasting light by illuminating areas not covered by longer focal-length lenses) </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Typically the zooming motor covers the range used by 24 to 80mm lenses or 24 to 105mm, and does so in several fixed steps matching popular prime lens focal lengths, such as 24-28-35-50-70-80mm. (continuous zooming control to arbitrary focal lengths is not supported) Remember that a flash unit’s upper zoom limit doesn’t <i>prevent</i> you from using the flash with longer lenses. All it means is that the zoom can’t concentrate its light beyond a certain point for more efficient coverage of a narrower area. At least, not without a <a href="http://photonotes.org/articles/eos-flash/index3.html#extenders">flash extender</a> accessory. The reverse is not true for the wider end, however. If you use, for example, a flash unit with 24mm coverage at the wide end with a 17mm lens you’ll get a kind of vignetting effect (darkening of the edges) since the flash will not be able to illuminate the entire coverage area of the wide angle lens.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some zooming flashes have manual controls that allow you to override the automatic zoom setting by pressing a button. Others are only automatic - they zoom to a setting near to the current lens focal length when you press the shutter halfway. Canon flash units usually default to a 50mm zoom setting when in bounce mode and to 35mm when no EF-compatible lens is attached.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a name="zoomcompensation" />Most camera bodies with image areas less than that of 35mm film (APS cameras and most EOS digital cameras) cannot compensate for the cropping factor of their image areas. So you are, in effect, wasting light when taking a photo using such a camera body and a zooming flash unit, since areas outside the edges of the picture will be illuminated. This issue has been addressed with later model EOS camera and Speedlite flash units, as listed below. When these flash units are attached to a compatible camera a small nested rectangle icon will appear in the flash unit’s LCD. (note that it appears that a <a href="http://groups.google.com/group/rec.photo.digital.slr-systems/browse_thread/thread/8263d770e7f6436d/29c1d0ffdd1c67fb?q=580ex&rnum=7">bug</a> limits the utility of this feature when a 580EX is used on an EOS 20D - at 24mm or wider the flash may not zoom wide enough, which may result in some vignetting)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Remember that the flash head will zoom to the nearest zoom setting that is <i>less or equal to</i> that of the focal length of your attached lens. So if you have a 100mm lens attached, say, and the flash unit can zoom to either 80mm or 105mm, then it will automatically go to 80mm only. It will not narrow the light cone down any further by zooming to 105mm, as you would risk getting darkening around the edges of the picture if it did.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Wireless-capable units with zooming heads will zoom to 24mm when in wireless slave mode. Flash units with no manual zoom controls will always shoot at 24mm. However wireless slaves with manual zoom controls can be very useful in wireless mode since they let you set up your slave units around the scene, override the default zoom setting and adjust the coverage angles for each unit independently.</FONT></p> <p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">They aren’t so commonly used outside a wireless context but they allow you, for example, to create a sort of spotlight/vignetting effect by narrowing the flash coverage down to a tighter circle than that required by the focal length of the lens. (an intentional use of the problem outlined above) You can also use manual controls to adjust the zoom setting so that you can work with <a href="http://photonotes.org/articles/eos-manual-lenses/">manual lenses</a> which don’t transmit focal length information to the camera.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> All Canon flash units which have names ending in Z, such as the 540EZ, contain zooming flash motors. However, mid and high-end E-TTL shoe-mount flash units (420EX, 430EX, 550EX and 550EX) also have zooming heads, so Z Speedlites aren’t the only ones with the feature. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Two EOS cameras, the Elan/100 and the A2/5, have three-position zoom motors built into their internal flash units. It’s this zoom capability that explains why the Elan/100’s built-in flash has a maximum guide number of 17 at 80mm. When the flash isn’t zoomed out it has a guide number of 12; typical for a camera’s built-in flash. Canon have not carried this feature through to any later bodies, however. Presumably the expense and bulk of the zooming mechanism were deemed to outweigh the benefit of improved guide numbers.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The primary disadvantages of a zooming flash unit are that the zoom motor makes a loud buzzing noise when adjusting coverage angles and that the flash head has to be larger to accommodate the motor.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with motorized zooming heads:<br/> Speedlites 300EZ, 420EZ, 430EZ, 540EZ, 380EX, 420EX, 430EX, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="zoomconfig" />Flash head coverage:</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash units.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit with 28mm fixed coverage (no zoom motor):<br/> Speedlite 220EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with 35mm fixed coverage (no zoom motor):<br/> Speedlites 160E, 200E*, 480EG**.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Macro flash units (no zoom motor):<br/> Speedlites ML-3, MR-14EX, MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit with hand-operated four-position 24-85mm (24-35-50-85mm) zoom head (no zoom motor):<br/> Speedlite 300TL.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit with automatic-only four-position 28-70mm (28-35-50-70mm) zoom coverage:<br/> Speedlite 300EZ. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with automatic six-position 24-80mm (24-28-35-50-70-80mm) zoom coverage with manual override:<br/> Speedlites 420EZ, 430EZ.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with automatic-only six-position 24-105mm (24-28-35-50-70-105mm) zoom coverage; no manual override:<br/> Speedlites 380EX, 420EX. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with automatic seven-position 24-105mm (24-28-35-50-70-80-105mm) zoom coverage with manual override:<br/> Speedlites 540EZ, 430EX, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Wireless-capable flash unit with automatic-only zooming heads:<br/> Speedlite 420EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Wireless-capable flash units with both automatic and manually-controlled zooming heads:<br/> Speedlites 430EX, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units able to receive sensor size data from compatible cameras:<br/> Speedlites 430EX, 580EX and 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* The 200E can be augmented by an optional accessory clip-on adapter (Wide Adapter 200E) which extends its 35mm flash coverage to 28mm.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">** The 480EG ships with two accessory clip-on lenses which can be used to alter its default 35mm coverage. The Wide Panel 480EG-20 takes you to 20mm and the Tele Panel 480EG-135 takes you to 135mm.</FONT></p> <p> </p> <p><strong><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a name="zoomconfigcameras" />Cameras.</FONT></strong> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 35mm internal flash coverage, GN 12:<br/> EOS 750 (first EOS camera to sport a built-in flash), 700, 10/10s, Rebel S/1000F, EOS 5000/888.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 35mm internal flash coverage, GN 14:<br/> EOS Rebel II S/1000FN*.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 28mm internal flash coverage, GN 12:<br/> Rebel X/EOS 500/Kiss, Rebel 2000/EOS 300/Kiss III, EOS Kiss III L, EOS 300V/Rebel Ti/Kiss 5 (high profile), Rebel G/EOS 500N/New Kiss, EOS 3000/88, 3000N/66.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 28mm internal flash coverage, GN 13:<br/> EOS Elan II(E)/50/55, Elan 7(E)/30/33, Elan 7N(EN)/30V/7S.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with automatic-only three-position 28-80mm (28-50-80mm) internal flash zoom coverage, GN 12 or 13 to 17:<br/> EOS Elan/100 (GN 12-17), A2(E)/5 (GN 13-17).</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 22mm** internal flash coverage, GN 11 or GN 10:<br/> EOS IX/IX E (GN 11), IX Lite/50/7 (GN 10).</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with fixed 18mm** internal flash coverage, GN 12:<br/> EOS D30, D60.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera with fixed 18mm** internal flash coverage, GN 13:<br/> EOS 10D.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera with fixed 18mm** internal flash coverage, GN 13, high profile:<br/> 300D/Digital Rebel/Kiss Digital, EOS 350D/Rebel XT Digital/Kiss N Digital, EOS 400D/Rebel XTi Digital/Kiss X Digital.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with no internal flash:<br/> EOS 650, 620, 850, 600/630, 1, RT, Rebel/1000, Rebel II/1000N, Rebel X, 1N, 1NRS, 3, 1V, 1D, 1Ds, 1D mark II, 1D mark IIN, 1D mark III, 1Ds mark II, 5D.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies able to transmit sensor size data to compatible flash units:<br/> EOS 20D, 20Da, 350D/Rebel XT/Kiss N Digital, 1D mark II, 1D mark IIN, 400D/Rebel XTi Digital/Kiss X Digital, 1D mark III.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* Seems odd that this particular low-end camera should have a higher guide number than all other EOS cameras with built-in flash, but that’s what the Canon <a href="http://www.canon.com/camera-museum/">camera museum</a> claims.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">** Note that these coverage areas are related to the dimensions of the image area - APS film for the IX cameras and the sensor chip for the D30, D60, 10D, 20D, 1D, 1D mark II, 1D mark IIN, 1D mark III digital cameras. All have smaller image areas than 35mm film. Those digital cameras with a 1.6x cropping ratio have a 28mm coverage area if they were 35mm cameras, for example.</FONT></p> <p> </p> <p><a name="afassist" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>AF assist light.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> It’s very hard for cameras based on passive autofocus mechanisms (this includes all EOS cameras except the manual-focus EF-M) to focus when it’s dark, since they rely on contrast between light and dark areas. For this reason many EOS cameras have a built-in light that automatically illuminates in low light situations to help the autofocus system to work. On some cameras this is a relatively discreet patterned red light from a bright red LED (light emitting diode), on some it’s an irritating bright white incandescent light and on others it’s an even more irritating pulse of the built-in flash. (for a list of these cameras please see the next section)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> All of Canon’s Speedlite flash units for EOS cameras have patterned red AF assist lights - sometimes called AF auxiliary lights in older Canon manuals - built in. These are clear red panels on the front which use one or two high-brightness LEDs to project red circles of light striped with dark lines, in order to give the camera a high-contrast pattern to focus on. Red is chosen in part because high-output red LEDs are readily available, but also because red light does not cause the pupils of the eye to dilate as much as does white light. The red light is sometimes described as being “near infrared,” though it is in fact visible.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">An important thing to remember is that the AF assist light works only if your camera is in One-shot mode - it <i>will not illuminate</i> in AI Servo or in any icon AE mode which employs AI Servo, such as the Sports mode. This is because the camera is constantly focussing and refocussing when in AI Servo mode, in order to track subject motion.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Also, if you have a camera body with multiple focussing points and your flash unit’s AF assist light isn’t lighting up in low light it’s probably because the AF light on the flash you happen to be using cannot cover your currently selected (ie: non-centre) focussing point. Many flash units have AF assist lights which can only illuminate the area around the central point. Switch to the central focussing point and the flash unit’s AF assist light should start working. Two exceptions are noted in the next section - the A2(E)/5 and the 10/10s.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As for the coverage area of these AF lights and multiple focus points, the coverage varies but depends in part on when the flash was introduced. For example, the 430EZ flash was introduced when Canon’s cameras all had one focussing point only, and so the 430EZ’s AF assist light cannot cover all the focussing points built into, say, the Elan 7/EOS 30. The 420EX, however, has an AF assist light which covers all 7 points used by the newer camera. There is a full list below.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The maximum range of the AF assist light varies from unit to unit, but is typically a distance of around 5-10 metres from flash unit to subject. Flash units which cover more than one focus point have lower AF assist ranges for outer points. The MR-14EX and MT-24EX macro ring light flashes have small white incandescent bulbs for modelling and focussing rather than red AF assist LEDs. The Macro Twin Lite MT-24EX can be configured so that pressing the shutter release halfway turns these lamps on. The MR-14EX requires a press of the controller-mounted “lamp” button to enable the lamps.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with 1 (central) point AF assist light coverage:<br/> Speedlites 160E, 200E, 220EX, 300EZ, 380EX, 420EZ, 430EZ.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit with 5 point AF assist light coverage:<br/> Speedlite 540EZ. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash unit with 7 point AF assist light coverage:<br/> Speedlite 420EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with 45 point (area) AF assist light coverage:<br/> Speedlites 550EX, ST-E2. (see the note below concerning the EOS Elan 7/30/33/7)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with 9 point (and 45 point area) AF assist light coverage:<br/> Speedlite 580EX, 430EX, 580EX II</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with white incandescent focus assist bulbs:<br/> Macro Speedlites MR-14EX and MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with no AF assist lights:<br/> Speedlites 480EG, 300TL.</FONT></p> <p> </p> <p><a name="afassistnotes" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Camera-specific notes on AF assist lights.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The EOS 3000, 888, 500/Rebel XS, 5/A2/A2E and 10/10s: these older cameras never activate the AF assist lights on external flash units - they will only illuminate the camera body’s built-in AF assist light. In the case of the EOS 5/A2/A2E and 10/10s, the reason for this limitation is because the camera bodies have multiple selection points and the flash units sold at the time could not cover all of the points. The 10/10s is also unusual in that its external two focussing sensors look for horizontal lines and not vertical lines, whereas many flash units project only vertical striped lines.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sadly, this restriction was pretty short-sighted, since later Speedlite flash units handily cover all the focus points of multiple focus point cameras, but these older camera bodies still doggedly rely on the body AF light only - even if the central focus point is the only one selected. And the body’s AF assist light can be blocked by larger lenses or lens hoods. Luckily, the body’s AF assist light has a reasonable range - only slightly shorter than most external flash units.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The EOS 300/Rebel 2000, EOS 30/Elan 7 and other EOS cameras which lack a red AF assist light on the body: you can always use the AF assist light on a flash unit if you want to avoid the irritating main flash pulses used by your camera as an AF assist light. Some of the smaller Speedlite flashes are quite compact and can easily be packed in a camera bag, though the tiniest don’t cover multiple focussing points, limiting you to the central point. The ST-E2 transmitter covers all 45 of the EOS 3’s focussing points, all of the D30/D60 points, and 5 of the 7 points of the Elan 7/EOS 30/33/, so it’s a better bet for most newer cameras if all you want is AF assist. A rather unfortunate and inconvenient (and expensive, in the case of the ST-E2) way to deal with the camera’s shortcomings, but there you go. The EOS 30/33/Elan 7/EOS 7 is most suitable for use with an external flash unit’s AF assist light, since this camera has a custom function which disables the external flash while maintaining the operation of the AF assist.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The EOS D30/60: the primary weakness of these otherwise excellent digital cameras is their weak autofocus performance, particularly in dim light. Many D30/60 users advocate carrying an ST-E2 wireless flash transmitter and using its AF assist light to help the camera focus in low-light situations. Other users carry a 550EX set to TTL mode. In TTL mode the 550EX will not fire but the AF assist light will still work. These are somewhat expensive options. You could always use one of the tiny and inexpensive Canon flash units like the 160E or 200E for this, but their AF assist lights cover only the central focussing point of the D30/60.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The Elan 7/EOS 30/33/7: this camera has 7 focussing points - five in a row and one point above and one point below the row. However, the Speedlite 550EX flash unit and ST-E2 unit predate the Elan 7/EOS 30/33/7. So, although they cover all 45 points of pro cameras they do not adequately cover the upper and lower AF points on the Elan 7/EOS 30/33/7. This is because they project horizontal patterns across the area read by the upper and lower AF points of the Elan 7/30/33/7, but these points want vertical patterns. The 420EX, 580EX and 580EX II flash units can illuminate these upper and lower AF sensors.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with red patterned (LED) body-integral AF assist lights:<br/> EOS 10/10s, A2/A2E/5, Elan/100, Elan II/IIE/50/50E/55.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with bright white incandescent body-integral AF assist lights:<br/> EOS Rebel XS/500/Kiss, EOS 3000/88, EOS 3000N/66/Rebel XS N, D30, D60.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras which fake AF assist by pulsing the internal flash unit:<br/> EOS Rebel 2000/EOS 300/Kiss III, Kiss IIIL, EOS Elan 7/30/33/7, EOS Rebel Ti/300V/Kiss 5, EOS 10D, EOS 300D/Digital Rebel/Kiss Digital, EOS 350D/Rebel XT Digital/Kiss N Digital, EOS 400D/Rebel XTi Digital/Kiss X Digital.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with no body-integral AF assist lights:<br/> EOS 650, 620, 700, 750, 850, RT, 1, Rebel/EOS 1000, Rebel S II/1000FN/1000S, Rebel X, EOS 5000/888, Rebel G/500N/New Kiss, IX, IX Lite, 1N, 1N HS, 3, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II, 1D mark IIN, 1D mark III, 5D.</FONT></p> <p> </p> <p><a name="fec" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash exposure compensation (FEC).</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are times when you may want to adjust the total flash output from a flash unit above or below what the assumed mid-tones that the camera thinks you probably want. For example, a scene that’s mainly white or mainly dark will fool automated sensors, so you may want to override the flash unit. This is flash exposure compensation; referred to as “fill-in ratio control” or “flash level control” in older Canon material.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As noted in the section on fill flash, a common application for flash is lightening shadows and toning down the high-contrast nature of full sunlight. Adding a subtle catchlight in someone’s eyes is another. For cases like this you might want to dial in an additional minus stop or two of flash compensation over the camera’s built-in flash program since you don’t want to blast out a ton of fill flash that will wash out the subject’s face or cast flash shadows. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Or perhaps you want to take a harshly lit flash photo, like old paparazzi photos from the days of non-electronic bulb flash. You could then dial in additional flash compensation. Yet another common situation is overriding the default flash controls in situations that are hard for the flash system to meter. Wedding photos of a man in a black tuxedo in a large room or a woman in a white dress next to a white cake are typical examples.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> FEC is adjustable in half or one-third stop intervals, depending on the camera and flash. You can apply both positive (more light from the flash) or negative (less) compensation, usually by up to three stops. Remember that, on cameras which have it, FEC is completely independent from regular exposure compensation on your camera. (cameras which lack FEC simply adjust flash and ambient compensation simultaneously) It’s quite possible to, for instance, apply plus 1 stop FEC and dial in minus two stops exposure compensation at the same time. Just like regular light metering, one stop represents a doubling or halving of light output. Altering FEC means altering power output, not distance. (see the section on <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">guide numbers</a> for more information)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As noted earlier, EOS bodies automatically apply by default <a href="http://photonotes.org/articles/eos-flash/index2.html#autofill">auto fill reduction</a> under brighter ambient lighting conditions. So it may not be necessary to dial in any FEC if you just need fill flash - particularly if you’re using E-TTL rather than TTL. E-TTL is generally agreed to have improved and more subtle fill flash when ambient light levels are bright. You’ll probably want to run some tests to see how your camera and flash combination works for you. Remember that any FEC you apply manually will be in addition to any auto fill reduction that the camera may apply.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, most pro and semi-pro EOS cameras have a custom function that can disable automatic fill flash reduction if you desire. This is useful when shooting backlit objects, where you don’t want fill flash reduction.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras which disable auto fill flash reduction with custom function 10:<br/> EOS D30, D60.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras which disable auto fill flash reduction with custom function 14:<br/> EOS 1N, 1NRS, 3, 1V, 1D, 1Ds, 10D, 1D mark II, 1Ds mark II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera which disables auto fill flash reduction with custom function 16:<br/> EOS 5/A2(E).</FONT></p> <p> </p> <p><a name="bodiesfec" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Which bodies/flashes have FEC.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Flash exposure compensation may or may not be available to you, depending on which camera body and flash you have. Most midrange EOS cameras support FEC for internal flashes, but most low-end EOS cameras do not. Also, remember that FEC will not work in the basic (PIC) metering modes - just P, Tv, Av and M modes. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> For FEC to work with an external flash you need one of the following two cases:</FONT></p> <p> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">either both a camera capable of supporting FEC on external flash units and a flash unit capable of receiving FEC commands, or</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">any EOS camera except the 620, 650, 750 or 850 and an external flash unit with FEC switches built in - the Speedlites 430EZ, 540EZ, 550EX, 580EX, 580EX II, MR-14EX or MT-24EX.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The next section has a comprehensive list of which cameras and flash units have which features.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> For instance, let’s say you have an Elan 7/EOS 30 with a Speedlite 420EX external flash. In this case you can use the FEC controls built into the camera to control the flash exposure levels on the external flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Or let’s say you have an original Elan/EOS 100 with a Speedlite 540EZ external flash. In this case you can’t use the camera’s on-board FEC controls, because the Elan/100 is the only EOS camera with FEC controls that can’t send FEC signals to external flashes. But the 540EZ happens to have controls that let you set the FEC levels directly on the flash itself, so you’re fine. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> However, if you have, say, a Canon Rebel G and a Speedlite 380EX then you’re out of luck. The Rebel G can’t send out FEC commands to a flash, and the 380EX lacks external FEC controls. You can’t directly adjust the flash exposure settings independently of the exposure metering. You can only <a href="http://photonotes.org/articles/eos-flash/index3.html#fakefec">fake FEC</a> by altering the ISO value.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some bodies display the FEC setting in the viewfinder and others only display it in the top-deck LCD. If your flash unit has its own FEC controls you can look at the flash unit’s rear panel LCD for the current FEC setting. Also, remember that if your flash unit has FEC controls then its settings will override those of the camera’s custom function setting, if it has one.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="feclist" />List of which bodies/flashes have FEC.</strong></FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which do not support any kind of FEC even with flash units with external FEC controls:<br/> EOS EF-M, 650, 620, 750 or 850.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which only support FEC when used with an external Speedlite flash unit which has FEC controls:<br/> EOS 600/630, RT, 700, 1, 10/10s, all EOS 1000 series cameras, all EOS Rebel series cameras, all EOS Kiss series cameras, 300, 300V, 500, 500N, 5000/888, 3000/88, 3000N, IX Lite/IX 50/IX 7, EOS 300D/Digital Rebel/Kiss Digital*.</FONT><p> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera body which supports FEC on the internal flash but not on external flash units unless they have external FEC controls:<br/> EOS Elan/100.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which support FEC on internal flash units and can also control FEC on any external Speedlite flash unit:<br/> EOS 5/A2(E), Elan II(E), 50(E)/55, IX, Elan 7(E), 30/33/7, D30, D60, 10D, 20D/20Da, EOS 350D/Digital Rebel X/Kiss Digital N, EOS 400D/Rebel XTi Digital/Kiss X Digital.</FONT><p> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which lack internal flash units but which can control FEC on any external Speedlite flash unit:<br/> EOS 1N, 1NRS, DCS 1/3/5, D2000, D6000, 3, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with a flash exposure level scale on the right side of the viewfinder:<br/> EOS 1N, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with external FEC controls:<br/> Speedlites 430EZ, 540EZ, 550EX, 580EX (dial), 580EX II (dial), MR-14EX, MT-24EX.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="fakefec" />Faking flash exposure compensation.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It’s possible to fake FEC if your camera and flash combination lacks the ability. It basically involves fiddling with your camera’s manual ISO setting, and is more useful for people using film. You can’t simply adjust exposure compensation because doing so affects both ambient exposure settings and flash exposure settings simultaneously.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The workaround is thus to do the ambient metering first and locking it into place by going into manual metering mode. This puts both the shutter speed and aperture under your direct control. Once that’s done you can manually alter the ISO setting of the camera (if your camera supports this, as the vast majority of EOS cameras do).</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you lower the ISO rating you’re essentially tricking the camera into producing more flash output - halving the ISO results in one stop more flash output. If you raise the film speed rating then the camera will produce less flash output - doubling the ISO results in one stop less flash output.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The drawbacks to this technique are obvious and threefold. First, it’s rather fiddly since altering ISO isn’t a commonly changed thing and thus the interface isn’t the easiest to use. Second, you have to be certain to set the ISO value back to its correct setting when you’re done or else you risk messing up the exposure settings for the rest of the roll in the case of film. And third, you can’t really use it if your camera lacks manual ISO controls altogether.</FONT></p> <p><a name="fel" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash exposure lock (FEL).</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> EOS cameras (type A) which support E-TTL also support flash exposure lock when used with EX flash units. This feature lets you lock flash settings in, then optionally recompose the image before taking the final photo. This allows you to adjust the flash settings in certain difficult to meter cases. Canon first introduced FEL in 1986 with their T90 camera and 300TL flash, but dropped the feature with the first EOS cameras. It wasn’t until 1995, with the introduction of the Elan II(E)/50/55 and E-TTL, that FEL made its return.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> FEL works by issuing a preflash when the AE lock button or, if the camera has one, when the FEL button is pressed. (on most EOS cameras the AE lock and flash exposure features are tied together, but top of the line EOS cameras have separate FEL buttons which allow you to set AE lock and FEL independently) The camera then stores flash exposure data, biased towards either the current focus point or the central focus point, for a 16 second period or for as long as you keep the shutter release pressed halfway. During this time you can recompose the photo or you can adjust the aperture and shutter speed (overriding AE lock, which is set when you press the AE lock button, if you like). If the flash symbol in the viewfinder flashes then you’re too far from the subject.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> FEL is thus useful for taking photos in which the subject is not covered by one of the focus points or photos containing reflective surfaces which can fool flash metering or certain cases in which the subject is moving. It’s also useful for scenes in which you want to bias the flash exposure to something other than the current focus point. A major drawback with FEL is that the E-TTL preflash occurs when the AE lock or FEL button is pressed, which can confuse your photographic subjects who may think that the photograph is already taken.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you lock focus on a scene and recompose you will likely have poor flash metering, since E-TTL biases flash metering to the current focus point. Use FEL instead to avoid this problem.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some cameras have a custom function (CF 8 on the Elan II(E)/EOS 50/55 and Elan 7(E)/EOS 30/33/7) which lets you specify whether you want partial metering and FEL tied to the central focus point - the default - or to the active focus point instead. Remember that the flash unit has to be in E-TTL mode for FEL to function, if you have a flash unit that can also function in TTL mode.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras that support FEL:<br/> All <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type A</a> bodies.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with separate FEL buttons:<br/> EOS 3, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II, 1D mark II, 1D mark IIN, 1D mark III.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with a button that can be assigned to the FEL function:<br/> EOS 10D.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support FEL with type A bodies:<br/> All <a href="http://photonotes.org/articles/eos-flash/index.html#externalflash">EX series</a> flash units.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The T90 and the 300TL flash unit support FEL, but only with each other. Their FEL protocols are not compatible with E-TTL, and so putting an EX series flash unit on a T90 will not give you FEL.</FONT></p> <p> </p> <p><a name="feb" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash exposure bracketing (FEB).</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Recent high-end EOS flashes - the 550EX, 580EX, 580EX II, MR-14EX and MT-24EX - support flash exposure bracketing. It’s a function of the flash unit - the Canon “Flash Work” brochure says that these recent high-end flash units can do FEB on any EOS camera except the 650, 620, 750, 850 - and EF-M.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is a similar concept to auto-exposure bracketing (AEB), only instead of changing ambient exposure settings you shoot a series of three photographs with normal, positive flash compensation and negative flash compensation. You can apply the bracketing value in half, third or full stop values. FEB auto-cancels once you’ve taken the three photograph sequence and uses whatever drive mode your camera is set to. FEB can be used in conjunction with both flash exposure lock (FEL) and flash exposure compensation (FEC).</FONT></p> <p> </p> <p><a name="enablesecond" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Enabling second curtain sync.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> This depends very much on the camera and flash unit that you’re using. Early on, Canon put control for this feature on the flash unit. Later they switched to putting control for this feature on the camera body. So whether you have second-curtain sync available to you depends on a complicated set of permutations.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Many mid to high end Canon flash units, listed below, have a button or switch which lets you enable <a href="http://photonotes.org/articles/eos-flash/index2.html#secondcurtain">second curtain sync</a>. It’s usually marked with a triple triangle ( >>> ) symbol or the word SYNC. For instance, on the 430EZ and 540EZ you press the + and - buttons together simultaneously to turn on second-curtain sync. When you do so a triple triangle symbol appears in the LCD. On the 300EZ and 300TL there’s a small slide switch - left is first-curtain sync and right is second-curtain.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most midrange and professional EOS bodies from the A2(E)/5 onwards have a custom function that lets you specify whether you want first or second curtain flash. The exception is the original Elan/100, which had a custom function that can only control the internal flash and not external flash units. In the case of a camera with a custom function and an external flash unit which has a second curtain switch then you use the physical switch on the flash to control the function.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Low-end EOS cameras, such as the 1000 series or Rebel series, do not have any custom functions and so cannot control second curtain sync options directly. So to take advantage of second curtain sync on such cameras you must have an external flash which has externally-available controls to operate it.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Second-curtain sync cannot be used with any EOS camera in a PIC (icon) mode - you have to be set in P, Av, Tv or M modes. And you can’t set second-curtain sync in stroboscopic mode or FP mode, since that wouldn’t make any sense. Finally, second-curtain sync requires a dedicated Speedlite flash unit - it isn’t supported on flash units connected via a PC socket (see PC connector section below).</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="whichsecond" />List of which flash units and camera bodies have second-curtain sync.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note: verifying this information is difficult, since it’s not listed on all product specs, and I don’t have access to every camera and flash unit that Canon have ever built. I believe this list is accurate, but please let me know if there are any errors.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which do not support second-curtain sync:<br/> Speedlites 160E, 200E, 480EG, ML-3.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with external second-curtain sync controls:<br/> Speedlites 300EZ, 420EZ, 430EZ, 540EZ, 540EZ, 430EX, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which can use second-curtain sync when used with any EOS body that has a second-curtain sync custom function other than the Elan/100:<br/> Speedlites 220EX, 380EX, 420EX, 430EX, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which cannot support second-curtain sync in any form:<br/> EOS EF-M, 750, 850.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which lack custom functions altogether and so support second-curtain sync only when used with flash units with external controls:<br/> EOS 650, 620, 700, all EOS 1000 series cameras, all EOS Rebel film cameras, all EOS Kiss series cameras, 300, 300V, 500, 500N, 5000/888, 3000/88, 3000N, the IX Lite/IX 50/IX 7*, IX**, EOS 300D/Digital Rebel/Kiss Digital***.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with custom functions but which lack a custom function to enable second-curtain sync:<br/> EOS 600, 630, 1, 1N, 1NRS, RT, 10/10S.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera body which has a second-curtain sync custom function that works on the internal flash but not on external units:<br/> EOS Elan/100.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with custom functions that enable second-curtain sync on both internal flash and on compatible external flash units:<br/> EOS A2(E)/5, Elan II(E)/50(E)/55, Elan 7(E)/30/33/7, D30, D60, 10D, EOS 350D/Digital Rebel X/Kiss Digital N, 20D/20Da, 30D, 400D/Digital Rebel Xti/Kiss X Digital.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with custom functions that enable second-curtain sync on compatible external flash units but which lack internal flash:<br/> EOS 3, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II, 1D mark IIN, 1D mark III, 5D.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The T90 camera and the 300TL flash unit support second-curtain sync, but only with each other.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* I haven’t been able to find out if the IX Lite/50/7 camera supports second-curtain sync with flash units that have external controls, but since it’s based around Rebel-style technology it seems unlikely that such support would have been removed.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">** The Westfall/Overton FAQ states that the IX can use second-curtain sync with 380EX flash units, which lack external second-curtain sync controls. The Canon “Flash Work” brochure, however, isn’t clear on this.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">*** Out of the box this camera does not have custom functions and thus cannot use second curtain sync unless the flash unit has a second curtain sync switch. However, enterprising users have found a way of enabling hidden custom functions on this camera by reprogramming its firmware. If you choose to do this you can enable second curtain sync on this body.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="range" />Range warning.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The first type of range warning applies only to the 630, 1 and RT cameras. All other EOS cameras lack this kind of range warning for <a target="_blank" href="http://www.geo.tu-freiberg.de/docs/eos-faq/3flash.html#q7">patent reasons</a>. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If the foreground subject is too close to or too far from the flash to be illuminated by it, it’s said to be “out of coupling range.” If the subject is too far away then both the shutter speed and aperture values will blink in the viewfinder display. If it’s too near then the distance display will blink.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The second type of range warning is built into the FEL feature with type A bodies. If the lightning bolt icon in the viewfinder blinks when you set FEL then you know that you don’t have enough flash output to illuminate the subject correctly.</FONT></p> <p> </p> <p><a name="manualflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Manual flash.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">High-end Canon flash units can also work in full manual mode, which lets you set the flash output by hand rather than relying on an automated system like TTL or E-TTL. Note that manual flash metering is <i>not</i> the same thing as the camera’s manual exposure (M) mode, which is used for ambient (non flash) light metering. Though having said that, you usually put the camera into manual exposure mode when using manual flash metering, so it can be very confusing.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Traditionally, manual flash units required the user to perform calculations by hand in order to use them. However, Speedlites with manual controls and rear LCD panels can perform these calculations for you. This is how you do it.</FONT></p> <p> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Set the <i>camera</i> to either Av (aperture priority) or M (manual exposure) mode. You can set the camera to other “creative” zone modes if you want, but the aperture symbol will flash to indicate a problem and the picture’s flash metering will probably be out.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Set the <i>flash</i> to manual mode. On the 430EZ and 550EX, for example, you press the mode button on the flash. The flash mode (TTL or A-TTL) will switch to M. </FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Press the plus or minus button to set the correct flash intensity. 1/1 means full power, 1/2 means half power and so on. Different flash models support different numbers of flash intensity - the full list is below.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Press the shutter button halfway. The flash will display the current aperture and a distance setting. On the 430EZ this distance setting will be a number of metres or feet, depending on whether you bought the flash anywhere in the world but the US or the US. On the 540EZ, 550EX and 580EX the distance information is shown on a little scale, and the unit type can be changed by a small switch in the battery compartment. The 580EX II has a custom function for measurement units.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you’re in Av mode the shutter speed will be the camera’s X-sync speed and you can manually set the aperture. In M mode you can set the shutter speed to any value from 30 seconds to the camera’s X-sync and the aperture to anything within the lens range.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Adjust the settings so that the distance information on the flash matches the number on the distance scale on the lens you’re using. If the lens lacks a distance scale then you’ll have to estimate or measure the distance.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Once everything’s set correctly you can press the shutter release all the way to take the photo, assuming the “flash ready” lightning bolt is displayed in the viewfinder.</FONT> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash can’t help you in bounce mode - y</FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">ou have to perform the calculations manually by measuring the flash to subject distance. Remember that in bounce mode it’s not the distance from the flash to the subject that’s important - it’s the distance that the light actually has to travel from the flash to the reflecting surface and then to the subject. You also have to factor in the light loss from the reflecting surface, which can only really be done by experience or judicious use of a flash meter. Also don’t forget that the flash unit’s guide number is measured in metres and for ISO 100 film. If you want to use feet and/or film of a different speed you will need to do some <a href="http://photonotes.org/articles/eos-flash/index2.html#guidenumber">additional arithmetic</a>.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with manual controls:<br/> Speedlites 420EZ, 430EZ, 540EZ, 430EX, 550EX, 580EX, 580EX II, 480EG, MR-14EX, MT-24EX, 300TL.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Two levels of manual power - MHi (full power) and MLo (1/16):<br/> Speedlite 300TL.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Three levels of manual power - full power to 1/16:<br/> Speedlite 480EG.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Six levels of manual power - full power to 1/32:<br/> Speedlites 420EZ, 430EZ.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Seven levels of manual power - full power to 1/64:<br/> Speedlites 430EX, MR-14EX, MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Eight levels of manual power - full power to 1/128:<br/> Speedlites 540EZ, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="flashlevel" />Flash exposure level.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The most recent high-end Canon cameras have the ability to display the flash exposure level in the viewfinder. When you press the FEL button near the shutter release a sliding scale will appear in the viewfinder on the right side. Typically this is done with a grey card filling the spot metering circle.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The flash exposure level will be displayed on the far right bar of this scale. You can then adjust the output on the flash unit manually to match the standard exposure level.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Cameras with viewfinder flash exposure level scale:<br/> EOS 3, 1V, 1D, 1Ds, 1D mark II, 1Ds mark II, 1D mark IIN, 1D mark III.</FONT></p> <p> </p> <p><a name="rapidfire" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Rapid-fire mode.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Electronic flashes work by charging up a capacitor with electricity, then releasing the stored-up power in a split-second burst of light. This charging process, the “recycle time,” takes up to a few seconds on larger units - which can be a problem if you need to take several flash photos in fairly rapid succession, such as at a wedding. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Many EOS flashes have the ability to be triggered even if not fully recharged, on the theory that there are times when you’re better off being able to take a photo without a full flash charge available (ie: at a lower guide number than maximum) than having the flash not fire at all. Flash units capable of this feature have a two-colour flash ready (“pilot”) light. If the light is red then the flash is fully charged. If it’s green then the flash is only partially charged but will still fire anyway if you take a photo.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It can be quite frustrating using a flash unit without rapid-fire, in fact. It’s all too easy to take two photos in succession only to find that the second one didn’t trigger the flash and so is totally underexposed.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Rapid-fire mode will not work if the camera is in continuous film winding mode, if the flash is in manual mode at full or half power or if the camera is in stroboscopic flash mode at a fairly fast setting. The 430EZ does not work in rapid-fire mode if an external battery pack is used.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with rapid-fire capabilities:<br/> Speedlites 160E, 300EZ, 420EZ, 430EZ, 540EZ, 550EX, 580EX, 580EX II, 480EG.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Flash units with no rapid-fire capabilities:<br/> Speedlites 200E, 220EX, 380EX, 420EX, ML-3, MR-14EX, MT-24EX, 300TL.</FONT></p> <p> </p> <p><a name="stroboscopic" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Stroboscopic flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> In flash photography the term “stroboscopic” refers to a photographic technique whereby a number of brief pulses of light are emitted during the course of a photographic exposure. The result can capture, for instance, half a dozen steps of a dancer in motion. Each step would be recorded on the same frame of film, like a multiple exposure. Here’s a <a target="_blank" href="http://www.burningcam.com/00/regular/source/59.html">less than thrilling example</a> that I took as a test - a bit poorly done, since the foreground was underexposed because of insufficient flash output, but you get the idea.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">To take a stroboscopic photo you need to have a very dark background that doesn’t reflect much light. If you have a bright background you’ll find that the multiple pops of light from the flash will build up cumulatively to overwhelm the foreground subject. You’ll probably also need to experiment a fair bit to determine the ideal number of light pulses to cover your action appropriately and the output settings required to expose the subject correctly. You’ll probably want to use negative (print) film and not slide film for such a photo, since the former has much wider exposure latitude.</FONT></p> <p> </p> <p><a name="enablestroboscopic" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Setting stroboscopic (MULTI) flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> High-end Canon hotshoe flash units have a stroboscopic mode, activated by pressing the mode button until MULTI is displayed on the rear LCD panel.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can then enter the firing frequency in hertz (ie: the number of flashes per second) and the power output setting. The 5xx flashes also let you specify the actual number of stroboscopic light flashes as well. The 4xx flashes don’t, so you have to calculate that number from the time period the shutter is kept open and the number of flashes per second you’ve set. The maximum firing frequency of the flash varies from flash model to model, but it ranges from 5 to 199 Hz. Power settings also vary - the 430EZ and 540EZ, for example, cannot use stroboscopic flash at full or half power - only 1/4 power and down. You can’t use stroboscopic flash with second curtain sync.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Naturally there’s a relationship between these settings - you can’t fire many times at higher power settings if the firing frequency is high, for example, since the flash needs time to recharge. The flash manual includes a table showing the maximum number of flashes you can expect at different power settings and firing frequencies. There is a risk of overheating and damaging the flash bulb if you pulse the bulb too much, but the flash units have cutoff mechanisms that should prevent this from occurring.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Once you’ve set the flash settings you can put the camera into M (manual exposure) mode and determine how long the shutter should be kept open in order to cover the full field of action for your photo. You can also set the proper aperture. As you do this the flash will display the coupling range on its rear-panel LCD. (press the shutter release halfway if the coupling range information is not displayed) Adjust the power output and aperture so that the coupling range matches the focus distance.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Stroboscopic flash won’t work with the EOS EF-M, 750 and 850 cameras.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with stroboscopic capabilities:<br/> Speedlites 420EZ, 430EZ, 540EZ, 550EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Stroboscopic ranges:<br/> Speedlite 420EZ: 1-5 Hz.<br/> Speedlite 430EZ: 1-10 Hz.<br/> Speedlite 540EZ: 1-100 Hz.<br/> Speedlite 550EX, 580EX, 580EX II: 1-199 Hz.</FONT></p> <p> </p> <p><a name="confirmation" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash exposure confirmation.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Not to be confused with flash exposure compensation. Some Nikons have a very handy feature - a small LED which illuminates in the viewfinder to indicate that the flash believes you had enough light to expose your subject correctly. Unfortunately, for patent reasons no Canon camera bodies have such a feature. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The closest thing in the Canon world can be found on many flash units, not camera bodies. Most Speedlite flash units have a small LED which lights up for two or three seconds, post-exposure, to confirm that there was sufficient light from the flash to illuminate your subject correctly. This is a nuisance since you have to lift your head and peer at the flash back in order to see this light, but I guess at least it’s there.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Keep in mind one important limitation of this feature - that the LED will glow even if the image was overexposed. It only checks to see that the photo was not underexposed owing to being out of range. So having this LED light up is no guarantee of a perfectly exposed flash photograph.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with flash exposure confirmation:<br/> Speedlites 480EG, 540EZ, ST-E2 remote transmitter, ML-3 ring flash and all EX flash units.</FONT></p> <p> </p> <p><a name="wireless" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Wireless remote control.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As discussed in the <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">previous section</a>, while there are third party radio wireless control systems for flash units, most E-TTL Canon flash units also capable of being triggered remotely without wires, much like Minolta’s pioneering wireless flash system. These wireless E-TTL units work as master or slave units but don’t use radio transmissions.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">And yes, it’s kind of unfortunate that the terms “master” and “slave” are used in this context. Unfortunately the terminology is pretty common in the world of hardware engineering to mean a system with a controlling device and a responding device, the grim political and social overtones of the words notwithstanding. However, to minimize confusion I’ll use the terms since Canon use them.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wirelesshow" />How wireless E-TTL works.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon’s wireless E-TTL system employs brief digitally-encoded pulses of light (either visible or infrared, depending on the master unit used) to transmit commands from a master flash unit to a slave unit or multiple slaves. Since the system relies on special digital messages built into the light pulses it’s immune to the problem that regular optical slave flash units have - that of being triggered accidentally in response to other flash units firing. (unless you’re near other photographers who are also using Canon wireless flash units, of course)</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Wireless E-TTL doesn’t use radio signals like many <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">third party systems</a>, so you can’t trigger flashes remotely from great distances, such as the other side of a sports arena. And infrared signals are thwarted by walls and tables and other barriers. But it’s ideal for quick, portable and flexible flash setups in smaller spaces. Canon chose light-controlled wireless rather than radio partly because it’s cheaper to implement and partly to avoid the regulatory nuisance of getting licensing approval for radio transmitters from every country in which Canon sell photographic gear.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon’s wireless system requires at least two wireless-capable flash units in order to work. A master flash unit is attached to the camera’s hot shoe (either directly or using the Off-Camera Shoe Cord) and the slave flash unit or units are set up to illuminate the scene as desired. Unfortunately no current EOS camera can use its internal flash unit as a wireless E-TTL master; convenient as that would be. Hopefully future EOS camera bodies will have this ability - it shouldn’t require additional hardware to implement, and it'd be very handy. You would then, for example, be able to walk around with a camera in one hand and a flash in the other without any bulky transmitter units or cumbersome cords.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As noted above, the master unit sends command signals to the slave units by using pulses of visible light or infrared, so each slave must be positioned such that the wireless sensor on its front can see these pulses. When shooting indoors with many light-reflecting surfaces (walls, ceilings, etc) the slave should be able to detect the master’s control signals even if the two units aren’t set up to point at one another, but outdoors or in a non-reflective indoor setting (vast ballroom, black-painted nightclub, coal mine, etc) the slave unit’s front-mounted sensor must be able to see the front of the master unit, which can be a little inconvenient. It may help to remember that many Canon flash units, such as the 420EX and 550EX, have rotating heads, so it’s possible to have the flash head pointing in a very different direction from the body of the unit. You can also put the master unit on an off-camera shoe cord rather than mounting it directly to the camera body if you need to point it in a certain direction.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">While in slave mode some flash units will pulse the AF assist light to remind you that they’re in slave mode. This can be a bit irritating as the light is quite bright, but since the AF light has no other function when in slave mode it’s fine to cover up the light with opaque tape or something. Doing so will not affect wireless capabilities so long as the wireless sensor is left uncovered. Note also that most EX flash units with slave capabilities have a nice and simple slider switch on the back to control whether the flash is in slave mode or not, but the 550EX II employs a fiddly and annoying menu item to control master/slave mode instead. This brilliant cost-saving measure can make the flash inconvenient to use in fast-moving situations such as weddings.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Command transmission distance depends partly on the angle at which the master is transmitting relative to the slave and whether you’re using the units indoors or outdoors. In addition the 550EX, which uses visible white light from the large main flash tube to send data, has greater range than the ST-E2, which uses a smaller flash tube covered by a plastic filter so it emits only invisible infrared energy.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 550EX has an official transmission range of 8-10 metres (25-30 feet) when used outdoors, with horizontal coverage of roughly 80° and vertical of about 60°, assuming that the flash head is set to its 24mm setting. Naturally you can adjust the flash head zoom setting manually to a tighter coverage than that if you want - or wider if you use the flip-down 17mm panel, though at the cost of dramatically decreased range. There’s conflicting data about the ST-E2. Canon USA’s <a target="_blank" href="http://www.usa.canon.com/html/cameras_speedlite/ste2.html">spec sheet</a> claims that the ST-E2 has the same range as the 550EX, which appears to be incorrect. Canon USA’s <a target="_blank" href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=001OtS">Chuck Westfall</a> has said that the ST-E2 actually has a range of about 3.5-5 metres (12-15 feet) when used outdoors, with coverage of about 40° horizontal and 30° vertical.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The control pulses from the master unit to the slave or slaves are sent at varying points in the period between the camera’s shutter release being fully pressed down and the shutter opening. The wireless E-TTL control sequence works as follows:</FONT></p> <p> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Photographer presses the shutter release button halfway.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Ambient light metering of the scene is conducted.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Photographer presses the shutter release all the way.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The camera flips up the mirror and opens the shutter.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The master flash unit sends a wireless signal to all slave units in group A, instructing them to issue a low-power preflash.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Any slave units in group A fire a preflash and the camera records this light output using its evaluative meter.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The master flash instructs group B slaves to issue a preflash.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Any slave units in group B fire a preflash and the camera records this light output.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The master flash instructs group C slaves to issue a preflash.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Any slave units in group C fire a preflash and the camera records this light output.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The camera calculates what the final flash output for the scene should be, based on both the preflash data from each slave group (if any) and the user-defined group ratios/flash exposure compensation settings.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The master flash instructs all slave units to fire simultaneously.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All slave units fire at whatever level the master unit has told them to. Naturally if the master flash unit is flash-capable (ie: not an ST-E2) and is configured to fire then it too will do so.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The camera flips down the mirror and closes the shutter.</FONT><p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are of course differences in the timing of some of these events if AE lock, flash exposure lock (FEL) and/or second-curtain sync are used, but that is the basic flowchart. Naturally these command pulses and prefires occur at an extremely rapid rate. They’ll register with the human observer but occur far too quickly to mean anything to a human. They are also low power enough not to affect the exposure of the image.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wirelessusing" />Using wireless E-TTL. </strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> You can specify one of four different data channels for flash control, and each flash unit can be put into one of three groups. The four channels are there so that up to four cameras can use wireless E-TTL in the same physical location without conflicting with each other, and the three groups are there so that independent flash output ratios can be specified (though only with certain cameras; see below). When wireless mode is used with any type A body you have full E-TTL metering, FP mode, FEL and other E-TTL features.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There is no coded limit to the number of slave flash units which can be in each group. This is because there is no two-way communication between master and slave units - each slave simply sits there and awaits commands, and the master only knows what slave units exist in terms of whatever light they produce during the prefire stage. So you can set up as many slave units as your space and budget can accommodate. The only issue here is the SE (save energy) feature, which will cause slave units to switch to an energy-saver mode after a certain period of time. (see the <a href="http://photonotes.org/articles/eos-flash/index3.html#se">SE</a> section for details)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can check whether your slave flashes are within transmission distance or not by pressing the test (“pilot”) button on the master flash unit. The camera will instruct all the slave units to emit a flash of light. First the A group units will flash, then the B and then the C.</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> If your camera has <a href="http://photonotes.org/articles/eos-flash/index3.html#modelling">modelling flash</a> capabilities (see list in next section) you can use that feature as well, giving you a quick preview of the final scene.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The 550EX, 580EX and 580EX II, when used as master units, can have their main tubes disabled, so they can control the slaves without contributing any camera-mounted light to the scene. In addition, flash units with zooming flash heads (the 550EX, 580EX, 580EX II, 430EX and 420EX) automatically zoom out to 24mm coverage when in wireless flash slave mode, though it’s possible to override the zoom setting manually in the case of the 430EX, 550EX, 580EX and 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You <i>can</i> use Canon’s wireless flash units with older <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type B</a> bodies, but only if you set the flash output settings manually, (where possible - the 420EX has no flash exposure compensation pushbuttons and so can fire only at full power) which isn’t particularly convenient. In other words, Canon’s wireless system works only with E-TTL and does not work with either TTL or A-TTL flash metering.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wirelessratios" />Ratios.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A number of recent mid to high-end type A camera bodies - see full list in next section - are capable of supporting varying light ratios between flash groups. (ie: this is unrelated to fill flash ratios with single flash units) Each slave flash can be in one of three groups - A, B or C. If your camera is ratio-capable you can then specify the ratio of light produced by flash units in groups A and B. This A:B ratio can be set from 1:8 to 1:1 to 8:1 in half-step increments, which yields a total of 13 steps or a 6 stop range. (ie: 1/8 of the light is -3 stops and 8x the light is +3 stops) The 550EX, 580EX and 580EX II are also capable of specifying flash compensation for a third and completely independent group - group C. Compensation of group C is adjusted from -3 to +3 stops relative to the A:B ratio, in 1/3 increments.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that if you’re using a 550EX, 580EX or 580EX II as a wireless master unit (either on-camera or connected to it using the off-shoe camera cord) then it defaults to group A. If you want to control the ratio of slave unit output to master unit output be sure to put the slave units into group B.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The two Canon EX macro units - the MR-14EX and the MT-24EX - also support wireless flash capabilities. The flash units can both serve as master units in wireless E-TTL setups, though not in the way one might expect. One of the two flash tubes on the macro unit is assigned to the A group and the other to the B group (the tubes are marked on the flash unit) and you can use the macro unit controller to specify the output ratio between the two tubes if you have a ratio-capable camera. You can then assign other slave flash units to group C and adjust flash exposure compensation of these units relative to the two macro unit tubes. You can also use a custom function on the flash to control slaves in groups A and B, but they are linked to the internal tubes.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unfortunately, the first generation of type A (E-TTL capable) bodies support wireless E-TTL but do not support wireless E-TTL ratio control - all flash units on the same channel will fire at the same power when used with such cameras. However, if you’re using a 550EX, 580EX or 580EX II as a slave there is a partial workaround for this - you can specify flash exposure compensation manually using the flash unit’s push buttons.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">One interesting side benefit of wireless E-TTL’s ability to control multiple flash units is simplifying high-speed photography. If you want to use flash to freeze rapid motion (water droplets, insects, hummingbirds, etc) you often have real range problems, since short duration flash pulses are also effectively low output pulses. If you’ve only got one flash unit at your disposal this limits the range the camera can be from the light source. However, with E-TTL you can set up a battery of slave units, each at the same distance from the subject, and fire them simultaneously at low power. An expensive solution, to be sure, but one which affords a fair bit of versatility.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wirelessste2" />ST-E2 wireless transmitter.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another interesting component of Canon’s wireless flash system is the <a target="_blank" href="http://alaike.lcc.hawaii.edu/frary/st_e2.htm">ST-E2</a> transmitter. This compact unit fits onto a camera’s hotshoe and can control external wireless Speedlite flash units, but can’t produce any scene-illuminating white light. The ST-E2 contains a small flash bulb, which it uses to send the control signals to other flash units, but the bulb is covered by a filter so that most of its light output is invisible infrared (IR) energy. Since the human eye can’t detect IR, the ST-E2 is more discreet in operation than the 550EX, 580EX or 580EX II when controlling slave units.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Although fairly small and portable, the ST-E2 can’t transmit its control signals as far as, and its coverage angle is more narrow than, the 550EX, 580EX and 580EX II. The ST-E2 is capable of about half the range of the 550EX/580EX/580EX II, in fact, at about 3-5 metres (see coverage details above). This basically limits its usefulness to indoor photography in small rooms or studios. Unlike the 550EX/580EX/580EX II the ST-E2 supports only groups A and B and A:B ratio control - it unfortunately cannot control group C. The ST-E2 also does not support flash exposure bracketing (FEB), and requires expensive lithium batteries rather than cheap and easily available AA cells. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">On a more positive front, the ST-E2 also contains a red AF assist light, which makes it a popular accessory for owners of EOS cameras which lack true AF assist lamps - notably the Elan 7/EOS 30/33/EOS 7 and D30 and D60 cameras. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="wirelessdrawbacks" />Drawbacks of wireless E-TTL.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">On the whole, <a target="_blank" href="http://www.kjsl.com/%7Edave/wireless.html">wireless E-TTL</a> is a useful and flexible system with a few drawbacks. First, the wireless control pulses can inadvertently trigger <a href="http://photonotes.org/articles/eos-flash/index2.html#slave">analogue optical slave</a> units and flash meters; a problem suffered by E-TTL in general. Both the white light pulses from the flash units (wireless signals are sent as preflashes from the main flash tube) and the infrared pulses from the ST-E2 control unit are sufficiently bright to cause problems with such equipment. Second, another side effect of the light pulses is you must ensure that the various units are correctly positioned so they can see each other, and that the receiving sensors on the front of each slave flash unit are not covered by anything. This also limits the working range compared to radio-controlled wireless units. Third, portable battery-powered flash units are still fairly low-powered compared to studio units and thus not suitable for a lot of complex flash arrangements or larger areas. Fourth, the ST-E2 unit cannot control group C slaves. Fifth, 550EX, 580EX and 580EX II master units use visible light pulses to send their commands, which some may find distracting. (this one is easily solved, though - just tape some light-blocking infrared-passing filter material on your flash head to replicate an ST-E2 effect at the cost of some range) Sixth, wireless E-TTL is not compatible with the vast majority of other wireless systems, such as most <a href="http://photonotes.org/articles/eos-flash/index2.html#multipleunits">third party radio triggers</a>. You thus can’t mix and match most wireless systems. Finally and most inconveniently, buying a bunch of Canon flash units is a fairly expensive proposition.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="whichwireless" />List of wireless E-TTL capable Canon flash units and cameras.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Master-capable flash units:<br/> Speedlites 550EX, 580EX, 580EX II and the ST-E2 transmitter can all act as a master (control) unit. The MR-14EX and MT-24EX macro flashes can also serve as masters, but only with slave units in group C or with slave groups A and B linked to the internal tubes and other slave units in group C (see above).</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Slave-capable flash units:<br/> Speedlites 420EX, 430EX, 550EX, 580EX, 580EX II can all act as a slave flash when using wireless E-TTL. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with no support for wireless E-TTL:<br/> The earlier EX flash units - 220EX and 380EX - cannot operate in Canon’s wireless mode. None of TTL-only or A-TTL flash units (in other words, all E and EZ series units) can operate in Canon’s wireless mode.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Non-Canon wireless-capable flash units:<br/> <a href="http://photonotes.org/articles/eos-flash/index.html#metz">Metz</a> also build a wireless flash system, but it’s not compatible with Canon’s implementation. <a href="http://photonotes.org/articles/eos-flash/index.html#sigma">Sigma</a>, however, make a number of flash units (such as the <a href="http://photonotes.org/reviews/sigma-ef-500-super/">EF 500 DG Super</a>) that are designed to be compatible with Canon’s wireless protocol. And the Quantum <a href="http://www.qtm.com/QFlash">QFlash</a> works with both Nikon and Canon’s wireless protocols.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with support for basic wireless E-TTL:<br/> All <a href="http://photonotes.org/articles/eos-flash/index.html#aandb">type A</a> cameras.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with additional support for flash ratios and wireless modelling light:<br/> EOS 3, 1V, Elan 7/7E/EOS 30/33/EOS 7, D30, D60, 1D, 1Ds, 10D, 1D mark II, 1Ds mark II, EOS 20D/20Da, EOS 350D/Digital Rebel X/Digital Kiss N (apparently), EOS 400D/Rebel XTi Digital/Kiss X Digital, EOS 30D, 5D, 1D mark IIN, 1D mark III.</FONT></p> <p> </p> <p><a name="modelling" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Modelling flash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Large studio flash units usually have incandescent tungsten bulbs built in alongside the main flash tube or tubes. These constant-light bulbs cast light on the subject in much the same way as the actual flash bulb would, only much more dimly. This constant light is known as a modelling light, as it allows you to preview the flash effect in a rough fashion - or at least see where the flash shadows and reflections are likely to fall. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The Canon modelling flash feature lets you simulate the effect of the flash going off before you take the picture - particularly useful for previewing wireless E-TTL flash ratios. It works by pulsing the flash rapidly (at 70 Hz) for a second, much like in FP mode. This obviously drains the batteries and can overheat the flash unit if triggered repeatedly, so it’s best used sparingly. Pressing the depth of field preview button fires the modelling light, but you can turn this off with a custom function if you find it annoying. The 420EX and 430EX must be in slave mode for the modelling light to work.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> You need both a camera and a flash unit which can support modelling flash to use the feature. The camera must be in a creative zone mode for this feature to operate - modelling flash will not work in the PIC modes. Note also that Canon’s ring flashes also contain small white incandescent bulbs for focus assist and modelling purposes.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which support modelling flash:<br/> EOS 3, Elan 7/EOS 30/EOS 7, 1V, 1D, 1Ds, D30 and D60, EOS 300V/Rebel Ti/Kiss 5, 10D, 1D mark II, 1Ds mark II, 20D/20Da, 350D/Digital Rebel X/Digital Kiss N, 30D, 5D, 1D mark IIN, EOS 400D/Rebel XTi Digital/Kiss X Digital, 1D mark III.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support modelling flash:<br/> Speedlites 420EX, 430EX, 550EX, 580EX, 580EX II, MR-14EX and MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="awb" />Automatic white balance compensation.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The colour temperature of a flash tube can vary subtly depending on its precise voltage. The more recent Speedlite flash units can monitor power levels and communicate with compatible cameras to compensate automatically for slight variations in colour temperature.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies which support automatic white balance compensation:<br/> EOS 20D, 20Da, 1D mark II, 1D mark IIN, 1D mark III, 350D/Digital Rebel XT/Kiss Digital N, 5D, 30D, EOS 400D/Rebel XTi Digital/Kiss X Digital.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which support automatic white balance compensation:<br/> Speedlite 430EX, 580EX, 580EX II.</FONT></p> <p> </p> <p><a name="se" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Save Energy (SE) mode.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most EOS flashes go into low-power or SE mode (called “Energy Conservation Control” in some Canon material) after a predetermined period of time - usually 90 seconds or 5 minutes - in order to minimize battery drain. Some flash units are always in SE mode when powered on. However, since it can be annoying to have your flash unit turn itself off in the middle of setting up a shot some flash units have a three-position switch - off, on and SE. The ability to override SE mode is very important for wireless flash applications.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Pressing the shutter release button down halfway will wake up the flash and recharge it. If you’re using the intervalometer on an <a target="_blank" href="http://photonotes.org/reviews/eos-10s/">EOS 10/10s</a>, a 600-series camera with the Technical Back E, an EOS 1 or 1N with the Command Back E1 or an EOS 1v, 3, D2000, D30 or D60 with the <a target="_blank" href="http://www.usa.canon.com/camcambin/cameras/35mm/slr/eos3acc.html">TC-80N3</a> timer/remote controller, the camera will wake up the flash unit a minute or so prior to taking a photo in order to give it time to recharge.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that there is still battery drain associated with the SE mode. If you’re going to leave the flash off for more than an hour or so you’re probably best off turning it off altogether. Some more advanced flash units like the <a href="http://www.photozone.de/2Equipment/EOScf.htm#550ex">550EX</a> have custom functions which allow you to adjust various power-down time intervals.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No power switch at all:<br/> Speedlite 160E. (unit charges up when you press the shutter halfway)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">No SE function:<br/> Speedlites 480EG, 200E.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">90 second SE timeout:<br/> Speedlites 220EX, 380EX, 420EX*, 430EX, 430EZ, 540EZ, 550EX*, 580EX*, 580EX II*</FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">, MR-14EX, MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">5 minute SE timeout:<br/> Speedlites ML-3, 300EZ, 420EZ, 300TL.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">SE override capabilities (3 position power switch):<br/> Speedlites 540EZ, 550EX*, 580EX*, 580EX II*, MR-14EX, MT-24EX, 300TL.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* These flash units behave differently when they’re used off-camera in wireless slave mode. Here the SE timeout is extended to 10 minutes for the 420EX and 60 minutes for the 550EX/580EX/580EX II (unless custom function 4 is set on the 550EX/580EX or custom function 10 on the 580EX II, in which case it’s 10 minutes). Pressing the master unit’s test button or activating FEL on the camera will wake up a slumbering flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="hv" />High voltage connector.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Speedlites 430EZ, 540EZ, 550EX, 580EX, 580EX II, MR-14EX, MT-24EX and 480EG have high voltage connectors which allow you to connect large-capacity external battery packs. See the <a href="http://photonotes.org/articles/eos-flash/index3.html#batterypacks">battery pack</a> section for details.</FONT></p> <p> </p> <p><a name="pc" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>PC terminals/sockets.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Many flash units and most studio flash units support PC connectors, which are simply electrical connectors and wires used to connect cameras and flash units. They just carry a trigger current and do not carry digital data communications of any kind such as metering information.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The PC here stands for “Prontor/Compur,” two manufacturers of leaf shutters used in older and large format cameras. It does not stand for “personal computer” in this context, and so a camera with a PC socket cannot be hooked up to a computer through it. Some of Canon’s material refer to it as a “German” socket.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All semi-pro and high-end EOS cameras have a built-in PC socket. Lower and midrange EOS cameras generally don’t have PC sockets. However you can cheaply buy small adapters which plug into the camera’s hotshoe mount which convert to PC cables, so this normally isn’t a huge limitation. Very few of Canon’s standard flash units have PC sockets, though all can be triggered via a PC cable by installing a hotshoe adapter on the flash unit. Note that those Canon flash units which lack PC sockets generally don’t work particularly well when triggered by a PC to hotshoe adapter - they usually will just fire once and then lock up until they’ve been turned off and then turned back on again. This is because they were not designed to work this way.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon’s limited support for PC connectors is rarely an issue for most people, since as noted above, PC sockets do not support automated flash metering in any way - they’re purely for manual flash triggering. And PC connectors have a notoriously unreliable mechanical design - the plugs fall out at the slightest provocation. Still, triggering flashes manually has become an increasingly popular photographic technique for digital photographers, who can see the effect immediately on the preview screen and don’t need to rely on flash meters. And a PC socket on the flash also means that you can use your Canon flash as a regular flash with other camera systems.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, be aware that many studio flash units use very high <a href="http://photonotes.org/articles/eos-flash/index2.html#trigger">trigger voltages</a>, which can damage your camera. Canon recommends that trigger voltages of 6 volts or less only be used with the hotshoes on most of their cameras. The PC socket has better high-voltage protection on some of the more recent models owing to a redesign of the shutter switch circuitry. I don’t have information on every PC-equipped EOS camera model, so please consult the manual which came with your camera if you’re unsure. Or just play it safe and use a safe sync or optical slave and avoid the problem altogether. The information below is gathered from online sources (such as statements attributed to Canon USA spokesperson Chuck Westfall), but I can’t guarantee it’s necessarily safe to plug your 250 volt flash into your camera.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS cameras with PC sockets:<br/> EOS 1, 1N, 1NRS, 5/A2/A2E, 3, 1V, 1D, 1Ds, D30, D60, 10D, 1D mark II, 1Ds mark II, 20D/20Da, 1D mark IIN, 1D mark III, 5D, 30D.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">EOS cameras which can handle up to 250 volt flash units:<br/> EOS 1D, 1Ds mark II, 1D mark II, 20D, 20Da, 5D, 350D/Digital Rebel XT/Kiss N Digital, 30D, EOS 400D/Rebel XTi Digital/Kiss X Digital.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Speedlite flash units with PC sockets:<br/> 480EG (via the optional Synchro Cord 480), 580EX II.</FONT></p> <p> </p> <p><a name="autoflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Autoflash.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Autoflash is a form of flash metering which predates through the lens (TTL) flash metering. The idea is the flash has a sensor on the front which detects the amount of light reflecting back from the scene being photographed and uses that information to control flash output. Though seemingly very primitive, and both easily fooled and incapable of distinguishing between a reflective object nearby and a highly reflective object further away, autoflash nonetheless can achieve quite good results. Most Canon Speedlite flash units do not support autoflash, though a couple do. Interestingly, the most recent high end 580EX II does, reflecting the growing interest in manual flash metering amongst digital photographers.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Speedlite flash units with autoflash metering:<br/> 480EG, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="customfunctions" />Custom functions on flash unit.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some of the most recent E-TTL Canon flash units have custom functions, much like mid and high end Canon camera bodies. These “functions” (settings or parameters, really) allow you to alter the default behaviour of the flash units in certain ways. For example, custom function 3 on the <a target="_blank" href="http://www.photozone.de/2Equipment/EOScf.htm#550ex">550EX</a> and <a target="_blank" href="http://www.eos-magazine.com/News_20_MR14EX.html">MR-14EX</a> lets you switch from E-TTL to TTL flash metering.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Some recent camera/flash combinations also allow you to control the custom function settings of the flash from the camera body as well as from the flash. When such combinations are used the flash CF settings appear in the on-screen menu.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with custom functions:<br/> Speedlites 430EX, 550EX, 580EX, 580EX II, MR-14EX and MT-24EX.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with custom functions controllable by a compatible camera:<br/> Speedlite 580EX II.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies capable of changing flash unit custom functions:<br/> EOS 1D mark III.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="test" />Test flash (manual firing).</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you want to fire the flash manually simply press the illuminated pilot light on the back of the unit. The flash unit will fire a test burst, whether on-camera or not. Most flash units will fire a full-power test burst, but some have custom functions which allow you to fire a 1/32 low-power burst instead of a full-power burst.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units which lack a manual fire button:<br/> Speedlites 160, 200.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="reardial" />Rear control dial.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The most recent Speedlites have a rear-panel control dial which can be used for quick and easy control of various settings, such as flash exposure compensation.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with a rear control dial:<br/> Speedlite 580EX, 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="weatherproofing" />Weather seals.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">All recent Canon professional series cameras and lenses have flexible gaskets around every opening and join. These seals don't transform the gear into waterproof equipment suitable for diving, but do repel the sort of moisture and dust or dirt that a photographer might encounter when shooting outdoors under inclement conditions. This sort of weathersealing has been extended to the flash lineup. Note that you need to match a weathersealed flash unit with a weathersealed camera body to ensure that the join between camera and flash is also sealed properly.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Flash units with weatherproofing:<br/> Speedlite 580EX II.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Camera bodies with weatherproofing compatible with weatherproofed flash units:<br/> EOS 1D mark III.</FONT></p> <p><a name="lightpainting" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Manual flash triggering for light painting.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A fun way of taking interesting photos in the dark is to trigger a flash unit manually whilst leaving the shutter open - sometimes called “open flash.” For example, you could set your camera on a tripod, open the shutter by putting the camera into “bulb” mode, and then walk around the scene with a flash unit, painting the scene with light. Coloured gels can be taped over the flash head as well, to illuminate the photo with different colours of light.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Canon Speedlites with manual controls or old flash units with manual metering are ideal for this - you can take the device off the camera shoe, dial in the appropriate manual flash setting (full power, say, or 1/2 power or 1/16 or whatever) and then trigger the flash by hand. You do this on most Speedlite flash units by pressing the <a href="http://photonotes.org/articles/eos-flash/index3.html#test">illuminated pilot light</a> on the back of the device - other flash units should have similar manual trigger buttons. If you wear dark clothing and point the flash away from you you shouldn’t even appear in the photo. You can’t rely on your camera’s light meter to help you meter the scene, so this sort of thing is largely a trial and error process. It’s helpful to keep the flash the same rough distance from the area to be illuminated for each flash burst.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you have an E-TTL (type A) camera with an EX series flash unit you can even take advantage of FEL to meter</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Naturally you don’t have to use flash unit to do this. People often take outdoor night scenes using high-powered floodlamps or indoor photos with small flashlights (electric torches) or <a target="_blank" href="http://www.supersnail.com/firefly/2index.html">blinky light toys</a>. And it doesn’t have to be used purely for fun or unusual photographs. Here’s a <a target="_blank" href="http://www.burningcam.com/01/source/temple_night.html">photo</a>, for example, that was primarily illuminated by the full moon and small kerosene lamps. However I had a portable incandescent flashlight with me which I used to brighten up shadow areas. Sort of a really slow fill flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, on a somewhat related topic, it’s possible to do high-speed photography - such as photos of a balloon being burst with a pin - using ordinary flash gear. You build or purchase a sound trigger, set up your subject in a pitch-black room, open the camera shutter and let the sound trigger fire the flash. Flash units are capable of extremely brief light bursts, particular at low power settings - remember that power output on portable flash units is determined by the duration of the pulse. There’s a lot of useful information on how to do this at <a target="_blank" href="http://www.hiviz.com/">http://www.hiviz.com/</a></FONT>. </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="noise" />Noise.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This is sort of a feature; albeit an undesirable one. But flash units always make various kinds of audible noise. There’s usually a high-pitched whistling whine which increases in frequency as the unit is charged up. This is caused by an oscillator circuit, used to convert DC to AC so that the device can generate the high voltages needed to charge the capacitor. Some flash units, like the 540EZ and the 550EX, have multiplex circuits which make <a href="http://bobatkins.photo.net/info/faq30/540ez2.htm">particularly noticeable</a> humming/clicking sounds when powered on. The 580EX II is an exception to this, as it was designed to have silent recycling. However, all flash units also make a soft popping sound when fired.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The other thing you can hear on zooming flash units is the hollow rattling buzz of the small electric motor used to move the flash bulb inside the flash head. This is also totally normal. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="safety" />Flash safety.</strong></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, and this isn’t really a flash unit feature as such but just something that doesn’t really fit in anywhere else, I’d like to remind you about the need to keep flash safety in mind.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Electronic flash technology involves extremely high voltages - literally thousands of volts. The amperage is fairly low, but nonetheless some of the internal components of any flash unit still have quite a high-voltage kick to them if they’ve been charged up recently. And it takes a bit of time for this high voltage energy to drain out of the flash unit’s capacitors. Even cheap disposable cameras with built-in flash units can shock you if they’re disassembled.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">So. Don’t expose your flash unit to rain or liquids if you can avoid it. And don’t open up the device and monkey around with the innards unless you know what you’re doing and have drained the capacitors by grounding them. You could literally get a nasty shock - which could be deadly if you have a heart condition. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">However, as long as you don’t dismantle your flash unit or pour lemonade into it you shouldn’t have any problems.</FONT></p> <p> </p> <p><a name="accessories" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Accessories.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As with any photographic endeavour there are all kinds of add-on accessories you can buy for use with your flash unit. </FONT></p> <p> </p> <p><a name="cords" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Extension cords.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> There are two extension cord systems which allow you to move the flash away from the camera for more complex flash setups.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>The <a target="_blank" href="http://www.kjsl.com/%7Edave/ocsc.html">Off Camera Shoe Cord 2</a>.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The OCSC 2 is a simple coiled cord with sockets on either end that lets you attach a flash unit to your camera’s hotshoe and move the flash independently of the camera, up to a distance of about 60 cm (2 feet). This cord, though expensive, preserves all flash functions including E-TTL if it’s available, and is useful for mounting a Speedlite flash to a flash bracket.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">It’s pretty short, however. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can connect two of them together if you need more distance, but Canon do not recommend this practice since the electrical impedance (internal resistance) changes. I’ve heard from other users that this works fine for them, so you might want to experiment to see if it works reliably for you. Note also that there was the original Off Camera Shoe Cord (no numeric designation) which lacked a locking hotshoe pin. Despite reports to the contrary online, it appears that the two cords are both fully compatible with EOS cameras except for the note below.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The OCSC 2 has problems with some earlier EOS models. For one thing, it’s not fully compatible with the <a href="http://bobatkins.photo.net/photography/eosfaq/eosfaq24/3flash.html#q6">EOS 600, 630 and RT</a> and may behave unpredictably on those cameras. More excitingly, when used on the 10/10s camera the cord can generate more radio-frequency interference than is permitted by US, Canadian and German regulatory agencies. Using a 10/10s camera with an OCSC 2 in those countries makes you an RF outlaw!</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>The Off Camera Shoe Cord 3.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The OC-E3 is basically the same as the OCSC 2, only weatherproofing compatible with the 580EX II has been added. When used with a weatherproofed flash unit and a weatherproofed camera it prevents moisture and dirt from getting in.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Multiple TTL flash.</strong></FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There’s also the camera-mounted TTL <a target="_blank" href="http://www.kjsl.com/%7Edave/multi-flash.html">Hot Shoe Adapter 3,</a> which runs off a small lithium CR-2025 battery. This adapter connects with various dramatically costly accessories - 60cm and 3 metre connecting cords, the tripod-mount-equipped Off-Camera Shoe Adapter OA-2 for connecting Speedlites to cords and a TTL distributor that lets you hook one camera up to 3 flash units.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The cords must be used in conjunction with the Hot Shoe Adapter 3 and the Camera Shoe Adapter and connect together using mini-DIN style connectors - they don’t use, say, PC connectors or anything like that. Note: there was also the original Hot Shoe Adapter (no numeric designation), which worked only with the T90 and does <i>not</i> work with EOS cameras, and the Hot Shoe Adapter 2, which does work with EOS cameras.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">This system works with TTL only - A-TTL and E-TTL are not supported. In fact, a whole slew of flash features are not supported if you use the TTL Hot Shoe Adapter 3 cable system. You can’t use A-TTL or E-TTL, there is no preflash, second-curtain sync does not work, the DEP mode will not work, program shift won't work, automatic flash head zooming is disabled (though manual zooming works if the flash supports it), the aperture and coupling range data is not displayed on flashes with LCD panels and the AF assist light does not work. These features are all disabled because their control signals a) are all sent down one line and b) would result in contradictory instructions from multiple flash units. (though as a side note this device can be used for <a href="http://photonotes.org/articles/eos-flash/index.html#disableettl">disabling E-TTL</a> features if you like)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">You can’t automatically adjust lighting ratios between the individual flash units in TTL multiflash mode - all flashes will fire at the same time and shut off at the same time. There are four awkward workarounds for this problem. First, you could move individual flash units closer to and further from your subject. Second, you could stick neutral density filters or diffusers on the flash heads. Third, you could use manual zoom controls, if available, to zoom the flash head since that reduces the light output on wider lens settings. And fourth, you can use manual controls, if available, to adjust light output of each unit individually. However any flash set to manual will disable TTL flash for all of the flash units. You can’t shoot a multiple flash photo with a mixture of manual flash and TTL autoflash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The TTL Hot Shoe Adapter 3 cord system is really only useful for older (type B) bodies and compatible flashes. In fact, the cord system doesn’t work at all on E-TTL only cameras like the digital 1D, 1Ds, D30 and D60. The <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless system</a> supported by the latest E-TTL flash units is considerably more flexible (it supports ratios on certain cameras, for example) and convenient (no wires to trip over or limit your placement of slave units).</FONT></p> <p> </p> <p><a name="diffusers" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash diffusers.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> A number of manufacturers, such as StoFen and Lumiquest, sell various attachments you can clip or tape onto the head of your flash unit. These diffusers usually cost a couple stops of light, easily halving your flash range, but can soften and tame the harsh light of a flash considerably under certain circumstances - see the <a href="http://photonotes.org/articles/eos-flash/index3.html#quality">quality of light</a> section for more information on how they work. There are two basic types - small light redistributors and large panels.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Small diffusers are of the <a target="_blank" href="http://www.stofen.com/">StoFen</a> Omnibounce variety - milky white (or <a target="_blank" href="http://www.dpreview.com/learn/Lighting/Sto_Fen_Omni_Bounce_01.htm">green or yellow</a>) plastic open-ended boxes which fit snugly over the head of the flash unit. These small diffusers redistribute the flash unit’s light output so there’s more light scattering around and bouncing off walls and ceilings and so on. This type of diffuser is, therefore, good for bouncing light around small interior spaces or for doing macro (closeup) photography without a macro flash. It’s not so good if you’re shooting outdoors or in dark interior spaces, where there’s nothing off which to bounce the light. In such situations you’re simply cutting down your usable range, wasting power (and thus batteries and thus money) and increasing flash cycle time by using a small diffuser. It’s also not recommended for use in spaces where the walls or ceilings are painted bright colours, as the light bouncing off those surfaces will have a colour cast to it. Actual Sto-Fen diffusers are extremely expensive, given that they are simply moulded lumps of plastic. You can also buy identical cloned products from China for considerably less.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The other type of diffuser, such as the <a target="_blank" href="http://www.lumiquest.com/">Lumiquest</a> ProMax, is a big white stick-on panel. These diffusers essentially enlarge the light output area of the flash, softening the edges of shadows. Unlike small diffusers these larger accessories aren’t so reliant on white surfaces off which to bounce light and thus are of more value outdoors or in large banquet halls and so on. However, they’re really meant for relatively close-range shooting - they won’t help much when taking pictures at a distance and indeed will hinder, as they cut the range of your flash unit by at least half and again, wasting batteries and increasing flash cycle times. You can also buy cheap inflatable diffusers which serve a similar function. In my experience, however, the inflatable things don’t make much of a difference to the image and tend to bemuse onlookers who ask you why you have a big pillow on your flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note that Speedlites 540EZ, 550EX, 580EX and 580EX II also include flip-down panels that serve as wide-angle flash diffusers and which increase flash coverage to 18 or 17 mm, respectively. Such panels are important for wide-angle photography since flash units aren’t typically designed to cover huge areas. Fisheye lenses in particular represent a bit of a problem, since they have such wide coverage (nearly 180° diagonal for 15/16mm fisheyes and nearly 180° vertical for 8mm fisheyes) and so some experimenting with diffusers would be required for successful flash-illuminated fisheye photography. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Be careful if you’re using A-TTL flash. A-TTL relies on an external sensor on the front of the flash unit, behind a recessed transparent lens. Certain types of flash diffusers can either block this sensor or reflect light down from the flash head to the sensor. Either way the sensor will get confused, which can lead to problems with your flash metering. Make sure the diffuser doesn’t block the sensor. In the case of StoFen’s Omnibounce accessory, for example, follow the instructions and tilt the flash head upwards by 45 degrees or so.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Another important thing to remember is that you do not have to adjust flash compensation when using a diffuser in any automatic flash metering mode that works through the lens (TTL, A-TTL or E-TTL) - just put the diffuser on the flash unit and shoot away. The camera will adjust automatically for the stop or two that the diffuser costs you, up to the limits of the flash unit’s light output. Of course, if you plan on shooting in manual flash metering mode you’ll need to factor in the reduced light output yourself through testing. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Finally, don’t think you have to spend the money on these accessories. You can always just slap together a <a target="_blank" href="http://www.photographytips.com/page.cfm/281">homemade flash diffuser</a> out of a white translucent milk jug or tracing paper or thin fabric or whatever else you have lying around. A common trick is to angle the flash unit vertically, then use an elastic band to wrap an <a target="_blank" href="http://www.camera.canon.com.my/photography/film/2000/films18/index.htm">index card</a> around the back of the flash head. This provides some forward light in addition to the light bouncing off the ceiling. The expensive accessories are mainly just more convenient and professional-looking.</FONT></p> <p> </p> <p><a name="brackets" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash brackets.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> As noted above, the large metal brackets from companies such as <a target="_blank" href="http://www.saundersphoto.com/html/body_strobo.htm">Stroboframe</a> and <a target="_blank" href="http://www.newtoncamerabrackets.com/">Newton</a>, and designed for mounting external flash units to a camera, are commonly used by wedding photographers and the press for reducing the risk of the <a href="http://photonotes.org/articles/eos-flash/index2.html#redeye">redeye</a> effect. However they also serve other purposes as well. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> By raising the flash up above the lens you also reduce ugly flash shadows cast onto walls behind a subject. The shadows still occur; they’re simply lowered down below the subject and thus may not appear in the final picture. Many flash brackets also have rotating attachments which allows you to keep the flash centred above the lens at all times rather than having it on the side when you take photos in portrait orientation rather than landscape. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> The primary drawbacks of flash brackets are that they’re very large and cumbersome and that they make you look like you’ve got a huge gigantic camera rig - which can frighten your human subjects or make them feel much more self-conscious than they would normally. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Another drawback involves AF assist lights. If you raise the flash off the camera you may find that the assist light on the flash unit no longer lines up correctly with the camera’s focus points, thanks to simple geometry. Ironically this isn’t a problem for <a href="http://photonotes.org/articles/eos-flash/index3.html#afassistnotes">A2/5 and 10/10s users</a>, because those cameras never activate the AF assist light on external flash units.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Canon sell the Speedlite Bracket SB-E1 for use with 430EX and 580EX flash units. There is also the Speedlite Bracket SB-E2 which maintains the seals on weathersealed units such as the 580EX II.</FONT></p> <p> </p> <p><a name="batterypacks" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>External battery packs.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most of Canon’s high-end flash units have sockets on the side which can accommodate external high-voltage (270 volts) <a target="_blank" href="http://www.kjsl.com/%7Edave/external.html">battery packs</a>. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These packs have two basic functions - they speed up the flash’s recycle time between shots to a second or two (critical for news or wedding photography) and extend the time you can go between changing batteries. They’re also useful in cold weather (battery performance always drops precipitately at freezing temperatures) since you can stuff the pack inside your jacket to keep the cells warm if necessary.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The Compact Battery Pack E requires 6 regular AA alkaline, NiCad or NIMH cells, but the newer Compact Battery Pack CP-E2 can also accept lithium AA cells. Either compact pack can be attached to the bottom of a camera using the tripod mounting screw. The much larger Transistor Pack E can use either 6 regular C cells (with Battery Magazine - lithium cells are not compatible) or nickel-cadmium rechargeable cells (with Ni-Cd Pack) and obviously has much greater capacity than the smaller Compact pack. The Compact Battery Pack CP-E3 uses 8 AA cells, and supports lithium cells as well as alkaline, NiCad and NiMH. The new Compact Battery Pack CP-E4 is similar to the CP-E3 but maintains weather sealing when used with a weather-sealed unit such as the Speedlite 580EX II.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">A number of other companies also sell high-power battery packs compatible with the Canon Speedlite high-voltage connector.</FONT> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">These products include <a href="http://www.qtm.com/">Quantum Instruments</a>’ Turbo (lead-acid) and Turbo Z (NiCad), <a href="http://www.lumedyne.com/Products/cyclers.htm">Lumedyne’s Cycler</a> and <a href="http://www.dynalite.com/ajackrabb.html">Dynalite’s Jackrabbit</a>.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Unfortunately, the packs are all fairly heavy, bulky and inconvenient, (especially the huge Transistor Pack E and third party products) and require that the flash unit be tethered to the battery pack via a coiled cord. Note also that the flash unit will not work with an external pack if the flash unit’s internal AA batteries are dead or missing - the high-voltage power is used solely for recharging the unit’s capacitors, not for powering its control circuitry.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> A number of manufacturers also sell generic battery packs (such as the Quantum Bantam) which can be connected to most AA-powered EOS flash units - even those which don’t have special power sockets. They work by replacing the AA batteries with a plastic shell and running a cord to the power pack. However, as they aren’t high-power they can’t speed up the recycle time as dramatically - they’re more useful for extending the number of shots you can accomplish between battery changes.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Keep in mind that portable flash units were not designed for continuous high-power use. You can damage your flash if you fire too many high-power bursts in a short period of time; something an external battery pack may let you do. So try not to fire flash bursts for longer than a few seconds, especially at full power manual or small aperture TTL firing. Remember that smoke emerging from your flash unit is shorthand for “stop immediately.”</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Flash units with high-voltage sockets:<br/> Speedlites 430EZ, 540EZ, 550EX, 580EX, 580EX II, 480EG*, MR-14EX and MT-24EX.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">* The Compact Battery Packs are not recommended for use with the 480EG.</FONT></p> <p> </p> <p><a name="extenders" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash extenders.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> If you’re doing nature photography of wild animals or are stalking wild celebrities for a tabloid and need to use flash photography across great distances, you might consider a flash extender, such as the <a target="_blank" href="http://www.moose395.net/gear/bb.html">Better Beamer</a>. These accessories are simply plastic Fresnel lenses you can attach to your flash unit’s head with tape or velcro. They concentrate the light much like a zooming head and give you an extra couple stops of light, at the cost of coverage area. They’re only really useful, therefore, when using very long telephoto lenses - say, 300mm or so or longer. Michael Reichmann’s “Luminous Landscape” Web site has some <a target="_blank" href="http://www.luminous-landscape.com/better_beamer.htm">example photos</a> of how this works, and Arthur Morris’ “Birds as Art” site <a target="_blank" href="http://birdsasart.com/accs.html#BEAMER">sells them</a>.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I’ve also seen the term “flash extender” refer to devices which let you mount your external flash unit higher up off the camera hotshoe, but that’s something different altogether.</FONT></p> <p> </p> <p><a name="powersource" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Power source options for external flash units.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Most Canon external flash units run off four standard AA (LR6) alkaline cells, though one - the tiny and discontinued Canon 160E - used instead a small 2CR5 lithium battery of the type used by many EOS cameras. Here are some power source options for the AA type of flash.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Remember that all batteries can leak. If they do you’ll find your beloved flash unit full of a corrosive liquid that will damage or even destroy it. It’s wise to remove any cells from your flash if you aren’t planning on using it for some length of time - a few weeks or whatever.</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Note also that some flash units can behave erratically when battery power is low. Normally weak batteries just result in long recycle times, but on the 430EZ at least low batteries can result in strange behaviour - the flash triggering randomly, the zoom motor buzzing at odd intervals, etc. So if your flash unit suddenly starts acting strangely try changing the batteries. This can also happen if the flash unit isn’t firmly seated in the hotshoe or if the contacts are dirty or corroded.</FONT></p> <p> </p> <p><a name="nonalkaline" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>Standard AA non-alkaline (zinc carbon) cells. </strong></FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Pros: Available for next to nothing. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Don’t last very long at all and can’t be recharged. They also have fairly high internal resistance and so it takes a few extra seconds for the flash unit to recharge between shots. </FONT> </p> </blockquote> <p><a name="alkaline" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>Standard AA alkaline cells. </strong></FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Pros: Alkalines are cheaply and readily available anywhere. They store a fair bit of power and let you go a reasonably long time between replacements. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Last much longer than carbon zinc cells but otherwise have the same disadvantages. Recycle time to full power can range from 6-20 seconds, depending on how new the cells are.</FONT> </p> </blockquote> <p><a name="nicad" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>Rechargeable nickel-cadmium (NiCad) cells. </strong></FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Pros: Relatively inexpensive, rechargeable hundreds of times. They have a fairly low internal resistance and so decrease the recycle time the flash unit will take to recharge to full power to 4-6 seconds. NiCads also have better cold-weather performance than alkalines - their performance suffers when the temperature drops below freezing, but not as badly.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Don’t store as much juice as alkalines, so you have to switch batteries much more often. NiCad cells are also hazardous household waste (heavy metals) and should not be thrown into the regular garbage system. NiCad cells drain flat (“self-discharge”) within a few weeks after charging. </FONT></p> <p> </p> </blockquote> <p><a name="lithium" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>Lithium AA (FR6) cells. </strong></FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Pros: Lithium cells built to an AA shape. They store a lot of power, have long shelf lives, and recharge the flash at roughly the same rate as alkalines. </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Really expensive and not rechargeable. Steep death curves - they’ll work fine and then suddenly run out of power unexpectedly. Most importantly, only the latest Canon Speedlites can use them. Older models are not compatible with lithium AA cells owing to power issues, and might be damaged by them. The 540EZ and all EX series flash units can safely use lithium cells; all other flash units cannot.</FONT> </p> </blockquote> <p><a name="nimh" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>Rechargeable nickel metal hydride (NiMH) cells.</strong> </FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Pros: Affordable and rechargeable hundreds of times. Higher capacity (various ratings from 1600 to 2700 mAH) cells have similar capacities to alkaline cells. Not as hazardous to the environment as NiCads. Have a similar recycle time to full charge as NiCads - around 4-6 seconds. Personally I think NiMHs are the best AA battery technology around when you factor in cost and performance issues.</FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Require different chargers from commonly available NiCad chargers. Supposedly can self-discharge in a couple of weeks, but I’ve never had a problem with this.</FONT></p> </blockquote> <p><a name="external" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <strong>External <a href="http://photonotes.org/articles/eos-flash/index3.html#batterypacks">battery pack</a>.</strong> </FONT></p> <p> </p> <blockquote> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Pros: High-power packs can decrease recycle time to a second or two, letting you shoot flash photos more rapidly. Store a lot of power and so mean you don’t have to change batteries as often. </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Cons: Large, bulky packs linked to the flash via coiled cords. High-power battery packs work only with a handful of high-end flash units with the necessary power socket. Third-party battery packs are required for use with other Canon flash units, but don’t have as rapid recycle times.</FONT></p> </blockquote> <p><a name="flashtips" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Flash tips.</strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I don’t really cover technique so much as technology in these documents. For detailed ideas on improving your flash photography you’ll have to look elsewhere. I recommend three sites in particular. First, there’s the <a target="_blank" href="http://strobist.blogspot.com/2006/02/welcome-to-strobist.html">Strobist blog</a>, run by David Hobby, an American photojournalist. It does an excellent job of covering various tips and techniques for on-site photography using small flash units. It’s mainly about Nikon gear in all-manual mode, but of course it’s the technique that matters, not the equipment here. Second, Neil Turner, an English PJ, has <a target="_blank" href="http://www.dg28.com/">a site filled</a> with dozens of instructive examples of location portraits done with portable or at least transportable gear, and essays on how they were done. Finally, there’s a collection of excellent examples of portable flash work at <a target="_blank" href="http://www.filmlessphotos.ca/IndexPage.htm">FilmlessPhotos</a>, maintained by John Lehmann, a Canadian PJ. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> However, just for completeness, here is a handful of tips and potential pitfall areas. To begin with, however, a brief discussion about the quality of light (the kind; not a value judgement) involved in flash photography. </FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong><a name="quality" />Quality of light. </strong> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">I’m sure we’ve all had the dispiriting experience of getting a roll of film back from the lab, only to find that the photos that you hoped would look terrific are all harshly lit and disappointing. How is it that professionals get such wonderful looking photos? </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Well, there are many reasons for this, but since this is an article about flash photography I’m going to discuss just one very common reason why amateur photographs can look terrible - flash.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The problem typically comes down to the quality of light. For a professional-looking photo of a person you generally want very soft light (light which lacks distinct shadows) or light which originates off the lens axis or both.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Hard and soft light.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The difference between hard and soft lighting essentially comes down to the relative size of the light source compared to the subject. Soft lighting is light which originates from a large area. Think of an overcast day, when the sun’s light is filtered through clouds covering the entire sky - shadows are very soft. By contrast, a stage spotlight will cast a perfectly sharp circle. Hard light tends to produce sharp-edged shadows, emphasizes facial blemishes and frequently looks very unflattering, except in certain controlled cases or when photographing people with marble-smooth skin (or heavily coated with makeup, as was often the case with Hollywood movie stars from the 1940s).</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Portable camera flashes are essentially designed to work like spotlights and have pretty small light-emitting areas - just a few square centimetres. This is partly for portability reasons and partly because flash units are designed to achieve the maximum distance range possible, by concentrating their light output with a reflector and lens. Any softening of the light necessarily involves a reduction in efficiency and range. So the light from a flash unit is, therefore, very hard-edged and harsh. Sometimes you want light like that - for illuminating glittery objects and emphasizing specular highlights. But for many things you don’t.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The easiest way to soften the lighting in your flash photos is to <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce</a> the light from the flash unit off a large white surface. White walls and ceilings work very well for this, as do large portable folding reflectors. You can also buy <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">diffusers</a> that attach to your flash that can help as well, either by distributing the light in more directions so the light can bounce off walls and ceilings, or by increasing the light-producing area somewhat. Remember that coloured surfaces will add a colour cast to the light - something you should always be aware of when bouncing light in interior spaces. A blood-red wall is going to reflect red light onto your subject.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Studio flash units (the big kind that plug in the wall) are frequently used with photographic umbrellas or softboxes to give the light source a larger surface area. Umbrellas are large folding umbrellas lined with white or silver, off which the light from the flash unit is bounced. (ie: the flash unit is mounted in the middle of the umbrella facing away from the subject, and the light bounces outwards) Softboxes are large boxes with reflective interiors and diffused white fabric front panels.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Portable battery-operated flash units don’t really have the power required to illuminate large studios when used with umbrellas and large panel diffusers. </FONT><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">But if you’re on a budget and working in a smaller space, a photo umbrella - or even a regular umbrella painted silver on the inside and taped to a stand - can be a handy tool. So can directing the light from your flash unit through a simple frame with thin white fabric stretched over it. Experiment to find out what works for you. Here again, incidentally, digital cameras have a huge advantage - you can move things around and experiment constantly and get immediate feedback on the screen as to whether the new configuration works or not.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Remember that it’s the relative size of the light source compared to the subject that’s important. A huge softbox a long way away from a subject has the same kind of hard light as does a small diffused flash close up. So placing the diffused lightsource close to the subject is important as well. In studio situations softboxes are often positioned just outside the frame of the image area.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Of course, having said all that, hard flash lighting isn’t a malevolent evil forever to be eschewed. It often has its uses, particularly in the hands of an experienced expert. Hard light is particularly useful to isolate subjects from the background, or to emphasize certain types of composition. I merely focus on soft light here because I think it’s easier for a beginner to get good results that way.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Off-axis lighting.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">The other issue here is that light from a camera-mounted flash unit originates pretty close to the lens axis. And, as noted elsewhere in this article, this is a pretty unnatural place for us to see light emerging. We’re used to looking at subjects illuminated by light sources (the sun, ceiling lights, table lamps, etc) which are not directly positioned next to our heads. So another important trick is to get that flash away from the camera or use multiple flash units illuminating different parts of the scene.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">There are two common ways to do this. You can use an <a href="http://photonotes.org/articles/eos-flash/index3.html#cords">extension cord</a> to move the flash unit away from the camera or you can use a <a href="http://photonotes.org/articles/eos-flash/index3.html#wireless">wireless</a> triggering system to control the flash units remotely. Wireless is definitely the best for flexible multiple-flash configurations. And in both cases you’re physically moving the flash somewhere else so that its light shines on the subject from the top, bottom or sides and provides some interesting shadowing of the subject. On-axis lighting (also known as axial lighting) tends to be very flat which, unless exploited deliberately for a particular effect, looks rather unreal. </FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Even bounce flash is essentially moving the light source off-axis by having the light bounce off onto the subject from a larger surface area. And walls and ceilings by definition provide natural directions from which light can shine.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">As always, digital is particularly useful for experimenting with lighting setups, since you can preview the results immediately.</FONT></p> <p><a name="generalflash" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>General flash photography tips:</strong> </FONT></p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Remove any lens hoods when using an internal flash. If you don’t you’ll probably notice a dark crescent-shaped flash shadow at the bottom of your photos. </FONT><p> <br/> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Don’t stand closer than a metre or so (3 feet) to your subject unless you have a macro flash. You’ll get similar shadowing at the bottom of the photo. An external unit with a small diffuser can help, though.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> If the tilt/swivel head is not set straight on, double-check its position if you switch from landscape to portrait orientation or vice-versa. If the head is pointing the wrong way for the current orientation you might end up with ugly flash shadows, or half your photo might be properly exposed for flash and the other half not at all.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you’re shooting in vertical (portrait) orientation and you have a shoe-mounted flash, be absolutely certain that your left hand is not holding the lens or in a position that could block light from the flash unit.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If your camera has more than one focussing point do <i>not</i> use the old “<a href="http://photonotes.org/articles/eos-flash/index2.html#recompose">focus, lock AE and recompose image</a>” trick when taking flash photos. Instead, select the focus point nearest to your subject in order to bias flash exposure to that area. The exception to this rule is type A bodies which support FEL. You can use <a href="http://photonotes.org/articles/eos-flash/index3.html#fel">FEL</a> in such situations to lock flash exposure to a given area of your photo before recomposing.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">If you need to shoot a number of flash photos in rapid succession consider using NiMH (nickel metal hydride), NiCad (nickel cadmium) or lithium (if your flash can handle them - many models cannot) <a href="http://photonotes.org/articles/eos-flash/index3.html#powersource">batteries</a> instead of regular alkalines. The internal resistance of these batteries is lower and thus the recharge time is faster. Note, however, that NiCad batteries can’t store as much power as alkaline batteries so you’ll have to replace them more often. Another alternative is an external battery pack, though they tend to be large and cumbersome. </FONT> <p><a name="indoors" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Tips on shooting indoors in a small space:</strong> </FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Use <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce flash</a> off a low ceiling or a wall to soften the light. Unless the walls or ceiling are painted in strong colours, in which case you’ll probably want to avoid bounce flash unless you want to tint the light. </FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> If you don’t bounce the flash try using a <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">small flash diffuser</a> to break up the directionality of the light. </FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Be sure you aren’t shooting towards something reflective, like a glass window or mirror. Flash glare will bounce off the glass and look like an ugly mess. It will also throw off the flash metering, underexposing the photo. </FONT><p> </p> <p><a name="outdoors" /><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><strong>Tips on shooting outdoors or indoors in a large space:</strong> </FONT> </p> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> Don’t use <a href="http://photonotes.org/articles/eos-flash/index3.html#bounce">bounce flash</a> if outdoors or if the ceilings are too high or too dark or are painted in colours that will tint the light of the flash. Keep the flash straight on. If you tilt the flash, for example, you’ll find the upper half of the image to be brightly lit and the lower half dark. This looks awful. The one exception is if you have a large <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">flash diffuser</a> installed.</FONT> <br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> You probably won’t want to use a small <a href="http://photonotes.org/articles/eos-flash/index3.html#diffusers">flash diffuser</a> as it’ll just cut the useful range of the flash. Small diffusers are light redistributors and thus most useful when there are nearby white surfaces off which the flash will bounce, softening the light. Large flash diffusers are mildly useful in that they spread the source of the flash unit’s light over a larger area, softening shadows, though the cost in range may not be worth it.</FONT><br/> <FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">When photographing people at great distances in low-light conditions remember that the risk of <a href="http://photonotes.org/articles/eos-flash/index2.html#redeye">redeye</a> in the photos goes up. This is particularly apparent when taking closeups of people using a telephoto lens from a long way away. (typical example - you’re zooming in with a long lens to get a child’s face during a school concert in a dimly lit gymnasium and the photo ends up looking like a choir of young Satans) Try to separate the flash as far as possible from the camera - even a large flash on a shoe mount won’t be adequate distance.</FONT> <p><a name="links" /><FONT face="Verdana, Arial, Helvetica, sans-serif"><strong>Links to other useful documents.</strong></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://bobatkins.photo.net/info/faq30/flashfaq.htm">Chuck Westfall/Mark Overton “EOS Flash FAQ”.</a></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.kjsl.com/%7Edave/speedlites.html">Dave Herzstein’s “EOS Speedlites Comparison Table”.</a></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://bobatkins.photo.net/photography/eosfaq/eosfaq24/3flash.html">Canon EOS FAQ Version 2.4. Section 3: Flash.</a> (very useful, but no longer updated)</FONT></p> <p> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://photozone.de/3Technology/flashtec2.htm">PhotoZone flash technology FAQ.</a></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://eosdoc.com/manuals/notes/discharge/">Discharge Graphs of Electronic Flash.</a></FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.chem.helsinki.fi/%7Etoomas/photo/flash-faq.html">Toomas Tamm’s “Electronic Flash Information”.</a></FONT></p> <p><a target="_blank" href="http://www.botzilla.com/photo/G1strobe.html"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Kevin Bjorke’s “PowerShot flash photography”</FONT></a><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">. (discussion of flash photography with Canon digital cameras but more generally applicable)</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://cybaea.com/photo/color-correction.html">Cybaea “Colour Temperature and Colour Correction Defined and Explained</a>”.</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.photographytips.com/page.cfm/301">Kelvin scale</a>. (includes a list of colour temperatures)</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=0006Wn">Photo.net: A-TTL and E-TTL. What is the difference?</a> </FONT> </p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=000WVJ">Photo.net: Elan IIe and 380 ex fill flash.</a></FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"><a target="_blank" href="http://www.manginphotography.com/sptshtr27.html">Vincent Laforet - “Show me the Light.”</a> (brief writeup on Canon E-TTL wireless flash. Scroll down 2/3 of the page to find the article)</FONT></p> <p><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif"> <a target="_blank" href="http://www.photographytips.com/page.cfm/2172">Photography Tips - guide numbers</a>.</FONT></p> <p><a target="_blank" href="http://www.misty.com/people/don/samflash.html"><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">Sam’s Strobe FAQ</FONT></a><FONT size="-1" face="Verdana, Arial, Helvetica, sans-serif">. (total geek information - extremely detailed notes on the electronics found in flash units)</FONT></p> <p><a href="http://photonotes.org/articles/eos-flash/index.html">SOURCE</a><br/> </p>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-77531881390524245482007-08-30T01:16:00.001+03:002007-08-30T01:18:03.383+03:00Cleaning Camera Sensors<div class="date">Published: January 23, 2006</div><div class="byline">By Jeff Greene</div><a name="EV"></a><h2>Preventive Measures</h2><p>There are a number of precautions you should take to minimize your camera’s exposure to dust and contaminants. The most important practice is keeping the body cap or a lens on the camera at all times. Do not remove the body cap and leave the camera exposed while searching for a lens. Always have the next lens selected and ready to place on the camera before removing the camera’s body cap or the current lens. I also take the extra precautions of turning the camera off, sheltering it from the prevailing breeze, and angling it downward to reduce particulate matter entering the camera’s interior. Finally, keep your camera bag clean. It’s senseless to exercise these precautions and then stow your clean camera in a dusty, dirty camera bag.</p><a name="EY"></a><h2>Detecting Dust</h2><p>Even with prudent care and handling, you will inevitably find specks of debris on your sensor. This becomes evident within bright, evenly lit areas of your image such as sky, clouds and snow when the exposure utilizes a small f/stop, typically f/11 or smaller. The specks will appear in the same relative spot on every preview as you scroll through the thumbnail images in your image browser. Use the following steps to take a test photograph so that you can accurately determine the degree of contamination and the locations of the dust particles.</p><p><b>Testing the Sensor</b></p><table class="numberedList" border="0" cellpadding="0" cellspacing="0"><tbody><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>1.</p></td><td><p>Attach a telephoto lens to your camera, zoom to its longest focal length, and set the aperture to its smallest opening.</p></td></tr><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>2.</p></td><td><p>Manually set the focus to the closest focal point. This setting will include the sensor area within the depth of focus.</p></td></tr><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>3.</p></td><td><p>Set the camera to Manual.</p></td></tr><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>4.</p></td><td><p>Photograph a plain, neutral object at +1 stop over exposure. I typically photograph a cloudless sky, white wall, or an evenly lit piece of white paper. Long shutter speeds are fine, we aren’t concerned about camera shake or focus; we’re striving for a light, neutral image that will reveal debris on the sensor.</p></td></tr><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>5.</p></td><td><p>Use Levels to increase the contrast of the image.</p></td></tr><tr valign="top"><td class="listNumber" align="right" nowrap="nowrap"><p>6.</p></td><td><p>View the image in Photoshop at 100% magnification to determine if cleaning is necessary.</p></td></tr></tbody></table><div style="width: 368px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig1-dirtysensor.jpg" alt="Specs of dust on sensor" border="0" height="245" width="368" /><br /><p class="figureCaption">This sensor is dirty and desperately in need of cleaning. Specs of dust are circled in red.</p></div><p>Now it’s judgment time. I can tolerate small specs in the corners and perhaps some very small particles in the main portion of the sensor, especially if they’re only visible at the smallest f/stops. Remember, the test image was captured at the extreme limits of exposure, well beyond normal shooting parameters. All of our cameras have some degree of sensor contamination; the question is whether the risk of cleaning the sensor is worth the reward. I only recommend cleaning if there is significant debris visible on normally exposed photos. Sensor cleaning is not a regular maintenance task and it should only be performed when absolutely necessary.</p><a name="ESB"></a><h2>Cleaning The Sensor</h2><p>Despite your best efforts to keep your camera clean, you have found dust on your sensor and it is significant enough to warrant cleaning. Although, the entire sensor is going to be cleaned, it is useful to know precisely where there the offending specs are located. Keep in mind when determining the spec locations on the sensor that the position of the specs on the test image will be flipped and reversed in respect to the actual position on the sensor. For example, a large spec of dust that appears in the upper right corner of the test image is actually located in the lower left corner on the sensor.</p><p><i>Note: Although I repeatedly refer to the “sensor”, I am actually referring to the protective filter that sits just above it.</i></p><p>So what is the best way to clean your sensor? Your camera can be infiltrated by two basic types of dust: the bits that lightly sit on the sensor, and those that adhere more firmly to the surface as a result of moisture and humidity. The light dust can be cleaned with a “brush” system, but the fused specks require a “swab” system that uses an applicator and solution to thoroughly clean the surface. Think of the process as using a very small squeegee to clean a very expensive window.</p><p><b>Sensor Brush & SensorSweep</b><br /> VisibleDust (<a href="http://www.visibledust.com/">www.visibledust.com</a>) and Copper Hill Images (<a href="http://www.copperhillimages.com/">www.copperhillimages.com</a>) both manufacturer brushes with very fine synthetic fibers that pick up dust when applied to the sensor. VisibleDust makes the Sensor Brush and Copper Hill markets their new SensorSweep. Both work on the same principle, a blast of compressed air or applied friction “charges” the brush with a static charge that, when gently applied to the sensor, collects and removes the dust. Cleaning a sensor entirely usually takes several passes and the brush needs to be cleaned and “recharged” each time. For more stubborn fused specks, VisibleDust sells Chamber Clean and Sensor Clean, solutions that can be used with applicators to clean the mirror box and sensor. Copper Hill offers SensorSwipe a reusable applicator that works with PecPads and Eclipse solution in a similar manner as the swabbing technique discussed below.</p><div style="width: 419px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig2-3-sensors.jpg" alt="SensorBrushes (left) and Sensor Sweep (right)" border="0" height="296" width="419" /><br /><p class="figureCaption">The SensorBrushes offered by VisibleDust (left) and Sensort Sweep brushes from Copper Hill Images (right) can pick up dust on a sensor. </p></div><p><b>SensorSwab and Eclipse</b><br /> Photographic Solutions (<a href="http://www.photosol.com/">www.photosol.com</a>) produces SensorSwabs, applicators with sterile pads, and Eclipse, a refined methanol solution. This system will remove most specks and dust and, though expensive since the swabs can only be used once, is one of the most effective methods for cleaning sensors.</p><div style="width: 350px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig4-eclipseswabs.jpg" alt="Eclipse, SensorSwabs, and PecPads" border="0" height="232" width="350" /><br /><p class="figureCaption">Eclipse, SensorSwabs, and PecPads produced by Photographic Solutions enables you to permanently clean your camera sensor.</p></div><a name="EWC"></a><h2>Sensor Cleaning Procedure</h2><p>Using the brush and swab together is the most efficient method for cleaning the sensor. I start with the brush and then test the sensor for dust. If stubborn specks still adhere to the sensor, then I use the swab and solution in a second pass. Be sure not to touch the brushes or swabs with your fingers. Clean your sensor correctly by following the following step-by-step procedure:</p><p><b>1. Blow Out the Mirror Chamber</b><br />Before entering Sensor Clean mode, use a hand blower such as the large Giotto Rocket to blow out any excess dust and debris in the mirror chamber. This step removes any particles that may migrate on to the sensor after the cleaning process. Do not use compressed air. The pressure is too strong and will result in damage to the delicate mechanisms within the camera.</p><div style="width: 350px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig5-blowmirror.jpg" alt="Hand blower on mirror chamber" border="0" height="245" width="350" /><br /><p class="figureCaption">Use a hand blower to blow out the mirror chamber.</p></div><p><b>2. Activate Sensor Cleaning Mode</b><br />Canon DSLRs have a menu function “Sensor Clean” that locks up the mirror, opens the shutter and cuts power to the sensor to eliminate the electrostatic charge. Nikon users will need the optional AC power supply in order to access the Sensor Clean mode on their cameras. It is not advisable to circumvent this by simply putting the camera into “Bulb” mode and holding the shutter down. The risk is too great that your finger will slip off the shutter or the battery will run low, both resulting in the shutter and mirror disengaging prematurely, trapping the brush or swab and damaging the mechanisms.</p><div style="width: 315px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig6-screenmode.jpg" alt="Sensor Clean mode" border="0" height="271" width="315" /><br /><p class="figureCaption">Activate the Sensor Clean mode on the camera.</p></div><p><b>3. Blow Off the Sensor</b><br />With the camera now in Sensor Clean mode, use the hand blower to remove any large chunks of dust. This initial step won’t likely remove all the dust, but will remove larger specks that could potentially scratch the sensor filter later. DO NOT use canned air. Propellant could be blown onto the sensor or, worse, the high pressure could blow dust behind the filter and permanently trapping debris between it and the sensor.</p><p><b>4. Brush the Sensor</b><br />Each of the brushes requires “charging” before cleaning the sensor. The static charge attracts the dust off the sensor when the brush is applied LIGHTLY to the sensor. The idea is to loosen and pull the dust into the brush, not to sweep it off like a broom.<br />To charge the Copper Hill SensorSweep brush, rub the bristles rapidly over a piece of vellum or other clean piece of paper. To charge the Sensor Brush from VisibleDust, hold the brush upright and use compressed air to blow across the bristles. Be sure to hold the can level to avoid getting propellant on the brush. Now take the charged brush and gently sweep, “tickling” with very light pressure, from one side of the sensor to the other. Use canned air to clean both brushes; recharge and repeat as necessary.</p><div style="width: 315px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig7-chargebrush.jpg" alt="Compressed air on brush" border="0" height="208" width="315" /><br /><p class="figureCaption">Charge the brush with compressed air.</p></div><div style="width: 309px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig8-brushsensor.jpg" alt="Charged brush on sensor" border="0" height="206" width="309" /><br /><p class="figureCaption">Lightly brush the sensor with the charged brush.</p></div><p><b>5. Swabbing the Sensor</b><br />If stubborn specks remain after brushing, then a more aggressive approach using swabs and solution will be required. Open a SensorSwab or SensorSwipe applicator and apply one or two drops of Eclipse solution. Immediately apply the swab to the left side of the sensor. Using the same amount of pressure that you would writing with a pen or pencil, draw the swab all the way to the right. Do not lift the swab off the sensor. Maintaining the same pressure, reverse the angle of the swab and draw it back to the left edge of the sensor. You will have to work fairly quickly since the Eclipse solution evaporates very rapidly.</p><div style="width: 544px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig9-useeclipse.jpg" alt="Swabbing the sensor with Eclipse" border="0" height="387" width="544" /><br /><p class="figureCaption">Quickly swab the sensor with Eclipse to remove stubborn specks.</p></div><p><b>6. Retest the Sensor</b><br />Take another test image of a neutral subject. There should be a significant improvement in image clarity, but some specks may still remain, especially in the corners. Again, use your best judgment to determine if another attempt at cleaning the sensor is justified.</p><div style="width: 334px;"><img src="http://www.microsoft.com/library/media/1033/windowsxp/images/using/digitalphotography/prophoto/fig10-cleansensor.jpg" alt="Clear test image" border="0" height="223" width="334" /><br /><p class="figureCaption">This clear test image shows that the sensor has been successfully cleaned.</p></div><p>Use both of the systems described here to get the cleanest sensor possible and run a test image every few weeks to evaluate for sensor dust. Regular checking and cleaning will help avoid frustration and save hours on the computer cloning and healing spots on every image.</p><a name="EYE"></a><h2>Additional Resources</h2><p><a href="http://www.cleaningdigitalcameras.com/">www.cleaningdigitalcameras.com</a><br /> Visit Curt Fargo’s comprehensive site for information and sensor cleaning supplies.</p><p><a href="http://www.bythom.com/">www.bythom.com</a><br />Thom Hogan, the originator of the now famous “Eat at Wendy’s, clean your CCD” technique for using a modified plastic Wendy’s knife, has shared information on sensor cleaning since 2001.</p><p><a href="http://www.copperhillimages.com/">www.copperhillimages.com</a><br /> This very thorough site by Nicholas R. illustrates various techniques and products for cleaning sensors and lenses.</p><p><a href="http://www.microsoft.com/windowsxp/using/digitalphotography/prophoto/sensorcleaning.mspx">SOURCE</a><br /></p><p style="text-align: right; font-size: 8px;">Blogged with <a href="http://www.flock.com/blogged-with-flock" title="Flock" target="_new">Flock</a></p>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-5069938003138493362007-08-11T17:39:00.001+03:002007-08-11T17:39:18.036+03:00Digital SLR Sensor Cleaning<p class="CenterThis"><img border="0" alt="Digital SLR Camera Sensor Dust Sample Picture" src="http://www.the-digital-picture.com/Images/Other/Sensor-Dust-Sample.jpg" /></p> <p class="Review"> What are those dark spots in the sky? One of the most-frequently asked questions I receive relates to sensor dust and cleaning. Some people know they have sensor dust while others only know that there are spots in their images. Some even blame the spots on their lens. Though while logical at first, it takes a sizeable piece dust on/in a lens to show up as a prominent spot in a picture - especially if it is on the front lens element. <br/> <br/> To know if your sensor is dirty, you need to know what sensor dust looks like in an image - see below for a 100% sample crop from the above photo. Notice the frowny face? That's what my face looks like when I see a picture like this. </p> <p class="CenterThis"><img border="0" alt="Digital SLR Camera Sensor Dust Sample Picture - 100% Crop Sample" src="http://www.the-digital-picture.com/Images/Other/Sensor-Dust-Sample-2.jpg" /></p> <p class="Review"> To <strong>check for dust</strong>, mount a 50mm or longer lens on your <a href="http://www.the-digital-picture.com/Reviews/Canon-Digital-SLR-Camera-Reviews.aspx">DSLR</a> - select 50mm or longer if you are using a zoom lens. Find an evenly-light-colored, evenly-lit background for a test shot - a blue sky (works great), a white wall, a piece of paper ... many subjects work. Set the lens to manual focus and set the focus to to make your selected subject completely OOF (Out of Focus). We want to see the dust - not the subject - in the picture. Adding motion blur to your test image is all-the-better. I generally use infinity focus and often use a white kitchen cabinet as my subject. You may want to turn off IS if your lens is so-equipped though it won't hurt to leave it on. On the camera, set your exposure mode to Av, ISO to 100 and - very important - set the aperture to a very narrow - at least to f/22. You likely won't see even large pieces of dust when shooting at very wide apertures, so be sure to choose a narrow one. Take the test picture. <br/> <br/> If your sensor is dirty, you will see <strong>spots in your test image</strong>. They are especially easy to see if you load the test shot into your computer and increase the contrast. I find that reviewing the test shot on my LCD is faster and works just fine. Zoom into 2 or 3 levels short of max LCD zoom and pan through the image systematically looking for spots. Remember, the location of the dust on the sensor will be exactly opposite of where it appears in the image on the LCD (the lens flips the image, the camera de-flips it for viewing). When you turn the camera 180 degrees to look into the chamber, the spot will now be flipped up/down only. <br/> <br/> I don't worry about a small sensor dust particle or two (or possibly 3 ...), but anything significant causes me to <strong>take action</strong>. <br/> <br/> Canon will provide sensor cleaning service for you (which is the only "official" recommendation I can give) or you can do it yourself. The last sensor I had cleaned by Canon was returned dirtier than it was before I sent it to them. And I can't wait for a camera to ship to/from Canon every time I need my sensor cleaned, so I, like most other photographers have embraced the alternative - <strong>Do-it-yourself sensor cleaning</strong>. Before I go any further, I must make the <strong>DISCLAIMER:</strong> I have not seen Canon recommend any do-it-yourself sensor cleaning method other than the <a href="http://www.the-digital-picture.com/Reviews/Giottos-Rocket-Air-Blower-Review.aspx">Giottos Rocket Air Blower</a> non-contact method (in the Canon section of PhotoWorkshop). You are accepting complete liability for any damage you cause by using any of the methods described here. My opinion is and my experience shows that fear is not necessary - but some patience and carefulness are important. And though we call it "sensor cleaning", we are actually cleaning the low-pass filter that sits on top of the sensor. You need to read this entire page before proceeding. <br/> <br/> There are <strong>many sensor cleaning methods</strong> - and I find that several different ones are needed at various times. I start with the easiest and least intrusive cleaning method and move down my list until I have a clean sensor. <br/> <br/> At this point, you need a <strong>well-charged battery</strong> in the camera - If the battery dies while you are accessing the sensor, the shutter and/or mirror could be damaged. The camera will likely not permit access to the sensor if the battery is not adequately charged. You should also find a <strong>clean, well-lit work area</strong>. Since the camera sensor will be completely exposed, you need to avoid dust floating onto it. I generally use the counter in my kitchen or bathroom - with no windows open. </p> <p class="CenterThis"><img border="0" alt="Canon Digital SLR Camera Sensor" src="http://www.the-digital-picture.com/Images/Other/Canon-Digital-SLR-Camera-Sensor.jpg" /></p> <p class="Review"> To clean the sensor, you need to <strong>gain access to the sensor</strong> - seen exposed in the photo above. Your manual will give you instructions for doing this, but I'll give you some as well ... <br/> <br/> There is generally a <strong>menu option entitle "Clean Sensor"</strong> on the camera. Find it, select it and affirmatively answer the prompt asking if you really want to do this. If you hear the mirror lock up, your camera is ready - otherwise your camera requires the shutter release to now be pressed to yield access to the sensor. Your sensor is now exposed behind your lens. <br/> <br/> We are going to remove the lens next, although you could easily have done this first. I remove the lens prior to opening the sensor up for cleaning when I want to clean above the mirror. I infrequently clean this area using gentle squeezes from a <a href="http://www.the-digital-picture.com/Reviews/Giottos-Rocket-Air-Blower-Review.aspx">Giottos Rocket Air Blower</a>. Blowing dust in this area can push it into the viewfinder - take warning of this. <br/> <br/> Angle the camera body downward and <strong>remove the lens</strong>, quickly covering the rear lens element to prevent dust from landing there. I simply put a rear dust cap on the lens. The lens-less <strong>camera is angled downward</strong> at all times unless I am actively cleaning the sensor. The downward angle uses gravity to our advantage - it prevents additional dust from landing inside. </p> <p class="CenterThis"><img border="0" alt="Rocket Air Blower" src="http://www.the-digital-picture.com/Images/Other/Rocket-Air-Blower.jpg" /></p> <p class="Review">My first sensor cleaning step is a non-contact one - the one that Canon specifically recommends - blowing air onto the sensor from a <a href="http://www.the-digital-picture.com/Reviews/Giottos-Rocket-Air-Blower-Review.aspx">Giottos Rocket Air Blower</a>. The risk of damage from this method is light - but the cleaning power is also light. The potential for the blower to remove a piece of grit that might later scratch the sensor during a contact cleaning method makes this step important. While holding the camera in my one hand - still pointing downward, I firmly squeeze the air blower which is carefully positioned near the camera sensor. This air blower fills from its base and expels the air from the nozzle - It does not directly blow the same dirty air back onto the sensor. Be careful not touch the sensor or other fragile parts nearby (like the shutter) with the tip of the air blower. I typically use 8 or ten good air bursts. </p> <p class="CenterThis"> <a onmouseout="switchimage('DustComparison','Dust1');" onmouseover="switchimage('DustComparison','Dust2');" href="javascript:void(0)"> <img width="500" height="333" name="DustComparison" src="http://www.the-digital-picture.com/Images/Other/Sensor-Dust-Sample-A.jpg" /> </a> </p> <p class="Review">Between each cleaning method attempt, another sensor test is needed to find out if the process can be ended at this point - or an additional cleaning method employed. Turn the camera's power off to end the sensor cleaning, remount the lens and run another test. The sample above shows a sample picture from a Canon EOS 30D with a very-dirty sensor. Move your <strong>mouse over the sample image</strong> to see the blower-achieved results. If you are satisfied, you are done. Otherwise, read on ... </p> <p class="CenterThis"><img border="0" alt="Sensor Brush" src="http://www.the-digital-picture.com/Images/Other/Sensor-Brush.jpg" /></p> <p class="Review"> If I do not have a satisfactorily clean sensor after using the air blower, I usually move on to a <strong>sensor brush</strong>. The sensor brush is more capable of cleaning than the air blower alone, but it still presents a relatively low risk of damage to the sensor - <strong>IF</strong> you keep the brush clean. I am currently using a <a href="http://www.the-digital-picture.com/Reviews/Visible-Dust-Sensor-Brush-Review.aspx">Visible Dust Sensor Brush</a> but I understand some of the other sensor brushes work well also. The <a target="_blank" href="http://www.pbase.com/copperhill/image/42963246">Copper Hills Images Sensor Sweep II</a> looks good to me as well - and it is far less expensive. <br/> <br/> Visible Dust recommends statically charging the bristles - with compressed air for the model I have. I simply use a series of quick bursts of air across the bristles from my air blower - this seems to sufficiently clean and somewhat charge the brush, but I'm sure compressed air would work even better. Visible Dust makes many variations of their sensor brush including some with battery-powered spinners (Arctic Butterfly) for cleaning/charging the brush. Just like when using the air blower, I hold the camera angled lens mount-downward for the brush cleaning - taking advantage of gravity. Good lighting aids in this operation. <br/> <br/> Start at one side of the sensor and smoothly progress to the other side - being careful to not get the brush against any other part of the camera. I clean/charge the brush after each pass and make 6 or 8 passes per cleaning attempt. I follow up the brush cleaning with some bursts of air from the air blower - just like in the previous step. Turn the camera's power off to end the sensor cleaning and remount the lens as soon as possible to prevent additional dust from entering the camera. Store the brush clean in a protective case/bag. These first two cleaning methods (blower and brush) can also particles that may scratch the sensor during heavier contact cleaning methods later. </p> <p class="CenterThis"> <a onmouseout="switchimage('DustComparison2','Dust2');" onmouseover="switchimage('DustComparison2','Dust3');" href="javascript:void(0)"> <img width="500" height="333" name="DustComparison2" src="http://www.the-digital-picture.com/Images/Other/Sensor-Dust-Sample-B.jpg" /> </a> </p> <p class="Review"> A dust test comes after every cleaning attempt. And as always, if the sensor is satisfactorily clean, the project is over. Sometimes it is, sometimes it is not. The above image shows the before and after (hover mouse over image) sensor dust sample images. The test shows that I have at least one spot remaining (bottom-left)- and there are more not as visible in this downsized image. </p> <p class="CenterThis"><img border="0" alt="SensorKlear" src="http://www.the-digital-picture.com/Images/Other/Sensor-Klear.jpg" /></p> <p class="Review"> If still not clean, I next use a <a href="http://www.the-digital-picture.com/Reviews/LensPen-SensorKlear-Review.aspx"><strong>SensorKlear</strong> pen from LensPen</a> (or one of the other brand names it is manufactured under). This is a small, inexpensive and easy-to-use pen-shaped device with a shaped cleaning head that is not wet and does not dry out. The SensorKlear has a brush, but it is not recommended for the sensor (why not make the brush a sensor brush? I don't know ...) I simply rub the cleaning tip in a back and forth pattern over the sensor. You may need to do this a couple of times. I typically place the camera lens-mount-up on a safe, non-marring clean surface under very good light when using the SensorKlear. I can sometimes see the dirt on the sensor this way and can attack it directly using the SensorKlear. As usual, I use the air blower after cleaning with the SensorKlear and then promptly power-off the camera to close the mirror and shutter. Install the lens and test again. Another mouse-over image - looks clean to me. </p> <p class="CenterThis"> <a onmouseout="switchimage('DustComparison3','Dust3');" onmouseover="switchimage('DustComparison3','Dust4');" href="javascript:void(0)"> <img width="500" height="333" name="DustComparison3" src="http://www.the-digital-picture.com/Images/Other/Sensor-Dust-Sample-C.jpg" /> </a> </p> <p class="Review"> If the sensor is still dirty, my last method of attack is the <strong>wet method</strong> - meaning I am going to use a liquid cleaner on the sensor. Wet swabbing the sensor is the most intrusive cleaning method but it is also the most powerful. At this point in my sensor cleaning career, I am using little cooking spatulas modified to fit the sensor size I am cleaning (see pic below) with 1/4 of a <a href="http://www.the-digital-picture.com/Reviews/Photographic-Solutions-Pec-Pads-Review.aspx">Photographic Solutions Pec Pad Wipe</a> taped to them (commonly referred to as the <a target="_blank" href="http://www.copperhillimages.com/index.php?pr=Tutorials1">Copper Hill Method</a>). What I think would work best are the ready-to-use Sensor Swabs by Photographic Solutions and Visible Dust but I have not tried them yet. These swabs are rather expensive, but I think they are probably worth their price since I don't wet-clean very often. <br/> <br/> I doubt you will find many recommending that the Pec Pad be cut into 4, but I find the smaller amount of material is easier to get in and out of the sensor chamber. And I haven't had a problem with the cuts causing loose fibers. Actually, having less material has caused fewer fiber to get loose in the sensor chamber as the pad is less likely to catch the sides of the chamber. You really do need to avoid touching the sides of the sensor chamber with any part of the swipe as the rough, non-glare sides are good at pulling fibers loose. Saving money is not an issue because the Pec Pads are cheap to begin with. <br/> <br/> I simply wrap the 1/4 Pec Pad over the end of the spatula swab and wrap the sides that extend past the swab around the sides - making sure the end of the swab has a smooth swiping surface. I snugly wrap some thin tape around the pad to hold it in place. I usually setup 2-4 of these in preparation for cleaning and place the clean end so it is suspended in air (such as hanging over the edge of a counter). I make sure the clean end of the pad touches nothing except the cleaning solution and the sensor. </p> <p class="CenterThis"><img border="0" alt="Sensor Swipe - A Modified Cooking Spatula" src="http://www.the-digital-picture.com/Images/Other/Sensor-Swipe-Spatula.jpg" /></p> The "wet" part of this method is <a href="http://www.the-digital-picture.com/Reviews/Photographic-Solutions-Eclipse-E2-Review.aspx">Photographic Solutions Eclipse E2 CCD/CMOS Sensor Cleaning Solution</a> or <a href="http://www.the-digital-picture.com/Reviews/Photographic-Solutions-Eclipse-Review.aspx">Photographic Solutions Eclipse Optic Lens Cleaning Solution (methanol)</a>. Check the individual product reviews to determine which your sensor requires. I apply about two drops of Eclipse solution onto the swipe - one on each end of the tip of the pad. <br/> <br/> Apply too much solution and you might leave a streak on the sensor (the SensorKlear can remove it). It helps to let the Eclipse solution soak into the Pec Pad or Swab for 10 or 15 seconds, but do not allow it to evaporate as it does so rapidly. <br/> <br/> As with the SensorKlear method, I place the camera lens-mount-up on a safe, non-marring clean surface under very good light - in a dust-free environment as always. I carefully place the swab into the sensor chamber at a rather hard angle and until it touches one end and side of the sensor. As I swipe in one direction while applying gentle pressure, I reduce the angle of the swab until it is completely vertical at the other end of the sensor. <br/> <br/> Think of reaching far away from you with a broom and sweeping toward yourself. When the broom is farthest away, it is at a hard angle. When the broom is at your feet, it is vertical. Once vertical at the other end of the sensor, I slide the swab to the other side of the sensor without lifting the swab. I then lift the swab, create a hard angle in the other direction and swipe from the position the swab was lifted from to the other side of the sensor - reducing the angle again until the swab is vertical at the other end of the sensor. <br/> <br/> The idea behind changing the angle of the swab is to continuously have a fresh part of the pad touching the sensor. This rotating can help lift the dust from the sensor surface - and may prevent a piece of grit from causing a scratch. I discard the used Pec Pad after each set of swipes - they are so cheap (especially when you cut them in 4) that it is silly to risk damaging the sensor with a dirty pad. I usually perform at least two sets of swipes during each cleaning attempt. <br/> <br/> As always, I blow the chamber with the air blower and retest. If the sensor is still dirty, I usually repeat the wet cleaning until I'm satisfied. I may use the SensorKlear again as well. <br/> <br/> When the sensor cleaning is finished, clean up and reset your camera to your normal settings. Be sure to set focus to AF. <br/> <br/> <br/> Be careful, relaxed and patient while cleaning your sensor, you will do a better job. Relaxing will become easier after you become familiar with sensor sensor cleaning. Lots of additional online resources for sensor cleaning online. What I've outlined is what works for me. <br/> <br/> <br/> So how do we keep dust off of the sensor in the first place? Well, you may not be able to prevent it - DSLRs often have with dirty sensors right out of the box. But aside from that, a little care can minimally prolong a necessary sensor cleaning. I change lenses a great deal and generally need to clean my sensor every 5-10 weeks. <br/> <br/> Probably the most significant dust-prevention you can do is to change lenses quickly (but still carefully) in a dust-free environment. On a windy day outdoors, the amount of airborne dust is extremely high. Similarly, keep the rear lens element clean - use your Rocket Air Blower before installing a lens if necessary. Keep the camera body and exposed lens element pointing down as much as possible when their caps are not on. Misaligned lens and body caps can cause a small amount of material to be shaved off - align them carefully. <br/> <br/> I mentioned before that there is a lot of sensor cleaning information available online. I'll leave you with some additional resources ... <br/> <br/> <a target="_blank" href="http://www.cleaningdigitalcameras.com/index.html">Demystifying D-SLR Sensor Cleaning</a> (CleaningDigitalCameras.com)<br/> <a target="_blank" href="http://www.bythom.com/cleaning.htm">Cleaning You Sensor</a> (ByThom.com)<br/> <a target="_blank" href="http://www.pbase.com/copperhill/ccd_cleaning">CCD/CMOS Cleaning</a> (Copper Hill Images)<br/> <a target="_blank" href="http://www.prime-junta.net/pont/How_to/a_Brush_Your_Sensor/a_Brush_Your_Sensor.html">The Pixel Sweeper</a> (Prime-Junta.net)<br/> <a target="_blank" href="http://www.luminous-landscape.com/essays/sensor-cleaning.shtml">Understanding Digital SLR Sensor Cleaning</a> (Luminous-Landscape.com)<br/> <a target="_blank" href="http://www.shutterbug.com/techniques/pro_techniques/1206cleaningdslr/">Cleaning The D-SLR Sensor; Commercial Products For Use At Home Or On The Road </a><p> </p> <p><a href="http://www.the-digital-picture.com/Photography-Tips/Sensor-Cleaning.aspx">SOURCE</a></p> <!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/sensor" rel="tag">sensor</a>, <a href="http://technorati.com/tag/cleaning" rel="tag">cleaning</a>, <a href="http://technorati.com/tag/sensor-cleaning" rel="tag">sensor-cleaning</a>, <a href="http://technorati.com/tag/maintenance" rel="tag">maintenance</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-36797863650846349032007-08-11T15:08:00.001+03:002007-08-11T15:08:52.364+03:00Shooting Infrared with Digital Cameras<TABLE width="97%" cellspacing="2" cellpadding="2" border="0"><TBODY><TR><TD><img width="300" height="195" src="http://www.bythom.com/Images/infrared.jpg" /></TD> <TD valign="top" align="left"><FONT size="1" face="Verdana, Arial, Helvetica, sans-serif">Near Hanksville, Utah, taken during one of my workshops. D1x, Nikkor 20mm f/2.8 with Hoya 72 infrared filter. 5 second exposure (which generated noise in the dark areas). Brought into Photoshop, curves applied, slightly sharpened, then a more patterned noise added using Texture. </FONT></TD> </TR> </TBODY></TABLE> <p><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Infrared is a spectrum of light beyond that which we normally see. Despite having an IR blocking filter installed between the lens and the CCD, most digital cameras still react to infrared energy, though at levels far lower than visible light. To take “infrared” pictures—i.e., photos primarily made up of near infrared energy—you need to filter out the visible light and only allow the infrared spectrum through to the lens. The easiest way to do this is to use a Wratten filter, which you can find at most professional camera shops (see sidebar at right).</FONT></p> <p><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">The Wratten series (and other dedicated infrared filters) are very dense filters, nearly opaque. Because they block most of the light, you’ll need very long exposures, so you’ll want to use a tripod. </FONT></p> <p><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Generally you should set your camera to B&W mode, as infrared filters remove most of the usable color information (it is amusing to bring a color infrared image into Photoshop and run Auto Levels on it, however). Also, note that incandescent lamps don’t put out much infrared (heat is thermal energy, not infrared), so you’ll probably want to start your experiments with landscapes. One other problem you’ll discover is that once you filter all the visible light, exposure times will be quite long. On a Coolpix 950 I get 1/2 second exposures or longer, while on my D1x I find my exposures are often measured in seconds. </FONT></p> <p><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Here’s one set of steps to try:</FONT></p> <ol><li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Focus</i>. Once the filter is on, you won't be seeing much of anything until after the exposure, so focus is your first priority. Infrared light focuses at a slightly different point than visible light, so make sure that you use an aperture in Step 6 that has a decent depth of field.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Place the infrared filter in front of the lens</i>. </FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Set the camera to manual exposure mode</i>. I've found that the meter in most Nikon cameras, at best, does only a fair job of infrared exposures. On a D1, I almost always have to set exposure manually to get the proper exposure. </FONT></li> <li><i><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Set the camera to shoot B&W only</FONT></i><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">. Optional: you can perform this step later; but it's easier to evaluate exposure with the camera set to B&W if that's how you'll print the image.</FONT></li> <li><i><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Set the camera to a higher ISO rating than usual</FONT></i><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">. I usually set ISO 400 on my D1x. You'll be balancing ISO-generated noise with long shutter speed generated noise. On a D1, try to keep your exposures under 5 seconds; on a Coolpix, try to keep them under 2 seconds.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Set the exposure.</i> Take a test exposure and examine the histogram. Since you're usually printing the final image in black and white you'll need a wide histogram that ranges from nearly pure blacks to nearly pure whites. Be careful at the bright end, however--foliage has a tendency to go to white in infrared, and you must retain enough working room to keep detail (e.g., don't let the histogram extend off the right side!). Adjust your exposure until you've got the broadest, workable histogram.</FONT></li> <li><i><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Take your shot!</FONT></i></li> </ol> <p><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif">Once you’ve taken an infrared shot, you’ll probably want to manipulate it a bit to make it better emulate the look of infrared film, which has unusual "color" (white foliage, for example) and a bit of graininess and bloom to edges. With Photoshop, try the following:</FONT></p> <ol><li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Remove the color, if any</i>. If you’re working with a color image, select <strong>Desaturate</strong> from the <strong>Adjust</strong> submenu on the <strong>Image</strong> menu. Alternatively, you can also choose <strong>Grayscale</strong> from the <strong>Mode</strong> submenu on the <strong>Image</strong> menu, but this doesn't generate the best results.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Balance the image levels</i>. The picture directly from your camera may look strange, as, despite your exposure efforts, it may still have most of the image data all bunched up at one or both ends of brightness range. Novices: select <strong>Auto Levels</strong> from the <strong>Adjust</strong> submenu on the <strong>Image</strong> menu. If you’re an advanced Photoshop user and want to preserve image data and get finer control, select <strong>Curves</strong> instead of <strong>Auto Levels</strong>, and adjust manually.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i> Sharpen the edges</i>. The results so far will probably be a bit soft, so select <strong>Unsharp Mask</strong> from the <strong>Filter</strong> menu. Try starting at values of 100 for Amount, 2 for Radius, and 1 for Threshold, and then tweak as desired. Better still: use the Smart-Edge technique I describe in my <a href="http://www.bythom.com/sharpening.htm">Sharpening</a> article.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Make it look grainy</i>. Traditional infrared film is sharp, but grainy. To add grain, choose <strong>Add Noise</strong> from the <strong>Noise</strong> submenu on the <strong>Filter</strong> menu. Start with values of 20% and Uniform and tweak as desired. Alternatively, select <strong>Grain</strong> from the <strong>Texture</strong> submenu on the <strong>Filter</strong> menu. Start with values of Soft, 15% Intensity, and 50% Contrast and tweak as desired.</FONT></li> <li><FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Add edge glow</i>. Traditional black and white film tends to have an unnatural glow around edges, especially bright ones. Select <strong>Diffuse Glow</strong> from the <strong>Distort</strong> submenu on the <strong>Filter</strong> menu. Start with values of 6 for Graininess, 5 for Glow Amount, and 20 for Clear Amount.</FONT></li> </ol> <FONT size="2" face="Verdana, Arial, Helvetica, sans-serif"><i>Tip</i>: Try these Photoshop steps with a regular, non-infrared image. You might be surprised by the results! (hint: before converting the image to black and white, try modifying the color channels individually, by lightening the red channel and darkening the blue.)<br/> </FONT><p><a href="http://www.bythom.com/infrared.htm">SOURCE</a><br/> </p> <!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/infrared" rel="tag">infrared</a>, <a href="http://technorati.com/tag/IR" rel="tag">IR</a>, <a href="http://technorati.com/tag/processing" rel="tag">processing</a>, <a href="http://technorati.com/tag/photoshop" rel="tag">photoshop</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-58697514865001385982007-08-11T14:47:00.001+03:002007-08-11T15:01:12.824+03:00Infrared Photography Tips<span style="font-family:Arial, Arial, Helvetica;">Years ago I used to love to shoot Kodak High Speed Infrared Film. You never knew exactly what you would get until after it was processed. But oh, what amazing images could be made! Green foliage glowed white, people's skin could change to an ethereal complexion, and sunny skies could range from jet black to a rich silvery gray.<br /> <br />But exposure and composition was all guesswork. How much IR was in any given light? Your cameras light meter didn't know. Even focus was a guess, as IR light focused at a different point than visible light. And the really effective filters blocked all visible light - a severe handicap for SLR cameras.<br /> <br />All that has changed with the advent of digital cameras. Most have CCDs that are sensitive to the part of the spectrum known as "near infrared". Put a filter in front of their lens that blocks visible light, and the camera will automatically adjust its focus and exposure, showing you the resulting infrared image on your cameras LCD in real time. For those who experimented with infrared films in the past this is nothing short of a miracle.<br /><br /></span><span style="font-family:Arial, Arial, Helvetica;"><b><span style="font-size:130%;color:#ff0000;">What's Infrared Light, and Why Do Plants Seem To Glow With It?</span></b><br />Technically, the part of the spectrum that most digital cameras can see is called near infrared. It is composed of the frequencies just below visible red light, starting at a wavelength of around 700nm. </span><span style="font-family:Arial, Arial, Helvetica;"><br />These frequencies often are absorbed or reflected quite differently than visible light. Most noticeable is the way that the internal structure of leaves strongly refracts near IR. The resulting brightness is dependant on the type of leaf and it's health. Other things, such as still water or a deep blue sky will absorb IR, and thus appear very dark. Some animals absorb infrared (reptiles especially), others reflect it.<br /><br /></span><span style="font-family:Arial, Arial, Helvetica;"><b><span style="font-size:130%;color:#ff0000;">Can My Camera Do This?</span></b> <br />Most CCDs are sensitive to more than the visible light spectrum. This can cause problems with color balance, so manufactures often place a "hot mirror" in front of the CCD to block excessive infrared light. There is a simple way to tell if your digital camera is going to see IR. Just take a TV or VCR infrared remote control and point it directly at your camera. Push a button on it and look on the LCD for a spot of light. You should be able to see the infrared beam from the remote as a point of light. If you do, you will be able to shoot IR images with your camera.<br /><br /></span><p> <span style="font-family:Arial, Arial, Helvetica;"> Next, you will need to buy a filter that will block all visible light, but allow infrared radiation to pass. Different filters block varying amounts of shorter wavelength light. In increasing degree of strength are the Wratten #89B, Wratten #88A, Wratten #87, and Wratten #87C filters. I have had great results with an inexpensive 88A filter from Harrison and Harrison (1835 Thunderbolt Drive Unit E, Porterville, CA 93257-9300 phone 559-782-0121)<br /> <br />If your camera has no thread for a screw in filter, you can buy gelatin filters and cut them down to fit over your lens, and tape them in place. I find gelatin filters especially helpful for supplemental lenses like Nikon's fisheye. I just cut a small circle the size of the rear element of the lens, and place it between the camera and fisheye before I screw it in place. </span></p> <span style="font-family:Arial, Arial, Helvetica;"> </span> <span style="font-family:Arial, Arial, Helvetica;"> <!--msthemeseparator--></span><p> <span style="font-family:Arial, Arial, Helvetica;"> <b><span style="font-size:130%;color:#ff0000;">Shooting Technique</span><br /> </b> When you place a sharp cut IR filter in front of your digital camera's lens, you are granted entry to an invisible world. Surreal landscapes unfold with unexpected graphic elements, such as inky black skies or open luminous shadow areas.<br /> <br />To compose really strong images in this netherworld requires close examination of your cameras LCD. This presents a problem since LCD screens are very hard to see in bright outdoor light. One solution is to use a LCD screen hood and magnifier like the Xtend-a-View™ (<a href="http://www.photosolve.com/" target="_blank">www.photosolve.com</a>). This clever device fits over your camera's LCD, blocking all extraneous light, and magnifies your screen by a factor of 2x. Or just use a camera with an electronic viewfinder, like the Canon Pro90 IS or the Sony DSC-F707 Cyber-shot.<br /> <br />When I go looking for infrared images, I'll often walk with one eye to the LCD viewfinder and the other open to see what's around me. I shoot lots of images, as there are no expensive film and processing costs to deal with.<br /> <br />Depending on your cameras sensitivity, exposures can be fairly long, even in direct sun. The Nikon Coolpix 990 may need up to an 8 second exposure. I usually shoot at around 1/15 of a second with the more sensitive Coolpix 950, and 1/8 of a second with the Canon Pro90 IS. If your camera allows you to increase the apparent ISO, that will help a bit. Features such as the Coolpix's "Best Shot Selector" or the Canon Pro 90 IS's internal Image Stabilizer really help with long exposures. Each is so effective that I find I rarely need a tripod.<br /> <br />A tripod can be very useful, however, as it will allow you capture intriguing pairs of color and infrared images. Just shoot with the filter, then remove it and take a second shot. The two images will be in perfect register, and will allow you to experiment with mixing colors with your infrared later in a program like Photoshop or Paint Shop Pro.<br /> <br /> <b><span style="font-size:130%;color:#ff0000;">Choosing your Subjects</span></b><br />Plants are quite spectacular in the way they glow. Healthy leaves can go almost white, while dead and dying vegetation is often quite a bit darker. The bark of trees can range from black to a birch like white.<br /> <br />People's skin can glow with a soft light, and occasionally a latticework of small veins can be seen just beneath the surface. Eyes can be quite spooky, as the iris can absorb or transmit infrared in unexpected ways.<br /> <br />Bodies of water can reflect IR if the surface is in motion, but will tend to absorb it if it is still. Shallow water is often quite transparent.<br /> <br />The sky will range from a light gray to black, depending on the angle you are shooting relative to the sun, and the amount of moisture causing backscatter. Clouds are often brilliant white, becoming strong visual elements.<br /> <br />Cityscapes can be richly varied, as buildings reflect and absorb different amounts of IR, and overall image clarity is often dramatic, as atmospheric scattering of near IR wavelengths is generally quite low.<br /> <br /> <b><span style="font-size:130%;color:#ff0000;">Post Processing the Image<br /> </span></b>Your infrared images may have some strange color and tonal balance to them right out of the camera. Some may go quite red; others may have a cyan sheen. Rarely will they have a full tonal range.<br /> <br />Using a program like Photoshop will allow you to clean up the image, adjusting curves and levels. I like to convert my RGB images into true grayscale before I print them. Sometimes I'll simply desaturate the image, other times I find there is less noise in the image if I converted to LAB mode first, choose the lightness channel, and then convert to grayscale.<br /> <br />Photoshop also provides the means to produce other classic infrared film effects. Kodak High Speed Infrared Film was quite grainy, and had no anti-halation backing. This caused the highlights to flare and glow with a soft, dreamlike effect. You can add both these effects to your digital images using Photoshop's Diffuse Glow filter.<br /> <br /> <b><span style="font-size:130%;color:#ff0000;">Printing Your Images</span></b><br />Inkjet printers can do a marvelous job of creating black and white prints. I've been blown away with the new Canon S800, a six-color printer that uses individual ink cartridges. My black and white infrared prints have rich, deep blacks, and sparking highlights. With a simple color adjustment I can print sepia tones, or neutral toned prints.<br /> <br />For anyone who has experimented with infrared film, shooting digital infrared will seem like a dream come true. Being able to preview the results in real time is critical to composing the most effective images. For wedding photographers thinking of offering IR shots as an added feature, digital allows instant results as well as the ability to shoot color with the simple change of filter.<br /></span></p><p><span style="font-family:Arial, Arial, Helvetica;"><a href="http://infrareddreams.com/how_to_shoot_ir.htm">SOURCE</a><br /></span></p>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-38158002335901729762007-08-11T14:34:00.001+03:002007-08-11T14:34:41.455+03:00Infrared Photography with a Digital Camera<TABLE class="BODY"><TBODY><TR><TD colspan="2"><p class="IND"> It was more than thirty years ago when I last experimented with photography in infrared. Too much hassle: special film handling, black-and-white processing, inability to evaluate results (and adjust settings) until the whole roll was exposed and pictures were printed... </p> </TD></TR><TR> <TD class="SIDE"> <p> Now this has changed. Due to the arrival of digital photography, we can take infrared pictures whenever we please, mixing them with "normal" ones, and see results on the spot, tweaking the settings to our hearts' desires... </p> <p> All depends, of course, on how your camera sensor array reacts to the infrared — and, depending on the filter you are using, to the far red end of the visible spectrum. </p> </TD><TD class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/040922-288-t.jpg" /><br/> Olympus <a href="http://www.wrotniak.net/photo/infrared/c5060.html">C-5060WZ</a>, Hoya R72 filter </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD colspan="2"> <p class="SEC"> <a name="DIFF"> What's so different about infrared? </a></p> <p class="IND"> <a name="DIFF"> At the first glance, a monochrome picture taken in infrared may look similar to just another black and white photograph. And then you start seeing differences: objects which are bright in visible light (like sky) look dark here, while some of those which are "normally" dark (green foliage) acquire a bright glow. An unusual and eerie feeling. </a></p> </TD></TR><TR> <TD class="SIDE"> <p> This can be explained with the graph at the right, showing the fraction of light reflected off various materials at various light colors (wavelengths). The height of the curves to the left of 600 nm shows how bright these materials are in visible light; to the right of 700 nm — how bright they are in infrared. </p> <p class="TINY"> The most dramatic difference between the visible and infrared spectrum is in case of foliage: it does, indeed, become very bright in infrared; very much like you can see in my photographs shown here. </p> <p class="CAP"> (Source: Kevin Frankel at al., <i>Concealment Of The Warfighter’s Equipment Through Enhanced Polymer Technology</i>, 24th Army Science Conference Proceedings, Orlando, FL, 2004) </p> </TD><TD wodth="10%" class="CAP"> <img src="http://www.wrotniak.net/photo/infrared/_img/ir-refl.gif" /><p> </p> </TD></TR><TR> <TD colspan="2"> <p class="IND"> To answer the question briefly: photographs in infrared show quite unusual tonality, different than that to which we are used, and this may make them esthetically pleasing, at least in many cases. Which, of course, is a matter of taste. </p> <p class="SEC"> <a name="CAMERA"> The camera </a></p> <p class="IND"> <a name="CAMERA"> First, you need a digital camera. Digital cameras have a special infrared-blocking filter in front of the light-sensitive CCD array, as the IR light degrades the visible-light color rendition (the CCD itself reacts to wavelengths up to 1000 nanometers and even longer). The question is how much of infrared will the filter let through. </a></p> <p class="IND"> <a name="CAMERA"> Some of the early models, like the venerable Olympus C-2000Z/C-2020Z (but not the '2040!) and Nikon 950, were quite permissive here, but the more recent models let just enough of IR light through to be suitable for infrared photography; most of these, while requiring quite long exposures, also offer a workable solution. Remember, camera makers do everything to <i>stop</i> the infrared from reaching the sensor! </a></p> <p class="IND"> <a name="CAMERA"> For example, using the Hoya R72 IR filter (perhaps the most useful kind) on a present-day Olympus E-500 requires exposure adjustment by about 11 EV (F-stops), or by a factor of 1500 to 3000 (1 EV corresponds to doubling or halving the amount of light). As a matter of fact, I would classify all digital cameras I have used in the last five years as barely usable for infrared shooting — which does not preclude getting very nice results from them anyway. For comparison, the C-2000Z needed only a 7 EV (130×) adjustment, being about 15 times more sensitive. </a></p> <p class="IND"> <a name="CAMERA"> For illustration purposes, here is a brief comparison of IR sensitivity for some Olympus cameras I have used in the last few years to shoot in infrared. All data is shown for the Hoya R72 filter, sunny daylight; the values are accurate to 0.5 EV or better. The <i>Typical Exposure</i> data corresponds to a sunny day outdoors, ISO 100. </a></p> </TD></TR></TBODY></TABLE> <TABLE class="TTAB"> <TBODY><TR> <TD> Camera </TD><TD> C-5050Z </TD><TD> C-5060WZ </TD><TD> E-10 </TD><TD> E-20 </TD><TD> E-300 </TD><TD> E-500 </TD></TR><TR> <TD> Exposure Factor </TD><TD colspan="4"> 11.5 EV (3000×) </TD><TD> 7.3 EV (150×) </TD><TD> 10.3 EV (1300×) </TD></TR><TR> <TD> Typical Exposure </TD><TD colspan="4"> 2 seconds at F/4 </TD><TD> 1/8 s at F/4 </TD><TD> 1 s at F/4 </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD> <p class="IND"> For other cameras, check for yourself before investing into any filters. You may also find data on selected models at <a href="http://www.jr-worldwi.de/photo/index.html?ir_comparisons.html">Jen Roesner's site</a>. </p> <p class="REMI"> A few of the Sony models (Sony DSC-F707/717/818 in this number) allow you to move the anti-IR filter out of the light's way; unfortunately, Sony went to great measures to make this feature unusable in daylight, as it is supposedly making some clothing partially transparent to infrared. (I would also like to turn Sony's attention that the big lens in the '717 can be used to hurt babies and puppies.) </p> <p class="IND"> Some people modify their cameras by removing the anti-IR filter (sometimes replacing it with a glass plate of equal thickness). This is a tricky operation, but it will usually increase the camera's IR sensitivity dramatically. Obviously, the camera's color performance in visible light will be degraded, and your warranty will be voided. </p> <p class="SEC"> <a name="SLR" /> SLR — the second choice </p> <p class="IND"> Digital SLRs are not my first choice for infrared, for a two major reasons. </p> <p class="IND"> First, this class of cameras (with a few exceptions, see below) does not offer real-time electronic preview, because the light from the lens reaches the sensor only during the actual exposure. This means that you have to put the camera on a tripod, compose the picture without the IR filter, then put it on and shoot blind. </p> <p class="REMI"> Two notable exceptions are the older Olympus E-10 and E-20 SLRs which use a beam-splitting prism and allow for real-time preview, and the more recent Olympus (again!) models, with the <i>Live View</i> feature: the E-330, E-410, and E-510. </p> <p class="IND"> Second, the light metering in digital SLRs is not done by the image sensor itself (like in non-SLR models), but by a separate set of sensors, which may have a different response to infrared. You cannot rely on camera's autoexposure (although you may be able to work out a correction applicable to a given camera/filter combination). </p> <p class="IND"> This is why for infrared I prefer optical finder, non-SLR cameras, like the <a href="http://www.wrotniak.net/photo/infrared/c5050.html">C-5050Z</a> or <a href="http://www.wrotniak.net/photo/infrared/c5060.html">C-5060WZ</a> (or the two-of-a-kind <a href="http://www.wrotniak.net/photo/infrared/e10e20.html">E-10/E-20</a> as mentioned above). </p> <p class="REMI"> A hardcore infrared aficionado may decide to splurge $1800 to get the Fuji S3 Pro UVIR. This is a modification of the "regular" S3 Pro, intended for photography in the infrared or ultraviolet part of the spectrum. In this model, the anti-IR filter (also blocking UV light) in front of the CCD has been replaced with a plain glass plate, so that the overall infrared sensitivity is vastly increased. The camera also allows for live digital preview of the image, very much like in the Olympus Mode B (see the section on image preview below), but limited to 30 seconds. </p> <p class="REMI"> I've never used the S3 (modified or not), so I will not go into details; besides, if you are interested in it, you probably know more about infrared photography than I do. In any case, I wasn't able to find any infrared samples from this camera on the Web, so I do not think it is much used outside of scientific and law-enforcement applications. </p> <p class="SEC"> <a name="FILTER" /> The IR filter </p> <p class="IND"> Then you need an infrared filter. You can buy these from any dependable mail-order supplier, like <a href="http://www.bhphotovideo.com">B&H Photo.</a> </p> <p class="IND"> Various filters may differ in the visible light cut-off point (see the table below). The Wratten #89B (available as Hoya R72), with the light transmission falling down to 50% at 720 nanometers, seems to be most popular and gives the greatest chance of success. The darker #87 or #87C may or may not work, depending on the camera, while the almost-IR #70, while allowing for shorter exposure times, does not provide the eerie Woods effect on greens. </p> <p class="IND"> You also need a way to attach the filter to your lens. This is easy with SLR and digital-finder models, but digital compacts may pose a problem. WIth very few (like the Olympus C-5060WZ) you can do it directly, as the lens is threaded; with others (actually, all other compacts on the market) you will need a lens adapter tube, like the 41-43 mm CLA-1 attachment for the Olympus C-5050Z (plus a step-up ring). </p> <p class="IND"> </p> <p class="IND"> A tripod is essential. For the #89B (R72) filter you will be getting exposures of 1-2 seconds or more at F/4 and ISO 100. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD> <br/> </TD><TD width="10%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/030824-318-t.jpg" /><br/> Olympus E-20, Hoya R72 </TD><TD width="10%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/030824-354-t.jpg" /><br/> Olympus E-20, Hoya R72 </TD></TR><TR> <TD colspan="3"> <p class="SEC"> IR filter summary <a name="FILTERS"> </a></p> <p class="IND"> <a name="FILTERS"> Here is a brief comparison of the infrared filters, including those made by B+W, Hoya, and Tiffen as of November, 2004, Those generally available in glass (as I've checked at B&H in November, 2004) are marked in bold. Some are available as gelatine foil only. </a></p> <p class="IND"> <a name="FILTERS"> The filters are listed in order of increasing "blindness" to the visible light. The "0%" column shows the wavelength below which the filter has zero transmittance (i.e., lets no light through), while "50%" — the wavelength at which the filter blocks half of the incoming light (50% transmittance). </a></p> </TD></TR></TBODY></TABLE> <TABLE class="TTAB"> <TBODY><TR> <TH>Wratten </TH><TH>Schott </TH><TH>B+W </TH><TH>Hoya </TH><TH>Tiffen </TH><TH>0% </TH><TH>50% </TH><TH>Remarks </TH></TR><TR> <TH>#25 </TH><TD>OG590 </TD><TD><strong>090</strong> </TD><TD><strong>25A</strong> </TD><TD> <strong>25</strong> </TD><TD>580 nm </TD><TD>600 nm </TD><TD>Really a red filter </TD></TR><TR> <TH>#29 </TH><TD> RG630 </TD><TD> <strong>091</strong> </TD><TD> - </TD><TD> <strong>29</strong> </TD><TD> 600 nm </TD><TD> 620 nm </TD><TD> Dark red </TD></TR><TR> <TH>#70 </TH><TD> RG665 </TD><TD> - </TD><TD> - </TD><TD> - </TD><TD> 640 nm </TD><TD> 680 nm </TD><TD> Very dark red </TD></TR><TR> <TH>#89B </TH><TD> RG695 </TD><TD> <strong>092</strong> </TD><TD> <strong>R72</strong> </TD><TD> - </TD><TD> 680 nm </TD><TD> 720 nm </TD><TD>Almost "black", but not quite </TD></TR><TR> <TH>#88A </TH><TD> RG715 </TD><TD> - </TD><TD> - </TD><TD> - </TD><TD> 720 nm </TD><TD> 750 nm </TD><TD> I've never seen this one </TD></TR><TR> <TH>#87 </TH><TD> RG780 </TD><TD> - </TD><TD> - </TD><TD> <strong>87</strong> </TD><TD> 740 nm </TD><TD> 795 nm </TD><TD>Cuts off all visible light </TD></TR><TR> <TH>#87C </TH><TD> RG830 </TD><TD> <strong>093</strong> </TD><TD> - </TD><TD> - </TD><TD> 790 nm </TD><TD> 850 nm </TD><TD>Usually called "black" </TD></TR><TR> <TH>#87B </TH><TD> RG850 </TD><TD> - </TD><TD> <strong>RM90</strong> </TD><TD> - </TD><TD> 820 nm </TD><TD> 930 nm </TD><TD> Expensive! $250 & up! </TD></TR><TR> <TH>#87A </TH><TD>RG1000 </TD><TD>094 </TD><TD>RM100 </TD><TD>- </TD><TD>880 nm </TD><TD>1050nm </TD><TD>Blocks even some of infrared </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD colspan="2"> <p class="IND"> The data above is quoted after <a href="http://www.a1.nl/phomepag/markerink/irfilter.htm">W.J. Markerink</a>. For those who would like to have a closer look at IR filter transmittance, here is a graphic representation: </p> </TD></TR><TR> <TD> <img width="400" height="270" src="http://www.wrotniak.net/photo/infrared/_img/ir-trans.gif" /> </TD><TD class="SIDE"> The graph shows the transmittance of various filters as a function of the wavelength. It is based on data by Paul Repacholi (Curtin University of Technology, 1992), posted by <a href="http://www.a1.nl/phomepag/markerink/irfilter.htm">W.J. Markerink</a> and also by <a href="http://www.echeng.com/photo/infrared/filter-data.html">Eric Cheng</a>. <p class="TINY"> The logarithmic scale is used here, as it fits the problem better: differences, say, between 1% and 10% are by far more meaningful than those between 91% and 100%. </p> <p> It can be clearly seen that #89B (R72) still allows through some of the far red (just below and around 700 nm), #87 starts only around 740 nm. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD colspan="2"> <p class="IND"> Just a reminder: the human eye is sensitive to wavelengths up to 700-720 nm or so. </p> <p class="IND"> Because the anti-IR filters in digital cameras block most of the infrared, even slight differences in filter transmittance may have strong effect on results (and exposure). Therefore two filters listed as equivalent in the table above may deliver slightly different results on a given camera. </p> <p class="IND"> <EM>Recommendation:</EM> I believe the most useful, general-purpose IR filter for digital photography is <EM>Hoya R72 (#89B)</EM>. It blocks visible light well enough (if not entirely) to provide a well-pronounced IR effect, while still allowing for non-exotic exposure times. This filter should work fine with most of mid- to high-end amateur digital cameras (your mileage may vary, so check with someone who tried it on your camera). The small amount of visible (far red) light which this filter lets through does not affect pictures enough to spoil the IR effect, while coloring your images red (or purple), therefore they need to be converted to monochrome in postprocessing. </p> <p class="IND"> The <EM>#87 filter</EM> is more expensive and more tricky. Many digital cameras will not be able to "see" through it, while some others may work — again, check with their users. I have tried it with the Olympus E-300: the exposures are much longer </p> <p class="SEC"> <a name="VIEW"> Image preview </a></p> <p class="IND"> <a name="VIEW"> As mentioned in the </a><a href="http://www.wrotniak.net/photo/infrared/#SLR">SLR section</a> above, most of digital SLRs do not allow you to use the LCD monitor for picture preview and composition. You have to compose in the optical finder without the filter (using a tripod, of course), then put the filter on the lens, and shoot blind. If you have a digital SLR and intend working in infrared, you may be better off getting an inexpensive non-SLR model specifically for infrared. You need a small backup camera anyway. </p> <p class="IND"> Digital non-SLR cameras (including EVF ones) are more convenient in this aspect, as you can view and compose the image on the monitor as normal; the preview will be red or purple, of course, and quite dark, but usable for these purposes. </p> <p class="IND"> As mentioned before, the E-330, E-410, and E-510 from Olympus do not suffer from this: their Live View feature allows for electronoc image preview with the filter on. </p> <p class="SEC"> <a name="EXPO"> Exposure setting </a></p> <p class="IND"> <a name="EXPO"> All digital cameras I know measure the light through the lens: most non-SLRs use the CCD itself to do that, while SLRs (except for the E-10/E-20, again) have dedicated metering sensors for which some of the light used for viewing is diverted. </a></p> <p class="IND"> <a name="EXPO"> This means that you can, with most cameras art least, trust the exposure automation — as long as the metering system is capable of doing its job at the very low light levels. It should be: a typical IR exposure with the R72 filter corresponds to exposure value of EV 3, while most cameras can cope with EV zero or close. </a></p> <p class="REMI"> <a name="EXPO"> This is especially applicable to non-SLR cameras, using the CCD for metering, as already mentioned. Still, even with these cameras usually you will have to apply some exposure compensation, usually -0.7 or -1 EV, for the reasons described below. </a></p> <p class="REMI"> <a name="EXPO"> In SLRs, a separate light sensor does the metering; its sensitivity to the IR may be entirely different than that of the CCD imager; therefore you may have to apply a significant exposure compensation to get things right. A few test shots should be enough to establish the value appropriate for a particular camera. For example, I can reliably shoot IR with the Olympus E-300 in the autoexposure mode, but I have to apply a +4 EV compensation. </a></p> <p class="IND"> <a name="EXPO"> When setting the exposure compensation (SLR or not), you have to aim for a picture which will look like it is underexposed, too dark. This is because practically whole image information goes into just one of the RGB components: red, and you have to keep that component from saturation (i.e., running out of range). If your camera can display a brightness histogram for individual RGB components, make sure that the red one does not hit the upper limit. </a></p> </TD></TR><TR> <TD class="SIDE"> <p> Your exposures will be quite long: an IR filter combined with the camera's anti-IR one will let through less than 0.1% of the incoming light. A bright scene, requiring 1/500 s at F/8 in visible light will need about 1 s or longer at F/4 on most cameras. Not only this asks for using a tripod, but, if the air is not quite still, there will be a blur in the foliage, grass, water reflections, etc. This is not necessarily a bad thing, and it may add an extra feel to the image. </p> <p class="SML"> Here is an example. I like the contrast between the sharp (immobile) planks, and the fluid, fuzzy grass. A matter of taste, of course, but it was quite windy that day. </p> </TD><TD width="1%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/060520-4575.t.jpg" /> Olympus E-500, Hoya R72 (XGA <a href="http://www.wrotniak.net/photo/infrared/_img/060520-4575.x.jpg">here</a>) </TD></TR><TR> <TD colspan="2"> <p class="SEC"> <a name="FOG"> Fogging </a></p> <p class="IND"> <a name="FOG"> Certain camera models (SLR or not) may exhibit some fogging, or image areas with extra exposure (for example, a bright central spot some <i>Canon Digital Rebels</i>). This may be due to light scattered from inner surfaces of the camera body and/or lens; perhaps the black coating of those is not black enough in infrared? </a></p> <p class="IND"> <a name="FOG"> Sometimes it happens to all cameras of a given model, sometimes — just to a particular specimen or a particular lens. Camera makers are not worried about this: very few users ever venture into the IR realm, and this is a mass market after all. There is no way to avoid this problem; once again, check an IR filter on your camera before buying. </a></p> <p class="IND"> <a name="FOG"> <EM>Note to SLR users:</EM> regardless of that effect, the image may be fogged, or otherwise affected, by the light entering through the viewfinder in spite of the raised mirror) and reaching the sensor after being scattered around the mirror chamber. To avoid that, close the eyepiece shutter before the exposure, or use the included eyepiece cover (or, at the very least, shield the eyepiece with your hand or hat). Users of non-SLR cameras, obviously, do not have to worry about this. </a></p> <p class="SEC"> <a name="FOG"> </a><a name="FOCUS"> Focusing </a></p> <p class="IND"> <a name="FOCUS"> The focal length of your lens (and therefore the proper focus setting) depends on the wavelength. Lens makers try to keep that dependency to a minimum (achromatic lenses), but only within the visible light spectrum. As soon as you are into infrared, the chromatic aberration curves go astray. </a></p> <p class="IND"> <a name="FOCUS"> Because autofocusing in most digital cameras is done through the lens, the focus shift is automatically taken care of. Therefore it may be safer to let the camera focus — as long as it is capable of doing that at low light levels (down to EV 0, as usually quoted for an F/2 lens). Most cameras are, but not very reliably, so I would recommend taking more than one picture, every time forcing the camera to re-focus. Doing that, no IR-related corrections to focusing are necessary. </a></p> <p class="IND"> <a name="FOCUS"> Setting the focus manually may not work any better, as the distance scale corresponds to focusing in visible light. If in doubt, try setting focus a little closer than the actual subject distance: at the equivalent focal length of 50 mm use about 4-5 m instead of infinity — but this actually depends on the particular lens. </a></p> <p class="IND"> <a name="FOCUS"> My early digital experiments, setting the Olympus E-10 to infinity, resulted in <i>very</i> unsharp pictures. If you want to focus manually, you'll have to do a series of test shots. </a></p> <p class="IND"> <a name="FOCUS"> Depth of field may, to a large extent, help masking the lack of proper focus. In case of problems, try to use wide zoom settings and shoot in aperture priority at F/8 or so; this may help. </a></p> <p class="SEC"> <a name="FOCUS"> </a><a name="POST"> Postprocessing </a></p> <p class="IND"> <a name="POST"> The response of red, green, and blue photosites in the CCD, and therefore the color image recorded by the camera, is the result of a subtle play between the transmittances of three (!) filter layers involved here: (1) the IR filter mounted on the lens; (2) the anti-IR filter in front of the CCD; (3) the tiny red, green, and blue filters in front of each photosite of the sensor. </a></p> <p class="IND"> <a name="POST"> No wonder that the (false) colors of an image shot in infrared may vary from one camera model to another, and from filter to filter used. </a></p> <p class="IND"> <a name="POST"> While some cameras, especially when used with filters darker than #89B, may come up with color images which some may find pleasing, in most cases the images will have a very strong red or purple-red tint, being recorded mostly in the red component. This is certainly true of all Olympus models I have used, but not only. The effect may also depend on the sensor gain (ISO setting) and color balance, but not by much. </a></p> <p class="IND"> <a name="POST"> Therefore usually you would like to translate your IR pictures into gray scale, i.e., to black-and-white (or sepia) monochrome. </a></p> <p class="IND"> <a name="POST"> Depending on your postprocessing program, you can do it by desaturating the image, or changing its mode to 16-bit monochrome, or applying a duotone filter. </a></p> <p class="IND"> <a name="POST"> After the conversion you will usually want to restore the tonal range of your picture (doing that before does not make much sense, as this usually leads to overloading of the red channel and burning out the highlights). Then, after denoising (see below) and, if needed, some sharpening, you may tint your monochrome picture to sepia or something else, although I usually prefer my IR pictures straight black-and-white. </a></p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD colspan="3"> <p class="SEC"> <a name="COLOR" /> Retaining some color information </p> </TD></TR><TR> <TD class="SIDE" colspan="2"> <p> Your infrared images do not have to be monochromatic (like black/white or sepia). There is some color information in the image file, and while it has nothing to do with reality, it may be used to generate quite pleasing images. The easiest way to do that is to split your image into individual RGB components, adjust each separately, and then recombine them. </p> <p> Here is an example of such a treatment, borrowed from my <a href="http://www.wrotniak.net/photo/infrared/c5060.html"><NOBR>C-5060WZ</NOBR> infrared sample page</a>, where you may find more details on how the image was postprocessed. </p> </TD><TD width="1%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/5060t-89b-4-t.jpg" /><br/> Olympus C-5060WZ, Hoya R72 </TD></TR><TR> <TD colspan="3"> <p class="IND"> Another field for experimentation opens itself if you have two versions of the same image (identically framed): one shot with, and one without an IR filter. Bringing both into an image editor, splitting them into R, G, and B layers, and then recombining the R layer from the IR image with G and B (possibly swapped) from the visible-light one gives efefct which is sometimes compared to that of the Ektachrome false-color IR film. Some tonal adjustment of individual layers before recombining them may improve the effect. </p> </TD></TR><TR> <TD width="1%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/false-colors.t.jpg" /><br/> The red layer from an IR image combined with green and blue ones from a visible-light picture. </TD><TD class="SIDE" colspan="2"> Frankly speaking, this is too intrusive for my taste, and the effects will be eye-pleasing for very few subjects. The example I'm showing at the left is just plain ugly. You may have more luck (or skills). <p> In general, I prefer my infrared pictures to be monochrome, sometimes tinted just a bit towards warmer shades. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD colspan="2"> <p class="SEC"> <a name="NOISE" /> Image noise </p> <p class="IND"> Infrared images exhibit more noise than visible-light ones. First of all, the exposures are 1000 times or so longer than in "normal" pictures, and that's when the noise always shows up. </p> <p class="IND"> Another factor is that the image is created mostly in the red component, i.e., using only the R (red-sensitive) photosites of the image sensor. In the most commonly used Bayer matrix arrangement, out of each four photosites (sometimes wrongly referred to as pixels in this context) one records red, one blue, and two — green component of the image. Only when the raw image is being converted to RGB, the missing values are interpolated, so that a pixel (all three components) is created for each photosite location. This means that your eight-megapixel camera records just two megapixels of information, plain and clear; for the R and G photosites the whole signal is just interpolated from their R neighbors. The photosite size, however, remains still at the 8 MP level, just 25% of what it would be for a 2 MP sensor of the same physical size. </p> <p class="IND"> Last but not least, the image has to be kept within just a partial luminance range (read: dark), to avoid overloading the red channel, as I already described above. For a more natural look this limited tonal range will have to be, after desaturation, stretched to the full luminance range. This leads to (usually) doubling of the visible noise amplitude. </p> <p class="REMI"> One may argue that the last two effects partially overlap, i.e., I am listing the same thing twice, but still — the noise is there, much more of it than in visible-light images, be it color or monochrome. </p> <p class="IND"> Some photographers (especially those who never printed anything above 4x6" from their film cameras) are allergic to noise in digital images. Others, however, are so used to the large grain in infrared films, that they consider the noise a part of the "infrared look" and want to emulate the effect in the digital medium. </p> <p class="IND"> If you dislike noise in your IR images, tough: it will be there. You will have much more of it than in "regular" color pictures. If you find the noise objectionable, try to keep it down by using the lowest ISO setting of your camera and opening the aperture as wide as your lens allows (this will, however, reduce the available depth of field, not always desirable, especially in view of possible focusing problems, already discussed). </p> <p class="IND"> Remember also that the infrared image should be underexposed only enough to avoid the red channel overload — but not more, as this will result in more noise amplification when the tonal range is restored. If you are not sure, use exposure bracketing until you get the hang of it. </p> <p class="IND"> Much of the noise can be removed quite well with use of an image-processing program, or, usually more effectively, with a dedicated noise removal application (or plug-in), like, for example, <a href="http://www.neatimage.com">Neat Image</a>. The latter does a very good job, and has a wide range of available adjustments. </p> <p class="REMI"> Still, we are walking a tightrope here. While a moderate amount of noise can be often removed quite nicely, quite often I find that really noisy images look better without that operation, which often leads to excessive loss of texture detail and an unnatural, plasticky look. Be careful and keep the originals in case you change your mind later. </p> <p class="IND"> Many photographers, to the contrary, like the noise effect, as it is often associated with the "classic", grainy infrared look. Actually, from time to time I'm receiving emails how to bring more noise to infrared images! </p> <p class="IND"> To emulate the IR film grain effect, some writers recommend adding artificial noise in postprocessing. I'm not happy with that technique, preferring rather to intensify the natural noise pattern of the CCD. This can be done by setting the CCD sensitivity to the equivalent of ISO 400 (or higher, if your camera allows it). With all cameras I've tried, a one-second exposure at ISO 400 shows more noise than a four-second one at ISO 100, so this will help. As a side effect, it will also reduce the exposure time. </p> <p class="IND"> To make the noise more visible, you may also underexpose your pictures by one or two EV, and then stretch the tonal range in postprocessing to recover the shadows and highlights; this will also amplify the noise considerably. This technique takes less time to apply than to describe, see an example below. Just remember that the tonal smoothness of the result may be affected, therefore it may be better to convert your image to 48 bits (16 bit per color), do the processing, and only at the end convert it back to 24 bits. The noise amplitude will remain unaffected by the switch to 48 bits, but the tonality will be smoother. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD> <br/> </TD><TD width="10%" class="CAP"> <img src="http://www.wrotniak.net/photo/infrared/_img/020504-119-r.jpg" /><br/> Olympus E-20 at ISO 320, Hoya R72, underexposed and re-equalized after desaturation </TD><TD width="10%" class="CAP"> <img src="http://www.wrotniak.net/photo/infrared/_img/020504-119-f.jpg" /><br/> A 1:1 sample from the image at the left </TD></TR><TR> <TD colspan="3"> <p class="IND"> In most of my infrared images, however, I'm happy with the amount of noise as it is, with no need to reduce or to increase it. </p> <p class="SEC"> <a name="ALMOST" /> Almost infrared: a deep-red filter </p> <p class="IND"> The easily available Wratten #29 (B+W #91) deep-red filter will also deliver quite dramatic monochrome effects (although not as strong as these obtained with the #70). But, importantly, with the light loss of only about 8x (3 EV) it can be used safely without a tripod. </p> <p class="IND"> One of my Readers reported success using such a filter for IR photography. To get rid of the visible-light component, he would remove the red layer of the RGB image, leaving only the green and blue layers. As these are virtually blind to red, only the IR input would be left. </p> <p class="IND"> While this might work with some cameras (he used a non-SLR Nikon), my experiments with the Olympus C-5060WZ ended up with negative results. The green and blue image layers, as dark as they were, did not show any Woods effect. This indicates that their IR sensitivity is even lower than that for the red light. I've tried the same approach with a #70 filter, also to no avail. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"> <TBODY><TR> <TD class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/001005-132-t2.jpg" /><br/> Olympus C-3000Z; Wratten #70 </TD><TD colspan="2" class="SIDE"> A deep-red filter may still provide very nice monochrome images, as long as you do not have to have the Woods effect. <p> I'm using it from time to time, and the extra advantage is that with the exposure multiplier you can get away shooting from hand. Some examples are shown in my <a href="http://www.wrotniak.net/photo/infrared/c3000.html">C-3000 almost-IR sample page</a>. </p> </TD></TR></TBODY></TABLE> <TABLE class="BODY"><TBODY><TR> <TD colspan="3"> <p class="SEC"> <a name="WHAT" /> What to shoot in IR </p> <p class="IND"> The most rewarding subject to shoot in infrared are sunny outdoors scenes, especially with lots of foliage, grass, and water, preferably with some nice, white clouds in the sky. Morning and evening sunlight is richer in infrared than midday one, so the glowing Woods effect in the foliage will usually be more pronounced. </p> <p class="IND"> As always in photography, this, however, is not an iron-clad rule. Sometimes an image shot under a cloudy sky may carry a strong visual message as well. For example, I like the one shown in the preceding section. I shot another frame at the same location on a sunny day, and it was, I would say, more trivial. </p> <p class="IND"> Buildings, especially with bright walls, look really good on the background of the dark, almost-black sky. Some people recommend IR for shooting cemeteries, as the subject goes well with the unreal feel of the medium — but, after all, how many cemetery pictures can you take? </p> </TD></TR><TR> <TD colspan="2" class="SIDE"> Don't limit yourself only to the bright greens and dark sky. Even scenes without those telltales of infrared will have a different tonal gradation than a "normal" picture converted to B&W. Look, for example, at this one. <p> Looking at this picture (shot at 1/8 s and F/1.8) now, I think I should have closed the aperture down to F/8 in order to have most of the people shown as streaks of movement at the exposure of 2.5 seconds; with some luck I could get one stationary person in the middle, a real keeper. Well, next time. </p> </TD><TD width="1%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/030705-211-t.jpg" /> <br/> Olympus C-5050Z; Hoya R72 (XGA <a href="http://www.wrotniak.net/photo/infrared/_img/030705-211-x.jpg">here</a>) </TD></TR><TR> <TD colspan="3"> <p class="IND"> The eerie atmosphere of IR pictures goes well with adventurous, off-balance composition. Remember the pictures you were taking as an 18-year old, aspiring photographer? Try that again. (I will, too, try to break that lame habit of neat, even framing, acquired after having grown out of that period.) </p> </TD></TR><TR> <TD width="1%" class="CAP"> <img class="LARGEH" src="http://www.wrotniak.net/photo/infrared/_img/060528-4464.t.jpg" /> <br/> Olympus C-5060WZ, Hoya R72 filter </TD><TD colspan="2" class="SIDE"> <p> Infrared is not a common medium for people shots, but I have seen some very good IR portraits. Outdoors portraits or nudes with the surrealist background may have a strong impact. </p> <p> The skin becomes more white, with most imperfections (and texture) gone, which may be related to the partial transparency of its outer layers to the longer wavelengths, and the porcelain-like tonality quite interesting. </p> <p class="SML"> Check out, for example <a href="http://www.echeng.com/photo/infrared/gallery0307/">one of Eric Cheng's IR galleries</a> (shot with a modified camera, with the IR-blocking filter removed). </p> </TD></TR><TR> <TD colspan="3"> <p class="IND"> </p> <p class="SEC"> <a name="RESOURCE"> Web resources </a></p> <p class="IND"> <a name="RESOURCE"> Back in 2000, when this article was originally posted, there was a scarcity of any IR information on the Web (the first three items on the list below being notable exceptions). With the popularity of digital medium, however, there is more information available now. Here are pieces which attracted my attention. </a></p> <UL class="IND"><a name="RESOURCE"> </a><li> <a name="RESOURCE"> Clive Warren's </a><a href="http://www.cocam.co.uk/CoCamWS/Infrared/INFRARED.HTM"> Infrared Photography FAQ</a> — a good introduction to the subject, covering both film-based and digital aspects; </li> <li> Jeremy McCreary's <a href="http://www.cliffshade.com/dpfwiw/ir.htm">Infrared Basics for Digital Photographers</a> — an excellent article on the subject at his <a href="http://www.cliffshade.com/dpfwiw/index.htm">dpFWIW</a> digital photography site; </li> <li> Eric Cheng has a rich <a href="http://www.echeng.com/photo/infrared/">IR section</a> on his photography site; </li> <li> <a href="http://www.apogeephoto.com/may2003/odell52003.shtml">Digital Infrared Photography Made Easy</a>, an article at Apogee Photo; </li> <li> <a href="http://www.pibweb.com/ross/IR1.htm">Experiments with Digital Infrared Photography</a> by Ross Alford is a nice article with some pointers on obtaining interesting pseudo-color effect by image layer manipulation. </li> <li> <a href="http://www.jr-worldwi.de/photo/index.html">Jen Roesner</a> from Germany has a whole site dedicated to digital infrared photography, including a comparison table of various cameras' <a href="http://www.jr-worldwi.de/photo/index.html?ir_comparisons.html">IR sensitivity</a>. </li> </ul> </TD></TR></TBODY></TABLE><a href="http://www.wrotniak.net/photo/infrared/">SOURCE</a><br/> <!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/infrared" rel="tag">infrared</a>, <a href="http://technorati.com/tag/technique" rel="tag">technique</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-84487397578585851262007-08-11T14:26:00.001+03:002007-08-11T14:26:30.508+03:00Programul Nikon în prim-plan<span class="titlu" /><br/> <span class="txt1"><strong>La Nikon, toate categoriile de preţ ale SLR-urilor sunt bine reprezentate: cumpărătorul are posibilitatea de a alege între cele şapte modele, cu preţuri cuprinse între 450 şi 4.500 euro, iar oferta de obiective AF şi accesorii e foarte diversificată. În articolul de faţă încercăm să analizăm cât mai complet sistemul de produse SLR de la Nikon.</strong></span> <TABLE width="100%" height="5" cellspacing="0" cellpadding="0"> <TBODY><TR> <TD><br/> </TD> </TR> </TBODY></TABLE> <DIV align="justify"><span class="txt1">Treaba merge foarte bine pentru Nikon de când producătorul japonez a început să înregistreze succese pe trei planuri deodată: D2X a câştigat tot mai mult teren în domeniul profesional, D200 în segmentul semiprofesional, fiind cel mai bun aparat foto la clasa sub 2.000 euro. Şi, în final, Nikon a reuşit să-şi croiască drum la categoria sub 1.000 euro prin două modele: D80, un aparat SLR digital de 10 megapixeli, şi D40 – model SLR de bază cu un concept de utilizare inovativ. <br/> Indiferent de clasa de aparate foto din care fac parte, toate modelele de la Nikon au acelaşi lucru în comun: senzorul de imagine de format APS-C cu factorul de unghi vizual 1,5. Astfel, la un obiectiv de 50 mm se îngustează câmpul vizual la nivelul unui obiectiv clasic de 75 mm. Lipsa unui senzor full frame este însă la Nikon o chestiune de optică: dacă ar trece peste 15 megapixeli, un senzor full frame ar avea mai multe rezerve, iar fotografierea ar fi mult uşurată prin focalizarea selectivă şi gradul de detaliu foarte mare în colţuri. <br/> <br/> Pe de altă parte însă, senzorul de format mai mic permite construcţia unor obiective mai compacte şi mai rezonabile ca preţ, cu un câmp vizual mai redus faţă de obiectivele pentru full frame (pe film). Nikon are în prezent opt astfel de obiective cu prescurtarea DX în denumirea produsului, aproape toate cu motor ultrasonic (AF-S Nikkor). Această tendinţă de încorporare a motorului ultrasonic în obiectiv e foarte clar scoasă în evidenţă de noul aparat SLR, D40, care este primul model de la Nikon fără motor ultrasonic încorporat. Obiective AF-S compatibile cu fotografia digitală pot fi găsite şi printre tipurile non-DX. Mai multe despre acestea la capitolul obiective din acest articol. <br/> <br/> <strong>Pentru începători: D40 cu 6 megapixeli</strong><br/> Nikon D40 (600 euro în kit-ul cu obiectiv standard) se prezintă ca fiind noul highlight la clasa de bază. Aparatul are în comun cu D50 (450 euro) şi D70s (600 euro) un RGB-CCD de 6 megapixeli. Şi totuşi, noul aparat are o calitate a imaginii cu mult mai bună: la ISO 100 şi ISO 400 obţine punctajul maxim, 15 puncte, la nivelul de zgomot de imagine, în timp ce D50 trebuie să se mulţumească cu doar 13,5/11 puncte, iar D70s cu 14/11,5 puncte. Observăm o evoluţie şi la contrastul de detaliu, care acum este de 9,5/9 diafragme la ISO 100/400, iar la ISO 800 - 8,5 diafragme. Toate aceste lucruri cântăresc în practică mai mult decât saltul înainte făcut de D70s, la calitatea imaginii la ISO 100.Cu totul nou este conceptul de utilizare al lui D40, Nikon lipsindu-se pentru prima dată la un SLR de cel de-al doilea ecran LCD pentru afişarea parametrilor expunerii. Pentru aceasta se foloseşte de ecranul TFT obişnuit, cunoscut deja de la Canon EOS 400D, Sony Alpha 100 şi de la unele modele Olympus. Display-ul de 2,5 inchi asigură o vizibilitate foarte bună şi permite vizualizarea grafică a unor parametri, cum ar fi diafragma, a cărei deschidere variază odată cu diafragma de lucru efectivă. Accesul la cele mai importante funcţii, cum ar fi sensibilitatea, balansul de alb, rezoluţia, măsurarea expunerii, modul AF, corecţia expunerii şi a bliţului, este asigurat la fel de rapid şi necomplicat prin ecranul LCD. Pentru a ajusta un parametru, se deplasează un marcaj galben cu ajutorul tastelor-săgeţi spre câmpul dorit. Apoi se activează câmpul (la care se şi afişează o imagine demonstrativă), modificaţi parametrul şi confirmaţi. Procedura este logică şi uşor de stăpânit, însă ar putea fi mai rapidă – de exemplu, prin modificarea directă în câmpul marcat cu galben cu ajutorul rotiţei de scroll. Acest lucru este însă posibil cu ajutorul tastei Fn, căreia i se pot atribui până la cinci funcţii diferite. Dacă cele 17 funcţii individuale vi se par derutante, se poate utiliza o selecţie de doar 6 parametri ori se poate configura un meniu individualizat. Atât această opţiune, cât şi meniul „Image edit” au fost implementate în D40 de la D80. Printre funcţiile de prelucrare ar fi interesant de amintit funcţia „D-Lighting” care ajustează în trei trepte contrastul. În loc de un vizor cu prismă ca la D80/D200, în D40 a fost încorporat un vizor cu oglindă cu o reprezentare efectivă a imaginii mai redusă. Faţă de D50/D70s, imaginea din vizorul lui D40 este totuşi ceva mai mare, magnificarea efectivă fiind de 0,54 faţă de 0,48. În schimb, a fost redus sistemul AF, care acum trebuie să se descurce doar cu trei câmpuri dispuse orizontal; D50/D70s aveau la dispoziţie cinci câmpuri. D40 declanşează însă mai rapid: 0,36 secunde întârzierea de declanşare inclusiv AF – o valoare de nivelul unui D80 sau D200. Spre comparaţie, Nikon D50 şi D70s declanşau după 0,48 secunde, respectiv 0,44 secunde. Doar la timpul de pornire, D70s se dovedeşte a fi net mai rapid: 0,2 secunde faţă de 0,6 secunde. Pentru prima dată un SLR digital de la Nikon vine fără motor AF. În ciuda baionetei nemodificate mecanic, D40 poate să folosească doar obiective de tip AF-S şi AF-I cu motor AF integrat, limitând astfel numărul de obiective din gama Nikon la mai puţin de 20 de modele, mai ales că multe dintre obiectivele de la producători terţi sunt incompatibile. În tabelul nostru veţi găsi lângă D40 şi modelele D50 şi D70s, foarte rentabile în prezent. Totuşi, noi vă recomandăm, în ciuda preţului mai ridicat, modelul D40, datorită rezultatelor mai bune la ISO 400, cu excepţia situaţiei în care aveţi deja numeroase obiective Nikkor (în afară de cele AF-S şi AF-I) şi doriţi să le folosiţi în continuare. <br/> <br/> <strong>Pentru avansaţi: D80/D200 cu 10 megapixeli</strong><br/> Nikon D200 (1.400 euro) punctează ca aparat foto semiprofesional prin dotarea sa de primă clasă şi prin performanţele sale excepţionale: 57,5 puncte (ISO 100), respectiv 54,5 puncte (ISO 400) pentru calitatea imaginii, cele mai bune valori la aparatele din clasa sub 2.000 euro. Aparatul de 10 megapixeli reuşeşte să convingă atât la nivel de zgomot de imagine (15 puncte la ISO 100/400), cât şi la rezoluţie (1173 PL/ÎI la ISO 100). Nici la balansul de alb, fidelitatea de culoare sau la contrastul de obiectiv nu-i putem găsi niciun cusur demn de amintit. În ceea ce priveşte dotarea, nu lipsesc accesorii profesionale cum ar fi de exemplu adaptorul WLAN WT-3 sau posibilitatea de conectare la un receptor GPS pentru salvarea coordonatelor geografice în informaţia fotografiei. Carcasa e construită dintr-un aliaj de magneziu şi este etanşeizată contra prafului şi umezelii. Greutatea sa de 830 g îl face să stea foarte bine în mână, fapt la care contribuie din plin şi cauciucarea mânerului. Graniţa dintre un aparat profesional şi unul pentru amatori dispare la acest model, cu excepţia prezenţei bliţului încorporat. LA fel ca la modelele profesionale de la Nikon, D200 poate fi utilizat împreună cu obiectivele Nikkor AI cu focalizare manuală în programul prioritate de timp. Display-ul TFT de 2,5 inchi are o rezoluţie de 230.000 pixeli şi permite o vizibilitate de până la 170 grade vertical/orizontal. Aparatul foto poate fi reglat după dorinţă prin nu mai puţin de 45 de funcţii individuale, aceste setări putând fi salvate pe patru locuri de salvare. Pentru a uşura utilizarea lor, funcţiile individuale au fost împărţite în şase grupe. Modulul de focalizare automată Multi-CAM 1000 ridică noi ştachete la această clasă de aparate foto. Puteţi reduce numărul total de câmpuri de măsurare, de la 11 la 7 câmpuri mărite, permiţând astfel focalizarea mai uşoară pe subiecţi în mişcare. Câmpurile de măsurare pot fi selectate individual sau în grupe, pentru a putea focaliza confortabil pe porţiunea centrală a subiectului. Întârzierea de declanşare este de 0,36 secunde, D200 fiind întrecut clar de concurentul de la Canon la acest punct, EOS 30D (0,25 secunde). Acumulatorul Li-ION EN-EL3e permite 100 de declanşări cu o singură încărcare, deşi aparatul are un consum foarte ridicat de energie. O caracteristică profesională este punctul din meniu „Battery diagnostic” care afişează starea bateriei, numărul de expuneri (de la ultima încărcare) şi durata de viaţă. Modelul mai ieftin de 10 megapixeli, D80 (870 euro), seamănă la exterior cu modelele D70, însă atinge nivelul lui D200 la calitatea imaginii: 57/55 puncte la ISO 100/400. Senzorul de 23,6 x 15,8 mm produce fotografii de 32,78 x 21,95 cm la 300 dpi, care nu sunt salvate pe carduri CF ca şi la D200, ci pe SD. A fost preluat de la D200 modulul AF Multi-CAM 1000, cu 11 puncte de măsurare. Spre deosebire de D200, la D80 avem mai puţine posibilităţi de influenţare a focalizării automate – de exemplu, selectarea manuală a grupelor de câmpuri de măsurare. În plus, lipsesc diferite rotiţe care la D200 permit accesul direct la diferite moduri de AF sau metode de măsurare a expunerii.Display-ul LCD (iluminat) este mult mai mic decât la D200, iar pentru a compensa acest lucru, nu s-a recurs la reducerea numărului de informaţii, ci s-au micşorat cifrele şi simbolurile. Display-ul TFT este la fel de mare ca la D200, 2,5 inchi, fiind mai mare decât la D50/D70s. Şi la D80 avem acelaşi factor de magnificare a vizorului de 0,6; imaginea din vizor este astfel vizibil mai mare decât cea a multor aparate concurente. Dacă nu vă simţiţi confortabil cu numeroasele opţiuni tipice pentru Nikon, găsiţi în meniul lui D80 la „Menu select” opţiunea „Custom mode”. Aici aveţi acces la fiecare dintre cele cinci submeniuri şi la punctele de meniu aferente. Fiecare punct de meniu poate fi activat sau dezactivat, obţinând astfel un meniu personalizat. Spre deosebire de D200, aici lipseşte meniul „Last settings”. La D80 pot fi prelucrate imaginile deja expuse şi salvate ca noi fişiere. Printre opţiunile de prelucrare se numără corecţia „ochi roşii”, efectele monocromatice (alb-negru, sepia sau tonul albastru), precum şi filtre cum ar fi Skylight sau Warming tone. La balansul de culoare puteţi modifica atmosfera de culoare cu ajutorul unui meniu grafic pe patru axe. Suplimentar, e posibilă decuparea unor porţiuni din imagine sau generarea de imagini micşorate, pentru trimiterea lor prin e-mail. La „Image cut” se pot contopi două imagini RAW într-o dublă expunere. Cu „D-Lighting” se poate efectua reglarea contrastului în trei trepte – zonele de umbră sunt iluminate şi aduse la nivelul luminilor din imagine. <br/> <br/> <strong>Aparate foto profesionale: D2Xs şi D2Hs</strong><br/> Clasa profesională se defineşte la Nikon nu neapărat prin rezoluţie, ci prin tipul carcasei, identică la modelele D2Xs şi D2Hs, dotate cu grip şi etanşeizate contra prafului şi umezelii. Tipic e şi display-ul TFT de 2,5 inchi, precum şi display-ul LCD care-l completează pe primul şi e dispus în partea superioară a carcasei. Toate elementele de control, cele patru rotiţe, precum şi diversele taste sunt dispuse ergonomic şi permit utilizarea aparatului foto fără a fi nevoie să se recurgă la manual. Altă trăsătură comună: ambele modele utilizează un CMOS pentru compunerea imaginii, şi nu un senzor RGB ca la celelalte SLR-uri digitale din aceeaşi casă. La balansul de alb, aparatele foto lucrează cu trei sisteme de măsurare: un senzor la prismă măsoară temperatura culorii, independent de culorile subiectului (măsurarea luminozităţii), influenţând astfel valorile furnizate de senzorul de imagine şi de măsurarea în matrice 3D, şi în cazul expunerilor cu bliţ. Printr-un emiţător care se montează pe podeaua carcasei, este posibilă transmisia imaginilor de la aparatul foto la o reţea locală (LAN). Cu o rezoluţie nominală de 4 megapixeli, D2Hs (3.100 euro) face o impresie exotică printre celelalte aparate SLR din categoria profesională. Din această cauză, valorile calităţii imaginii se situează cu mult sub nivelul standardului clasei (45,5/43,5 puncte la ISO 100/400). Aparatul foto pentru reportaje e conceput pentru viteză, reuşind să capteze 6,5 cadre pe secundă, putând salva mai mult de 50 de imagini într-o serie. Modelul de top de la Nikon, D2Xs (4.400 euro), reuşeşte să atingă cu un senzor APS-C (23,7 x 15,7 mm) o rezoluţie de 12 megapixeli şi să obţină 62 puncte la calitatea imaginii la ISO 100 /59,5 puncte la ISO 400). La nivelul de zgomot de imagine, D2Xs şi D2Hs ating valori asemănătoare, iar la fidelitatea de culoare şi la contrastul de obiect D2Xs reuşeşte din nou să se distanţeze. Modulul AF lucrează la fel ca la D2Hs cu 11 puncte de măsurare şi nouă senzori în cruce. Întârzierea de declanşare inclusiv timpul de AF este de 0,22, net mai scurt decât la celelalte modele de la Nikon. În modul highspeed, aparatul foto foloseşte o zonă centrală din imagine la o rezoluţie de 6,8 megapixeli; un complex raster electronic uşurează compoziţia fotografiei. Astfel, rata imaginilor se măreşte, conform producătorului, până la opt cadre pe secundă, dar să nu uităm că aparatul reuşeşte şi la rezoluţie maximă până la 5,2 cadre pe secundă şi 20 de imagini într-o rafală. <br/> <br/> <strong>Accesorii pentru aparatele foto</strong><br/> Un Nikon vine rareori singur: numeroasele accesorii uşurează şi extind posibilităţile aparatului de fotografiat. Astfel e, de exemplu, gripul multifuncţional pentru D200, MB-D200, care poate fi dotat la alegere cu unul sau doi acumulatori Li-Ion de tipul EN-EL3e sau cu şase baterii mignon (alcaline, Li sau Ni-MH). Pentru sporirea confortului în timpul manevrării, acesta e dotat şi cu un declanşator pentru formatul tip portret, două rotiţe de reglare şi o tastă separată AF-on. Asemănător cu acesta e şi grip-ul MB-D80 pentru Nikon D80. Adaptorul WLAN pentru transmisia imaginilor spre o reţea wireless este destinat atât seriei D2 (WT-2/2A), cât şi lui D200 (WT-3/3A). În completare, mai există antena externă WA-E1 pentru extinderea razei de semnal wireless de la 30 m la 150 m, în aer liber. O altă combinaţie ar fi un aparat foto Nikon cu un receptor GPS pentru sistemul de poziţionare globală. Receptorul GPS poate fi cuplat la un sistem Garmin sau Magellan, iar coordonatele geografice împreună cu timpul global (WTC) pot fi integrate în metadatele unui fişier imagine. Astfel, un fotograf care face fotografii în deşert poate regăsi oricând locul unei expuneri care i-a plăcut în mod deosebit cu ani în urmă. Jurnaliştilor le este uşurată munca prin funcţia GPS în cazul unor evenimente catastrofale, cum ar fi inundaţiile, în acest caz reuşindu-se identificarea poziţiei din elicopter. Pentru conectarea la GPS se foloseşte cablul adaptor MC-35. Un teledeclanşator cu cablu precum MC-30 (pentru D2/D200) permite declanşarea fără miscarea involuntară a aparatului şi dispune de o funcţie de reglare a timpilor de expunere mai lungi; MC-36 permite suplimentar expunerea la anumite intervale şi dispune de un display iluminat. Şi mai confortabil: cu ajutorul telecomenzii Modulite ML-3, aparatele foto de tipul D2/D200 pot fi controlate de la distanţă prin două canale infraroşu separate; distanţa maximă de utilizare e de 8 m. Vizorul unui aparat digital SLR de la Nikon poate fi modificat în diferite moduri – de exemplu, se poate ataşa un vizor angular, care uşurează expunerile de la nivelul solului. Oferta constă din DR-5 pentru aparate cu ocular rotund (seria D2) sau DR-7 pentru aparatele cu oculare dreptunghiulare (D200, D80, D40 sau D50). Lupa de mărire (DG-2) permite la majoritatea aparatelor din seria D o mărire 2x a subiectului de fotografiat, din mijlocul cadrului. Plăci mate cu raster există doar pentru seria D2. La aparatele pentru amatori, D80 sau la semiprofesionalul D200 se poate activa un raster în vizor – o funcţie foarte practică pentru fotografia de natură statică sau arhitecturală, când aparatul trebuie să fie poziţionat perfect la orizontală. <br/> <br/> <strong>Serii de obiective pentru Nikon</strong><br/> Familia de obiective de la Nikon este foarte diversificată, o privire de ansamblu fiind destul de complicată, chiar şi pentru cunoscători. Obiectivele din casa Nikon se numesc deja din 1932 „Nikkore”. Prin Nikon F, Nikon a introdus în 1959 baioneta F, care a fost dezvoltată simţitor în decursul timpului, adăugându-i-se numeroase contacte electronice, însă ca dimensiuni a rămas neschimbată. La început, obiectivele erau cuplate printr-un adaptor sub formă de cablu pe inelul diafragmei, dar care a devenit de prisos odată cu introducerea filetului AI. Acronimul AI vine de la „Automatic Maximum Aperture Indexing” şi face conexiunea directă între obiectiv şi carcasa aparatului foto. Multe - însă nu toate - obiective de la Nikon au putut fi modificate pentru noul filet AI. Cele mai multe obiective AI pot fi utilizate şi în prezent la aparatele foto moderne de la Nikon, fapt ce i-a conferit baionetei F durabilitatea în timp. Normal că în acest caz ne lipsim de focalizarea automată, dar aceasta poate fi făcută manual, cu ajutorul inelului de focalizare de pe obiectiv. Compatibilitatea acestor obiective e însă şi mai mult relativizată, dacă ne gândim la câte alte funcţii ar trebui să se renunţe. De exemplu, un obiectiv AI funcţionează la un F100 şi F6 sau la aparatele profesionale D1/D2 cu programele prioritate de timp şi măsurare ulterioară, însă nu şi cu programele prioritate de diafragmă sau de program. La toate aparatele foto din clasa sub 1.000 euro, de la D40 până la D80, prin folosirea unui obiectiv AI Nikkor cade complet măsurarea expunerii, deoarece acestea nu au modulele necesare măsurării deschiderii diafragmei. O excepţie lăudabilă o constituie D200: pentru a utiliza un Nikkor AI cu focalizare manuală, trebuie doar să introduceţi în meniul aferent deschiderea minimă a diafragmei şi distanţa focală – foarte practic pentru posesorii de obiective Nikkor vechi, a căror calitate mecanică şi optică rămâne încă şi în ziua de astăzi aproape imbatabilă. La începutul anilor '80, montura AI a fost transformată în AI-S, cam odată cu apariţia lui Nikon FA: pentru ca aparatul foto să poată efectua fotografii clare la programele prioritate de diafragmă sau de program, procesorul intern avea nevoie de informaţii despre distanţa focală a obiectivului. Dat fiind că obişnuitele obiective AI nu fuseseră proiectate pentru aceasta, toate obiectivele Nikon au fost dotate din acest moment cu montura AI-S. Obiectivele de acest tip se recunosc după culoarea portocalie a deschiderii minime a diafragmei şi după o uşoară protuberanţă pe baionetă. Şi F-301, F-501 sau F4 au nevoie de obiective AI-S pentru a putea funcţiona optim. Obiectivele cu focalizare automată introduse în 1986, odată cu F-501, corespund mecanic monturii Nikkor AI-S. Pentru focalizarea automată e activat un motor din obiectiv, care e cuplat la un mecanism de transmisie spre inelul de focalizare. O altă noutate este microprocesorul integrat, denumit şi Central Processing Unit sau CPU. Obiectivele AF cu CPU suportă toate funcţiile aparatelor SLR digitale şi analoge actuale de la Nikon, cum ar fi măsurarea în matrice 3D şi sistemul de măsurare 3D cu multi-senzor, ambele necesitând informaţii despre distanţă, de la obiectiv. Toate obiectivele Nikkor D posedă această caracteristică, la fel şi cele de tipul G. Ultimele se deosebesc de tipul D prin lipsa inelului de diafragmă; diafragma este în acest caz controlată numai cu ajutorul aparatului foto. Din 1996, Nikon produce obiective Nikkor AF-S, cu motor ultrasonic încorporat (Silent Wave). Dezvoltarea acestei linii de produse a durat însă ceva mai mult decât la concurentul principal, Canon. Obiectivele precedente erau Nikkor AF-I, care dispuneau la fel de un motor de focalizare (însă nu Silent Wave). Cei mai noi membri ai familiei de obiective de la Nikon sunt obiectivele DX, special concepute pentru senzori digitali de format APS-C. Şapte din opt obiective din această serie sunt de tipul Zoom şi AF-S, cel de-al optulea fiind un Fisheye Nikkor 2,8/10,5 mm G ED DX, care poate să se descurce fără motorul de focalizare datorită distanţei de focalizare foarte mici. Un alt avantaj este că la obiectivele AF-S, focalizarea automată funcţionează prin rotirea inelului de focalizare, făcând astfel posibilă continuarea focalizării în mod manual (mod de funcţionare M/A). În programul de obiective de la Nikon se numără în prezent aproximativ 40 de obiective cu focalizare automată. Pe lângă modelele DX amintite, se mai găsesc cam o duzină de alte zoom-uri de tip AF-S, la care se adaugă 20 de obiective fixe, de la fisheye până la super-teleobiective cu distanţă focală de 600 mm, precum şi trei teleconvertoare. Pentru apropiere, Nikon are patru Micro-Nikkor în program, cu 60 mm, 85 mm, 106 mm şi 200 mm. Un „must have” pentru fanaticii calităţii este Micro Nikkor 2,8/60 mm D AF – unul dintre cele mai bune obiective Nikon, fiind interesant atât pentru apropiere cât şi pentru portrete, corespunzând unui factor de unghi vizual de 1,5 la o distanţă focală de 90 mm la fotografia analogă. Micro Nikkor 85 mm este un aşa-numit „obiectiv PC”, denumire care nu are nimic de a face cu calculatoarele, ci cu posibilitatea de control a perspectivei, prin deplasarea axei optice. Se mai găsesc încă în comerţ obiective cu focalizare manuală, cu distanţe focale cuprinse între 20 şi 105 mm. Printre obiectivele cu distanţă focală variabilă din seria DX, se remarcă 2,8/17-55 mm G ED-IF AF-S DX; optica de înaltă calitate se îmbină cu o luminozitate de 1:2,8, făcându-l astfel recomandat pentru toate aparatele foto SLR Nikon digitale, singurul cusur al său fiind însă preţul foarte piperat, 1.400 euro. Bun şi în acelaşi timp rentabil este însă teleobiectivul AF-S Zoom Nikkor 4,5-5,6/70-300 mm G VR, la care iniţialele VR (Vibration Reduction) înseamnă că obiectivul e dotat cu un stabilizator de imagine. O listă cu obiectivele Nikkor o veţi găsi la secţiunea de tabele; cele mai multe dintre ele au fost caracterizate prin „recomandate pentru digital” pentru cel puţin un aparat de la Nikon. <br/> <strong><br/> Bliţuri cu i-TTL</strong><br/> În oferta Nikon există în prezent trei bliţuri de sistem, completate de un sistem macro-bliţ (vezi caseta). Capul de serie e SB-800, cu un număr-ghid 38 (ISO 100 la 35 mm), care are întreaga gamă de funcţionalităţi a unui bliţ extern profesional. Suportă standardul flash de la Nikon – CLS (Creative Lighting System), al cărui nucleu îl constituie controlul i-TTL. Acesta funcţionează la fel ca D-TTL cu măsurătoare a bliţului înainte de expunere, însă are în plus posibilităţi suplimentare, printre care se numără controlul prin infraroşii. Astfel, un SB-800 poate fi declanşat şi prin bliţul încorporat al unui SLR digital de la Nikon în modul master-slave. Cu tehnologia i-TTL sunt compatibile toate aparatele foto SLR digitale actuale de la Nikon; e necesar însă un obiectiv cu CPU. D100 şi modelele din seria D1 sunt compatibile cu SB-800 prin D-TTL; cu aparatele analoge, bliţul poate fi utilizat în modul TTL. În modul de funcţionare AA (automatic), bliţul stabileşte singur iluminarea corectă cu ajutorul senzorilor proprii şi a luminii reflectate de obiect. La aparatele compatibile CLS cu obiective cu CPU, sensibilitatea, corecţia expunerii, diafragma şi distanţa focală sunt transmise spre bliţ; la alte aparate foto se compară diafragma de lucru între aparatul foto şi bliţ în mod manual (modul A). La controlul manual (M) se poate varia puterea de iluminare al bliţului între 1/1 şi 1/128 în trepte de o treime de diafragmă. Pentru controlul lui SB-800 este folosit, pe lângă tasta cu modurile de funcţionare (mode), un foarte practic navikey cu patru căi şi tastă centrală multifuncţională (SEL). O caracteristică a calităţii aparatelor de la Nikon este piciorul bliţului din metal, precum şi maneta de armare în loc de butonul obişnuit, de la alte bliţuri. În pachet se mai află un softbox şi un mini-reflector care reflectă lumina pentru iluminarea indirectă, generând astfel sclipiri în ochii persoanei folosite ca subiect într-un portret. Pe lângă SB-800, Nikon mai are în ofertă alte două bliţuri: SB-600 cu un număr-ghid 30 (ISO 100, la 35 mm), bine dotat şi o alternativă rentabilă la modelul de vârf. Mulţumită integrării sistemului CLS pot fi utilizate mai multe SB-600 într-un conector multi-bliţ şi controlate cu ajutorul unui bliţ master SB-800. Şi în acest caz, controlul poate fi preluat de bliţul integrat în aparatul foto. În final, SB-400: extrem de compact, cu numărul-ghid 21 (ISO 100, pe 35 mm), un ajutor probat pentru cazurile în care bliţul aparatului foto nu este îndeajuns sau apare dorinţa unei iluminări indirecte (reflectorul poate fi rabatat) – o completare foarte bună la compactul D40.<br/> <br/> <a href="http://photomagazine.ro/photomagazine/index.php?categ=teste&articol=0">SOURCE</a><br/> </span></DIV><!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/nikon" rel="tag">nikon</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-90634921815205378292007-08-10T11:00:00.001+03:002007-08-10T11:00:10.543+03:0010 Tips for Street Photographers<DIV id="storybody"> <DIV id="storyAllImages"> <DIV class="croppedMainImage"><a title="View: Chilean Police" href="http://www.jpgmag.com/photos/221295"><img width="298" height="448" alt="Chilean Police" src="http://photos.jpgmag.com/221295_79309_f9c0dd109b_l.jpg" /></a></DIV> <DIV id="storyimages"> <DIV class="photorow"> </DIV> </DIV> <!-- end photos/storyimages --> </DIV> <H5 class="storyauthor">By <a title="Visit profile for Kyle Hepp" href="http://www.jpgmag.com/people/kyleracine"> Kyle Hepp</a></H5> <H6 class="storydate">9 August 2007</H6> <p class="first">1. Be discreet. If you are trying to capture the moment without your subject's active participation in the photo try to not to make a big deal about taking your camera out or changing your lens. You want to blend in with your surroundings, not scream to the world, "I'm a tourist, I'm a tourist!" I'm a blonde girl living in a city (Santiago) full of dark haired vixens. I wear a hat and dark, nondescript clothes to try to blend in because if I don't, too many people approach me to try and practice their English and they distract me from the shots I want to take.</p> <p>2. If you can't be discreet, ask permission. I once picked up my lens to shoot a street vendor selling peanuts and as I looked through the viewfinder, I realized he was staring right at me and scowling. I was pretty far away from where he was standing but he had noticed that I wanted to take his picture. As soon as I pointed at my camera, pointed at him, and made shrugging gestures indicating I wanted to photograph him, he nodded, immediately relaxed and I got a fantastic shot.</p> <p>3. Street photography is often described as "gritty," so try to capture the grit! There's no sense in only photographing the beautiful part of a city. I'm not saying you need to go someplace dangerous but I am saying that you should get out of your comfort zone. I have learned that shooting in places that I'm not familiar with is the best way to get good shots. If you are in a place that has been photographed by many other people it's too easy to take a cliché photo that has been done a thousand times before.</p> <p>4. Pay close attention to the details around you. Some of my best photos have been when I've really paid attention to the minutia of a city, such as it's graffiti, trash, street signs or the way people walk. Include these things in your composition and you can make the photo much more interesting. I have learned to love photographs of feet that show the rhythms and movement of a city. One of my favorite photographs I shot of nothing more than the patterns of the sidewalk.</p> <p>5. Don't be afraid to try photography techniques that are out of the ordinary. I took a shot of a kid sitting in front of a wall covered in graffiti and put him in the left third of the photo following the rule of thirds. The shot was boring. When I centered him, the image was transformed into something much more powerful and direct. Sure, it's not a composition from the text books, but I think the picture turned out so much better that way.</p> <p>6. Be aware of your surroundings. So many photographers completely lose themselves in the moment when they get behind the camera. This isn't safe. Either go out shooting with a partner, someone who will have your back the whole time you're not paying attention because you're shooting (and vice versa), or put down the camera every 30 seconds and take stock of what, and who is near you. Trust me. I know from sad experience that it takes less than 5 seconds for someone to cut your camera strap and dash away with your most prized possession.</p> <p>7. Know your rights. In the country you're in are you allowed to shoot in public places? If so, then shoot away and if anyone tries to tell you that you can't, simply state that you are acting within the boundaries of the law and they cannot stop you. Once, a policeman was trying to get me to stop photographing a car crash. He screamed and yelled and tried to intimidate me, but as soon as I mentioned that I was well aware that what I was doing was lawful and that he wasn't legally able to stop me, he shut right up and let me continue shooting.</p> <p>8. Don't discard a photo because it doesn't meet your normal criteria. Criteria for street photography should be different than the standards you normally hold yourself to for studio photography, or posed portraits, for example. I once almost discarded a photo because instead of getting the focus right on the subject, I had focused on a tool in his hands. When a friend looking at the photo said, "It's so awesome that you are focusing on his work to show that it defines him," I knew that my accidental focus made the shot interesting. I'm not saying you should lower your standards and take poor quality photos. The point I'm trying to get across is that when you are taking street photos, you have less time and the conditions are often less than adequate. Those little "mistakes," you make, like an odd focal point, low lighting and too much grain, or a strange perspective, are what can make a street photo a thousand times more intriguing than a perfectly posed and lighted studio shot.</p> <p>9. Define what you are trying to capture: person, place or thing. Are you trying to portray the seediness of a nightclub? That's a place, so stay right near the night club and photograph the area from a thousand different perspectives until you get perfectly capture the mood. Or are you trying to perfectly capture an animal subject? Then follow it. I have seen a thousand photos of a dog lying in the streets, or in doorways. But, the most interesting set of pictures of a canine that I ever saw were from a photographer who trailed a dog for a half day taking pictures of the dog's life scrounging for food, flirting with girl dogs, marking his territory, and fighting with other street dogs. He got down and shot from the dog's perspective too, and the end result was fascinating. Animals can be so one-dimensional if you only shoot them in one setting doing one thing. The same goes for people. If you have decided the focus of your street photography is a person, I would try to capture them interacting with their environment in as many different ways as possible, and showing multiple emotions so you can portray them in a multi-dimensional way. Just a word of caution, always ask before you start following a person around or they may think you're a stalker!</p> <p class="last">10. Lighten up. The people you are taking pictures of aren't paid clients. They aren't going to freak out if you don't photograph them from their best angle. Relax, go out and enjoy the experience. Don't put pressure on yourself to come back with a million awesome photos. Since you can't control lighting, posing, crowds, or a million other factors, you need to be able to go with the flow. I have a handful of about 10 great street photos that are the result of more than 10 trips into the city. Getting that perfect shot is not easy, so don't stress!</p> <p class="last"><a href="http://www.jpgmag.com/stories/1290">SOURCE</a><br/> </p> </DIV><!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/street" rel="tag">street</a>, <a href="http://technorati.com/tag/tips" rel="tag">tips</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-51699959343364661012007-08-10T10:13:00.001+03:002007-08-10T10:13:47.670+03:00Ten Tips To Wedding Photography<DIV id="storybody"><DIV id="title"> </DIV> <DIV id="storyimages"> <DIV class="photorow"> </DIV> </DIV> <!-- end photos/storyimages --> <H5 class="storyauthor">By <a title="Visit profile for Langley Windy" href="http://www.jpgmag.com/people/Winwin"> Langley Windy</a></H5> <H6 class="storydate">9 August 2007</H6> <p class="first">If your already a wedding photographer you will already know what I am about to say, but if your new to the big world of wedding photography you will need to read these " Ten Tips To Wedding Photography".</p> <p>Wedding photography is a very keep you on your toe's job and it is not for the shy hearted person at all you must be fast out going and aggressive to get your job done all to stay a top of your game. If you follower the steps you will be on your way to becoming a wedding photographer the tips are as listed.</p> <p>1) Make sure the type of photography the bride is wanting is something you can do and do well.</p> <p>2) All agreements should be clean and on paper so you will not end up with no misunderstanding between you and the bride to be.</p> <p>3) It is good to either already know the location of the wedding or make it a point to go take a look so on the day of the wedding you will know just where you want to get all those prize photos in at.</p> <p>4) Make sure the bride has some one to appoint to be over the wedding party both sides bride and groom, this is to help you do your job better.</p> <p>5) Learn how to run the show on the part of the photography or you will find you will be over stepped and you will not get the photos you was paid to get.</p> <p>6) Make it a point to have the wedding party come to the location of the wedding at least two hours before the wedding to take all the before photos this will save time after the wedding and you will find you will be able to take better and more fun photos.</p> <p>7) In today's world you may suggest that the bride and groom take their photos a long with the ones you will be getting before the wedding but let it be known if they do not want to do this step number six still needs to be done.</p> <p>8) With all the before photos done now you have time for family photos after the wedding and bride and groom with everyone in the party if you was not able to get this before the wedding. This should be done in a timely manner they do have guest waiting.</p> <p>9) Always make sure the bride knows not to let any special moment happen with out you and your camera there.</p> <p>10) Last but no least HAVE FUN!!!!</p> <p class="last">If you keep all these steps in mind you will find you will be more in control and it will make you a better photographer for doing so and your photos will show it and along with that comes more jobs.</p> <p class="last"><a href="http://www.jpgmag.com/stories/1289">SOURCE</a><br/> </p> </DIV><!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/wedding" rel="tag">wedding</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-78913757727635676262007-08-08T20:05:00.001+03:002007-08-08T20:05:31.052+03:00Infared and Time on Your Hands<DIV id="storybody"> <DIV id="storyAllImages"> <DIV class="croppedMainImage"><a title="View: Ghost TWIN!" href="http://www.jpgmag.com/photos/212495"><img width="299" height="448" alt="Ghost TWIN!" src="http://photos.jpgmag.com/212495_59486_3e00145559_l.jpg" /></a></DIV> <DIV id="storyimages"> <DIV class="photorow"> </DIV> </DIV> <!-- end photos/storyimages --> </DIV> <a href="http://www.jpgmag.com/people/clicktastic"><br/> </a> <H5 class="storyauthor withImage">By <a title="Visit profile for Patrick Fulks" href="http://www.jpgmag.com/people/clicktastic"> Patrick Fulks</a></H5> <H6 class="storydate withImage">2 August 2007</H6> <p class="first">I had purchased an infrared filter for my Nikon D200 and of course had to take it out and play with it. The initial images that I got were ok but I wanted to do something a little different from the average shots of trees and grass that usually come out white with a infrared filter versus darker tones in a standard black and white. I wanted to get creative.</p> <p>So I contacted a model that I regularly work with and we got to work. We decided that the eerie effect that an infrared filter can give was perfect for cemeteries (which you will find infrared of gravestones and such on several sites on the internet) but to be creative we decided to work with the multiple exposure feature of the D200. We were going to create a duplicate of my model and make her visit her ghost self in front of a grave marker.</p> <p>To do this I had to first set my camera for shooting in black and white. If you leave your camera set to shoot in color you will get nothing but a red image. This is caused by the infrared filter does not allow for any visible light to get through. Only light from the upper spectrum (above 720mm) passes to your sensor.</p> <p>Next I had to set the camera for four exposures of the image. I set the ISO at 100, f3.8 and exposure at 125 The first three of the four exposures I set for 8 seconds each. The reasoning behind why I did three exposures of the exact same thing would be to make the model appear solid. I had the model stand next to the grave marker and place her hand approximately 1.5 inches above the top of the marker. Now here comes the hard part. She had to remain perfectly still for each of the first three exposures and not even blink. If you want to get an idea of how difficult this is stand up and hold your arm out, don't move a muscle or blink for 24 seconds. It's tougher than it looks. (got to give the model her due!) We took the first three exposures and had her move to the other side of the marker, kneel on the ground and place her hand on the top of the marker to give the appearance of her hand being under where the hand was placed in the first three exposures.</p> <p>I set the camera for 15 seconds on the last exposure to get enough light in to make her visible over the first three exposures.</p> <p>The blur effect of the models dress when standing was caused by the slight wind that was blowing that day and you can see this in the leaves of the trees in the background. It is highly recommended that if you are going to do prolonged exposures of more than a couple seconds that you try this on a day where there is very little or no wind to get a crisp clean image. Personally I like the effect, and feel that it adds to the overall eerie feel of this picture.</p> <p>I do want to note that the settings of my camera are strictly what I used for this shot and are not a standard by any means. It will vary depending on time of day, and if it's overcast or direct sunlight. Play with these settings to get the desired effect. To do this you will not be able to see through the viewfinder of your camera as I stated before, the infrared filter does not let any visible light through. You will have to basically aim the lens and shoot. Then check your image and adjust to frame out your shot. I can't imagine how difficult this must have been before digital cameras were commonplace and trying to frame a shot with film.</p> <p class="last">Should you decide to try infrared photography I wish you luck and happy shooting!</p> <p class="last"><a href="http://www.jpgmag.com/stories/1242">SOURCE</a><br/> </p> </DIV> <!-- end storybody --> <!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/infrared" rel="tag">infrared</a>, <a href="http://technorati.com/tag/digital" rel="tag">digital</a>, <a href="http://technorati.com/tag/filter" rel="tag">filter</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-15652739537302163052007-07-20T12:21:00.001+03:002007-07-20T12:47:22.477+03:00You are 52% sexist!<div id="scorepage"> <div id="testResultInfo"> <h2>You are 52% sexist!</h2> <p> Well, if you got a really low score it shows that you are open minded and don't listen to any old-fashioned gender-bashing bollocks of the past. Well done! If you got a high percentage, maybe it's time you separated your fact from your fiction, or actually met a real, live member of the opposite sex. Fucker. </p> </div> </div> <!-- GRAPHS --> <span id="comparisonarea">My test tracked 1 variable How you compared to other people <i>your age and gender</i>:<blockquote><table border="0" cellpadding="0" cellspacing="4"></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="137"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td><td bgcolor="white" width="13"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <strong>91%</strong> on <!--/t--><strong>sexism</strong></td></tr></tbody></table><br /></blockquote></span>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-8406163960435105082007-07-20T12:08:00.001+03:002007-07-20T12:10:33.909+03:00I'm a Balanced Human<h1>Your Score<!--/t-->: <span>Balanced Human</span></h1><h1><span></span></h1> <h2>You scored -1 SelfSurvival, -1 Permissive, and skipped 0 questions.</h2> <p> You are generally of the belief that laws must be followed and the lives of others are as important as your own. You are a good person, with reasonable expectations of others. Your Indecisive score is the number of questions you skipped. </p> <!-- GRAPHS --> <span id="comparisonarea">My test tracked 3 variables How you compared to other people <i>your age and gender</i>:<blockquote><table border="0" cellpadding="0" cellspacing="4"></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="68"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td><td bgcolor="white" width="82"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <strong>45%</strong> on <!--/t--><strong>SelfSurvival</strong></td></tr></tbody></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="39"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td><td bgcolor="white" width="111"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <strong>26%</strong> on <!--/t--><strong>Permissive</strong></td></tr></tbody></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="1"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td><td bgcolor="white" width="149"><a href="http://www.okcupid.com/"><img alt="free online dating" src="http://is2.okcupid.com/graphics/0.gif" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <strong>0%</strong> on <!--/t--><strong>Indecisive</strong></td></tr></tbody></table><br /><a href="http://www.okcupid.com/tests">SOURCE</a><br /></blockquote></span>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-23967783382901867442007-07-20T11:49:00.001+03:002007-07-20T11:54:33.876+03:00I'll die old :(<span style="color: rgb(71, 3, 18);"><span style="color: rgb(204, 204, 204);">According to our research, you'll be dead by</span><!--/t--><br /><br /><!--begin two results tables--> <table bg="" style="color: rgb(102, 0, 0);" align="center" border="0" cellpadding="5" cellspacing="1"> <tbody><tr> <td bg="" align="center" style="color:red;"> <span style=";font-size:40;color:white;" > <!--t--><!--/t--><span style="color: rgb(204, 204, 204);">July 2053</span></span><span style="color: rgb(204, 204, 204);"> </span><span class="maincolumn" style="color:white;">t age 75<!--/t--></span> </td> </tr> </tbody></table> <!--t--><!--/t--><span style="color: rgb(204, 204, 204);">- probable cause -</span><br /><br /><table align="center" bgcolor="#660000" border="0" cellpadding="5" cellspacing="1"> <tbody><tr> <td align="center" bgcolor="red"> <img src="http://is2.okcupid.com/graphics/deathtest/heart_attack.gif" /><br /> <span style=";font-size:20;color:white;" >heart attack</span> </td> </tr> </tbody></table> <!--end two top results tables--><br /><br /> <!--this is the life span graph--> <table align="center" border="0" cellpadding="0" cellspacing="0" width="589"> <tbody><tr> <td colspan="2"> <table border="0" cellpadding="0" cellspacing="0" width="589"> <tbody><tr> <td align="right" width="309"> <!--t--><!--/t--><span style="color: rgb(204, 204, 204);">YOU DIE:</span> </td> <td style="color: rgb(204, 204, 204);" align="left"> <!--t-->75.0 years<!--/t--> </td> </tr> </tbody></table> </td> </tr> <tr> <td colspan="2" align="center"> <img src="http://is2.okcupid.com/graphics/deathtest/you_die8.gif" /> </td> </tr> <tr> <td align="right" width="289"> <!--t--><!--/t--><!--t--><!--/t--><!--t--><!--/t--><span style="color: rgb(204, 204, 204);">AVERAGE MALE LIFE SPAN:</span> </td> <td style="color: rgb(204, 204, 204);" align="left" width="300"> <!--t-->72.5 years<!--/t--> </td> </tr> </tbody></table> <!--end life span graph--><br /><br /><span style="padding: 5px;color:white;" > <!--t[the bottom line ... note the different gender responses]--> As you can plainly see, you have <strong>more health and vitality</strong> than the average man. <!--/t--> </span> </span><!-- this is my sweet-ass data table--> <span style="color: rgb(71, 3, 18);"><br /><br /><!-- <table width="300" align="center"> <tr><td>75.0 </td><td>: <!--t--><!--/t--><!--t--><!--/t--><!--t--><!--/t--><!--t--><!--/t--><!--t--><!--/t--><!--t--><!--/t--><span style="color: rgb(204, 204, 204);"> 2053.500 : <span style="color: rgb(204, 204, 204);">a life span 72.0 : g life span 1978.500 : birthdate 2007.500 : date now 2050.500 : </span>g deathdatea deathdate 75 : score (113/277) --></span><br /><br /><br /><br /><br /><!--thus begins the lower half of the page!--> <script type="text/javascript"> function drawGraph(pct) { document.write('<td width="'+pct+'" height="20" bgcolor="#470312"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td width="'+(100-pct)+'" height="20" bgcolor="#ffffff"><img src="http://is2.okcupid.com/graphics/0.gif" /></td>'); } </script> <!--the capitalized table is the columnator--> <table style="color: rgb(204, 204, 204);" align="center" width="650"><tbody><tr><td valign="top" width="345"> <!--begin top causes of death table--> <table border="0" cellpadding="0" cellspacing="0"> <tbody><tr> <td><img src="http://is2.okcupid.com/graphics/deathtest/dying.gif" /></td> <td valign="top"> <table border="0"> <tbody><tr style="color: rgb(204, 204, 204);"> <td colspan="2"> <u><span style="font-size:85%;"><!--t-->WHY YOU DIE?<!--/t--></span></u> </td> </tr> <!--cause #1--><tr><td style="color: rgb(204, 204, 204);" align="right"> 56% </td><td style="color: rgb(204, 204, 204);"> heart attack </td></tr> <!--cause #2--><tr><td style="color: rgb(204, 204, 204);" align="right"> 24% </td><td style="color: rgb(204, 204, 204);"> car accident </td></tr> <!--cause #3--><tr><td style="color: rgb(204, 204, 204);" align="right"> 13% </td><td style="color: rgb(204, 204, 204);"> loneliness </td></tr> <!--cause #4--><tr><td style="color: rgb(204, 204, 204);" align="right"> 5% </td><td style="color: rgb(204, 204, 204);"> <!--t-->drowning of the lungs<!--/t--> </td></tr> <!--cause #5--><tr><td style="color: rgb(204, 204, 204);" align="right"> 2% </td><td style="color: rgb(204, 204, 204);"> <!--t-->wounds<!--/t--> </td></tr> </tbody></table> <br /> </td> </tr> <tr><td colspan="2" bgcolor="black" height="1"><br /></td> </tr> </tbody></table> <!--end causes of death table--> <!--begin life-span data table--> <table> <!-- <tr> <td> <u><span style="font-size:85%;">HOW LONG YOU LIVE?</span></u><br /> </td> </tr>--> <tbody><tr style="color: rgb(204, 204, 204);"> <td><!--days left to live--> <!--t-->You have <b>16801.5</b> days left on this earth.<!--/t--> </td> </tr> <tr style="color: rgb(204, 204, 204);"> <td><!--percent of life lived--> <!--t-->You've already lived <b>39%</b> of your life.<!--/t--> </td> </tr> <!-- <tr> <td> In 2032, at age <b>45</b>, your health will decline sharply. </td> </tr> <tr> <td> Death will come gradually. You will be awake for it. </td> </tr>--> </tbody></table> <!--end life span data table--><br /><br /><br /><br /><center> <span style="font-size:85%;"><u><!--t-->A FEW COLLECTED STATISTICS<!--/t--></u></span><br /><!--t-->Across all <span style="color: rgb(204, 51, 102);">1048294</span> test takers.<!--/t--> </center><br /><br /><!--stats tables--> <!-- sex for love --> <table> <tbody><tr> <td valign="top"> <table bgcolor="#ff99bb" border="0" cellpadding="0" cellspacing="1"> <tbody><tr> <script type="text/javascript">drawGraph(22);</script><td bgcolor="#470312" height="20" width="22"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td bgcolor="#ffffff" height="20" width="78"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> </tr> </tbody></table> </td> <td style="color: rgb(204, 204, 204);" valign="top"> <!--t--><b>22%</b> smoke.<!--/t--> </td> </tr> </tbody></table> <!-- sex for love --> <table> <tbody><tr> <td valign="top"> <table bgcolor="#ff99bb" border="0" cellpadding="0" cellspacing="1"> <tbody><tr> <script type="text/javascript">drawGraph(53);</script><td bgcolor="#470312" height="20" width="53"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td bgcolor="#ffffff" height="20" width="47"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> </tr> </tbody></table> </td> <td style="color: rgb(204, 204, 204);" valign="top"> <!--t--><b>53%</b> have health insurance.<!--/t--> </td> </tr> </tbody></table> <table> <tbody><tr> <td valign="top"> <table bgcolor="#ff99bb" border="0" cellpadding="0" cellspacing="1"> <tbody><tr> <script type="text/javascript">drawGraph(6);</script><td bgcolor="#470312" height="20" width="6"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td bgcolor="#ffffff" height="20" width="94"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> </tr> </tbody></table> </td> <td style="color: rgb(204, 204, 204);" valign="top"> <!--t--><b>6%</b> eat a lot of nice beef.<!--/t--> </td> </tr> </tbody></table> <table> <tbody><tr> <td valign="top"> <table bgcolor="#ff99bb" border="0" cellpadding="0" cellspacing="1"> <tbody><tr> <script type="text/javascript">drawGraph(48);</script><td bgcolor="#470312" height="20" width="48"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td bgcolor="#ffffff" height="20" width="52"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> </tr> </tbody></table> </td> <td style="color: rgb(204, 204, 204);" valign="top"> <!--t--><b>48%</b> hold in farts.<!--/t--> </td> </tr> </tbody></table> <!-- dreams of prostitution --> <table> <tbody><tr> <td valign="top"> <table bgcolor="#ff99bb" border="0" cellpadding="0" cellspacing="1"> <tbody><tr> <script type="text/javascript">drawGraph(16);</script><td bgcolor="#470312" height="20" width="16"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> <td bgcolor="#ffffff" height="20" width="84"><img src="http://is2.okcupid.com/graphics/0.gif" /></td> </tr> </tbody></table> </td> <td style="color: rgb(204, 204, 204);" valign="top"> <!--t--><b>16%</b> are impressed with themselves.<!--/t--> </td> </tr> </tbody></table> <!--the skulls table--> <table> <tbody><tr> <td><img src="http://is2.okcupid.com/graphics/deathtest/skull.gif" /></td> <td style="color: rgb(204, 204, 204);"> <!--t-->The top cause of death among relatives was <b>cancer</b>.<!--/t--> </td> </tr> <tr> <td><img src="http://is2.okcupid.com/graphics/deathtest/skull.gif" /></td> <td style="color: rgb(204, 204, 204);"> <!--t-->The most widely suffered ailment among takers is <b>high blood pressure</b>.<!--/t--> </td> </tr> <tr> <td><img src="http://is2.okcupid.com/graphics/deathtest/skull.gif" /></td> <td style="color: rgb(204, 204, 204);"> <!--t-->The average day for an OkCupid user involves <b>7.8</b> hours of sleep and <b>1.1</b> movements of the bowel.</td></tr></tbody></table></td></tr></tbody></table></span>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-52679161897896082832007-07-20T11:31:00.001+03:002007-07-20T11:34:13.076+03:00Me is good with words :p<div id="testBodyHead"><h1>The Commonly Confused Words Test</h1></div> <!-- /TEST HEAD --><!-- TEST TEXT --><!-- NEW USER WELCOME --> <!-- /NEW USER WELCOME --> <div id="scorepage"> <div id="testResultInfo"> <h1><!--t-->Your Score<!--/t-->: <span>Advanced</span></h1> <h2>You scored 85% Beginner, 78% Intermediate, 86% Advanced, and 60% Expert!</h2> <p> You have an extremely good understanding of beginner, intermediate, and advanced level commonly confused English words, getting at least 75% of each of these three levels' questions correct. This is an <b>exceptional</b> score. Remember, these are <i>commonly confused</i> English words, which means most people don't use them properly. You got an extremely respectable score. </p><p> Thank you so much for taking my test. I hope you enjoyed it! </p> <p> For the complete Answer Key, visit my blog: http://shortredhead78.blogspot.com/. </p> </div> </div> <!-- GRAPHS --> <span id="comparisonarea">My test tracked 4 variables How you compared to other people <i>your age and gender</i>:<blockquote><table border="0" cellpadding="0" cellspacing="4"></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="14"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td><td bgcolor="white" width="136"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <b>9%</b> on <!--/t--><b>Beginner</b></td></tr></tbody></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="3"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td><td bgcolor="white" width="147"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <b>2%</b> on <!--/t--><b>Intermediate</b></td></tr></tbody></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="26"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td><td bgcolor="white" width="124"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <b>17%</b> on <!--/t--><b>Advanced</b></td></tr></tbody></table><table border="0" cellpadding="3" cellspacing="0"><tbody><tr><td><table bgcolor="black" border="0" cellpadding="0" cellspacing="1"><tbody><tr><td bgcolor="#399ce3" height="20" width="9"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td><td bgcolor="white" width="141"><a href="http://www.okcupid.com/"><img src="http://is3.okcupid.com/graphics/0.gif" alt="free online dating" border="0" /></a></td></tr></tbody></table></td><td valign="middle"><!--t-->You scored higher than <b>6%</b> on <!--/t--><b>Expert</b></td></tr></tbody></table><br /><a href="http://www.okcupid.com/home">SOURCE</a><br /></blockquote></span>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-88372003980795390132007-07-20T11:21:00.001+03:002007-07-20T11:21:33.030+03:00I'm a Starving Artist!<H1>Your Score<!--/t-->: <span>Starving Artist</span></H1> <H2>You are 42% Rational, 42% Extroverted, 42% Brutal, and 71% Arrogant.</H2> <DIV id="testResultInfoImg"><img src="http://is1.okcupid.com/users/156/664/1566642811609810544/mt1114812242.jpg" /></DIV> <p> You are the Starving Artist! Like some sort of emaciated Frenchman, you sit in your fancy little chair and contemplate beauty, meaning, flowers, and all kinds of other ridiculous crap. You are more intuitive than logical, and are primarily guided by your heart and emotions. You are also very introverted and gentle. Of course, this does not mean that you do not have an ego. In fact, you are surprisingly arrogant for someone so emotional and gentle. This is why you are best described as a starving artist. You are very introspective and quite sure of yourself, as any accomplished artist is, yet your views are impractical, guided by feelings, and overly gentle. You probably find math, logic, and similar intellectual pursuits offensive to your artistic sensibilities, and you prefer the open-endedness of artistry because it's infinitely easier to ponder the beauty of a sock than to build rocketships. So really you have no reason to be arrogant, you big doofus, because the skills you value (emotion, spirit, art, etc.) in yourself are valuable only on a subjective level, meaning your arrogance is purely masturbatory, like the insipid self-pleasuring of some twat who spouts artistic nonsense only for the pleasant tinkling sound it makes upon his indiscriminating ears. In short, your personality is defective because you are arrogant, introverted, introspective, gentle, and thoroughly irrational...posessing most of the traits needed to be a starving--and useless--artist. So get out there, write a few short stories that are allegories for the indestructible spirit of socks, and starve! </p> <p> <strong>To put it less negatively:</strong> </p> <p><i>1. You are more INTUITIVE than rational. </i></p> <p><i>2. You are more INTROVERTED than extroverted. </i></p> <p><i>3. You are more GENTLE than brutal. </i></p> <p><i>4. You are more ARROGANT than humble.</i> </p> <p> <strong>Compatibility:</strong> </p> <p> Your exact opposite is the <a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=100&score2=100&score3=0">Capitalist Pig</a>. </p> <p> Other personalities you would probably get along with are the <a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=0&score2=0&score3=100">Haughty Intellectual</a>, the <a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=100&score2=0&score3=100">Televangelist</a>, and the <a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=0&score2=0&score3=0">Emo Kid</a>. </p> <p> * </p> <p> * </p> <p> <i>If you scored near fifty percent for a certain trait (42%-58%), you could very well go either way. For example, someone with 42% Extroversion is slightly leaning towards being an introvert, but is close enough to being an extrovert to be classified that way as well. Below is a list of the other personality types so that you can determine which other possible categories you may fill if you scored near fifty percent for certain traits.</i> </p> <p> <strong>The other personality types:</strong> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=0&score2=0&score3=0">The Emo Kid</a>: <i>Intuitive, Introverted, Gentle, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=0&score2=0&score3=100">The Starving Artist</a>: <i>Intuitive, Introverted, Gentle, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=0&score2=100&score3=0">The Bitch-Slap</a>: <i>Intuitive, Introverted, Brutal, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=0&score2=100&score3=100">The Brute</a>: <i>Intuitive, Introverted, Brutal, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=100&score2=0&score3=0">The Hippie</a>: <i>Intuitive, Extroverted, Gentle, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=100&score2=0&score3=100">The Televangelist</a>: <i>Intuitive, Extroverted, Gentle, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=100&score2=100&score3=0">The Schoolyard Bully</a>: <i>Intuitive, Extroverted, Brutal, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=0&score1=100&score2=100&score3=100">The Class Clown</a>: <i>Intuitive, Extroverted, Brutal, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=0&score2=0&score3=0">The Robot</a>: <i>Rational, Introverted, Gentle, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=0&score2=0&score3=100">The Haughty Intellectual</a>: <i>Rational, Introverted, Gentle, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=0&score2=100&score3=0">The Spiteful Loner</a>: <i>Rational, Introverted, Brutal, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=0&score2=100&score3=100">The Sociopath</a>: <i>Rational, Introverted, Brutal, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=100&score2=0&score3=0">The Hand-Raiser</a>: <i>Rational, Extroverted, Gentle, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=100&score2=0&score3=100">The Braggart</a>: <i>Rational, Extroverted, Gentle, Arrogant.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=100&score2=100&score3=0">The Capitalist Pig</a>: <i>Rational, Extroverted, Brutal, Humble.</i> </p> <p><a href="http://www.okcupid.com/tests/describescore?testid=4741219933576750506&score0=100&score1=100&score2=100&score3=100">The Smartass</a>: <i>Rational, Extroverted, Brutal, Arrogant.</i> </p> <p> Be sure to take my <a href="http://www.okcupid.com/tests/take?testid=13372526327873131397">Sublime Philosophical Crap Test</a> if you are interested in taking a slightly more <i>intellectual</i> test that has just as many insane ramblings as this one does! </p> <p><strong>The following image was made by Stephan Brusche at <a href="http://www.sb77.nl">http://www.sb77.nl</a>, a real-life "starving artist". Check out his website if interested.</strong> </p> <p> <strong>About Saint_Gasoline</strong></p> <p> I am a self-proclaimed pseudo-intellectual who loves dashes. I enjoy science, philosophy, and fart jokes and water balloons, not necessarily in that order. I spend 95% of my time online, and the other 5% of my time in the bathroom, longing to get back on the computer. If, God forbid, you somehow find me amusing instead of crass and annoying, be sure to check out my blog and my webcomic at <a href="http://www.saintgasoline.com">SaintGasoline.com</a>. </p> <!-- GRAPHS --> <span id="comparisonarea">My test tracked 4 variables How you compared to other people <i>your age and gender</i>:<blockquote><TABLE cellspacing="4" cellpadding="0" border="0" /><TABLE cellspacing="0" cellpadding="3" border="0"><TBODY><TR><TD><TABLE cellspacing="1" cellpadding="0" border="0" bgcolor="black"><TBODY><TR><TD width="27" height="20" bgcolor="#399ce3"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD><TD width="123" bgcolor="white"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD></TR></TBODY></TABLE></TD><TD valign="middle"><!--t-->You scored higher than <strong>18%</strong> on <!--/t--><strong>Rationality</strong></TD></TR></TBODY></TABLE><TABLE cellspacing="0" cellpadding="3" border="0"><TBODY><TR><TD><TABLE cellspacing="1" cellpadding="0" border="0" bgcolor="black"><TBODY><TR><TD width="69" height="20" bgcolor="#399ce3"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD><TD width="81" bgcolor="white"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD></TR></TBODY></TABLE></TD><TD valign="middle"><!--t-->You scored higher than <strong>46%</strong> on <!--/t--><strong>Extroversion</strong></TD></TR></TBODY></TABLE><TABLE cellspacing="0" cellpadding="3" border="0"><TBODY><TR><TD><TABLE cellspacing="1" cellpadding="0" border="0" bgcolor="black"><TBODY><TR><TD width="71" height="20" bgcolor="#399ce3"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD><TD width="79" bgcolor="white"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD></TR></TBODY></TABLE></TD><TD valign="middle"><!--t-->You scored higher than <strong>47%</strong> on <!--/t--><strong>Brutality</strong></TD></TR></TBODY></TABLE><TABLE cellspacing="0" cellpadding="3" border="0"><TBODY><TR><TD><TABLE cellspacing="1" cellpadding="0" border="0" bgcolor="black"><TBODY><TR><TD width="123" height="20" bgcolor="#399ce3"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD><TD width="27" bgcolor="white"><a href="http://www.okcupid.com"><img border="0" alt="free online dating" src="http://is3.okcupid.com/graphics/0.gif" /></a></TD></TR></TBODY></TABLE></TD><TD valign="middle"><!--t-->You scored higher than <strong>82%</strong> on <!--/t--><strong>Arrogance<br/> </strong></TD></TR></TBODY></TABLE><a href="http://www.okcupid.com/tests/4741219933576750506/Personality-Defect">SOURCE</a><br/> </blockquote></span>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-53966605030156149552007-07-20T11:05:00.001+03:002007-07-20T11:08:38.966+03:00I'm a democrat :)<h2>Your true political self:<!--/t--></h2> <table align="center" cellpadding="10" height="634" width="545"> <tbody><tr> <td valign="top"> <div id="summarydiv"> <span style="font-size:100%;"> <!--t-->You are a </span><center> <span style="font-size:100%;"> <br /> <span style="font-size:130%;"><strong>Social Moderate</strong></span> <br /> <span style="color: rgb(168, 168, 168);font-size:100%;" >(55% permissive)</span><br /> </span></center> <span style="font-size:100%;"> <br /> and an... </span><center><span style="font-size:100%;"><br /> <span style="font-size:130%;"><strong>Economic Liberal</strong></span> <br /> <span style="color: rgb(168, 168, 168);font-size:100%;" >(31% permissive)</span><br /> </span></center> <span style="font-size:100%;"> <br /> You are best described as a:<br /> <br /><span style="font-size:85%;"><u><center><strong>Democrat (31e/55s)<!--/t--></strong></center></u></span> </span></div> <span style="font-size:100%;"> <br /><br /> <!--t-->You exhibit a very well-developed sense of Right and Wrong and believe in economic fairness. <span class="tiny" style="color:white;"> loc: (18, -69)<br /><a href="http://www.okcupid.com/politics">SOURCE</a></span><!--/t--> </span> </td> <td align="right" height="500" valign="top"> <script type="text/javascript"> var whichActive = 1; 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var chart_basic=new Image(); chart_basic.src="http://is2.okcupid.com/graphics/politics/chart_basic.jpg"; var chart_famous=new Image(); chart_famous.src="http://is2.okcupid.com/graphics/politics/chart_famous.jpg"; function selectButton(bid) { var key=""; whichActive = bid; if (bid != 1) document.b1.src=b1up.src; else { document.b1.src=b1selected.src; document.getElementById("thetable").style.background="url("+chart_basic.src+")"; key = " "; } if (bid != 2) document.b2.src=b2up.src; else { document.b2.src=b2selected.src; document.getElementById("thetable").style.background="url("+chart_famous.src+")"; key = " "; } if (bid != 3) document.b3.src=b3up.src; else { document.b3.src=b3selected.src; document.getElementById("thetable").style.background="url("+chart_political.src+")"; key = " "; } setInnerHTML ("election_key", key); } </script> <table bgcolor="#a8a8a8" cellpadding="0" cellspacing="1"> <tbody><tr> <td bgcolor="white"> <div id="graphdiv"> <table name="thetable" id="thetable" background="http://is2.okcupid.com/graphics/politics/chart_basic.jpg" border="0" cellpadding="0" cellspacing="0" height="375" width="375"> <tbody><tr height="237"> <td width="187"><!--this width sets social axis, center is 169--><br /></td> <td width="187"><br /></td> </tr> <tr height="137"><!--this height number economic axis, center is 206--><td width="187"><br /></td> <td align="left" valign="top" width="187"><!--this cellholds the image--><img src="http://is2.okcupid.com/graphics/politics_you.gif" border="0" /></td> </tr> </tbody></table> </div> </td> </tr> <tr> <td bg="" height="50" style="color:white;"> <table cellpadding="4" height="50" width="375"> <tbody><tr> <td bg="" style="color: rgb(240, 240, 240);" align="center" valign="top"> <span style="color: rgb(153, 153, 153);"><img name="b1" onclick="selectButton(1)" onmouseout="if (whichActive!=1) this.src=b1up.src" onmouseover="if (whichActive!=1) this.src=b1down.src" src="http://is2.okcupid.com/graphics/politics/button_basic_selected.gif" /> </span> </td> <td bg="" style="color: rgb(240, 240, 240);" align="center" valign="top"> <span style="color: rgb(153, 153, 153);"><img name="b2" onclick="selectButton(2)" onmouseout="if (whichActive!=2) this.src=b2up.src" onmouseover="if (whichActive!=2) this.src=b2down.src" src="http://is2.okcupid.com/graphics/politics/button_famous.gif" /></span> </td> <td bg="" style="color: rgb(240, 240, 240);" align="center"> <span style="color: rgb(153, 153, 153);"><img name="b3" onclick="selectButton(3)" onmouseout="if (whichActive!=3) this.src=b3up.src" onmouseover="if (whichActive!=3) this.src=b3down.src" src="http://is2.okcupid.com/graphics/politics/button_political.gif" /></span></td></tr></tbody></table></td></tr></tbody></table></td></tr></tbody></table>Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-6536807447084722512007-07-17T15:09:00.001+03:002007-07-17T15:10:10.568+03:003D Photography<h1 style="font-family: verdana;"><span style="font-size:100%;">Introduction</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">3D OR NOT 3D ? THAT IS THE QUESTION . . .</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Numerous 3D rendering software is now available to easily play the power of computers.<br />It allows more and more people, artists or engineers, to produce photo-realistic images. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Each time one needs to VIEW something unreachable with a camera, whether it is because it does not exist or is out of scale for human eyes, one can use a computer. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">However, how realistic can those images be? Anyone looking at the computer screen can perfectly SEE that he is looking at an image, not directly at a real scene, or model. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">This difference comes from the fact that in our three dimensional real world our two eyes give us two different images.<br />This is because they are in two different positions in space, separated by an horizontal 2.5 inches offset (~6.5 cm). <br />The brain accepts the small horizontal disparity between those two images, and in return gives a single image with accurate depth perception.<br />This ability is known as stereoscopy. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Due to stereoscopy, you can perfectly notice the difference between a model car in a box and the image of it on the top of the box despite both having the same dimensions.<br />Looking to the model, you see in stereo as each eye has its own image of the car model. <br />But when looking at the image on the top, you see a flat image as both eyes are focused on the same image. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Now, as we know the difference between "flat viewing" and "stereo viewing", let's see how to use the first to create the second.<br /></span></p> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter I</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Stereo 3D on computers</span></h2> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"> </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Creating a stereo image means first creating two flat images, i.e., a stereo pair: one image for the left eye and one for the right eye.<br />This is easy to achieve: you render one image with the observer in the left eye position, apply an horizontal offset to the observer position and then render the right eye image.<br />The offset is called the BASE in the stereoscopy vocabulary and is assumed to be the same as the inter-ocular distance (About 6.5 cm).<br />The base has to be increased or decreased relatively to the scale of the scene to have a significant stereo effect.<br />Obviously, you cannot use the inter-ocular distance to view in stereo a chemical molecule or a galaxy.<br />A typical average value for the base is 1/30 of the distance from the observer to the nearest object of a scene. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Why 1/30? If you stand in front of a window, which opens to a landscape to the horizon, you will notice that you cannot see clearly both the horizon AND the window itself if you stand within two meters away from the window.<br />When you are two or more meters away from the window, you can view all the scene comfortably from the nearest point (The window) to the infinity (The horizon).<br />This value of two meters depends on the person but is a statistical value.<br />The fact is that 6.5 cm (Inter-ocular distance) is about 1/30 of two meters.<br />So, if you take for the base the 1/30 of the distance from the observer to the nearest object of the scene, you're sure that you will see the full stereo image comfortably from the first point until the last.<br />You will also be able to see it with enough stereo sensation.<br />When the base is larger than the average inter-ocular distance, the resulting stereo is called hyper-stereo.<br />It gives you the sensation of looking at reduced models, as if you were a giant.<br />On the other hand, when the base is smaller than the average inter-ocular distance, the resulting stereo is called hypo-stereo.<br />It gives you the sensation of looking at enlarged models, as if you were a Lilliputian. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">An error that needs to be avoided is making a stereo pair with converging viewing axes.<br />It appears natural to use convergence since eyes converge while they are looking at something, although it is not the right way.<br />When your eyes converge, the point at which they converge appears perfectly clear.<br />The fact is that everything else appears blurry but you don't notice it because you are used to it.<br />However, due to the accomodation reflex, when you look at something blurry your eyes will naturely adjust to it.<br />In a stereo image, all the image has to be clear to be viewed clearly at whatever point you look in the image. Converging on one point would make the image comfortable for all points before the converging point. However, this would be difficult for points after it to fuse.<br />By converging at the infinity, i.e., keeping viewing axes parallel, all the image will be easy to fuse. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Things become a little more complex when you want to see in stereo a stereo pair . . .<br />To fuse the two images you've produced in a stereo one, each eye must see only its own image. <br />Different solutions have been found over the years, mainly a result of the use of stereo pairs from stereo cameras used during the 50's and 60's.<br />You can use a lens stereoscope but you will have to transform your two images onto slides.<br />You can also use a mirror stereoscope (If you can find one . . .) but you will have to print your images.<br />It's possible to directly use the screen but that will divide the usuable surface on the screen into two; as you will have to display the two images side by side.<br />If you do not have stereoscope, you could train to "free-view" by crossing your eyes with the right view on the left and the left view on the right as many stereo enthusiasts do.<br />You will need time and patience as it is not totally obvious.<br /></span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="cross-eyes stereo viewing" src="http://french.cars.free.fr/do_3d/x1.gif" border="0" height="502" hspace="5" vspace="5" width="531" /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">You can have a try with the stereo pair below : viewed in stereoscopy you'll notice that there is one ring not connected to any of its neighbours. </span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="rings, stereo pair" src="http://french.cars.free.fr/do_3d/rings.gif" border="0" height="175" width="361" /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">The best known solution is to write your own "SoftStereo" code.<br />Then, use LCD shutter glasses. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">The trouble is that this solution is not adapted for your aim if you just want to make some stereo images yourself.<br />You can do this out of curiosity to see what it looks like by using your own computer and software you are accustomed to. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">To do so in a cheap and quick way is absolutely possible, but, (Of course there is a but) there will be some restrictions about the kind of images you will be able to convert properly into stereo.<br />However, that will give you the opportunity to verify by yourself the interest to escape "flatland".<br /></span></p> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter II</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Andy Warhol, creature of the black lagoon and comics</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">They have all used a stereo process called anaglyph. Andy Warhol produced a 3D anaglyph Frankenstein in 1970.<br />Creature of the black lagoon is one of the most popular 3D anaglyph movie.<br />From time to time, comics use that process too.<br />(Notice that, in that last case, each stereo pair is hand made . . .)<br />Unfortunately, most of those realizations suffer from terrible defects.<br />They often have as a result an audience that is disgusted from stereo.<br />The fact is that the anaglyph process by itself is not a bad one but is difficult to apply with optical systems.<br />Let's analyze those old results and have a close look to the "theory".<br />Let's see how to apply it correctly with a computer.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">In comics, left and right images are printed, one with blue ink and the other with red ink.<br />Looking with red-blue anaglyph glasses, you can see monsters springing from the page.<br />In movies, red and blue filters are added to the cameras as well as the audience wearing their own red-blue glasses.<br />Red and blue are used as they are opposite colors: you cannot see through a red filter what you can see through a blue one, and the reverse is true.<br />The stereo separation is correct for each eye but the stereo image is black and white.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">If you're aware about computer image formats, when reading "red-blue" you've probably the temptation to insert "green" to read "red-green-blue".<br />Congratulations, you've found the first step to the solution.<br /></span></p> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter III</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">All color screens are stereo ready</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Computer's images are displayed on color screens and those screens use the <span style="background-color: rgb(255, 0, 0);">R</span><span style="background-color: rgb(0, 255, 0);">G</span><span style="background-color: rgb(30, 144, 255);">B</span> (<span style="background-color: rgb(255, 0, 0);">Red</span>, <span style="background-color: rgb(0, 255, 0);">Green</span>, <span style="background-color: rgb(30, 144, 255);">Blue</span>) system to create the color of each pixel of the image.<br />That means all computer's images are made with three bands: a <span style="background-color: rgb(255, 0, 0);">red</span> one, a <span style="background-color: rgb(0, 255, 0);">green</span> one and a <span style="background-color: rgb(30, 144, 255);">blue</span> one.<br />Suppose now we have tools to take only one color band from an image.<br />If we take the <span style="background-color: rgb(255, 0, 0);">red</span> band from the left image and the <span style="background-color: rgb(30, 144, 255);">blue</span> band from the right image, we will just need a tool to glue those two bands together and we will have a computer anaglyph giving <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> stereo when wearing <span style="background-color: rgb(255, 0, 0);">red</span>-left and <span style="background-color: rgb(30, 144, 255);">blue</span>-right glasses.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Numerous software to manipulate images and to translate them between the different formats can be used to process the color bands and produce 3D (PhotoShop, PaintShopPro, The Gimp...). <br />You just need tools which allows the separation of bands and which allows <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> bands to be glued back as color bands; thus producing a color image.<br /></span></p> <span style="font-family: verdana;font-family:Comic Sans MS, Arial, Verdana;font-size:100%;" >If you rush immediately to convert your own stereo pairs into <span style="background-color: rgb(255, 0, 0);">red</span>-<span style="background-color: rgb(30, 144, 255);">blue</span> anaglyphs by playing with the <span style="background-color: rgb(255, 0, 0);">R</span><span style="background-color: rgb(0, 255, 0);">G</span><span style="background-color: rgb(30, 144, 255);">B</span> bands you will probably be deceived.<br />First, you will only have <span style="background-color: rgb(255, 0, 255);">magenta</span> and white stereo images, not really <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> ones (<span style="background-color: rgb(255, 0, 0);">Red</span> + <span style="background-color: rgb(30, 144, 255);">blue</span> = <span style="background-color: rgb(255, 0, 255);">magenta</span>). <br />Secondly, stereo images are definitively not flat images and special manipulations have to be applied to them for correct viewing.<br /></span><h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter IV</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Playing on the <span style="background-color: rgb(0, 255, 0);">green</span></span></h2> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"> </span></p> <p style="text-align: justify; font-family: verdana;"><span style="background-color: rgb(255, 0, 255);"><span style="font-size:100%;">Magenta</span></span><span style="font-size:100%;"> and white stereo is not interesting, <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> should be better, but color should be much more interesting.<br />So, how can we produce color stereo images on the screen? <br />Flat color images are made with three bands.<br />This means that the three bands will probably also have to be used for color stereo.<br />From which image must we take the <span style="background-color: rgb(0, 255, 0);">green</span> band ?<br /><span style="background-color: rgb(255, 0, 0);">Red</span> and <span style="background-color: rgb(0, 255, 0);">green</span> filters are opposite and turn to dark if added.<br />In contrast, <span style="background-color: rgb(30, 144, 255);">blue</span> and <span style="background-color: rgb(0, 255, 0);">green</span> filters are not opposite and turn to <span style="background-color: rgb(0, 255, 255);">cyan</span> if added.<br />The <span style="background-color: rgb(0, 255, 0);">green</span> information must come from the same filter as the <span style="background-color: rgb(30, 144, 255);">blue</span>.<br />This means that the <span style="background-color: rgb(30, 144, 255);">blue</span> and <span style="background-color: rgb(0, 255, 0);">green</span> band will both have to come from the same image: the right one. </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Why use the <span style="background-color: rgb(255, 0, 0);">red</span> filter on the left and the <span style="background-color: rgb(0, 255, 255);">cyan</span> on the right ? <br />It could be the reverse but the International Stereoscopic Union has chosen the <span style="background-color: rgb(255, 0, 0);">red</span> on left for standard disposal.<br />It is also in coordination with the <span style="background-color: rgb(255, 0, 0);">red</span> used in international marking such as: ships, planes, and politicians ! </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Now, if you convert a stereo pair into a color anaglyph by separating the bands and after, glue them, you will be able to see in stereo and in color directly on your monitor by just using <span style="background-color: rgb(255, 0, 0);">red</span>-<span style="background-color: rgb(0, 255, 255);">cyan</span> anaglyph glasses.<br />Easy ! </span></p> <span style="font-family: verdana;font-family:Comic Sans MS, Arial, Verdana;font-size:100%;" >If you do not have anaglyph glasses with a <span style="background-color: rgb(0, 255, 255);">cyan</span> filter, you can use ones with a <span style="background-color: rgb(30, 144, 255);">blue</span> or a <span style="background-color: rgb(0, 255, 0);">green</span> filter: stereo 3D effect will remain but colors will change.<br />With a <span style="background-color: rgb(30, 144, 255);">blue</span> filter, colors will slightly shift to <span style="background-color: rgb(30, 144, 255);">blue</span>.<br />Avoid <span style="background-color: rgb(0, 255, 0);">green</span> anaglyph glasses as it wipes really too much colors.<br /></span><h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter V</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Color tricks</span></h2> <span style="font-family: verdana;font-family:Comic Sans MS, Arial, Verdana;font-size:100%;" ><span style="font-size:-1;">Note : For best colors, most images are in PNG format and might be a little long to display if you're using a low speed connection.</span> </span><p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;"> Things are a bit more complex than they should be relating to the previous explanations.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">The fact is that not all images can be converted.<br />Images with strong contrast zones are definitively not adapted.<br />They produce what stereo addicts call "ghosts".<br />Strong contrast zones produce anaglyphs with too close and too strong <span style="background-color: rgb(255, 0, 0);">red</span> and <span style="background-color: rgb(0, 255, 255);">cyan</span> spots.<br />This produce a very uncomfortable sensation through the <span style="background-color: rgb(255, 0, 0);">red</span>-<span style="background-color: rgb(0, 255, 255);">cyan</span> glasses.<br />Images with large zones of saturated colors will produce "ghosts" too. The exact name of this trouble (that produces a visual flashy effect quite different from the "ghosts" from contrast) is : retinal rivalry.<br />All the left information comes from one color, <span style="background-color: rgb(255, 0, 0);">red</span>.<br />If your image has large <span style="background-color: rgb(255, 0, 0);">red</span> zones, there will be no information (No <span style="background-color: rgb(0, 255, 0);">green</span> nor <span style="background-color: rgb(30, 144, 255);">blue</span>) for the right eye about those zones.<br />No stereo effect will appear there.<br />The same trouble happens with <span style="background-color: rgb(0, 255, 0);">green</span> and <span style="background-color: rgb(30, 144, 255);">blue</span> zones.<br />There is nothing to do for images with strong contrast (excepted creating the same image without the strong contrast . . .).<br />For example, you can change a black background into a grey background or you can try to change the lighting), even though it is still possible to use images with saturated colors.<br />If those saturated zones were gray there should be no problems as all the three bands should be the same on the zones.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Thus, We have to find a solution that will shift colors to grays but, yet respect the balance of space information between the two eyes.<br />This solution should also respect the original colors (if possible) and the three bands.<br />The solution will be to modify the saturation of the images.<br />Modifying saturation will allow us to modify the quantity of colors in an image by keeping for the resulting image only a few percentages of colors from the original image.<br />Notice that fully decreasing saturation turns the image into some kind of <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> version still coded on <span style="background-color: rgb(255, 0, 0);">R</span><span style="background-color: rgb(0, 255, 0);">G</span><span style="background-color: rgb(30, 144, 255);">B</span>.<br />The correct way to produce really <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> images is to use a dedicated tool as the formula used to get one value from three is <strong>not</strong> calculating the average value but using the following formula :<br /><span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> = 0.30 <span style="background-color: rgb(255, 0, 0);">red</span> + 0.59 <span style="background-color: rgb(0, 255, 0);">green</span> + 0.11 <span style="background-color: rgb(30, 144, 255);">blue</span>.<br />0.30, 0.59 and 0.11 are values related to the sensitivity of the human eye.<br />A tool converting into <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> will allow us directly to produce <span style="background-color: rgb(0, 0, 0);"><span style="color:#ffffff;">black and white</span></span> stereo images.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Here is an example of a picture with high saturated spots. The small balls inside the "meteor" are of bright red, green, blue and yellow :<br /> </span></p> <div style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="example of a picture with high saturated spots" src="http://french.cars.free.fr/do_3d/perfect_1.jpg" border="0" height="300" vspace="5" width="365" /></span></div> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">If you directly convert the corresponding stereo pair to a color anaglyph, there are numerous saturated zones which are uncomfortable to view. If you first convert the stereo pair to black and white images then create the anaglyph, this anaglyph have, of course, no saturated zones which are uncomfortable to view and his fully comfortable :<br /> </span></p> <div style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="directly convert the corresponding stereo pair to a color anaglyph : uncomfortable" src="http://french.cars.free.fr/do_3d/perfect_rgb.png" border="0" height="300" hspace="2" vspace="2" width="365" /><img alt="stereo pair to black and white images then create the anaglyph fully comfortable" src="http://french.cars.free.fr/do_3d/perfect_bw.png" border="0" height="300" hspace="2" vspace="2" width="365" /><br /> <span style="font-size:-1;">On the left : direct RGB anaglyph, on the right B&W conversion first.</span></span></div> <p style="text-align: justify; font-family: verdana;"><!-- Saturation 0 --><span style="background-color: rgb(0, 0, 0);"><span style="font-size:100%;"><span style="color:#ffffff;">black and white</span></span></span><span style="font-size:100%;"> conversion is the ultimate weapon against saturated spots.<br />The trouble is it wipes all colors.<br />It would be better if it were possible to modify the colors wiping only the spots that produce "ghosts". </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">A way to do this is to use an image processing software to change the hue or to reduce the saturation of the spots before producing the anaglyph.<br />The fact is that despite using an image processing software, fighting the ghosts "by hand" spot by spot or by <i>try and error</i> can be long.<br />This does not suit our original aim to produce stereo images in a quick way.<br /> A way to speed-up color correction is to turn the reds into yellows. This is achieved by using the <span style="background-color: rgb(255, 0, 0);">red</span> layer of the right image to fill the <span style="background-color: rgb(0, 255, 0);">green</span> layer of the anaglyph.<br /> This is OK if you have big red spots, such as in the Red Cross example below, but as it tends to turn the browns into yellows, and also saturated greens to black, it might not be suitable for most images.<br /> </span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="original colors" src="http://french.cars.free.fr/do_3d/helico_g.png" border="0" height="317" hspace="2" vspace="2" width="373" /><img alt="red layer from right to green anaglyph layer : red turned to yellow" src="http://french.cars.free.fr/do_3d/helico_rrb.png" border="0" height="317" hspace="2" vspace="2" width="373" /><br /> <span style="font-size:-1;">A goof exemple of red to yellow stereo conversion.<br />Sample picture from <a target="_blank" href="http://www.geocities.com/lebouttedidier/avions.html">http://www.geocities.com/lebouttedidier/avions.html</a></span></span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="original colors" src="http://french.cars.free.fr/do_3d/perfect_1.jpg" border="0" height="300" hspace="2" vspace="2" width="365" /><img alt="red layer from right to green anaglyph layer : red turned to yellow" src="http://french.cars.free.fr/do_3d/perfect_rrb.png" border="0" height="300" hspace="2" vspace="2" width="365" /><br /><span style="font-size:-1;">A not so good example of red to yellow stereo conversion</span></span></p> <span style="font-family: verdana;font-family:Comic Sans MS, Arial, Verdana;font-size:100%;" >The drawing <!-- and examples of anaglyphs -->below sum-up the different solutions which work by changing the whole color layers.<br /> </span><p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="the different solutions which work by changing the whole color layers to create anaglyphs." src="http://french.cars.free.fr/do_3d/d4.gif" border="0" height="524" width="677" /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">There is however another solution, still working by changing the whole color layers, allowing to produce "perfect" color anaglyphs in a snap, whatever the color spots.<br /></span></p> <h2 style="font-family: verdana;"><span style="font-size:100%;">"Perfect" anaglyphs in a snap : the Automateac method</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Why "perfect" with quotes ? Because there are different levels of perfection. The Automateac method is perfect in the meaning : <i>will automatically and easily solve <strong><u>ALL</u></strong> color troubles for <strong><u>ALL</u></strong> anaglyphs</i>. Now, of course there will be color shifts and, in some cases, you might achieve a "better" result using another method, with "better" in the meaning : <i>with more aesthetic contrasts and color shifts in your opinion</i>.<br /> Below is a sample showing you the kind of result achieved with the Automateac method. The idea is to turn the reds to the closest totally comfortable anaglyphic color, which is a dark brown. A side effect of the method is to reduce the saturation of greens and yellows, as brown is in fact a dark yellow, which itself is a mix of red and green.<br /> Note that absolutely ALL flashing spots from the original image are removed in the "perfect" anaglyphic. Regarding brightness and constrasts, all colors are as close as possible to the original when you compare both pictures seen through anaglyphic glasses.<br /> </span></p> <table style="font-family: verdana;" align="center" border="0" cellpadding="0"> <tbody><tr> <td align="center" valign="top"><img alt="color spots" src="http://french.cars.free.fr/do_3d/perfect_1.jpg" border="0" height="300" width="365" /></td> <td align="center" valign="top"><img alt="--perfect-- anaglyph" src="http://french.cars.free.fr/do_3d/perfect_123.gif" border="0" height="300" width="365" /></td> </tr> <tr> <td align="center" valign="top"><span style="font-size:-1;">The original colors with color ghosting.</span></td> <td align="center" valign="top"><span style="font-size:-1;">The "perfect automatic" anaglyph.</span></td> </tr> </tbody></table> <table style="font-family: verdana;" align="center" border="0" cellpadding="0"> <tbody><tr> <td align="center" valign="top"><img alt="color spots" src="http://french.cars.free.fr/do_3d/helico_g.png" border="0" height="317" width="373" /></td> <td align="center" valign="top"><img alt="--perfect-- anaglyph" src="http://french.cars.free.fr/do_3d/helico_123.gif" border="0" height="317" width="373" /></td> </tr> </tbody></table> <div style="text-align: justify; font-family: verdana;"><span style="font-size:100%;"><span style="font-size:-1;">Note the color spot troubles : on the Red-Cross helicopter there are spots on the rear wheel, on the red-cross itself and on the door lock. Then, on the background helicopter there are three color spot troubles : on the emblem (nearby the nose of the red-cross helicopter), on the wheel and on the turbine entry.<br /> All those color spot troubles are <u>completely</u> removed on the Automateac anaglyph version.</span></span></div> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">The table below compare the four anaglyphic solutions between them and to the original colors (in the middle). From left to right the four solutions are : direct RGB, Black & White, Red to Yellow and Automateac.</span></p> <table style="font-family: verdana;" align="center" border="0" cellpadding="0" cellspacing="3"> <tbody><tr> <td><img alt="direct RGB" src="http://french.cars.free.fr/do_3d/perfect_rgb.png" border="0" height="300" width="365" /></td> <td><img alt="black and white" src="http://french.cars.free.fr/do_3d/perfect_bw.png" border="0" height="300" width="365" /></td> </tr> <tr> <td colspan="2" align="center"><img alt="color spots" src="http://french.cars.free.fr/do_3d/perfect_1.jpg" border="0" height="300" width="365" /></td> </tr> <tr> <td><img alt="red to yellow" src="http://french.cars.free.fr/do_3d/perfect_rrb.png" border="0" height="300" width="365" /></td> <td><img alt="--perfect-- anaglyph" src="http://french.cars.free.fr/do_3d/perfect_123.gif" border="0" height="300" width="365" /></td> </tr> </tbody></table> <table style="font-family: verdana;" align="center" border="0" cellpadding="0" cellspacing="3"><tbody><tr> <td><img alt="direct RGB" src="http://french.cars.free.fr/do_3d/helico_rgb.png" border="0" /></td> <td><img alt="black and white" src="http://french.cars.free.fr/do_3d/helico_bw.png" border="0" /></td> </tr> <tr> <td colspan="2" align="center"><img alt="color spots" src="http://french.cars.free.fr/do_3d/helico_g.png" border="0" height="317" width="373" /></td> </tr> <tr> <td><img alt="red to yellow" src="http://french.cars.free.fr/do_3d/helico_rrb.png" border="0" /></td> <td><img alt="--perfect-- anaglyph" src="http://french.cars.free.fr/do_3d/helico_123.gif" border="0" /></td></tr></tbody></table><br /> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter VI</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Stereo advanced rules: windows</span></h2> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"> </span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;"> In anaglyphs, and more generally in all stereo images, we find that they are not images but volumes.<br />Specific rules, which are not in use with flat images, have to be respected to display the volumes.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Unless you are standing alone with nothing more than the horizon and the sky around you, space appears relative to some frontiers.<br />This is what happens when you look through a window.<br />In the case of a stereo image displayed on a computer screen, the four physical sides of the screen (Left, right, up and down) are absolute frontiers.<br />They build a window through which you can see the stereo reconstructed space.<br />That introduces the following specific restriction:</span></p> <table style="font-family: verdana;color:#ff0000;" align="center" border="5" border cellpadding="15" cellspacing="0"> <tbody><tr> <td><div align="center"><span style="font-size:180%;">If any side of the images of a stereo pair cuts any part of the scene<br /> this part must stand just beside the screen sides on the stereo image.</span></div></td> </tr> </tbody></table> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">That means that you cannot see in front of a window something that is too large to go through this window.<br />The spatial coherency has to be respected between the stereo scene and the screen that displays it. <br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Very often you will have to move your stereo image back into the screen.<br />If you don't do it, you will produce stereo images that viewers will not be able to fuse.<br />A typical reason is that points that normally should be at the infinity (Or at least far away) will lie just on the screen surface.<br />They will have quite no parallax.<br />This will make an aberrant springing stereo image, completely out from the screen.<br /></span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="without stereoscopic window" src="http://french.cars.free.fr/do_3d/d11.gif" border="0" height="762" width="451" /></span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="example of anaglyph without stereoscopic window" src="http://french.cars.free.fr/do_3d/without_stereo_window.jpg" border="0" height="376" width="548" /></span></p> <br /> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter VII</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Backward and forward</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;"> On the anaglyph, two pixels that reconstruct one stereo 3D point have an horizontal offset (Parallax).<br />The position of a stereo-reconstructed point depends on the distance between its left and right pixels.<br />Stereo points lying on the physical screen surface have no offset.<br /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Moving the stereo image relatively to the screen will simply result in changing the distances between the left and right pixels.<br />If you do so on an anaglyph you will notice some rather blurry stripes when looking at the sides with the <span style="background-color: rgb(255, 0, 0);">red</span>-<span style="background-color: rgb(0, 255, 255);">cyan</span> glasses. <br />This is because the stereoscopic window is not set.<br />With stereo paper prints, the window is set by cutting those stripes.<br /></span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="with stereoscopic window" src="http://french.cars.free.fr/do_3d/d21.gif" border="0" height="739" width="553" /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">If a stripe is cut from the left of the left image and another stripe is cut from the right of the right image, the entire stereo image moves backward<!-- (Click on the "Window" button [NOT YET IMPLEMENTED !]) -->. </span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;">Animated stereoscopic window<br /><a target="_self" href="http://french.cars.free.fr/do_3d/t_07a.htm"><span style="font-size:85%;"><img alt="window" src="http://french.cars.free.fr/do_3d/b_film.jpg" border="0" height="53" vspace="5" width="80" /><br />Click to open the animation<br /></span></a></span></p> <!-- <table border="0" align="center" cellpadding="20" bgcolor="#000000"> <tr> <td><p align="center"> <img src="an_pair_with.gif" border="0" width="108" height="12" alt="text : pair with" /><img src="a_out_stereo.gif" border="0" width="276" height="12" alt="animated text : out stereoscopic window / stereoscopic window " /><br /> <img src="a_left_right.gif" border="0" width="490" height="170" alt="animation, cropped stereo pair" hspace="5" vspace="5" /> </p></td> </tr> </table> <p align="center"><img src="with_stereo_window.jpg" border="0" width="548" height="387" alt="example with stereo window" /></p> --> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">If a stripe is cut from the right of the left image and another stripe is cut from the left of the right image, the entire stereo image moves forward.<br />A version of that operation is for a computer anaglyph to roll the <span style="background-color: rgb(255, 0, 0);">red</span> band<!-- . <br />After, it can --> then cut the ghosting stripes appearing on the sides.<br />Notice that, as a consequence, the moved stereo image will be represented by an anaglyph which will <!-- have a width less --> be more narrow <!-- than the width of --> than the original images of the stereo pair.<br /></span></p> <h1 style="font-family: verdana;"><span style="font-size:100%;">Chapter VIII</span></h1> <h2 style="font-family: verdana;"><span style="font-size:100%;">Conclusion</span></h2> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">The drawing below summarizes the whole computer anaglyph process.<br />Despite it suffering from tremendous restrictions, anaglyphs stays the easiest way to experience color stereoscopy on a computer. </span></p> <p style="font-family: verdana;" align="center"><span style="font-size:100%;"><img alt="drawing summarizing the whole computer anaglyph process" src="http://french.cars.free.fr/do_3d/d3.gif" border="0" height="530" width="680" /></span></p> <p style="text-align: justify; font-family: verdana;"><span style="font-size:100%;">Have a try: you'll be surprised to see how a stereo 3D scene is different from what you thought while just looking at it from 3D images. </span></p> <span style="font-family: verdana;font-family:Comic Sans MS, Arial, Verdana;font-size:100%;" >Sylvain Roques<br /><a href="http://french.cars.free.fr/do_3d/t_00.htm">SOURCE</a><br /></span><!-- technorati tags begin --><p style="font-size: 10px; text-align: right; font-family: verdana;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/stereoscopy" rel="tag">stereoscopy</a>, <a href="http://technorati.com/tag/3D" rel="tag">3D</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0tag:blogger.com,1999:blog-7864657887399832647.post-10916068984208358832007-07-16T12:28:00.001+03:002007-07-16T12:40:58.659+03:00The Beauty of Black-and-White HDR<div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer1"><p style="margin-right: 1in;" class="Msobyline"><span class="dynamic-style-31">by Jim Austin<span style="font-size:10;"> </span></span></p> <blockquote> <p style="margin: 0in 1in 0pt 0.5in;" class="MsoBodyText"><i> <span class="dynamic-style-51"><span style="font-size:9;">“</span></span></i><span class="dynamic-style-61"><span style="font-size:9;"><i>Oscar Rejlander’s (1813 -1875) studio was unusual; shaped like a cone, the camera would be in the narrow part, the sitters at the opposite end. The camera was in shadow so that the sitters were less aware of it. He estimated his exposure by bringing his cat into the studio; if the cat’s eyes were like slits, he would use a fairly short exposure. If they were a little more open than usual, he would give extra exposure. If the pupils were totally dilated he would admit defeat, put the lens cap on the lens and go out for a walk!” </i>Robert Leggat, 1999 </span> </span></p> </blockquote> <p style="margin: 0in 1in 0pt 0.5in;" class="MsoBodyText"> <span style=";font-size:9;" > </span></p> <p style="margin-right: 0.5in;" class="MsoBodyText"> <span class="dynamic-style-61"><span style="font-size:100%;">Cats, much to their delight, are no longer forced to endure conscription for use as light meters. Instead of cat’s eyes, we use other tools to expand the usable range of light. HDR photography is one of the important new tools, as it lets us preserve exquisite fine detail in a scene. Here, we explore the appeal of black-and-white HDR, paying special attention to a photographer’s personal and visual awareness. While the first two parts of this article looked at color HDR, this article investigates key qualities behind interesting black-and-white HDR work, with suggestions for a black-and-white workflow. First, we consider why HDR imaging techniques leave the feline method in the dark: </span></span></p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer2"> <p class="Msoh3"><span class="dynamic-style-71"> Why Black-and-White HDR? </span></p> <p class="MsoBodyText"> </p> <p class="MsoBodyText"> <span style="font-size:100%;"><span class="dynamic-style-61">Think of each black, grey, and white picture tone as a separate instrument in an orchestra. Filling out the tones is like adding extra players to the ensemble. Just as your musical experience listening to the Boston Pops is different from hearing a quartet, so does a wider range of black-and-white tones in a photograph allow for a greater reach of emotional expression.</span><br /><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">Black-and-white HDR also solves an old problem. When you’re photographing everyday scenes, brilliant whites and deep blacks can result in washed-out highlights, on the one hand, and blocked-up shadows on the other. HDR bracketing and multiple exposure (as we saw in Parts 1 and 2) help manage this lack of tone control. In Photos 1a and 1b (<i>see below</i>), compare the HDR multiple exposure at left with one single exposure at right. Shadow details are excellent in the HDR image, and the daylight outdoors is not washed out because of the greater highlight detail captured during the HDR process. (By the way, there <i>was</i> a cat in the bar, but the room was too dark for me to see its pupils.)</span></span></p> <p class="MsoBodyText"> </p> <div align="center"> <table id="table1" border="0" cellpadding="10" cellspacing="0" width="677"> <tbody><tr> <td colspan="2"> <p class="MsoBodyText"> <img src="http://apogeephoto.com/june2007/image19.jpg" border="0" height="209" width="544" /></p> </td> </tr> <tr> <td width="332"> <p class="MsoNormal" align="right"><span class="dynamic-style-91"> <span style="font-size:100%;">1a. “The Bull, Key West” A six exposure HDR image with 1-stop bracketing, and Tone Mapping in Photomatix Pro 2.4. Highlights show much better detail</span></span><span class="dynamic-style-61"><span style="font-size:100%;">. </span></span></p> </td> <td valign="top" width="305"> <p class="MsoNormal" align="left"><span class="dynamic-style-61"> <span style="font-size:100%;">1b. A Single Exposure taken in the middle of the bracketed series. There is loss of both highlight and shadow detail. </span></span></p> </td> </tr> </tbody></table> </div> <p class="MsoBodyText"> </p> <p class="Msoh3"><strong> <span style="font-size:100%;"> <br /> </span> </strong><span class="dynamic-style-71">What Makes Black-and-White HDR interesting? </span></p> <p class="MsoBodyText"><strong> <span style="font-size:100%;"><br /> <span class="dynamic-style-71">Tonal Range, Visual Elements, and the Photographer’s Personal Qualities </span><br /> </span> </strong> <span style="font-size:100%;"><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">The alchemy of black-and-white HDR is to make the unseen visible. One of the implied, unseen elements in photography is the movement of time. In the black-and-white HDR composition above, revered names of people who were killed in the Holocaust seem to recede without a fixed vanishing point, and so go on indefinitely, conveying a sense of the infinite. </span></span></p> <p class="MsoBodyText"><span class="dynamic-style-61"> <span style="font-size:100%;"> </span></span></p> <p class="MsoBodyText"><span class="dynamic-style-61"> <span style="font-size:100%;">For “Holocaust Memorial,” I made three exposures. Combining these frames in Photomatix © brought out the carved names in a deeply-shaded corner of the memorial. </span></span></p> <p class="MsoBodyText"> <span style="font-size:100%;"> <br /> The use of</span><span class="dynamic-style-61"><span style="font-size:100%;"> Photomatix© helped expand the range of tones in this image. The enlarged tonal range made the image more graphic and austere. The deeply detailed blacks gave the photograph a solidity and sense of presence. Together, the tones and their presence created a graphic look to black-and-white HDR. The perception that abstract and graphic qualities are expressed by the tones of the picture is not new in photography. It was explored by master photographers like Edward Weston, whose prints had subtle and well-defined transitions from light to dark. Black-and-white HDR draws on this tradition. What makes it of interest now is the way a larger tonal range enlivens black-and-white’s abstract and graphic beauty. </span> </span></p> <p class="MsoBodyText"> </p> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image20.jpg" border="0" height="342" width="540" /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer8"> <p class="MsoBodyText" align="center"><span class="dynamic-style-21"> <span style="font-size:100%;">2. “Holocaust Memorial”: 3 exposures combined in Photomatix 2.4 </span></span><span class="dynamic-style-61"> <span style="font-size:100%;">© </span></span> <span class="dynamic-style-21"><span style="font-size:100%;">by Jim Austin.</span></span></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer9"> <p class="MsoBodyText"> <span style="font-size:100%;"><br /> <span class="dynamic-style-61">Two more key ingredients for successful black-and-white HDR are the visual elements and the personal elements. </span><br /><br /> <span class="dynamic-style-61"><strong>Visual Elements: Composition and Symbolism</strong><br /><br /> Visual elements of interesting black-and-white HDR include composition, shape, and symbolism. To use these ingredients in ways that work for your imagery, it may help you to ask, “What attracts me to this scene? Is it the color, or is this a good picture regardless of whether it’s in color or black-and-white?” If you can identify the design elements in the scene before you photograph in black-and-white HDR, you’re on your way to creating a good composition.</span><br /><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">When visual elements of design support a photograph, they’ll expand the symbolic components of black-and-white HDR pictures, as well. For instance, a photograph can act as an analogy. The brilliant photography critic Susan Sontag pointed out, “What makes something interesting is that it can be seen to be like, or analogous to, something else.” For example, at first glimpse, the fins of the Chevy Bel Air <i>(Image 3</i>) reminded me of a large modern building. Later on, I titled the image because it reminded me of the hit song by Don McLean “American Pie” with its famous line “Drove my Chevy to the levy, but the levy was dry.” As the image evolved, I had other associations with more symbolism, which enhanced its interest. </span> </span> </p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer10"> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image21.jpg" border="0" height="363" width="452" /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer11"> <p style="text-align: right;" class="MsoBodyText" align="right"> </p> <p style="text-align: center;" class="MsoBodyText" align="right"> <span class="dynamic-style-21"><span style="font-size:100%;">3. “Chevy Above the Levy”</span></span><span style="font-size:100%;"><br /> </span> <span class="dynamic-style-21"><span style="font-size:100%;">© by Jim Austin.</span></span></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer12"> <p class="MsoBodyText"> </p> <p class="MsoBodyText"> </p> <p class="MsoBodyText"><span class="dynamic-style-61"><strong> <span style="font-size:100%;">Visual Elements: Tones in Time are Symbolic</span></strong></span><span style="font-size:100%;"><br /><br /> <span class="GramE"><span class="dynamic-style-61">When</span></span><span class="dynamic-style-61"> they’re well-crafted, the tones in a black-and-white HDR are captivating. This is partly due to what the tones represent. Subtle changes from dark to light tones can act as metaphors for the passage of time. We mentioned time earlier referring to the Holocaust Memorial photograph which used space to suggest infinity. In a representative way, time’s passage can also be suggested by studying the black-and-white tones of a photograph. Think of a sun’s shadow and where it falls on a sundial, for instance. Remember how long shadows are as the sun sets. Think of moving white clouds as they race across the sky. </span><br /><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">In Martin Deak’s Eiffel Tower image, the lapse of time is suggested by blurred clouds. Since the multiple exposures that make up his picture were taken over an extended period, the clouds moved during the bracketing process. This movement shows the passage of time. HDR imaging, like time exposure, is an excellent medium for working with symbols that are central to photography, like the flow of time. </span> </span></p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer13"> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image22.jpg" border="0" height="405" width="344" /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer14"> <p class="MsoBodyText" align="center"><span class="dynamic-style-121"> <span style="font-size:100%;">4. “Eiffel Tower” by </span></span> <span class="dynamic-style-61"><span style="font-size:100%;">© </span> </span><span class="dynamic-style-121"><span style="font-size:100%;">Martin Deak.</span></span><span style="font-size:100%;"><br /> </span> <span class="dynamic-style-121"><span style="font-size:100%;">Used by Permission</span></span></p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer15"> <p style="margin-bottom: 12pt;" class="Msoh3"> <span class="dynamic-style-71">Personal Elements: Imagination to Innovation</span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span class="dynamic-style-61"><span style="font-size:100%;">Two main personal elements within a photographer’s thought process make for interesting HDR imagery.</span><i><span style="font-size:100%;"> </span> </i> </span> </p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span style="font-size:100%;"> <span class="dynamic-style-61">First, learning to see in black-and-white is an essential exercise for the photographer’s imagination. Master black-and-white photographers practice forming mental pictures of color scenes to examine how the scene will look later when it’s printed in black-and-white. For example, Royce Howland created a windswept winter scene (<i>Image 5</i>) that was in the photographer’s vision as a black-and-white image from the beginning--long before he made three exposures and used Photomatix Pro and Photoshop CS2 for post-processing. Mr. Howland observed, “The scene’s dynamic range technically was within the capture ability of a single exposure. However there was a lot of subtle detail and texture across the range of highlights to shadows, and I wanted to preserve as much of that as possible. I used black and white to emphasize fine-grained detail in the snow and ice, as well as showcasing the graphic nature of the forms.” Seeing the beauty in “Effects of Light and Wind” is like listening to a symphony. The fine highlight detail, resultant shadow detail, graphic shapes carved by wind, and the radiant ambiance of the light all work together harmoniously. </span><br /><br /></span><span class="dynamic-style-61"> <span style="font-size:100%;">Second, photographers need to understand how innovative black-and-white HDR truly is. It’s fundamentally different from color, not simply what happens when color is removed. It’s a novel process to the extent that it alters the visual language. Black-and-white HDR adds to the emotionally expressive quality of a photograph. It has a graphic sense that color images do not possess. It’s a superb tool for exploring scenes we would usually pass by because of their high contrast. </span></span> </p> <p style="text-align: right;" class="MsoBodyText" align="right"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer19"> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image23.jpg" border="0" height="444" width="407" /></p> <p class="MsoBodyText" align="center">5. “Effects of Light and Wind”<br /> © Royce Howland 2007.<br /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer20"> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer21"> <p class="Msoh3"><span class="dynamic-style-71"> Why Not Use Color <span class="GramE">HDR ?</span> </span> <span style="font-size:100%;"><br /></span></p> <table id="table2" align="right" border="0" cellpadding="10" cellspacing="0" width="234"> <tbody><tr> <td> <p class="MsoBodyText"> <img src="http://apogeephoto.com/june2007/image24.jpg" border="0" height="350" width="299" /></p> <p class="MsoBodyText" align="center"> <span class="dynamic-style-141"><span style="font-size:100%;">6. “Your Childhood Eyes Were So Intense” </span></span></p> <div style="margin-top: 3.75pt; margin-bottom: 3.75pt;"> <p class="MsoBodyText" align="center"> <span class="dynamic-style-21"><span style="font-size:100%;">©</span></span><span class="dynamic-style-141"><span style="font-size:100%;"> Omar Freitas Junior and Luciana Maria Gerhard, Used by permission.</span></span></p> </div> <p class="MsoBodyText" align="center"> </p> </td> </tr> </tbody></table> <p class="MsoBodyText"> <span class="dynamic-style-61"><span style="font-size:100%;">Because color makes us respond emotionally to it, color in a photograph can distract us from the heart of an image, just like a special musical effect can overwhelm the melody of a song. Without color, however, all the dark tones support and direct our attention to the emotions in a picture, like those in the boy’s face. Black-and-white HDR allows tones to show character. For portrait photography, black-and-white HDR frees a photographer to create portraits that center on the individual, as in this image, “Your Childhood Eyes Were So Intense” by Gerhard and Junior (<i>Image 6</i>). The use of black-and-white HDR here allows the personality of the subject to stand out, without sacrificing detail in highlights or shadows when there is a lot of contrast in the scene. This is a satisfying aspect for photographers who wish to portray character authentically. </span> </span><span style="font-size:100%;"><br /><br /> <span class="dynamic-style-61">The advantage of black-and-white was expressed by an anonymous photographer: “If you photograph people in color you show the color of their clothes—if you use black and white, you will show the color of their soul.” The inner soul of the subject is beautifully expressed by Pete Carr, a writer and photographer, with his photograph titled “In Loving Memory of Hillsborough” <i>(Image 7</i>). </span><br /><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">Nearly 20 years after the disaster at the Hillsborough Football club where 96 lives were lost, the memorial is still cherished. For his intimate portrait, Mr. Carr chose not to use flash. He used black-and-white HDR for realism, authenticity, and to recapture highlight details that were lost before HDR processing.</span></span></p> <p class="MsoBodyText"> </p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer22"> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image25.jpg" border="0" height="306" width="352" /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer23"> <p class="MsoBodyText" align="center"><span class="dynamic-style-21"> <span style="font-size:100%;">7. “In Loving Memory of Hillsborough” </span></span><span class="dynamic-style-61"> <span style="font-size:100%;">© </span></span> <span class="dynamic-style-21"><span style="font-size:100%;">Pete Carr.</span></span></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer24"> <p style="margin-bottom: 12pt;" class="MsoBodyText"> </p> <p style="margin-bottom: 12pt;" class="Msoh3"> <span class="dynamic-style-71">Workflow for B</span><span class="dynamic-style-61"><strong>lack-and-White</strong> </span><span class="dynamic-style-71"> HDR</span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span style="font-size:100%;"> <span class="GramE"><span class="dynamic-style-61">We’ve</span></span><span class="dynamic-style-61"> seen several advantages to black-and-white HDR. Now let’s turn to the process itself. My workflow is the following:</span><br /><br /> <span class="dynamic-style-61">1. Take a RAW color image in a digital camera, bracketing by changing shutter speeds to achieve 3 to 9 exposures. </span><br /> <span class="dynamic-style-61">2. Archive the original RAW files. </span><br /> <span class="dynamic-style-61">3. Import the images into Photomatix Pro 2.4.</span><br /> <span class="dynamic-style-61">4. Create a 32 bit color image file.</span><br /> <span class="dynamic-style-61">5. Tone Map in Photomatix.</span><br /> <span class="dynamic-style-61">6. Save the image as a 32 bit color .tif file to hard drive.</span><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">7. Convert to 16 bits and Photoshop Enhance.<br /> 8. Open in Photoshop (CS</span></span><span class="dynamic-style-110"><span style="font-size:100%;">2</span></span><span class="dynamic-style-61"><span style="font-size:100%;"> or newer).</span></span><span style="font-size:100%;"><br /> <span class="dynamic-style-61">9. Convert to 16 bits; convert to black-and-white using Photoshop’s channel mixer adjustment layer. </span></span> </p> <p style="margin-bottom: 12pt;" class="Msoh3"> <span style="font-size:100%;"> <span class="dynamic-style-71">The Workflow Process:</span><span class="dynamic-style-61"> </span></span> </p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span style="font-size:100%;"> <span class="dynamic-style-61"> Using a digital camera, capture the image in color in RAW file format. The first decision depends on your having a tripod. One advantage of using a tripod in your workflow is that a tripod and camera release will make you slow down, and take more time to consider your composition, light and framing. This concentration will improve your images. If you don’t have a tripod, handhold the camera and take three bracketed exposures. To do this, use a manual camera setting. (Remember: you’ll keep the same aperture and bracket with shutter speeds.) </span><br /><br /> <span class="dynamic-style-61">You can also use auto bracketing. Most cameras allow only three shots in this mode, so take three exposures at -2 below the camera meter, at 0 or at the exposure as metered by the camera, and at +2 over the camera metered exposure. Keep your camera aperture constant to prevent the depth-of-focus changing between shots. If you have a tripod and cable release, you may want to take up to 9-11 frames. </span><br /><br /> <span class="dynamic-style-61">Once you have a series of frames, save the images and open your HDR software. You can convert to black-and-white in Photoshop, or use the HDR software tools in Photomatix, FDR tools, Artizen HDR or Adobe Photoshop CS3. If you choose, you can use the HDR program to convert to black-and-white by using the saturation control set to pure black-and-white, but by keeping the HDR as color, the flexibility of Photoshop’s channel mixer and camera raw yields better results. </span><br /><br /> </span> <span class="dynamic-style-61"><span style="font-size:100%;">Whatever your personal choices in software and tone mapping, try not to let the technology overwhelm your picture-taking. Be true to the context and to your own vision for your photograph.</span></span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> </p> <p style="margin-bottom: 12pt;" class="Msoh3"> <span class="dynamic-style-71">Summary: Vision for Future B</span><span class="dynamic-style-61"><strong>lack-and-White </strong></span><span class="dynamic-style-71">HDR</span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span style="font-size:100%;"> <span class="GramE"><span class="dynamic-style-61">To</span></span></span><span class="dynamic-style-61"><span style="font-size:100%;"> create interesting black-and-white HDR, then, photographers must be alert to wondrous contrasts that are present everywhere and be excited to photograph these scenes. Making images with high dynamic range tools lets you see and appreciate detail that was always there, but you weren’t aware of it. With practice, the black-and-white HDR process helps you see shading and tonal detail in scenes that you wouldn’t have photographed before, thinking these scenes unremarkable. </span></span> <span style="font-size:100%;"><br /></span> <span style="font-size:100%;"><br /> </span><span class="dynamic-style-61"><span style="font-size:100%;">The culture of black-and-white HDR imaging offers new adventures for photographers. They can take portraits with character. They can expand their awareness of fine shadow and highlight detail when making photographs where the scene contrast is too great for methods employed before HDR emerged. Black-and-white HDR extends the graphic and symbolic traditions of black-and-white film photography. Finally, the real beauty of black-and-white HDR will grow with the vision of future imaginative photographers, as they work with this novel tool to expand their perception. </span></span> </p> <blockquote> <p class="MsoBodyText"><strong><span class="dynamic-style-161"> <span style="color: rgb(0, 0, 0);font-size:100%;" >A</span></span></strong><span class="dynamic-style-171"><span style="font-size:100%;"><span style="color: rgb(0, 0, 0);"><strong>bout The Author: </strong>Jim Austin M.A., A.C.E., has written on digital photography for ten years. He was a commercial photographer in Denver, taught digital imaging for MSCD, and has shown work in galleries for three decades. He teaches Photoshop at the online campus of <www.apogeephoto.com> and additional recent work can be seen at</span> <<a href="http://www.flickr.com/jimagesdigital/sets" target="_blank">http://www.flickr.com/jimagesdigital/sets</a>>. </span></span></p> </blockquote> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer26"> <p class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image26.jpg" border="0" height="375" width="544" /></p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer27"> <p class="MsoBodyText" align="center"><span class="dynamic-style-21"> <span style="font-size:100%;">8. “Black Power” by © Jörg Dickmann, </span></span> <span style="font-size:100%;"><br /> </span> <span class="dynamic-style-21"> <span style="font-size:100%;"> <a href="http://www.flickr.com/photos/97752677@N00/" target="_blank">http://www.flickr.com/photos/97752677@N00/</a></span></span></p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer28"> <p style="margin-bottom: 12pt;" class="Msoh3"> </p> <p style="margin-bottom: 12pt;" class="Msoh3"> <span class="dynamic-style-71">Links and Resources for HDR :</span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span class="dynamic-style-51"><span style="font-size:100%;">A large group of over 2,000</span></span><i><span style="font-size:100%;"> <span class="dynamic-style-51">HDR B/W images by many different </span> </span><span class="dynamic-style-51"><span style="font-size:100%;">photographers: </span> </span></i> <span style="font-size:100%;"><br /> <span class="dynamic-style-61"> <a href="http://www.flickr.com/groups/bwhdr" target="_blank">http://www.flickr.com/groups/bwhdr</a></span></span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> <span style="font-size:100%;"> <span class="dynamic-style-51">Color to B/W: </span> <span class="dynamic-style-61">For converting color to B/W, you can use Photoshop Elements. Check out Michael Fulks’ article: <a href="http://www.apogeephoto.com/nov2006/mfulks112006_1.shtml" target="_blank">http://www.apogeephoto.com/nov2006/mfulks112006_1.shtml</a></span></span></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> FDR Tools: Full Dynamic Range Tools,© Andreas Schoemann<br /> <a href="http://fdrtools.com/documentation/hello_world_e.php" target="_blank">http://fdrtools.com/documentation/hello_world_e.php</a></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> Forum on HDR photography with organized response threads:<br /> <a href="http://hdr.mirror.hu/" target="_blank">http://hdr.mirror.hu:80/</a></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> Martin Deak Photograpy:<br /> <a href="http://www.flickr.com/photos/20931607@N00/" target="_blank">http://www.flickr.com/photos/20931607@N00/</a></p> <p style="margin-bottom: 12pt;" class="MsoBodyText"> Omar Junior Photography:<br /> <a href="http://www.flickr.com/photos/omarjunior/" target="_blank">http://www.flickr.com/photos/omarjunior/</a></p> <p class="MsoBodyText"> Oscar Rejlander, A History of Photography by Robert Leggat.<br /> <a href="http://www.rleggat.com/photohistory/history/rejlande.htm" target="_blank">http://www.rleggat.com/photohistory/history/rejlande.htm</a></p> <p class="MsoBodyText"> <br /> Photomatix 2.4 Download: You can download a free trial of Photomatix 2.4 for Mac OSX at<br /> <a href="http://www.hdrsoft.com/download/beta/mac2dot4.html" target="_blank">http://www.hdrsoft.com/download/beta/mac2dot4.html</a></p> <p class="MsoBodyText"> and Win at <a href="http://hdrsoft.com/download/beta/win2dot4.html" target="_blank">http://hdrsoft.com/download/beta/win2dot4.html</a></p> <p class="MsoBodyText"> <br /> Photomatix Software Discount: Enter the word “beforethecoffee”<br /> in the box, for a 15% discount on Photomatix here, total of $84.15 US dollars, here:<br /> <a href="http://www.hdrsoft.com/order/discount.html" target="_blank">http://www.hdrsoft.com/order/discount.html<br /> </a> <br /> Pete Carr Images at:<br /> <a href="http://www.petecarr.net/" target="_blank">www.petecarr.net</a></p> <p class="MsoBodyText"> <br /> and his TOP HDR set at<br /> <a href="http://flickr.com/photos/petecarr/sets/72157594220098364/" target="_blank">http://flickr.com/photos/petecarr/sets/72157594220098364/</a></p> <p class="MsoBodyText"> <br /> Royce Howland HDR: <br /> <a href="http://www.vividaspect.com/" target="_blank">http://www.vividaspect.com</a></p> <p class="MsoBodyText"> <br /> Set of 7 HDR Downloadable Presets for Lightroom: |<br /> <a href="http://inside-lightroom.co.uk/hdr.html" target="_blank">http://inside-lightroom.co.uk/hdr.html</a></p> <p class="MsoBodyText"> <br /> Tutorials and articles in an HDR forum: Photomatix tutorial by Ferrell McCullough: <a href="http://www.hdrphotos.net/" target="_blank">http://www.hdrphotos.net</a></p> <p class="MsoBodyText"> <br /> Video Learning Photoshop HDR: Go to YouTube and watch a tutorial on making a 3 exposure HDR Photoshop image, at<br /> <a href="http://www.youtube.com/watch?v=CVuDbcAfN_I" target="_blank">http://www.youtube.com/watch?v=CVuDbcAfN_I</a></p> <p class="MsoBodyText"> </p> </div> <div style="color: rgb(204, 204, 204); font-family: verdana;" id="layer29"> <p style="line-height: 10.5pt;" class="MsoBodyText" align="center"> <img src="http://apogeephoto.com/june2007/image27.jpg" border="0" height="249" width="332" /></p> </div> <p style="line-height: 10.5pt; color: rgb(204, 204, 204); font-family: verdana;" class="MsoBodyText" align="center"> <span class="dynamic-style-21"><i><span style="font-size:10;">9. “Lincoln Castle Gate” </span></i></span><i> <span style=";font-size:10;" ><br /> <span class="dynamic-style-21">© Alan Stenson,</span><br /> <span class="dynamic-style-21"> <a href="http://www.flickr.com/photos/61845920@N00/" target="_blank">http://www.flickr.com/photos/61845920@N00/</a></span></span></i></p> <!-- technorati tags begin --><p style="font-size: 10px; text-align: right; color: rgb(204, 204, 204); font-family: verdana;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/HDR" rel="tag">HDR</a>, <a href="http://technorati.com/tag/BW" rel="tag">BW</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com1tag:blogger.com,1999:blog-7864657887399832647.post-24664558288023375712007-07-06T11:29:00.001+03:002007-07-06T11:29:04.397+03:00Virtual field trip<DIV style="border-top: 1px solid rgb(105, 123, 217);" id="divcontent"><p>You may wish to experiment with the use of panoramic photographs in your virtual field trip. Set up your digital camera on a rotating tripod at a central location in your field trip area. Take photographs of the entire 360° surroundings without moving the tripod. Ideally, you should aim to take between twelve and thirty six images. Download all the digital images to your computer, making sure than each one is properly logged.<br/> <br/> Software packages like Simply VR can then be used to splice your digital images together to create a single panoramic view of the surroundings. This panoramic view can then be converted into a spin panorama - an interactive QuickTime file.<br/> <br/> The <strong><EM><a href="http://www.dfes.gov.uk/psp/module.aspx?t=2&s=8&m=21435&n=286601#files">Sandbach panoramic</a></EM></strong> and <strong><EM><a href="http://www.dfes.gov.uk/psp/module.aspx?t=2&s=8&m=21435&n=286601#files">Sandbach spin panorama</a></EM></strong> resources have been included in this module to demonstrate. They show the area in Sandbach around the Market Square including the Saxon Crosses.<br/> <br/> Information about Simply VR can be gained from <a target="pspChildWindow" href="http://www.tech4learning.com/simplyvr/" title="Link will open in a new window">www.tech4learning.com/<span class="wbr"></span>simplyvr/<span class="wbr"></span></a>.<br/> <br/> An online tutorial on creating spin panoramas using Simply VR is available at <a target="pspChildWindow" href="http://myt4l.com/index.php?v=r4s&page_ac=view&type=tutorials" title="Link will open in a new window">http:/<span class="wbr"></span>/<span class="wbr"></span>myt4l.com/<span class="wbr"></span>index.php?v=r4s&page_ac=view&type=tutorials</a>.<br/> <br/> A free version of QuickTime is available to download from <a target="pspChildWindow" href="http://www.apple.com/quicktime/download/" title="Link will open in a new window">www.apple.com/<span class="wbr"></span>quicktime/<span class="wbr"></span>download/<span class="wbr"></span></a>.<br/> <br/> Use Simply VR and the 18 photographs contained in the zipped <strong><EM><a href="http://www.dfes.gov.uk/psp/module.aspx?t=2&s=8&m=21435&n=286601#files">Sandbach images</a></EM></strong> folder to create a new spin panorama of the area around Sandbach Market Hall. Unzip the folder then follow the instructions listed in the online tutorial to import the images into Simply VR. The separate photographs then need to be spliced together using Simply VR to create a single panoramic image. This panoramic image can then be easily converted by Simply VR into a QuickTime VR spin panorama file.</p> <p>For ICT support, visit the <strong><EM><a href="http://www.dfes.gov.uk/psp/module.aspx?t=2&s=8&m=21435&n=286605&b=484050">Additional ICT skills guidance page</a></EM></strong>.</p> <p>Trial or viewer versions of the software you need may be available from the <strong><EM><strong><EM><a href="http://www.dfes.gov.uk/psp/softwaredownloads.aspx">Software downloads page</a></EM></strong></EM></strong>.</p> Before downloading, please read the <a href="http://www.dfes.gov.uk/psp/termsandconditions.aspx">Website terms and conditions</a>. A new browser window will open with each resource. If you wish to save the file on a PC, right-click and choose the 'Save Target As...' option. On a Macintosh, hold control and click (or click and hold) to display your browser's 'Save As...' options.<p><a href="http://www.dfes.gov.uk/psp/module.aspx?t=2&s=8&m=21435&n=286601">SOURCE</a><br/> </p> </DIV><!-- technorati tags begin --><p style="font-size:10px;text-align:right;">technorati tags:<a href="http://technorati.com/tag/photography" rel="tag">photography</a>, <a href="http://technorati.com/tag/360" rel="tag">360</a>, <a href="http://technorati.com/tag/panoramic" rel="tag">panoramic</a></p><!-- technorati tags end -->Alin Ciubotaruhttp://www.blogger.com/profile/16788214871678011168noreply@blogger.com0