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Overread's Forum Comments

Overread > Overread Recent Activity > Overread's Forum Comments
TopicRepliesLast Post
Canon Lens Suggestions
If I were you I'd get a cheap 70-300mm lens. It won't break the bank, but it will let you get some experience of using a longer focal length lens. That will gives you a real world understanding as to what the different focal lengths are like and what you find yourself needing and using.

Something like a Sigma APO 70-300mm F4-5.6 DG MACRO or a Tamron AF 70-300mm F/4-5.6 Di LD MACRO.

Both of those lenses do half life-size magnification, so whilst they call themselves macro they are really just close focusing. But it will get you get some distance close. From there you can find if you want to get closer still or if its enough for you.

I used an older Sigma 70-300mm when I started out with nature/wildlife. It helped give me a taste of what the longer focal lengths and macro were in real world terms to me. Not just theory or concepts others had, but an actual experience for me. From there I could better judge what I wanted to do, but also what I wanted to get; as a result I was far more able to make a choice as to what to get because now I had the direction to follow and also the real world experience to understand the differences in focal lengths; to appreciate the benefits of wider aperture lenses; to know that yes I really did want to get a lot lot closer than just "close up".

5 07/05/2014 - 4:22 PM
By BrenLee
Nikon 105mm macro with Nikon D3200
Honestly you can shoot macro hand-held with no problem - it does take practice and there are some times (windy) when its just impractical, but its very doable for most people. Note that most who do shoot handheld often (not always) shoot with flash. This helps get the typically used small apertures (f8-16), a low ISO and decently fast shutter speed (normally 1/200 or 1/250 ie sync speed with a flash) whilst providing enough light for the shot.

6 01/04/2014 - 3:08 PM
By Overread
The Forum needs an injection of life.
I got lost - but I found my way back again by eating the bread-crumbs. However I think in doing so I've mistakenly eaten everyone else's and - er - yeah that's why they can't get back either.

Also where am I?

19 02/04/2014 - 12:19 AM
By StrayCat
1st April hoaxes
Wolverhampton has the best one thus far ! (though only if you're travelling by train)

In Light-hearted chat | Page: 1, 2
7 02/04/2014 - 4:43 PM
By Niknut
Which Photoshop? Starting out.
Honestly I'd head over to Adobe's main website and sign up for their Photoshop and Lightroom package deal that they have on at present. 10 or so a month and you get both programs in their latest and most powerful versions to use.

The other option is to find a copy of the previous version of CS and use that. Newer is nearly always better and the last version is the last one Adobe made which is fully stand-alone

14 03/04/2014 - 7:53 AM
By NikLG
ND filter and long exposure
Long exposure noise reduction should help counter the heat generated noise on the sensor for these long exposures. Astrophotographers will do similarly long exposures and sometimes even longer still although once they start getting into half hours and such they end up having to super-cool their cameras otherwise they overheat way too much.

In daytime you might find you generate more heat than you would at night, but the camera shouldn't come to any harm I would think. Do some checks on asto photography - if anyone has pushed sensors to their limits and found when the noise gets too great or the damage potential increases it will be them.

11 24/04/2014 - 9:03 AM
By sausage
Does Mono Work For Wildlife Photograghy?
Mono is all about contrasts and textures. I think it works for any animal and lets us often see a more colourful animal with a new angle. We can focus on some details that might be otherwise hidden amongst its more gaudy colours.

Like all things it has its place. In the examples shown above its working well for the elephants, its bringing out a lot of detailed texture over their skin that, in colour, might be hidden or muted.

12 30/03/2014 - 10:34 PM
By Stevetheroofer
Getting everything in focus
You don't have to shoot in utter darkness. A small aperture, low ISO and fairly fast shutter speed combined with general indoor lighting will give you a black or nearly totally black photo. 1/200sec, f8, ISO 100 in a room with a 60watt light bulb just gave me a black shot.

Once the light in the shot is totally dominated by the flash the flash itself is controlling the motion stopping effect.

13 28/03/2014 - 9:07 PM
By thewilliam
what lens
What kind of "art" are you thinking about? Because art on its own means nothing - you can take fantastic are photos with a wide angle - a macro - a tilt shift -a telephoto - etc... So unless you can define a kind of art or area of subjects its hard to give any guidance.

A rough idea of the kind of budget you have to spend is also important; otherwise you could get some very expensive suggestions that are simply beyond your means to afford.

9 22/04/2014 - 11:15 PM
By Paul Morgan
adjusting aperture on macro setting
Scene modes like the macro, sports, landscape etc.. on the camera only adjust the aperture, shutter speed and ISO as normal, but assign a weighting to those values. So for macro its trying to get as small an aperture as it can (bigger f number); whilst for sports its going to try and get as fast a shutter speed as it can.

However the camera has no idea what you're taking a photo of nor what end result you want, so whilst its ok for someone not thinking; if you want control you've got to use the proper modes.

Aperture priority lets you set the aperture to what you want and the ISO as well; the camera then meters the scene and sets the shutter speed based on those components.

Shutter priority lets you set the shutter speed and ISO whilst the camera then balances the aperture based upon those criteria and the meter reading.

Full manual lets you define all the settings youself

For macro aperture priority is ideal; however if you are using flash as a major part of the exposure then full manual is the only way to go because the camera can't meter for the flash, so the settings will be based upon ambient light only with the flash - if in auto mode - will just be giving fill lighting. If the flash is more dominant in teh scene then shift to manual mode and force the settings you want and let the flash add the needed light.

Myself when shoooting macro and using a flash I'll oft be around f13, ISO 100, 1/200sec

4 28/03/2014 - 4:47 PM
By Overread
How i can get money for equipment!
Think outside the box.

Consider ways to earn money that are not photography related. You can always work in something to just earn the money which you can then use to upgrade your equipment and pay for tuition to increase your capabilities.

You'll find things open up a lot more when you've got some skills to show rather than just a dream (dreams are good but if you've got a proof that you're serious and a display of your determination and skills you'll have a massively better chance than otherwise).

Also, big lesson here, don't get too focused on what your camera can't do. Focus on what it CAN do. Because you'll find that otherwise what happens is that you'll end up so focused on what you can't that what you can flies right past and you miss it entirely. A 1000D might not be top of the range new, but its still a great bit of camera gear. Used right it can get some great shots (heck one of my best shots is still taken with a 400D which is honestly not much further from the 1000D you have ).

10 28/03/2014 - 12:18 PM
By keithh
Weddings! Only using 1 memory card?
It depends.

Go back 10 years and a 1GB card was BIG and a 2GB freakishly huge you'd never use one in case it died. Now I find that with the increase in file sizes (especially if you're shooting RAW) you'd be crazy to use a 1GB card. You'd want 4- 8 -16GB to work with unless you wanted to have a mountain of them.

Cards are more reliable in the past and in general so long as you're not buying cards at the very top of new releases you'll get a fairly stable and working card.

Against that there are a few other points to consider;
1) Cards are more and more expensive the larger the capacity - so whilst you might have fewer cards they'll cost you more - especially if you have to replace any.

2) When working the key is preservation of data. This means you've got to take sensible precautions to ensure that if something does go wrong you're covered. You have spare cameras and lenses in case something breaks - you have pre-event meetings and contracts - etc.. and data protection is no different.

So what can you do?
a) Use more smaller cards that allow you to break up the data for the whole event over several units. This has the bonus that if one unit fails the others can at least be used to provide a viable product at the end. Of course more cards also means you have to be more organised - you don't want to lose them nor end up getting them mixed up with the wrong wedding.
Ideally I would say break the cards into events (or groups of events). That way you've got a clear "event" on the card and you can change cards between events rather than in the middle of one.

b) Use duel card saving on cameras that support the feature - this cna get around the need to have more cards because you're doubling your data. Having two copies helps you ensure that if one fails you've at least got a full backup already made - this also has the bonus that you don't need an assistant nor take time out of things to produce the backup - its made as you go.

c) Use on-site laptops/external harddrives (you can get some that have card readers built in to allow you to fast attach and copy a cards content without need for a full computer). This is giving you instant backup on-site during the event. For something small like a drive with a card slot you don't even need anyone to help - for a laptop you might benefit an assistant though it depends on the work volume and event complexity (ergo if you've got 5 mins to spare or not).
Of course you've got to have a good method - no sense always intending to and then never backing up till you get home because "things got in the way" at the event.

So sure, you can shoot a whole wedding on one card - 32GB isn't that insane these days in card sizes. However because a single wedding is a major income source and because bad publicity will spread very fast you'll have to have suitable backup. A duel card slot or on-site backup to laptop/harddrive are essential to use through the event to help protect you against losing that all important data.

9 11/04/2014 - 9:56 PM
By Paul Morgan
2x convertor
Sigma 120-300mm f2.8 is one of the few zooms that can take a 2*TC and retain a usable level of image quality. Sure a straight 500mm or 600mm prime will beat it no question; but they'll also be 3 - 4 maybe more times its cost.

Drop the aperture down to f7.1 and you should not only have a good depth of field but also a good degree of sharpness in the shots. About the same as you'd expect from a 100-400mm or a 70-200mm f2.8 IS L M2 with 2*TC.

11 27/03/2014 - 6:21 PM
By brrttpaul
Studio Photography Help
First up I would strongly recomend the two following books as it sounds like you need help with both camera control and with lighting.

1) Understanding Exposure by Bryan Peterson - this will help you learn to control the camera; the aperture, shutter speed and ISO and learn how to combine them to get a clear shot in any situation.

2) Light Science and Magic - 4th edition. This is the introductory text book for lighting; it won't just help you to deal with light placement, but will also introduce you to how to control shadows and reflections over a variety of surface types (ideal for product photography where you might be dealing with a whole range of different materials including plastics, glass, metals etc...).

For a very rough beginning for this kind of photography I'd;

1) Put the camera into manual mode - the cameras built in meter won't be able to expose for the flash light you'll use so the other modes will be frustrating to use. Manual puts you in control.

2) As a starting point f8 - ISO 100 - 1/200sec is where I'd begin. Those are not "the perfect" settings that's just a nice sharp aperture - a low ISO and a typical sync speed for camera flash use (sync speed is the fastest shutter speed at which the camera can fire with flash outside of high-speed sync modes that you likely won't need for this at present).

3) The transmitter setup I can't advise with as I've not used the Yongo setup. All I can say is make sure the flash units are all turned on - make sure the transmitters are setup correctly and dialled into the right channels (ergo the same channel if they offer alternate channels which many oft do).
Ask your friend for some advice too since you've copied the setup - there might be a quirk to using them that isn't apparent.

4) Set the flash units to manual power output and adjust their power level to suit your shots needs. Take a test shot and see how the exposure turns out - make use of the histogram display on the back of the camera to help you review the photos.
Remember changing the distance of the flash light to the subject will adjust its power (closer = stronger / further away = weaker) as well as adjusting the power on the back of the flash.
Generally I would say work with one flash at a time - set its position and then adjust to give a good exposure then add the next flash and test it out for exposure.

2 20/03/2014 - 5:38 PM
By cameracat
wildlife photography
I would say at least 300mm and even that's short most of the time. 200mm is very short (even on crop sensor) for wildlife unless you are very good at getting close.

Equipment wise I'd suggest considering:

1) Best (ie most expensive Tongue) longest lens you can afford. There's a fair bit on the market from cheaper 70-300mm zooms all the way up to huge primes that cost as much as a small car. How much you have to budget and play with affects this greatly so - even if its just a rough value, put a number to it so we can get a reference point to start with

2) Best body you can get after getting the lens - yep lens before body in this case, whilst the body IS very important, the lens is far more critical in wildlife photography. Again this depends on what budget you've got overall to work with.

3) Tripod - a good set of legs and a ballhead (or others if you're getting heavier gear) is a good starting point. Tripods are very important if you're going to do any hide work - any time you'll be sitting for hours you want a tripod otherwise your arm will fall off.

4) Very heavy lenses will require a monopod even for handholding just to help take the edge off during a days shoot (you'll get stronger the more you shoot but a monopod helps give some rest to help you avoid fatigue)

5) Good out-doors clothing - and kneepads. Yes kneepads - believe me nothing is worse than crouching for a shot and having your knee go onto a stone (or trying to get up off rough ground when kneeling). You might feel a fool but you're knees will thank you for it.

Books wise I've no idea as to your current experiences so:

1) Understanding Exposure by Bryan Peterson - good book to start and get a good grounding in exposure with a DSLR

2) The Digital Photography Book series - books 1-4 by Scot Kelby - a great starting point for all things photography - gives a good overall approach to things for the beginner.

3) The Photographer's Eye by Michael Freeman - a good solid book that moves on from the technical and explores the world of composition and artistic theory. A very good and well recommended reference book on starting this subject.

4) Books written by John Shaw - all his publications are worth considering for the eager wildlife photographer. Well written and presented they are somewhat older and whilst film might have been replaced by digital the methods are still the very same (with the exception that now you can change ISO as you go with digital).

5) Books written by Joe McDonald. Again another strong wildlife photographer with some very good and solid publications.
Wildlife Photographers Field Manual is a particular favourite of mine of his if you can find a copy.

Check used book shops/ebay/amazon for those two authors and some of their older publications.

ID books - useful references:

1) Collins Bird Guide

2) Collins Butterfly Guide

3) Field Guide to the Moths of Great Britain and Ireland by Waring, Townsend and Lewington


All those guides use drawn plates not photographs for identification. Personally I'd strongly avoid photograph based ID books. They can be pretty, but in my experiences its a lot harder to tell a species based on a photo as opposed to a drawing. Drawings can present perfect idealistic visual references which won't have quirks or unique features that photographs of individuals will have - they are also easier to pick out key details and features - photographs can hide these. You also typically get a few drawings per ID 0 that might be old and young - above and below etc...

Also look out for bird books by Helm, they make some fantastic reference books containing a lot of information and are pretty much some of the top bird ID and general information books out there.

5 18/03/2014 - 1:34 PM
By peterjones
"Photographer" Types...
Rockwellians (followers of the way of Rockwell)

Suffering artists (its not art unless the photographer suffers in its taking)

Film purists

Glass plate purists (rumoured to be extinct now barring some remote corners of Scotland)

Rugged Wildlifer (you know that guy/gal who's always at least half or fully dressed in camo)

Prime Perfectionists (primes only none of those zoom things!)

Macro Addicts (yep those people who subject us all to multi-eye'd flies and giant spiders).

84 20/04/2014 - 12:16 PM
By ade_mcfade
Account reminder emails..
EPZ just loves and misses you that much! Grin

In ePHOTOzine discussion | Page: 1, 2, 3, 4, 5, 6
7 15/03/2014 - 3:17 PM
By saltireblue
Using the Classifieds - problems
So first up gah the forum changed and everything went grey - I miss the red.

In other news just tried to use the classifieds and came across a problem. Not sure if its the site or my browser, but it seems to have a problem with the "duration" slot. I enter the number 1 and it doesn't appear and preview states that I need to add 30 odd credits to count. So clearly its trying to count per day listings instead of per month.

Browser wise I'm using Opera in case that's a factor

1 10/03/2014 - 11:39 PM
By dougv
Should they raise the minimum age for driving?
Raising the minimum age won't really solve all of the problems - in fact the main problem we have isn't so much reckless drivers, its just the fact that we've so many drivers and only so much road space. Cram more and more people onto the road and those little mistakes (that we all make) become more and more dangerous and even a small bump can suddenly escalate.

What they should really do is focus much more on public transport - get the costs down on that. If you want to do long distance by train the costs for a small group of people can end up being about as much as second hand car! We all hear about those "prebook super cheap" train tickets, but my experience is that they are not always for where you want to go and are only any good if you've time and forewarning to hunt around ages before you travel.

If they could improve the public transport to the point where people really are able to and will use it more often then I think that would solve a lot of the travel and driving issues that we face today. We can't keep building more and more roads everywhere and building one road over/under the other is just far too expensive (and adds a lot of risk for any accident).

As for the test I'd honestly say that we should add in snow driving. We take snowfall as rather a "oh it won't happen this year" attitude. Which means when we do get a bit of ice on the road everything snarls up. We don't train for snow driving - heck you can pass your driving test in summer and hardly have any night, rain, snow or fog driving experience. Theory is all well and good but you need practical experience too!

I'd also do away with the fast courses for anyone who hasn't already had a few months of regular training. Sure some people do need to pass fast, but they should have prior experience as "cramming for a test" never works long term and with such a short period of experience they've less time to really get good and to experience different things.

Note also that raising the age puts a lot of pressure on those younger groups who might not still be in school. If you cut off the ability for people to travel in this day and age and don't replace it with effective public transport you can quickly end up hindering their ability to secure a viable job.

16 22/10/2013 - 4:59 PM
By jondf
strobes macro ringlight help
Depends, if you are using it artistically I'd say just balance the white balance settings until you get something that looks good to your eye.

If you want colour accuracy then I would look into how to manually set your white balance; if the ringflash is providing all of the exposure light (ergo black photo if the flash were off) then you'd only have to set the manual white balance for it once and you'd have the value ready for any shot where the flash is dominant as the light source.

Most LED setups I see tend to say "daylight" so I would start there as a default starting point when setting the white balance and see how it looks.

In Lighting | Page: 1, 2
4 12/10/2013 - 5:36 PM
By sparrowhawk
Finding a good quality fast printing service
Thanks guys - gave DS colour labs a go and they've done well - impressed with their communication as well!

6 12/10/2013 - 3:25 PM
By Overread
Finding a good quality fast printing service
Greetings all!

I've a need to print off some photos and have them arrive at the very latest by this Saturday, so there isn't too much time for any too and fro adjusting them for the best possible results (should any errors/problems show up - eg highlights a little too strong).

Has anyone got a good printing firm that I could print with who won't got the world, but who can deliver within that rough time period and with a good degree of quality?

Also as an aside when displaying a portfolio roughly how big should prints ideally be? At the present I'm thinking that the typical A4 size (ok I know its not A4, but its around that size, 8* something). I don't think there's a great need to display a larger size, unless people think that larger is going to be significantly better for display?

6 12/10/2013 - 3:25 PM
By Overread
One of the saddest days of my life
Didn't we already do that in Wales and didn't the studies there show that it had little to no effect on the bovian spread of TB?

57 03/09/2013 - 9:40 PM
By tomcat
The ISO should be as high as you need for the shot given the lighting you're in.

There is a general view that you should keep it as low as possible, however that does not mean you always have to keep it low. Indeed I'd strongly suggest that you learn to work with higher ISOs - cameras today can easily work with ISOs of 400, 800, 1600 and higher very easily; especially once you learn some noise reduction and sharpening methods in editing.

You also need to consider what subjects you're working with and how your exposing them. If you're doing mostly landscape you might well never need to use a high ISO for most typical exposures - whilst if you're shooting sports you might be sitting on ISO 400 or even 800 as default in anything other than the best of lighting.

In Taking photos | Page: 1, 2, 3, 4
6 30/08/2013 - 1:36 PM
By cameracat
One of the saddest days of my life
Forgot to mention (and can't edit in now)
Our biggest problem though is education - we treat natural studies as a rather childish or optional component of our education system and we only teach the very basics when young and as we get older the component reduces until almost nothing is taught unless you opt for it.

AS a result the vast number of people have very little to nothing in the way of even very basic understanding which directly harms any approach to then put into practice or take serious these issues.

57 03/09/2013 - 9:40 PM
By tomcat
One of the saddest days of my life

Quote: the badger cull on the other hand is more about politics than scientific fact.

This is the core of the problem.
There is so much politics involved that the science and study gets lost. As a result we end up with policies that don't really make any sense and are driven more by either the demand to "do something" or are based upon the animals relative popularity as cute or devilish.

Then there is also this desire for all or nothing, but it seems to get used wrong. Where we have invasive species we seem to approach it timidly; whilst where we see overpopulation or such we approach with extreme culling methods (deer could be said to be one of the few who are controlled rather than culled madly).

In Healthy Debate | Page: 1, 2, 3, 4
57 03/09/2013 - 9:40 PM
By tomcat
Interesting TFP agreement...
Honestly a lot of contracts are made only for the client they are made by and often contain a lot of clauses that will be countered or removed or adjusted. They are put in there on the offchance that they are agreed to; if not then they can be negotiated - this looks like one that needs to be negotiated.

In Freelance | Page: 1, 2, 3, 4
34 01/09/2013 - 7:09 PM
By ade_mcfade
Calibrating lenses, is it worth doing? How?
Also remember that micro adjust is only adjusting the focusing of the lens and camera; it won't affect the best possible sharpness with the camera and the lens (you have to send the combo into the lens manufacturer for calibration if you want that - having found that you're getting soft shots even in test conditions and its not a focus error)

In Lenses | Page: 1, 2, 3
7 19/12/2013 - 10:31 PM
By thewilliam
no photos on ephotozine

Quote: I think you shouldn't be allowed to win competitions until you have been a member for let's say, 12 years.


Only if you've posted photos to the gallery and have never posted a

1) HDR/False HDR/Tonne mapped photo done in bad taste

2) Selective colouring

3) Blurry/milky water

4) Robins

5) Flowers

6) That 'tree' (that one that's all half blown over in the middle of no-where).


27 23/08/2013 - 11:16 AM
By TonyPrower
Wildlife photography classes/lessons
Wildlife photography is formed of 3 parts.

1) Technical camera skills - with a general focus on photographing active and moving subjects.

2) Artistic compositional skills - technical camera skills get you so far, but composition is very critical to shifting from just record shots/snapshots to photographs.

3) Field-craft (this includes both learning and knowing your subject and how to find and track/prepare for it; but also to take account of camera relative elements such as distances, angle of the sun/lighting).

That list is also the rough order that I would focus leaning upon; control the camera; learn the art; learn the fieldskills. Now of course any normal learning environment is not going to learn those in isolation; but it is the order that I would focus upon.

Decide where you are and what you're after and then as you sift through the courses focus on which ones will offer you the core skills that you're missing and want to focus upon.

As mentioned above zoos, wildlife parks, heck even just your pets can provide ideal environments to practice upon similar subjects. Note that many times you'll also encounter new problems (eg with a zoo or any enclosure you meet the new challenge on how to work with the bars -getting close enough to remove them from the short or including them as part of the composition).

7 21/08/2013 - 5:24 PM
By Overread
no photos on ephotozine
The site offers a lot of features for a wide range of users - galleries - discussion forums - competitions - sales - etc.... Not all users will make use of all those features and many might just make use of one or two of those areas.

27 23/08/2013 - 11:16 AM
By TonyPrower
Forum Etiquette

Quote: I think it would help if the OP was able to close the thread when they deem it finished.

Ahh but many who ask questions don't know the answers when they get them ;many a time a person will just read the first answer, but often debate and discussion can extend things way beyond the original depth of the first answer; or it might show alternative options or ideas. If the OP were able to close threads at will many would lose out.

22 22/08/2013 - 9:46 AM
By MichaelMelb_AU
Do todays digital cameras have too many gimmicks?
Paul, very much agreed that new sensor and hardware advance is needed as well as the software. I'd just like if Canon didn't drop cameras so quickly in their line up from updates.

thewilliam - what is the photographer has reached the limits of skill for the shot and is restricted by technical elements of the camera or its control?

In Digital cameras | Page: 1, 2
31 02/09/2013 - 9:19 AM
By Evertonian
Is anyone else out there rubbish?
Eh the worst thing is that technical skill tends to advance slower than critical assessment ability. Our ability with theory and to be critical is easier (for most) to learn and pick up; whilst translation of that skill into pre-preparation/prediction of the photo and then taking the photo takes longer.

So yes the better you get, often the lower your keeper rate gets, however in time you should see the mistakes getting less significant and your reasons for dropping shots being more on nitpicking (excluding those situations where you take a shot to record a moment whilst knowing in advance that it likely will turn out bad).

Course you also get those nice moments where you get something far better than we thought we would.

Fatigue can also really mess you up as can stress or being rushed etc.... Anything that breaks your concentration or splits it that isn't a normal part of the shooting experience can cause you to be distracted which can lead to all kinds of really simple mistakes.

In Taking photos | Page: 1, 2, 3
16 22/08/2013 - 1:11 PM
By scrimmy
Do todays digital cameras have too many gimmicks?
Sometimes I think that we don't have enough software based features - heck I'm actually very dissapointed that the cameras we have can be enhanced a LOT with just software upgrades, but the DSLR market is hooked onto the renewing of purchases (ergo upgrading) as opposed to maintaining the longevity of their DSLRs. It's a big shame as I suspect even older models could perform very well with modern coding advances

In Digital cameras | Page: 1, 2
31 02/09/2013 - 9:19 AM
By Evertonian
Are Workshops over saturated?
I think the increased number of workshops is a direct response to the increase in the number of people wanting said workshops; so I don't think the market is over-saturated.

What I do think is that a lot of workshops are a bit rough and ready in that they don't have much pre or post workshop interaction. As a result the workshop day itself (esp for groups larger than one or two) can end up spending a lot of time shifting the workshop around to cater to the weakest student whilst at the same time spending a lot of the time trying to gauge the students themselves (which you can't easily do when you've less than a day to finish).

Some workshops react to this by going very formula based so that its a less dynamic learning environment and more focused on passing on the key words/information and less on skill building.

In Freelance | Page: 1, 2, 3
31 09/09/2013 - 2:13 PM
By ade_mcfade
Do todays digital cameras have too many gimmicks?
In the end DSLRs are mass produced products targeted at a wide range of varied users. Each user group within that target market is going to have different needs and requirements; some will want just a very basic camera; others will want some of the features. Few will make regular use of everything the camera can do; but they have the potential within the machine to do those things if needed.

In my view so long as the camera remains focused upon image capture and the features added are not heading into silly areas (eg lets put a phone in the camera); and so long as upgrades are advancing the core functionality of the camera (eg more dynamic range; better high ISOs' etc...) then I don't mind if they add a menu option to do more things with the camera.

About the only thing I'd likely resist is the touchscreen advance; partly because I tend to find that touchscreen is one of those things that is rather like 3D TV/movies in that its something companies like to make a lot of noise about "being the next big thing" but because its not really practical half the time or gets in the way it tends to just be a short term marketing stunt that wears thin.

In Digital cameras | Page: 1, 2, 3
31 02/09/2013 - 9:19 AM
By Evertonian
Advice on expanding flash setup and support
So I've decided its time to get beyond having just one flash and a flash bracket and really expand my possibilities with flash and make it so that I can do more without trying to use 3 hands at once to hold everything in place for the shot.

So currently I've got:
580EX2 ; Lumiquest softbox; Lumiquest Softbox 3; cheaper wireless radio remote; coiled cable; flash bracket.

I'd like to expand things along the following lines:

1) More flash units; granted there are lots of options here. I'm avoiding studio style flash units since most have a slower flash duration than speedlite flashes which is not as suitable for highspeed photography (which is something I'd like to work with). Furthermore mobile setups for studio style flashes are not cheap.
AT the moment I'm flitting between a second 580EX2 or a 600EX RT - the only bonus with the much more expensive 600EX being its built in radio; however I've not read of a comparison between its functions and performance against something like pocket wizard setups. This is more expensive than going for cheaper 3rd party manual options, but retains a quality of flash unit as well as extra functions beyond just firing at a selected power level.

2) Flash support items. My most annoying area at present is the lack of anything (barring my tripod) to put a flash on if needed (and of course the tripod doesn't work if its already in use with the camera). I know there are a good few of these on the market, however ideally I'd want something that can work outside on rougher terrain without being too heavy (ie outside). I've also an interest in macro and something that can work at high and low heights would be ideal if it were all in one setup instead of having multiple options (I've also seen those boom arm setups that would work well for this).

3) Light modifications. Umbrellas, softboxes etc... A bit more difficult to select in general as the variety of these is huge, but with only smaller softboxes at present adding a few larger option for when I've a fully static setup or something larger it would extend what I can do (the small ones I have now are great for macro but not as good for bigger subjects).

I know there are some kits out there that can combine several of the above options into a single purchase/setup and that there is a lot of variety in each section; however at present I'm rather lost in a sea of potential option. So hearing what setups you guys use as well as any opinions or suggestions on suitable options would be great for giving some starting points.

In Lighting | Page: 1, 2, 3
0 18/08/2013 - 8:23 PM
By Overread
Metz 44 AF-1 & Canon 600d
How you trigger a flash depends upon what options you have and methods you use. For the Metz 44 it sounds like its being optically triggered by the onboard flash on your camera; so the flash on your camera has to fire for the Metz to pick up that light and then fire its own.

If you want it to fire without the popup ever appearing you'd need another kind of remote control option such as a radio wireless connection or a cable connection.

13 15/02/2013 - 5:14 PM
By Rhedwr
Poor English
Eh once the internet went mobile on mobile phones and the like the English quality went down again. Even people who normally use good English come up against the problem that posting on a mobile phone or other tiny device gives you so little screen room to see the errors as easily and that typing on them is so much slower than on the keyboard attached to a computer or laptop.

61 15/02/2013 - 11:12 AM
By joolsb
New ePHOTOzine Feature Coming Soon!
Have they overhyped it? Last I checked they just said "something new is coming" and we members went crazy Wink

In ePHOTOzine discussion | Page: 1, 2, 3, 4, 5
411 26/02/2013 - 6:31 PM
By tomcat
Canon EF 100mm f/2.8L IS USM Macro Lens
Ahh Mike you raise a very good point and yes this is a topic that can fast get very confusing because many of us have only very incomplete patchy understanding of this area of technicalities -- built up with a good slew of conventions (which I suspect even in their early days were simplifications of reality).

In Lenses | Page: 1, 2 ...27, 28
28 13/02/2013 - 8:59 PM
By tomcat
Why is it very few post out of camera shots without any tweaking?

Quote: All my Flickr stream photos are JPGs straight out of the camera with no tweaking at all

I get what you mean John (I assume you mean you download from camera, resize and post), but surely by virtue of shooting in JPEG, the camera will have "tweaked" the image already (maybe a bit of sharpening, maybe a bit of contrast, bit of extra saturation perhaps, and almost certainly some compression ) depending on what settings you have for your JPEG's. Even if you have all settings neutralised, they are "tweaked" to some degree as I understand it.

Yes - its akin to letting the lab do your photo development and printing. The only faithful part of the process is that every single photo gets the exact same treatment (whether it needs it or not) - unless you change the editing settings in the camera. The only problem with this is that you can't currently change anything after the photo is taken, it has to be before and thus you can't predict when a photo might want less or more of some adjustment.

The other downside is its all global changes (ie the whole photo) many times things like noise reduction and sharpening work best when limited to specific areas of the photo.

This is no more or less faithful than shooting in RAW and having the RAW processor use the same processing settings each time - or changing them yourself to suit the photo on an individual basis. It is still values affecting change to the core photo. Even if you took a RAW photo and set every single slider to 0 (ie no change) you would still see a difference in the photos (generally slight but it is present) if you used different RAW processing software options (each one will draw a different "base" line so whilst the same effects can be got with the sliders the baselines will vary.

Then again it does produce very usable and good quality results - heck much of the fast media journalist industry uses JPEG for when the photos have to be transferred almost as soon as they are taken to the newspaper (eg for sports). There's no chance for the photographer to have any input and thus no point in introducing the step.

64 26/02/2013 - 10:04 AM
By ColinEJ
Jessops as a phoenix from the flames...
I wonder if its just a facelift (ie some other company bought the name itself and all its trading assets) and its totally a new engine under the bonnet - or if its the same car with a slightly smaller engine and a respray?

I will be interesting to find out, also if it is a purchase of the trading name I'm surprised it was never done with the likes of Woolworths or others (when one considers both the decades of solid trading and name building behind it and the cheapness of not having to re-label bought stores).

8 15/02/2013 - 2:45 PM
By mikehit
Why is it very few post out of camera shots without any tweaking?
As said above many of us choose to shoot in RAW mode, this essentially gives us as close to a digital "negative" that we can get. That negative, just like with film, has to be processed before it can be viewed as an image.

Now in the world of film you could do it at home or send it to a lab. If you sent it to the lab and let them do as they would they'd touch the photo up to their standard level, higher quality labs might take more time or used more refined processes and also might act upon owner instruction as to applying certain effects or processes. But the upshot is that a standard lab would apply standard "adjustments" to the negative to get it to a print.

In the digital world of RAW and JPEG we can still do this - the JPEG out of the camera is that same "standard" adjustment photo. It's been adjusted in the camera to standard values set by the software developers - although the camera also offers the photographer the choice to pre-select the adjustments within a range of values to give their own twist to the standard.

RAW shooting however gives the photographer the negative to work from, even when you open it up in photoshop (or other software) the RAW processing stage still starts with the factory defaults (often as read by the camera) and leaves the actual final choice to the photographer to select (in fact most of the tools in digital editing are direct copies of methods and effects from the film processing world).

As for how far people take things that is up to them - for some setting its basic and others its intensive work. For some its a general overview, for others its nitpicking every fine detail. For some its HDR all the way to overpowering colours - for some it more moderate tonemapping.

In the end how far is hard to tell, some very heavily edited photos can be quite simple in their appearance, hiding the amount of post-shot work that went into them.

As for the argument on "fixing it in editing" this is a line made by marketing but often not used by many photographers. Fixing things is hard to do well and can take hours of time in editing. Many photographers greatly enjoy shooting and often aim to get it right in camera - whilst many I know who do extensively edit are just as keen because you need all that light data just right in-camera so that you can push and pull the photo more heavily without resulting in degradation of the quality (which either ruins the effect or adds even more editing time).

So in the end seeing "straight out of camera" shots is kinda hard to do, esp when so many shoot RAW. That said its also important to read the above and realise that editing and processing the picture for display is just the other half of the whole photographic process. People debate till they are blue in the face on forums and in person as to which part is the "greater" and which part is the more "truthful" or "pure" or "classic" etc... However all those arguments are avoiding the real truth, that they are simply equal halves of the whole that is the final print/display version. Sometimes with a specific photo one will be "more" intensive with work and effort, but no one half is greater than the whole. If you have a photo with no editing you have nothing to show - and if you have no photo you have nothing to edit to show.

64 26/02/2013 - 10:04 AM
By ColinEJ
Tiny slave flashes

Quote: I had a set similar but they has an ES fitting and ran off the mains Smile


If your looking for cheap options, check out charity shops and car boots, there`s no shortage of cheap old flash units.

Just remember that if one buys old flash units which can be mounted to a camera hot-shoe be sure to check online first if they are compatible with digital cameras. Many older speedlite flash units from the film era had higher peek voltages that they send through the connector in the hotshoe - if its too high it can damage internal components of your DSLR.

In Lighting | Page: 1, 2, 3, 4, 5
5 11/02/2013 - 9:38 AM
By widtink
Tiny slave flashes
Interesting little unit. The only concern of mine would be that you've no power control so its a constant output that you'd need to modify with diffusers and excluders. The other consideration is the power, at Guide Number 24' (7.3 m) @10' (3.0 m), ISO 200 I wonder if it might not be possible to get more power from a single (even cheap) speedlite flash over using several of the smaller ones (esp when one considers the price of several small ones next to the price of a cheap speedlite flash).

PS - I'm hopeless at reading guide numbers so whilst I've quoted it from the store site for discussion I've no idea how well it compares up to regular speedlight flash power output

5 11/02/2013 - 9:38 AM
By widtink
Canon EF 100mm f/2.8L IS USM Macro Lens
Mike - far as I know the depth of field is not just affected by the distance to subject, but also by the circle of confusion, which is affected by the size of the recording area. So when you compare uncropped photos from a 35mm sensor and a crop sensor the crop sensor will show a difference in depth of field - even when the distances are the same from subject to sensor (as in the case of 1:1 macro photography).

The effect is about the same as a one stop difference in aperture and I agree that its the crop sensor that shows the increase in depth of field over the larger sensor.

28 13/02/2013 - 8:59 PM
By tomcat
Tamron 180 Macro
*shameless self promotion*

How does a Sigma 150mm f2.8 macro second hand sound (Canon mount of course)? If interested send me a pm Smile

In Lenses | Page: 1, 2
10 10/02/2013 - 8:15 PM
By Overread
New ePHOTOzine Feature Coming Soon!

411 26/02/2013 - 6:31 PM
By tomcat