The ability to effectively use an existing lens has a much greater impact on the sharpness of the photo than the choice of the lens itself. The aperture number is the most important of the shooting parameters that affect the technical quality of the image. The difference between different aperture values of the same lens may be much more noticeable than the difference between different lenses at the same aperture.
Aperture f / 1.8 f/1.8
Aperture f/2.8 f/2.8
Aperture f/4 f/4 Continue reading
The number and shape of aperture blades
The arrangement of the lens aperture affects not so much the quality of the blur as the shape of the blur circles. In fact, so-called blurring circles rarely have a perfectly round shape. They usually look like more or less regular polygons with the number of sides corresponding to the number of diaphragm lobes. The aperture in Nikon lenses has 7 or 9 lobes, in Canon lenses – 6, 7 or 8 (occasionally 9). The more petals there are, the more rounded the blurring disk looks, and an odd number of petals usually produces polygons that are more pleasing to the eye. Continue reading
Bokeh (English. bokeh; YAP. 暈け or ボケ – “blurring”) is a characteristic of the aesthetic qualities of the image area that lies out of focus, i.e. outside the grip area. Bokeh has nothing to do with sharpness: two lenses that depict objects in focus equally sharply can have a completely different blur pattern, the subjective artistic merits of which are described by the term bokeh.
An ideal lens from an engineering point of view focuses light from a point source in the form of a regular cone. When the tip of the cone touches the plane of the matrix or the camera film, the image is in focus and the photo gets an extremely small point. Continue reading
As for the exhibition, no, you can’t. Overexposure is not allowed in digital photography. Even if you shoot in RAW, the capabilities of RAW converters (contrary to the assurances of the developers) are very limited in terms of pulling out the knocked-out lights. Underexposure is easier to fix, although the cost will be to increase the noise level in the shadows. The correct white balance setting is not critical when shooting in RAW – you can easily change the balance when converting. Correcting the wrong white balance in a JPEG file can be a very time-consuming, though feasible, task. However, I prefer to set the white balance as soon as possible, even when shooting in RAW. This allows me to more accurately assess the exposure on individual channels using a color histogram, and in addition, my images look more aesthetically pleasing even before converting to JPEG. Continue reading
I recommend that any novice photographer actively use the camera’s automation whenever possible. This applies to matrix metering, autofocus, automatic white balance, and everything else that can only be automated, and with which modern cameras often cope better than modern photographers. Load the camera with all the menial work, and pay more attention to finding beautiful scenes and harmonious frame layout.
But there are times when a camera that thinks it’s too smart has to be taken in hand.
Shot on full automatic. What the hell? Continue reading