Beginner To Pro: Lesson 1 - Composition

Today is the start of a series dedicated to growing the photographer in you.  It will start with the basics and will slowly advance toward more complex and creative aspects of photography.  I am going to put these lessons together one by one in the order that they should be learned.  So welcome budding photographer!

If you have always enjoyed photography, but have never been completely satisfied with the results, this is for you.  Composition is the biggest defining factor of what turns a snapshot into artwork.  You don't need an expensive camera or lighting, what you need is composition.  Artwork has been made with pinhole cameras, cruddy Holgas, and even phones.

So what is composition?  There are a lot of so called "rules" to composition, but for every piece of art that follows the rules, there is one that breaks them too.  One of the more popular rules is the rule of 3rds.  This states that if you break your picture up into three sections vertically and three sections horizontally that you should put the focus of your picture on one of the lines that separate the thirds.  This does work to help make a lot of shots much better than they could have been if it wasn't followed, but one of the reasons it works is it makes you make a decision.  It makes you decide what is it that is interesting, and that is really what you should be thinking of.  This picture of the Space Needle shows the rule of thirds in action, the Space Needle itself is on one third line while the tree in the foreground is in another.  I didn't even think of the rule of thirds when taking this shot, I only thought of the composition, but it does show how that tool can be used to help as you start out.  Just remember not to be a slave to the rule, don't force it on all of your subjects if you don't think it works for it.

Camera: Nikon D80
Lens: Nikon 24-120mm f/3.5-5.6 AF-D
Focal Length: 28mm
Shutter: 1/6
Aperture: f/3.8
ISO: 1600
Flash: None

Think of this instead, when you go to take a photo what made you decide to take that photo, why are you there?  If you can decide why you wanted to shoot this particular subject in the first place, then you can compose an image around it.  Once you have decided what you want to shoot and why you want to shoot it, look at what potential distractions there are in and around your subject.  There may be too many to get that shot you really want, so what alternatives are there.  For instance, I love shooting vintage cars and motorcycles, and sometimes I happen upon them in parking lots.  I always feel lucky for the find, but then realization sets in, a parking lot (or car show for that matter) is the absolute worst place to shoot.  Why is that?  There are always too many distractions to get a clean shot of the full vehicle that you probably wanted.  Don't fret though, there are probably plenty of pictures of that same exact make and model vehicle, or whatever it is, everywhere.  What makes the one you are looking at unique?  Is there anything you can do different?  Once you know what it is, GET CLOSE.  When you are trying to separate something out and make it the focus there is no replacement for getting close.  Resist the urge to zoom in, zoom in with your feet.

So lets look at some examples of getting close to get the shot.  First we will start with this old Packard.  This car is just so interesting to me.  No real damage to be seen, but it has been withering away in the elements for a long time.  It is just a cool old car, but, in every angle there are ugly power lines, the tops of other buildings, no real way to get a clean shot of it.  Here is your typical 20 foot snapshot that most tourists would take of the car.  It will bring back the memory, but you probably aren't going to hang it on your wall.

Camera: Nikon D80
Lens: Nikon 24-50mm f/3.3-4.5 AF-D
Focal Length: 24mm
Shutter: 1/100
Aperture: f/5
ISO: 100
Flash: None

Now when I really ask myself, what draws me to this car, it's the patina.  The rusting showing through the paint with that orange hue on otherwise undamaged bodywork.  It just shows how long that it has been here.  The fact that it sits in front of a haunted hotel all the better.  So I decided that since the patina attracted me, that is what I want to see.  I focused on several areas around bits that were interesting.  Badges, lights, etc... obviously not just the side of the door.  After getting several shots I found what I was looking for.  Working within mere inches of the car with a 24mm lens (on DX so 36mm equivalent) I produced this shot.

Camera: Nikon D80
Lens: Nikon 24-50mm f/3.3-4.5 AF-D
Focal Length: 24mm
Shutter: 1/100
Aperture: f/5
ISO: 100
Flash: None

I think you'll agree that by finding a piece that is interesting and different that I was able to produce a piece of artwork from a subject that would have otherwise been just a nice family trip snapshot.

This second set of examples is a motorcycle in my daughter's school parking lot.  I really liked the look of this bike.  It looks like a well ridden restored classic (when in actuality it is a well ridden 2003 model) that is really quite tough to find nowadays where every classic bike is either a restored show piece or really rough in dire need of a restore.  It is hard to find the look of an enjoyed every day but not ultra clean cycle, so I really wanted to get some shots of it.  The problem is it is in a school parking lot, worse yet it is parked next to a white truck that I can see from any angle shot from the left, and reflects in the fuel tank really well shot from the right.  Oh, and a modern scooter is in the spot with it.  Ugh.  This is the snapshot that I took at the start.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 18mm
Shutter: 1/60
Aperture: f/4
ISO: 100
Flash: None

So what is interesting about this bike.  Well, the tank is well worn while otherwise undamaged, so I like that. There is a bodge job fix to the external oiling system on the right side of the engine, and the dirty carburetor is on the right side of the engine as well.  But, probably the best item that is happening at the time of my shot is the sunset.  Now be careful, looking at the sun through your viewfinder is a very very bad idea.  Be very careful, I kinda work with my eye away from the viewfinder and scan around inside to frame my shot, but it means I will be making a few shots to get it just right.  In this case I wanted to have the sun cresting the tank just at the leading edge of the fuel cap.  As you can see from the shot, I think it worked.  There are still some distracting light poles and stuff in there, but I feel the rest of the shot overshadows the flaws enough that I have included it in my collection.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 18mm
Shutter: 1/60
Aperture: f/6.3
ISO: 100
Flash: None

Now that we've talked about getting close lets talk about GETTING LOW.  Changing the perspective can add interest to otherwise mundane everyday items.  We see our entire life from eye level, change your perspective.  The best thing about getting low is you don't need anything to do it, just a willingness to lay on the ground.  Some of my best shots have been made squatting or laying on the ground.  Take this shot for instance, one of my absolute favorites (and is my mom's favorite).  This is a set of plain sheet metal mailboxes.  Who cares, right?  What is holding them up is a Singer sewing machine treadle covered in vines. Now I could have shot them at eye level or at mailbox level and would have a nice shot to remind me of it.  But anyone else viewing wouldn't notice.  They'd walk by and wonder why I shot that and then hung it on a wall.  The treadle had to be the focus, so I laid in front of it and shot one of my favorite pieces.  Not only does it make the treadle stand out more, the perspective throws the casual viewer off kilter and makes them think, what did he do here.  A wide lens again makes sure that my close personal proximity to the subject brings it to the forefront of my shot.

Camera: Nikon F4
Lens: Nikon 24mm f/2.8 AF-D
Focal Length: 24mm
Shutter: N/A
Aperture: N/A
ISO: Ilford Delta 100
Flash: None

DON'T TRY TO COPY someone else.  The best way to make nothing is to try and copy someone else's style.  You are the artist, something drew you there, what is it.  My best example would be my fiance.  We were hiking in Sedona and I was carrying my camera as always, shooting items that jumped out at me as interesting.  As the sun was going down she told me to "shoot that".  I gave her the camera and she resisted at first, but as I told her, she is the one seeing the interest in the shot and she knows what she wants in her minds eye.  She went on to shoot what she saw, and I really like it.  She saw something I hadn't at the time, and she captured her vision.  

Camera: Nikon D80
Lens: Nikon 24-50mm f/3.3-4.5 AF-D
Focal Length: 18mm
Shutter: 1/400
Aperture: f/10
ISO: 100
Flash: None

Photo Courtesy of Karla Sapien

DON'T RELY ON ZOOM to make your frame.  Zoom lenses really spoil us.  The problem is that sometimes they make us lazy and uninteresting too.  I occasionally go out with nothing but a prime lens to reacquaint myself with the need to move to get the shot I want.  It is way too easy to just stand there and rotate the zoom ring until the framing is proper, there is a place for it but if you find you are always zooming to frame you may be cheating yourself out of better shots.  Sometimes it is needed, and when you are trying to match two greatly different sized objects (like a mountain behind people) they can be a godsend, but remember that your feet work too.  

In the end make sure you are being true to yourself and your vision, that is what makes you unique.  Show others how you see the world and what in this world interests you, there is a following out there for everything, even if what you find interesting is shooting the hands on clocks.  And if someone hates your work that is ok, good art should evoke dramatic feelings, and dramatic feelings will always leave people either loving or hating your work.  One of the (ahem) great things about the internet is that you are sure to hear about it when somebody hates your work.  And lastly never lose sight of the fact that photography should always be fun, if you aren't having fun then you're doing it wrong.

Thanks for reading.

Nikkor 300mm f/4.5 Ai

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 55mm
Shutter: 1/60
Aperture: f/11
ISO: 560
Flash: SB-600 (w/ Gary Fong Lightsphere)

 Not all of us can afford the latest greatest lenses Nikon has to offer, so sometimes we have to make due.  When I go to sporting events I like to shoot them.  I happened to be going to a Phoenix Suns game but I was in the real nose bleed seats, 12 rows from the very top.  Not really a premiere vantage point for shooting the game, but I wanted to anyway.  I had nothing near long enough to do anything decent, so I snagged this Nikkor 300mm f/4.5 Ai for a steal of $159 through Adorama's used site.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 55mm
Shutter: 1/60
Aperture: f/11
ISO: 140
Flash: SB-600 (w/ Gary Fong Lightsphere)

 On my Nikon F4 that I paired it with for that game it works very well.  It is of course manual focus, but it will operate in all the PSAM modes just fine.  My Nikon D80 that I use most often now is a different story.  You don't get any metering at all, so you are on your own with full manual exposure.  That being said, I can safely and successfully use this lens whenever the need arises.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 55mm
Shutter: 1/60
Aperture: f/11
ISO: 450
Flash: SB-600 (w/ Gary Fong Lightsphere)

 This lens isn't very fast, 4.5 is slow.  Also, and probably the biggest detractor from this lens is close focusing.  It only focuses down to 13 feet.  So if you wanted to do any close-up work with it you will need to use extension tubes to do it.  But, since there aren't any electronics or AF, you can use them just fine.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6G VR
Focal Length: 55mm
Shutter: 1/60
Aperture: f/11
ISO: 500
Flash: SB-600 (w/ Gary Fong Lightsphere)

SPECS:

• Focal Length: 300mm
• Aperture: f/4.5 - f/22, 6 blades
• Close Focus: 13'
• Lens Type: Ai
• Filter Size: 52mm
• Weight: 39.8oz (1126g)

Shooting at my standard test target here.  Not quite as square as I'd like, but it will get the job done.  :-)

Camera: Nikon D80
Lens: Nikkor 300mm f/4.5 Ai-S
Focal Length: 300mm
Shutter: 2 sec
Aperture: f/8
ISO: 100
Flash: None

 I really like the optics on this lens.  They are definitely crisp as you can see on this center crop of our test image.

Camera: Nikon D80
Lens: Nikkor 300mm f/4.5 Ai-S
Focal Length: 300mm
Shutter: 2 sec
Aperture: f/8
ISO: 100
Flash: None

 And that crispness goes right to the edge of a DX frame.  A very slight red/green color shift can be seen at the edges of the black areas.

Camera: Nikon D80
Lens: Nikkor 300mm f/4.5 Ai-S
Focal Length: 300mm
Shutter: 2 sec
Aperture: f/8
ISO: 100
Flash: None

If you can deal with all manual operation then this lens can really add to your arsenal for nearly the same price as an 18-55mm VR.  While I want to upgrade to a newer 300mm AF-S lens myself, I find it hard to justify when I look at what I can do with this lens.  If you don't mind going full manual, or you intend on using a full manual film camera then go for it!

Thanks for reading.

Nikon 18-55mm f/3.5-5.6G VR DX

Camera: Nikon D80      

Lens: Nikon 100mm f/2.8 Series E

Focal Length: 100mm

Shutter: 1/50

Aperture: f/8

ISO: 100

Flash: SB-600

View my Gallery of photos taken with the Nikkor 18-55mm f/3.5-5.6G VR DX.

In the short time I have used the Nikon 18-55mm f/3.5-5.6G VR, it has become my favorite DX lens.  It is light, gets fairly wide, and has VR so I can shoot hand held very slow.  At 18mm I have successfully shot this lens hand held at 1 second.  This is an AF-S lens so it will auto-focus on every Nikon auto-focus camera.  Being that it is DX it will not produce a full image circle on FX or film.  It is also a G lens which means no aperture ring, so cameras with no electronic aperture control cannot use this lens in "A" or "M" modes, but since all DX cameras have aperture control, this shouldn't be a problem.

Camera: Nikon D80      

Lens: Nikon 100mm f/2.8 Series E

Focal Length: 100mm

Shutter: 1/50

Aperture: f/8

ISO: 100

Flash: SB-600

This lens is all plastic including the mount, so it is a lightweight.  The lens is shortest at about 30mm and focused to infinity.  The front element rotates with focusing and the lens gets longer as you get wider or longer than 30mm.  This lens does require a switch to be moved to go from auto-focus to manual-focus.  So far I have only used it in manual-focus for close-ups.  The manual-focus ring is really just a small line of knurls on the front element, but it is so easy and smooth it isn't a big deal.  What is a big deal is that the throw from closest to furthest focus is not much, only about 90 degrees.  I'm not sure if I'll manual focus much beyond focusing for closest focus.

Camera: Nikon D80      

Lens: Nikon 100mm f/2.8 Series E

Focal Length: 100mm

Shutter: 1/50

Aperture: f/8

ISO: 100

Flash: SB-600

In my current arsenal this lens spends the most time on the camera, it is just perfect for low light and hand held.  I love wide angles so I wish it was 14-16mm on the wide end but that would make it much more expensive as well so 18mm is probably a good compromise.

SPECS:

• Focal Length: 18-55mm
• Aperture (18mm): f/3.5 - f/22, 7 blades
• Aperture (55mm): f/5.6 - f/36, 7 blades
• Close Focus: 6"
• Lens Type: AF-S
• Filter Size: 52mm
• Weight: 9.4oz (265g)

Here are some test images for comparison.  This is the overall image and is shot at the closest focus distance, so only about 7 inches or so from the target.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6 G VR
Focal Length: 55mm
Shutter: 2.2 seconds
Aperture: f/8
ISO: 100
Flash: None

I don't see any discernible distortion in this shot.  Everything looks straight.

The next image is the very center at full resolution.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-.6 G VR
Focal Length: 55mm
Shutter: 2.2 seconds
Aperture: f/8
ISO: 100
Flash: None

I am going to do some re-shoots, but all of my images shot at my "target" appear just a little soft.  This is the case even though the focus confirmation was lit.  Even though it is soft, it is nothing to worry about for most images and I don't let it bother me.

And this final image is from the left corner at full resolution.

Camera: Nikon D80
Lens: Nikon 18-55mm f/3.5-5.6 G VR
Focal Length: 55mm
Shutter: 2.2 seconds
Aperture: f/8
ISO: 100
Flash: None

A little softer still at the edge.  For most images it is a non issue.  If I want to make a large 50" print I'd see it, but I don't view 50" prints from closer than 6-7 feet, so it wouldn't be noticeable at that distance.

In the end I'd freely recommend this lens.  It is a lightweight go anywhere lens that can shoot most everything I shoot.  I've shot landscapes as well as waist-up portraits with it.  And hand held with VR it is a joy.  Most of the time you can get it kitted with a camera, so that makes it really cheap.  Are you a beginner?  If yes, just use this lens until you outgrow it.  I know that is hard to do, we all want new toys, but you'll progress faster just learning this lens and everything you can do with it first.

View my Gallery of photos taken with the Nikkor 18-55mm f/3.5-5.6G VR DX.

What's In My Bag: School Concert

Time for my daughters school concert?  Time for photography.  I've got enough flash to reach her, but that is disruptive so I am going without.  The Nikon D80 has ISO 3200 (Hi 1) so I am going to use that to get the shots.  Lens wise I would normally use my Nikon 70-210mm f/4-5.6 AF-n, but that lens wasn't available, so i am going old school with my Nikon 300mm f/4.5 Ai-S.  The 300mm Ai-S has no electronics or anything so the D80 doesn't like it.  No metering at all and no P, S, or A modes, strictly manual.  You'll need to use the histogram here to get your exposure set.

• Camera: Nikon D80
• Lens: Nikkor 300mm f/4.5 Ai-S

Camera: Nikon D80
Lens: Nikkor 300mm f/4.5 Ai-S
Focal Length: 300mm
Shutter: 1/80
Aperture: f/4.5
ISO: 3200 (Hi 1)
Flash: None

Yep, as I write this I was trying to figure out what I forgot, nothing, that is all I brought.  Overall it worked well.  Being all manual made it a little more challenging, mostly in exposure, but as you can see I got the shots any parent would be proud to get.  

Camera: Nikon D80
Lens: Nikkor 300mm f/4.5 Ai-S
Focal Length: 300mm
Shutter: 1/100
Aperture: f/4.5
ISO: 3200 (Hi 1)
Flash: None

Thanks for reading.

What's In My Bag: Night Landscapes

Tonight I am going to South Mountain overlooking Phoenix to do some night photography.  For this I will definately need my tripod and a remote shutter release since most of my exposures will most likely be 30 seconds or longer.  For this I should only need one lens, my 18-55mm G VR, but for the heck of it I am also bringing along my 60 year old Kilfitt 400mm f/5.6 "FrankenLens".  Here is the rundown.

• Camera: Nikon D80
• Lens 1: 18-55mm f/3.5-5.6 G VR
• Lens 2: Kilfitt 400mm f/5.6 "FrankenLens"
• Shutter Release: Nikon MC-DC1
• Tripod: Flashpoint L100
• Tripod Head: Giottos 1304 Ball Head

My intention was to get some cityscapes during sunset and early evening.  I spent most of my time shooting the 18-55mm f/3.5-5.6 G VR and it worked brilliantly.  Shooting between 30 seconds and 5 minutes I got some gorgeous shots.


Camera: Nikon D80

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 18mm

Shutter: 26.7 sec

Aperture: f/8

ISO: 100

Flash: None

Just to see what it could do I pulled out the Kilfitt 400mm f/5.6 "FrankenLens".  This is a lens that was given to me with the original mount boogered up to fit some unknown camera.  So I went ahead and bought some (ahem) high quality super cheap extension tubes and pressed a tube onto the mount.  These all screwed together so I was able to mix and match until I got the lens mounted at the correct distance from the focal plane.  It is definately a kludge job, but it works, and works quite well.  Here is a shot from the old Kilfitt...


Camera: Nikon D80

Lens:  Kilfitt 400mm f/5.6 "FrankenLens"

Focal Length: 400mm

Shutter: 3 sec

Aperture: f/8

ISO: 100

Flash: None

Overall not bad.  This was a good shoot, had the right equipment, and came home with some stuff I was proud of, and that is all you ever want.

Thanks for reading.

Shooting Digital? Choose The Right Film!

For me, this is what I find as the BIG TRAP of digital photography, and I fall into it myself.  Either you just start shooting and forget, or you figure it is digital and I can just fix it later.  The fact of the matter is that choosing the right settings (film) is just important in digital photography.  Sure you can fix it later if you shoot RAW, but if you shoot JPG no matter what you do you are throwing away information and quality, and why would you want to do either?  One just wastes time, and the other throws away quality, why did we spend the money on an expensive DSLR then.

When we shoot film, we choose it specifically for the job.  Want your colors to POP pick out a contrasty slide film like Velvia, shooting portraits grab something much smoother and finer.  We can do the same for our digital photography.

Personally when I am shooting landscapes, cars, or motorcycles, give me it all.  I turn everything up to get the color to scream.  Here are my settings for this on my Nikon D80:

• Image Sharpening: +2 Medium High
• Tone Compensation: Auto
• Color Mode: IIIa
• Saturation: +
• Hue Adjustment: 0

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 40mm

Shutter: 1/60

Aperture: f/5.3

ISO: 100

Flash: SB-600 (w/ Gary Fong Lightsphere)

As you can see, the only items I haven't changed are Tone Compensation and Hue Adjustment, and Tone Compensation may get changed, but so far it has worked well at Auto.

Now for shooting people this is a horrible setting.  For people I run something more like this:

• Image Sharpening: -1 Medium Low
• Tone Compensation: Auto
• Color Mode: Ia
• Saturation: Auto
• Hue Adjustment: 0

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 40mm

Shutter: 1/60

Aperture: f/5.3

ISO: 100

Flash: SB-600 (w/ Gary Fong Lightsphere)

So for people we need to run the subdued colors of Ia and a lot of sharpening pulled out.  Saturation is set to Auto, and you could go further and set it to - to really reduce it, but Auto seems to work well.

If you have been reading this blog you know that I am a firm believer of getting the shots straight out of the camera.  It saves me time not having to constantly fool and adjust every image.  I do shoot RAW+JPG (which some consider foolish, but space is cheap) but the RAWs are there specifically as a backup or if I just utterly screw up (I am human :-) ).  I use the RAW file usually only if the color still wasn't loud enough for me.  If I do manipulate I only manipulate RAWs.

So you still want to manipulate JPGs?  In case you didn't know manipulating JPGs is DESTRUCTIVE.  Here we'll take a look at it.  For this case I will start off with an image that is over exposed.

So you can see that this image is pretty well blown out.  This histogram is all off to the right confirming this.  So from here you'd want to fix this in your favorite image editing software.  If you are fixing the JPG maybe you'd do something like this.

Much better.  But what are all those gaps in the histogram?  Well, in order to stretch the data that was there it had to cut gaps into your shot.  Also those blown out pixels in the water, well, they are still blown out.  But what if you had the RAW file to work with?

The NEF really helps out here because it has data that the JPG doesn't.  So stretching out that histogram here retains a lot more information, and hey, a lot more of those blown out highlights are there now!  Awesome.  But why did I just waste several minutes making a useable image, when I could have got it straight from the camera.

No nasty blown out highlights, no gaps in my histogram (so no data loss), and best of all, no waste of my time.  This goes for everything, exposure (which I used here since I had the pics handy), color saturation, sharpness, etc.  Post production of all these items is a second rate solution.

In the end you'll do yourself a favor by setting up your camera to get the shots how you want them straight out of the camera.  For me, not wasting time manipulating images on a computer means I can be out shooting more, and that is what it is all about.

Thanks for reading!

Nikon EM: Can You Live With This Little Gem?

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 55mm

Shutter: 1/60

Aperture: f/5.6

ISO: 100

Flash: SB-600

This is the Nikon EM.  This camera is very very small as small as many rangefinder cameras.  Is it worth a shot?  This was my first Nikon camera.  It will work with any Ai, Ai-S, AF, AF-n, AF-D, or AF-I lenses.  Non-G AF-S lenses will also work with this camera, but not G series AF-S lenses.  Note though that this is a manual-focus only camera, so while the auto-focus lenses work properly, they will not auto-focus on this camera.  This camera is an auto exposure camera that provides Aperture Priority mode only.  The extent of it's controls are a shutter release, a switch that provides Bulb/M90/Auto modes, an ISO selector, a self timer, and a back-light button.

I do like this little camera, you have to get creative for some situations, but it can do most anything.  When I was shooting film I usually took this when I wanted to travel light.  I would usually pair it with the 24mm AF-D lens seen here.

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 55mm

Shutter: 1/60

Aperture: f/5.6

ISO: 100

Flash: SB-600

You have three modes of operation, of which most of the time you will use Auto.  In Auto you select the aperture and the camera will select the appropriate shutter speed and display it for you with a matchstick in the viewfinder.  It displays from 1 second to 1/1000 second in one stop increments with 1 - 1/30 second in red.  If your shutter speed goes faster than 1/1000 second the camera will beep to warn you of the over exposure, and if you go into the red zone at 1/30 second or slower the camera will also beep to warn of possible camera shake.  One of the more interesting features of this little camera is the back-light button.  This is the little silver button on the front of the camera.  When you press this button in Auto mode it slows the shutter speed 2 stops to increase the exposure 2 stops so if you a back-light subject they wont just be a black shadow in your picture.

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 55mm

Shutter: 1/60

Aperture: f/11

ISO: 100

Flash: SB-600 (w/ Gary Fong Lightsphere, off-camera)

You also have a M90 mode.  This mode is a mechanical shutter release at 1/90 of a second for in case the battery dies.  You can also use this if you are using an older, or non-Nikon flash that doesn't command the camera to use 1/90 second.  In the 6 years I've owned this camera, the battery is still good, so it isn't really needed for the battery but I did use with a generic flash.

There is also a Bulb mode that is also mechanical that will hold the shutter open as long as you want.  It does have a provision for a shutter release cable so you can do timed exposures, and since the shutter operates mechanically for Bulb those timed exposures can go for as long as you like.

This camera is before TTL flash, so you have to go manual.  It will automatically set the shutter speed to 1/90 second when you put the flash on if you are using a Nikon flash that provides that information to the camera.

Camera: Nikon D80      

Lens: 18-55mm f/3.5-5.6G VR

Focal Length: 55mm

Shutter: 1/60

Aperture: f/11

ISO: 100

Flash: SB-600 (w/ Gary Fong Lightsphere, off-camera)

I have 2 complaints with this camera.  I don't like the ISO selection.  You lift it up to change it, but the detents aren't deep enough and sometimes it gets inadvertently changed.  Since there is no viewfinder verification, there is nothing to warn you.  The other is that there is no shutter release lock.  So if you advance the film and then decide not to take the shot there is no way to lock the release.  I wish the B/M90/Auto switch had one more position, but it doesn't.

You can get creative with this little guy if you want to.  There is no manual mode except for M90, and there is no exposure compensation... or is there?  You may notice my little origami film reference card, the reason for this is because the ISO that is selected may not be what is in the camera.  I often used the ISO selector as my exposure compensation to adjust for different lighting situations.

SPECS:

• Media: Film
• ISO Range: 25-1600
• Shutter Speed Range: 1-1/1000
• Operating Modes: Aperture Preferred only.
• Flash: Manual
• Weight: 16.7oz (473g)

This camera won't be for everyone, it requires you work around it's limited controls.  But if you want the absolute lightest SLR film camera you can get that uses the Nikon lens system it is hard to beat this one.  In the end I chose to use this camera because it gave me the opportunity to always have my superb Nikon optics even when I needed to travel at my lightest.  Some people will look down on this camera, but don't let that stop you.  It is about image quality, and this can provide you Nikon optics in a package not much larger than a point and shoot.  And in the end EVERY film SLR body is nothing but a controlled shutter.  As long as the shutter timing is correct your optics are the only difference in the photo, and this EM uses the same quality optics of my F4s.  

What's In My Bag: Product Photography - Church

I got commissioned to shoot for a Teaching Mass at a Catholic Church. This required me to come prepared to shoot the items as they are. I was not going to be moving the items to a prepared location to shoot them. This provides for nice creativity opportunities to make each shot look it's best, but it also means I need to be portable. I decided on the following gear to go with me.

• Camera: Nikon D80
• Lens: 18-55mm f/3.5-5.6 G VR
• Flash: SB-600 (w/ Gary Fong Lightsphere)
• Reflector: Photo Basics 5-way Reflector

The whole key here was to make sure I was able to get the shots done right, and get them done quick.  I really only had an hour to work, and a lot of pieces to shoot.  The reflector was good insurance  but I ended up not needing it.  The big thing was monitoring the exposure.  My D80 would get fooled by an open book and I'd have to up the exposure come to +1 to get it exposed correctly.  For instance, check these two shots of the same subject, one closed, one open.

Camera: Nikon D80      

Lens: VR 18-55mm f/3.5-5.6G

Focal Length: 55mm

Shutter: 1/40

Aperture: f/5.6

ISO: 800

Exposure Comp: -1 2/3

Flash: SB-600 (w/ Gary Fong Lightsphere)

Camera: Nikon D80      

Lens: VR 18-55mm f/3.5-5.6G

Focal Length: 55mm

Shutter: 1/60

Aperture: f/8

ISO: 500

Exposure Comp: +1/3

Flash: SB-600 (w/ Gary Fong Lightsphere)

Did you see it?  2 stops exposure compensation difference between the shots.  After you learn composition, exposure compensation is the next big thing to learn, and situations like this show just how much your light meter can be fooled.  

In the end, that is what was in my bag, and in this case it worked beautifully.

Standards Change: Your Best Today Doesn't Make The Grade Tomorrow

I had a revelation today.  What I thought was great yesterday, I wouldn't even show today.  Now, to put in perspective, I am never happy with my work.  I have two grades, passable, and complete failure.  I always have something I don't like about each shot, but I get better everyday.  You can judge for yourself, we all have different tastes and different standards, so you may think these are great, you might think they are garbage but I am giving what I thought was great yesterday and today.

This shot was a time exposure at Tempe Town Lake.  I was really bad at taking notes, so I couldn't tell you how long the exposure was, but I know that I was running around 16 minutes shooting water at night back then.  The light stream in the bottom is a boat that entered my shot, but I liked it.

Camera: Petri FT1000      

Lens: Petri 135mm f/3.5

Focal Length: 135mm

Shutter: N/A

Aperture: N/A

ISO: 50 (Fuji Velvia)

Flash: None

When I first took this shot I loved it, it was the pinnacle of my abilities at that time, and shot with my first eBay bought SLR.  Today I wouldn't show it (except here for instructional purposes).

Now, a Christmas card photo?

Camera: Petri FT1000      

Lens: Vivitar 28mm f/2.8

Focal Length: 28mm

Shutter: N/A

Aperture: N/A

ISO: 50 (Fuji Velvia)

Flash: None

This was one of my early attempts at close-up work (it isn't close enough to be considered macro).  I was thrilled when I got this shot.  Composition wise, this shot I still like.  But the image is soft.  It is just slightly out of focus.  No one to blame but me, the FT1000 is a manual focus SLR.  The other problem is that it really should have been shot on a tungsten film rather than daylight, so it is very warm even though I did correct it during the transparency scan.

It's all about color!

Camera: Petri FT1000      

Lens: Industar 50mm f/2.8

Focal Length: 50mm

Shutter: N/A

Aperture: f/22

ISO: 50 (Fuji Velvia)

Flash: None

Unfortunately that is all this shot is about.  I wish there was a little more to the composition.  When I first shot it I loved the color.  But composition ruins it.  What is it a picture of?  The power poles on the right?  Did I really leave those in the shot, what was I looking at.  The buildings on the left are too small to be a prominent feature, so when the viewer sees this, what do they see, pretty color.  Great, I just provided the same experience a box of crayons creates.  Oh well, I continue learning.

The point of all of this is to just show that as you continue to learn and grow, what you shot that you love today will lose it's luster tomorrow.  And you wont realize it until you have some reason to go back and look at all those "Great Shots".  That is what I just did the other night, I pulled out the file of transparencies that I had separated out as my best works.  I was disappointed when I found those "Great Works".  I take better photos today with my phone.  But then I realized, I shouldn't be brooding over the works from the past that I no longer like, I've grown beyond the talents I had then, and that is always a good thing.

So remember this, don't compare your works with that of other artists and get discouraged, they were once where you are now.  Keep refining your artistic vision with every shot and one day you'll be looking at that "Great Shot" you made 5 years ago asking yourself, "What was I thinking?".  My work from 5 years ago, yeah, it just doesn't make the grade.