Why are so many tips about photography wrong.

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This advice constantly pops up in articles and conversations, but it cannot be considered completely true. He suggests that the depth of the sharply depicted space behind the focal point is the same as in front of it.

When shooting such photos, it is better to focus in the foreground.

 

1. Focusing on a third of the frame

this is true only under certain conditions: for example, with a 50mm lens mounted on a full-frame camera, f / 8 aperture and a distance of 3 m from the subject. Put another lens, change the aperture, focal length or even the size of the sensor, and the depth ratio sharpness will also change, and often significantly. In the case of macro photography, the depth of field in front of and behind the focal point is almost always the same, while when shooting distant landscapes it is significantly different.

  1. Everything within the depth of field should be 100% sharp

Most depth of field calculators take a specific spot of scattering to determine which part of the image is acceptable sharp. Often they are very inaccurate. For example, in the case of a conventional 24MP sensor, the scattering spot will have a diameter of 5 pixels. If you need to get a very detailed large-format printout, you should use a narrower aperture than the one defined on the DOF of the lens.

 

If you need a shallow depth of field, a full-frame format is the best choice. 

3.Medium format cameras provide the shallowest depth of field

According to the laws of optics, large formats provide a shallower depth of field for any given viewing angle and aperture. Therefore, it is often possible to meet photographers singing a blurred background that only medium-format cameras can create. However, the disadvantage of this argument is that more high-speed lenses are available for full-frame cameras, while only a small circle of medium-format lenses have an aperture larger than f / 2.8. If you need the shallowest depth of field, it’s best to use a full-frame camera with f / 1.4 or faster aperture fixed focus.

 

4.The camera needs to be switched to Adobe RGB mode

Most cameras have a function to switch between sRGB and Adobe RGB color spaces, and the latter is often credited with a wider range of colors. Who would not want such an advantage? In practice, everything is not so simple, since cameras usually produce the same colors regardless of the selected color space. At the same time, there is a risk that Adobe RGB format files will not display or print correctly, so it is much safer to work in sRGB. If you photograph in RAW format, this option does not matter at all.

Using a wider aperture when shooting with a small format camera, you can avoid diffraction blur.

5.The ideal aperture of the lens is f / 8

 

One of the remnants of shooting on 35mm film is the belief that the sharpest pictures are obtained with f / 8. However, this is not true for small formats, since diffraction blur is more pronounced when the aperture is closed. The sharpest shots are obtained with f / 5.6 on the APS-C sensor and f / 4 on the Micro 3/4. In the case of the compact 1-inch sensor, maximum sharpness is usually present at f / 2.8. If you need perfect clarity of pictures, you can test the sharpness of your lens at different aperture values ​​by putting the camera on a tripod and taking a few test shots.

6.Focus and rearrangement

 

At the time of film shooting, when the cameras had only one focal point, a common technique was to focus on the subject in the center, and then recompose the frame so that it was on the side. Sometimes you may be tempted to do the same, but then you will encounter focus errors when shooting with a wide aperture. Now almost all cameras have several focus points, so if you want to get a sharp shot, use the one that is closest to the subject. If you would like to receive services from Best Clipping Path Service in USA contact them.


7. Always wear a UV filter.

It has long been believed that UV filters are best used to protect the lens. However, most modern coatings are much more scratch resistant than those before. I usually catch the safety filter only when there is a serious risk of water or sand getting on the lens, and a hood will be enough to protect against shock.

8.Lens stabilization works better than camera stabilization

Considering that most companies use either optical stabilization in the lens or mechanical stabilization in the carcass, the debate over which of them is better does not subside. In fact, both systems have their advantages: optical stabilization is much more effective for telephoto lenses, and the systems built into the cameras cope with strong shaking and work with lenses that are usually difficult to stabilize. The most effective systems to date combine both types of stabilization - over the past years we have seen similar things with Sony, Panasonic and Olympus.

9.The depth of field scale works the same for all types of sensors

 

Many photographers fall prey to this mistake without even thinking. If you use a lens with distance and depth of field scales on a camera with a cropped sensor, how to use them seems absolutely obvious. However, the depth of field scales are calculated for the native lens format - most often full-frame - and with smaller sensor formats, you will get a shallower depth of field. This means that for absolute sharpness you need to narrow the aperture by one extra stop in the case of APS-C and by two for Micro 3/4.

 

10.When shooting with a tripod, you need to turn off image stabilization

 

Early stabilization systems behaved strangely when using a tripod; in the case of some old camera models, one could even notice that the picture “floats” in the viewfinder. Therefore, users were advised to turn off stabilization to avoid unwanted blurring. However, new systems are much more advanced and often there is no need to turn them off.



The latest dual stabilization systems allow you to shoot with your hands even at slow shutter speeds. 

 

  1. For shutter speeds longer than 1/15 s, use a tripod

 

In principle, this is good enough advice, since even ultra-wide-angle lenses are subject to blur from strong shaking when shooting with hands. However, some modern systems offer 5-axis integrated stabilization. Now you can get sharp photos when shooting with your hands, even using a very long shutter speed - sometimes more than 1 second.

 

  1. Take pictures only in RAW

 

Almost the first thing that all novice photographers say is that RAW files provide the best picture quality. The message here is that you do not engage in serious photography if you do not come home after the photo session and do not spend several hours post-processing and perfecting your work. Modern cameras have learned to do JPEG better than ever, and in many situations this is quite enough. For a family photo shoot or everyday shooting, JPEG is quite suitable (although it still makes sense to shoot in RAW in parallel, just in case). In most cameras, turning off RAW will give you a larger buffer for burst shooting, which increases the chances of catching the perfect frame.



Sony's full-frame 42.4 MP sensor provides a wide dynamic range. Sony RX1R II, 35mm f / 2, 0.4 s at f / 2, IS0 100

 

  1. More pixels mean less dynamic range

 

Given that small pixels are usually more susceptible to noise, this can be perceived as the reason for the reduced dynamic range of high-resolution sensors. However, just as with the noise itself (see paragraph 19), this is not entirely true. In practice, sensor manufacturers keep electronic reading noise to a minimum. For example, the latest lines of high-quality 40-50 megapixel full-frame cameras show simply outstanding dynamic range.

 

  1. Shutter speed "1 / focal length" will avoid jolting

 

This rule of thumb worked well during the time of the 35mm film, but in the case of the figure some difficulties appear. It is very important to consider the size of the sensor and use the equivalent rather than the actual focal length. For example, when shooting at a 50mm lens with a full-frame camera, you can set 1/50 s, on APS-C - 1/80 s, and for Micro 3/4 the shutter speed will be 1/100 s. Moreover, if you want to be sure of the sharpness of each shot, it is better to reduce the shutter speed by one stop or more. On the other hand, if there is a stabilizer in the camera or lens, you can allow yourself to use a slower shutter speed, although at the risk of getting an undesirable blurring of the subject's movement.

 

  1. Always set maximum quality JPEG

 

One of the first things I learned about digital shooting is that you always need to set the highest quality JPEG, otherwise there will be a risk of getting compression artifacts, especially if there are diagonal lines in the frame. Since then, camera manufacturers have learned to apply processing that does not create visible artifacts. Some went even further and added the function of ultra-low compression, which from the technical side provides a result that is closest to the original subject, but there are no improvements visible to the eye. Often they are turned off by default and there is no need to activate them, since this will only fill the memory card faster and slow down the camera.



Avoid using a narrow aperture when shooting with the Micro 3/4 sensor.

 

  1. Cameras with Micro 3/4 sensor provide shallow depth of field

 

In principle, for a given viewing angle and aperture value, smaller formats do provide a shallow depth of field; therefore, you might think that Micro 3/4 will be deeper than APS-C or full frame. However, the problem is that smaller sensors are much more susceptible to diffraction smearing. In fact, you can get the same depth of field with a large sensor, expanding the aperture by a few extra stops.

 

  1. Full-frame cameras are the Holy Grail

 

With all the hype around full-frame mirrorless, you can start to think that smaller formats are good for nothing. This, of course, is nonsense. Full-frame cameras have certain advantages in terms of image quality, such as less noise, greater dynamic range and shallow depth of field. However, you have to pay for it with large dimensions, weight and price. Smaller sensors, on the other hand, work with smaller lenses, making them even easier and more portable. Choose the one that suits your particular shooting style.




  1. For landscape photography you need a high resolution sensor

 

Undoubtedly, serious landscape photographers prefer full-frame cameras with a resolution in the range of 40-50 MP. However, this is usually needed for large format prints - from a meter wide and more. If you do not plan to do something similar, then even 16 MP will be enough for printing in A3 + format with high detail, although 24 MP is still better, because then you will have additional space for cropping.

 

  1. More pixels - more noise

 

Perhaps the oldest myth in digital photography is that sensors with a large number of pixels produce more noisy images. In the case of early ineffective sensors, this was a bit of truth, but now everything is different. For any given sensor size, a higher resolution will be noisy simply because pixels receive less light. However, if you look at the whole photo, the noise is equalized and the high-resolution image will look no worse, both when displayed on the screen and when printed. The main difference between photos taken with a high-resolution camera is great detail.



  1. Lights can be restored from RAW

 

RAW files have a much wider dynamic range than JPEGs, making it possible to restore some details among the shadows, but restoring areas of light is much more difficult. RAW does contain additional information, which gives you some space for working with dynamic range. However, when lights lend themselves to clipping, any attempt to restore exposure and color will be an approximation at best. As a result, by dragging the brightness or light sliders too far to the left, you can get false colors or posterization. Therefore, it is better to initially expose the picture correctly.

 

  1. Multi-shot mode is like having a high-resolution camera

 

Very few cameras today have composite multi-shot modes that provide image resolution that goes far beyond the native camera resolution. This allows cameras such as the 16 MP Olympus OM-D E-M5 Mark II or 20 MP Panasonic Lumix G9 to compete with expensive full-frame models. Although such modes work, the problem is that for this the camera should usually stand on a tripod, and any moving object in the frame leads to artifacts. Despite continuous improvements in the field of image processing algorithms, at the moment they cannot be called a complete replacement for high-resolution sensors.

 

  1. Shooting with a wide aperture softens the edges of the frame

 

You can often meet people who advise you to avoid shooting with a very wide aperture, because of this the edges and corners of the picture will be too soft. However, in the case of modern lenses, this is not entirely true; for example, Sigma f / 1.4 Art fixed focuses have much greater sharpness when shooting with wide aperture compared to their predecessors. And in general, is there so much slight softness at the edges that affects the aesthetic qualities of a photograph? When shooting with fast lenses, there is a good chance that these parts of the frame will still be out of focus.



  1. At high ISOs, very noisy images are produced.

 

Raising the ISO will certainly produce more noise, but it is important to understand that the type of lighting also significantly affects this. In natural light, the shots are much better compared to cold artificial lighting. Therefore, do not be afraid to sometimes use a high ISO - be guided by the situation and experiment.

 

  1. Whale lenses are useless

 

The standard zoom lenses that come with DSLRs and mirrorless cameras are designed so that customers can start taking photos at the lowest possible cost. Consequently, they will never be as high-quality and sharp as more expensive models, and will not provide such opportunities for creativity. However, this does not mean that you can not get good pictures with them, because in the end it all comes down to the vision of the photographer.