Tag Archives: aperture

Sensor Size and Depth of Field

It is commonly said that crop sensor cameras make images having both a narrower field of view and a greater depth of field. Well, that’s partly right. (Bill Ferris)

It is well-known that a lens of a given focal length will deliver different angles of view when used with cameras having different sized sensors. For example, the above image was made with a Nikon D90 and a Nikkor 200-500mm f/5.6E telephoto zoom lens at 500mm. The D90 is a DX format camera having a 1.5x crop factor. In other words, the DX sensor crops the outer portion of the image formed by the lens. As a result, photographs made with this camera will display an angle of view equivalent to that produced by a lens with 1.5x the actual focal length used. In the above image, the 200-500 is at 500mm but the angle of view matches that produced by a 750mm lens.

It is often said that a crop sensor camera will also produce an image having a greater depth of field. In other words, the same lens at the same focal length will produce, not just a wider angle of view when paired with a full frame camera, but also a shallower depth of field. The claim is that the DX sensor not only crops the angle of view but forces a significant increase in depth of field. That assertion is just plain wrong.

In the below test images, you’ll see side-by-side comparisons of photos made with Nikon FX (full frame) and DX (crop sensor) camera bodies. The cameras used were the full frame Nikon D610 and the DX format Nikon D90. These cameras were used with the following lenses:

Nikkor 200-500mm f/5.6E VR
Tamrom 70-200mm f/2.8 Di VC USD
Tamron 24-70mm f/2.8 Di VC USD

To isolate sensor size as the only variable, the comparison images were made with the lenses at the same focal length, focal ratio and at the same distance from a fixed position subject. The Nikkor 200-500mm f/5.6E and Tamron 70-200mm f/2.8 Di VC USD were mounted on a tripod in a fixed position. The Tamron 24-70mm f/2.8 Di VC USD has no tripod collar or foot. The cameras were mounted to the tripod with the tripod in the same position for each set of exposures.

To create a large enough set of images to suitably address the question, each lens was used at a multiple focal lengths:

Nikkor 200-500mm f/5.6E VR: 200mm, 300mm, 400mm and 500mm
Tamrom 70-200 f/2.8 Di VC USD: 70mm, 100mm, 135mm and 200mm
Tamron 24-70 f/2.8 Di VC USD: 50mm and 70mm

Each lens was used wide open at its smallest f-stop number. ISO and shutter speed were kept constant for exposures made at the same focal length with both cameras.

Why did I decide to test the notion that sensor size has a significant impact on depth of field? I performed this experiment to test my belief that that lens aperture and distance to subject are the two factors having the greatest impact on depth of field. In other words, if a lens is used at the same physical aperture and distance to make photographs of a fixed position subject with two cameras of different sensor size, the depth of field recorded in the two images should be identical or, at least, very nearly so.

If I’m correct in this belief, the images should confirm it. If I’m wrong and if crop factor needs to be applied to depth of field as well as to focal length, photos made under the above conditions should exhibit obviously different depths of field with the photo made using the full frame camera consistently displaying an obviously shallower depth of field than the photo made using the crop sensor body.

Keeping all this in mind, let’s go to the photos. Below, are ten composite images. The photo occupying the left half of each composite was made using the Nikon D610. The photo to the right of the divider was made using the Nikon D90. Since the same lens at the same focal length, f-stop and distance to subject was used to make each image in a composite, the image made with the crop sensor D90 (on the right) shows a narrower angle of view. In each composite, I’ve indicated similar sections of the two photos that, when compared, reveal both photos to have identical – or nearly so – depths of field. This conclusion is reached by comparing the relative size of the subject, a hula dancer toy, and the out of focus highlights and details in the background.

Comparison #1: Nikkor 200-500mm f/5.6E (200mm, f/5.6)

The photo to the left of the divider was made with the Nikon D610 and Nikkor 200-500mm f/5.6E at 200mm, f/5.6, ISO 400, 1/200-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 200mm, f/5.6, ISO 400, 1/200-second. (Bill Ferris)

Comparison #2: Nikkor 200-500mm f/5.6E (300mm, f/5.6)

The photo to the left of the divider was made with the Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/5.6, ISO 400, 1/200-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 300mm, f/5.6, ISO 400, 1/200-second. (Bill Ferris)

Comparison #3: Nikkor 200-500mm f/5.6E (400mm, f/5.6)

The photo to the left of the divider was made with the Nikon D610 and Nikkor 200-500mm f/5.6E at 400mm, f/5.6, ISO 400, 1/250-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 400mm, f/5.6, ISO 400, 1/250-second. (Bill Ferris)

Comparison #4: Nikkor 200-500mm f/5.6E (500mm, f/5.6)

The photo to the left of the divider was made with the Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/5.6, ISO 400, 1/250-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 500mm, f/5.6, ISO 400, 1/250-second. (Bill Ferris)

Comparison #5: Tamron 70-200 f/2.8 VC (70mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 70-200mm f/2.8 VC at 70mm, f/2.8, ISO 400, 1/400-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 70mm, f/2.8, ISO 400, 1/400-second. (Bill Ferris)

Comparison #6: Tamron 70-200mm f/2.8 VC (100mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 70-200mm f/2.8 VC at 100mm, f/2.8, ISO 400, 1/400-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 100mm, f/2.8, ISO 400, 1/400-second. (Bill Ferris)

Comparison #7: Tamron 70-200mm f/2.8 VC (135mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 70-200mm f/2.8 VC at 135mm, f/2.8, ISO 400, 1/400-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 135mm, f/2.8, ISO 400, 1/400-second. (Bill Ferris)

Comparison #8: Tamron 70-200mm f/2.8 VC (200mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 70-200mm f/2.8 VC at 200mm, f/2.8, ISO 400, 1/400-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 200mm, f/2.8, ISO 400, 1/400-second. (Bill Ferris)

Comparison #9: Tamron 24-70mm f/2.8 VC (50mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 24-70mm f/2.8 VC at 50mm, f/2.8, ISO 400, 1/640-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 50mm, f/2.8, ISO 400, 1/640-second. (Bill Ferris)

Comparison #10: Tamron 24-70mm f/2.8 VC (70mm, f/2.8)

The photo to the left of the divider was made with the Nikon D610 and Tamron 24-70mm f/2.8 VC at 70mm, f/2.8, ISO 400, 1/640-second. The photo on the right was made with the Nikon D90, the same lens at the same distance from subject also at 70mm, f/2.8, ISO 400, 1/640-second. (Bill Ferris)

Comparing the above ten photo sets, it’s clear the photographs capture equivalent depths of field despite the fact that they’re made with full frame and crop sensor cameras. As expected, the crop sensor camera captures a more narrow angle of view. However, a comparison of the relative size of the hula dancer toy with the details of the out of focus background reveals that the DX format Nikon D90 captures the same depth of field as the FX format Nikon D610. This flies in the face of the common (but mistaken) belief that crop sensors significantly alter depth of field.

To understand the performance of each camera as illustrated in the above photos, one need only understand that photographic depth of field is largely determined by two factors: distance to subject and lens aperture. Each lens was kept at a constant position and distance from the subject for the photos made with the two camera bodies. By keeping focal length and f-stop constant in each photographic set, lens aperture was kept constant.

The f-stop number describes the ratio of lens focal length to aperture. In other words, a 200mm, f/5.6 lens has an aperture of about 36mm. This is true regardless of the size of the sensor in the camera to which the lens is attached. Here’s a listing of the focal lengths and apertures for each set of photos:

Nikkor 200-500mm f/5.6E VR

36mm aperture (200mm, f/5.6)
54mm aperture (300mm, f/5.6)
71mm aperture (400mm, f/5.6)
89mm aperture (500mm, f/5.6)

Tamron 70-200mm f/2.8 VC

25mm aperture ( 70mm, f/2.8)
36mm aperture (100mm, f/2.8)
48mm aperture (135mm, f/2.8)
71mm aperture (200mm, f/2.8)

Tamron 24-70mm f/2.8 VC

18mm aperture (50mm, f/2.8)
25mm aperture (70mm, f/2.8)

As you review the above list, notice the constant f-stop results in increasing lens aperture as focal length increases. By keeping subject distance constant and increasing the physical aperture of the lens, depth of field becomes more shallow. By definition, the reverse is also true. With subject distance kept constant, decreasing lens aperture would result in a deeper or increased depth of field. And as illustrated by the above comparisons, keeping both subject distance and lens aperture constant produces constant depth of field. This holds true regardless of sensor size.

How is it, then, that so many photographers have come to accept the false assertion that crop sensor cameras make images having increased depth of field? The key to understanding this is the concept of equivalence. In simplest terms, equivalence describes two images made with different cameras and lens settings but having identical qualities. There are many factors that go into describing truly equivalent images. For the purposes of this discussion, we’ll focus on angle of the view and depth of field.

This set of images compares performance between crop sensor and full frame DSLR bodies. The images in the left column were made with a Nikon D90. Images in the right three columns were made with a Nikon D610. Both cameras used the same Tamron 70-200mm f/2.8 Di VC USD zoom lens, which was set up on a tripod to ensure it would not change position during the test. (Bill Ferris)

Let’s consider the above image set made with the Tamron 70-200mm f/2.8 VC. Due to its smaller sensor, a photograph made with the D90 captures a more narrow angle of view in comparison with an image made with the D610 at the same focal length. To capture an equivalent angle of view at the same distance from the subject, the D610 needs to use a greater focal length. At that increased focal length, the FX format camera will capture an angle of view equivalent to that recorded by the D90.

If both lenses are used at the same f-stop of f/2.8, their respective apertures will be about 46mm for the 130mm, f/2.8 lens on the D90 and 71mm for the 200mm, f/2.8 lens on the D610. Bear in mind, both cameras are at the same distance from the subject. Due to the larger physical aperture of the 200mm focal length lens, it records a shallower depth of field. To match the depth of field of the D90, the D610 is closed down from f/2.8 to f/4. This closes the aperture from 71mm to 50mm, which roughly matches the depth of field recorded by the D90 and its 46mm aperture.

Also, compare the quality of the out of focus background detail in the photos made with the DX format D90 (left most column) with the same detail in the second set of photos made with the FX format D610 (middle of three columns). Pay particular attention to the grouping of four bokeh balls to the left of the lunar lander model. In the D90 photos and in the equivalent D610 photos (right most column), that grouping is well defined with clear separation. In the middle column of D610 photos, that grouping is more diffuse, less well defined and not as clearly separated from the background.

This is what we would expect, considering that all the photos in that collection were made with the cameras and lenses at the same distance from the subject. The first and third column sets of images made with the D610 were made with the same lens aperture as the D90. The third column set of D610 images were made at an equivalent focal length to the D90 images. Both the angle of view and depth of field are equivalent. The first set (left column) of D610 images, while showing a wider angle of view, have equivalent depth of field as the D90 images. Again, this is exactly what one would expect given that the D90, and first and third set of D610 images were made at the same aperture, while the second set (middle column) of D610 photos were made at a larger aperture.

Another approach to producing equivalent depths of field, would have been to increase the lens aperture on the D90. The D90 would need a 130mm f/1.8 lens, which would have a 72mm aperture. That’s very nearly identical to the 71mm aperture of the 200mm, f/2.8 lens on the D610.

If equivalence is your objective, applying the crop factor to the f-stop allows you to calculate the aperture needed to make a photograph having an equivalent depth of field at a focal length delivering an equivalent angle of view. This adjustment can go either way. We can use a larger f-stop (multiply by the crop factor) to close down the aperture of the lens on the larger sensor camera or we can use a smaller f-stop (divide by the crop factor) to open the aperture of the lens on the smaller sensor camera. Either approach will produce equivalent apertures on the two cameras, which allows them to capture matching depths of field.

This is what has led so many photographers to mistakenly conclude that crop sensors significantly alter depth of field. What folks overlook is that the crop factor is applied to allow the lenses on the cameras to operate at the same physical aperture. Again, the key to understanding depth of field is recognizing that distance to subject and lens aperture are the critical factors. If you keep subject distance constant, keeping lens aperture constant will deliver equivalent depth of field. This holds true even if the lenses are used at focal length delivering non-equivalent angles of view.

Wildlife photographers often choose to shoot with crop sensor cameras to effectively bring the animals closer. They want the narrower angle of view delivered by the crop sensor. Shooting at 500mm f/4 with a DX camera will not only produce a larger image of the subject (in comparison with a photograph made using the same lens at the same distance on an FX camera), the DX camera will also record the same shallow depth of field and beautiful, buttery bokeh. That’s a huge advantage and a big reason why crop sensor cameras are so popular with sports and wildlife photographers. Of course, the smaller sensor also captures less total light with each exposure and this has implications for image noise. But that’s another blog entry.

In the meantime, armed with this new information and understanding of the role lens aperture plays in depth of field, let’s get out and shoot.

Bill Ferris | March 2016

The Big Fix

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 100, 1/250-second

I can clearly recall the exact moment when I realized there was a problem with my Nikon 200-500mm, f/5.6E telephoto zoom lens. It was on the afternoon of Wednesday, November 11, 2015. I had the day off from work and was setting up in the backyard to make some test photos demonstrating the effectiveness of the new lens’s vibration reduction (VR) feature. It was the above photo that caught my eye and started me down a challenging, sometimes frustrating road that would take nearly six weeks to complete. I’m some respects, I’m still on that road.

The above image caught my attention because it is so obviously overexposed. It was also totally unexpected. I had been using a hula dancer toy as a photographic subject to test the vibration VR of the 200-500mm lens. Reviewing the rest of the images in the sequence, the image shot at f/5.6 appeared to be properly exposed but the images made at f/8 and higher were overexposed. It also appeared that the degree of overexposure increased in proportion to the increase in f-stop setting used. The above image was made with a setting of f/16 and is about 2 stops overexposed.

In a nutshell, what I had discovered was that my Nikon D610 camera body was not able to control the electromagnetic diaphragm of the 200-500mm lens. The diaphragm determines the aperture of the lens, which controls the amount of light hitting the sensor. Lens aperture (f-stop) along with ISO and shutter speed form what is commonly referred to as the exposure triangle. A compatible trio of settings produces a properly-exposed image. If one of the settings is off, the resulting image will look either over- or underexposed.

That same day, I called Nikon USA’s service and support line and spoke with a call center agent. I described the problem and, ultimately, was advised to send in the lens for evaluation. Just a month earlier in October 2015, I had shipped the lens to Nikon for a firmware upgrade. The shipping and upgrade were covered under warranty for that service center visit. The UPS charge for this shipment would come out of my pocket.

The lens went out via UPS on Wednesday, November 11 and arrived at Nikon’s Los Angeles service center on Friday, November 13. (I chose not to take that as an omen.) The following Monday, November 16, I received an email from Nikon with an estimate for service to the lens. Nikon intended to address the problem with a firmware upgrade, which would be covered under warranty. After reading this, I contacted Nikon via their online service and support site, asking if this was the same firmware upgrade which had already been performed, a month earlier. The email reply to my query read, “Thank you for contacting Nikon. This is covered under warranty and this is the appropriate firmware update. If you have questions or concerns, please call or e-mail us.”

Well, OK then.

The upgrade was done and the lens shipped back at Nikon’s expense, arriving via UPS on November 23. It didn’t take more than a couple of minutes to confirm that the firmware upgrade had done nothing to correct the problem. To more fully document this issue, I made a series of exposures of my favorite test subject to demonstrate the increasing degree of overexposure at larger f-stop settings. Below, are several of the images I uploaded to the Nikon USA service center site for a technician to review.

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/5.6, ISO 100, 1/640-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/8, ISO 100, 1/400-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/11, ISO 100, 1/200-second

Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 300mm, f/16, ISO 100, 1/100-second

Tuesday, November 24, I had another phone conversation with a call center agent. I again described the problem and explained that it appeared my Nikon D610 camera was unable to control the lens’s electromagnetic diaphragm. I also shared that I’d made test exposures with four other F-mount lenses: the Nikkor 16-35mm f/4, Tamron 24-70mm f/2.8 VC, Tamron 70-200mm f/2.8 VC and Nikkor 70-300mm f/4.5-5.6. There was no overexposure problem with these lenses and it appeared the problem was isolated just to the 200-500mm f/5.6E lens.

The day before Thanksgiving, November 25, I received an email from a Nikon technician who’d reviewed the above images. In his message, the technician asked that I ship both the D610 camera and the 200-500mm lens for evaluation and possible service. A UPS shipping label was attached. As reluctant as I was to be without my primary camera and the new lens, I wanted to get the problem resolved as quickly as possible. So, I boxed up the D610 and lens, drove to the nearest UPS shipping center and sent my babies off to LA for some TLC.

December was a long month. I had the privilege of serving on a jury for a criminal trial the first week of the month. Several major work projects were due for completion over the next two weeks and I would be traveling with family for the holidays, beginning December 22. Needless to say, I was anxious to have the camera and lens back, both in good working order, in time for the family trip to California. The month was further disrupted when I received news that a close high school friend had passed away. Travel to the Midwest for the funeral took out of town for several days.

I arrived home the afternoon of Sunday, December 20 to find two packages from Nikon sitting on the dining room table. One, was my D610 camera. The other, was my 200-500mm lens. After unpacking my suitcase and getting settled, I fetched a cutting tool from our kitchen utility drawer and opened the packages. A few minutes later, the 200-500 was firmly affixed to the D610 and ready to make images.

To my great relief, the camera and lens made properly-exposed images at a range of apertures. It appeared that Nikon had successfully repaired the problem. What repairs did they make? It’s not entirely clear but, according to the packing slip accompanying the lens, Nikon did the following work:

Repaired aperture operation
Replaced diaphragm and ring
Replaced a lens group
Adjusted aperture operation
Checked focus and VR operation.
Did a general exam and cleaning of the lens

My D610 camera body was also evaluated and found to be in good working order. It was checked and cleaned before return shipment.

Since receiving the repaired lens back from Nikon and during trips to California and New Mexico, I’ve made nearly 3,500 exposures at a range of apertures from f/5.6 to f/16. All appear to be correctly exposed. Below, are a few samples.

White-tailed Kite. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/8, ISO 500, 1/2000-second

Alcatraz. Panoramic stitch made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/10, ISO 800, 1/2000-second

Alcatraz. Panoramic stitch made with Nikon D610 and Nikkor 200-500mm f/5.6E at 200mm, f/10, ISO 800, 1/2000-second

Javelina on parade. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/13, ISO 4500, 1/200-second

Eagles on ice. Photo made with Nikon D610 and Nikkor 200-500mm f/5.6E at 500mm, f/16, ISO 640, 1/250-second

I am, of course, thrilled to have my lens back in good working order. Though some additional time is needed before I’ll have full confidence that the repair to the lens completely resolves the diaphragm-control problem, I have been extremely satisfied with the lens’s performance over the last several weeks. I also understand that equipment sometimes fails. That’s what warranties are for. I don’t fault Nikon for the mechanical failure to their product and am genuinely grateful that they addressed the problem in a forthright and timely manner.

I would like to take this opportunity to share some advice I’ve offered Nikon through email communication. In a nutshell, I’ve recommended Nikon update their service and support system to provide…

customers email updates about the status of their repair and estimated time of completion.
customers access to a Nikon technician who can explain in plain language the problem being addressed.
call center staff access to a customer database with detailed information about past and ongoing product service and repairs.

While I am satisfied with the outcome of this service and repair experience, there were times during those six weeks when the lack of information and the inability to communicate with a technically-proficient Nikon employee added to my level of frustration. The experience could have been made less stressful if I’d been provided regular updates on the status of my repair, had the opportunity to communicate by phone or instant messaging with a technician about the symptoms I was experiencing, and if I had not needed to explain the problem to four different call center staff members, none of whom appeared to have access to a detailed history of this particular repair.

I love using and doing photography with Nikon products and welcome the opportunity to remain a Nikon customer for many years to come. That said, their customer support could use some work. Whether you’re a Nikon employee, a fellow photographer or a friend, please take this blog entry in the spirit in which it is offered: an objective recounting of a recent customer service experience and an effort to provide constructive feedback to a company whose products I truly enjoy using.

Well, I’ve been rambling on about this far too long. It’s time for me to get out and shoot!

January 2016 | Bill Ferris

Camera Settings – Landscape Photography

It is April and spring has arrived at Monument Valley along the Arizona/Utah border. The pastel glow of twilight dyes the valley a cool hue while warm light from a setting Sun catches the wispy overhead clouds. (Bill Ferris)

There have been more than a few days when I’ve wondered if I travel to do photography or if the camera is just an excuse to get outside amidst inspiring landscapes. Actually, there is no wondering about it. It’s the latter. I have a deep, soulful connection to nature. Truth be told, if faced with the choice of spending my remaining years alone in a magnificent wilderness or amongst the beehive of activity in a major city, I might choose the wild.

It should come as no surprise, then, that landscape imaging is my first love in photographry. Since a move from the Midwest to northern Arizona nearly 20 years ago, I’ve been blessed to have ready access to some of the most dramatic and iconic landscapes of the American West. Grand Canyon, Monument Valley, Arches, Canyonlands – these are nature’s cathedrals. These are the places where I hone my craft and renew a spiritual connection with the world.

This blog continues the series in which I share the camera settings I use for specific genres of photography. Today’s genre is landscapes and these are the settings:

Mode: Aperture Priority
Aperture: f/13 to f/22
ISO: 100 to 200
Image Format: RAW
Focus: Back Button or Live View
Shutter Release: Timed with a 5-second delay
Essential Gear: Tripod

Late day light paints Zoroaster Temple in Grand Canyon a deep amber hue as seen from a campsite along Clear Creek Trail. (Bill Ferris)

Great light is the first element of a great landscape. While it is absolutely possible to make a fantastic landscape exposure in midday light, the golden hour times of sunrise and sunset are the most prized. The soft earthy glow adds a dramatic feel and reveals the inner beauty of a place. Weather, is the second key element. Clouds, rain and lightning put passion on display. Snow reveals the essence of a place and hints at possibilities to come.

A common theme connecting the above, is the relatively low light levels one encounters when shooting under such conditions. Unlike other genres (e.g. sports, wildlife and portraiture), short exposures and shallow depths of field are not necessarily desirable when shooting landscapes. More typically, you want great depth of field. Also, since your subject is mostly static, exposure times can be longer without compromising image sharpness.

An f/13 to f/22 aperture will deliver an in-focus, sharp image through the fore-, mid- and backgrounds. (APS-C bodies can achieve the same at f/9 to f/16.) With depth of field being so critical to achieving the desired result, I usually shoot in Aperture Priority mode and dial in an aperture – more accurately, a focal ratio – of f/13. Depending on the lighting and composition, I’ll go as large (in focal ratio) as f/22 or more.

Of course, I always shoot in RAW to allow as much latitude as possible during processing.

White House ruin in Canyon de Chelly National Monument (Chinle, Arizona) (Bill Ferris)

To maximize image quality and minimize noise, I typically use the base ISO of the camera body. In the case of the Nikon D610, the base ISO is 100. This combination of low light, small aperture and low ISO forces the camera to use relatively slow shutter speeds to make a properly exposed image. When shooting just before sunrise or shortly after sunset, an exposure of 1-second or longer may be needed.

Long exposures demand a solid, stable platform to ensure good sharpness in the resulting image. This makes a tripod essential gear for the landscape photographer. I use a Benro model tripod. It is designed to be lightweight and portable, while still providing good stability. It is not as rock solid as other beefier designs, which means I’m always in need of a sheltered location when doing photography in a strong wind.

A technique I use to minimize vibration, is setting a 5-second delay on the shutter release. This allows any vibration introduced when I push the shutter release to dampen before the exposure begins. I also use either back button focus or contrast detection focus in Live View to help ensure best focus. Contrast detection, while slower, is sometimes a bit more accurate than phase detection. Moving focus control off the shutter release button minimizes the risk of a last second focus change when an exposure is made.

Using these settings, allows me to take full advantage of the spectacular landscapes populating the Desert Southwest. If you are a landscape enthusiast, I hope you find they help your results, as well.

So, get out there and shoot.

Bill Ferris | April 2015

Camera Settings – Wildlife Photography

An American White Ibis preens in the late afternoon light at Disney World Epcot theme park. (Bill Ferris)

This post continues a series on camera settings for specific genres of photography. As I mentioned in the first installment, I am not suggesting these settings will be best for every photographer. I am sharing them because they work for me and may be of some help to you.

As the above image indicates, this post will focus on settings for bird and wildlife photography. Let’s begin with my goals when shooting animals in a natural setting:

Communicate the wild
Convey the personality of the animal
Bring the viewer close

There is something about an animal in a wilderness setting that captures the imagination. This is particularly true in cultures that feel a strong connection to a past when people lived, struggled, thrived and died in wilderness places. They competed not only with the land and weather but also with animals. Some animals were hunted as sources of food and clothing. Others were hunted as competitors for scarce food resources or as threats to people.

A photograph of an animal in a wilderness setting has the potential to reconnect us with that pioneer heritage. It can make the pulse quicken and loose a surge of adrenalin in the blood. Communicating the wild is as much about setting as the animal, itself. Framing the shot with a rugged terrain or severe weather conveys a sense of wilderness. The personality of the animal comes to life through action. Interesting – even aggressive – behavior does the trick. Sometimes, the suggestion of a behavior that is about to happen can be even more compelling. Capturing the instant before the animal becomes aggressive hints at wildness and allows the audience’s imagination to fill in the rest.

The Kilimanjaro Safaris tour at Disney World Animal Kingdom exposes visitors to a host of animals native to Africa, including the giraffe. (Bill Ferris)

A long telephoto lens can bring the viewer close enough to feel the breath of the animal. Stealth and patience, when skillfully employed, can have the same effect. Every guideline has its exceptions and this one is no different. A wide angle lens capturing the interesting behavior of a collection of animals in the wild can be just as inspiring.

Bird and wildlife photography is a relatively new interest for me. I’m still searching for that heart-stopping image of an apex predator in the wild, or an iconic creature persevering against nature’s maelstrom. However, the technique of capturing such moments is fairly well ingrained. I’ll be ready when the moment arrives. Here, are my settings:

Aperture: f/2.8 to f/5.6
ISO: ISO-auto with 1/500 to 1/1000-second as minimum shutter speed and 6400 as maximum ISO
Back Button Focus: AE-L/AF-L button assigned to autofocus control
Burst Rate: Low (3 fps) to Continuous High (6 fps)
Image Quality: RAW
Exposure Compensation: +2/3 to 0 to -2/3 stop

I use a large aperture to blur the background and isolate the subject. A wide open aperture also allows for the use of more reasonable ISO’s when shooting early in the day. Now, an aperture closed one stop from wide open will do a better job of capturing pin sharp detail in the animal. So, if the light level will allow it and if there is significant distance between your subject and the background, consider closing down the lens a bit.

Back button focus is a great technique for just about any type of photography. It gives you more control over focus point and framing. If the animal is moving slowly, a shutter speed of 1/500-second will do an excellent job of freezing action. However, birds in flight and other more aggressive actions demand a faster shutter speed. A low burst rate works fine for an animal slowly grazing for food. A faster burst rate is called for when shooting birds in flight and other more dynamic action.

A bull elk eyes a gathering crowd of tourists on the South Rim of Grand Canyon National Park. (Bill Ferris)

Finally, you’ll want to pay attention to the coloration of an animal. Animals with dark fur may require an exposure compensation of +2/3 stop to preserve detail. By contrast, compensation of -2/3 stop will preserve feather detail when photographing a bright white bird.

These are the settings I use when photographing birds and animals. If you give them a try, I think you’ll find the results rewarding. At the very least, you’ll gain a better understanding of the settings that work best for you.

Now, get out there and shoot!

Bill Ferris | April 2015

Camera Settings – Sports Photography

NAU’s Eddie Horn grabs a handful of facemask to prevent Eastern Washington’s Quincy Forte from reaching the end zone (Bill Ferris)

With this post, I’m launching a series in which I will share the settings I use for specific genres of photography. Each article will focus on one kind of photographry: landscape, wildlife, event, portraiture and, in this entry, sports.

Right off the top, I want to be clear about something. The settings I use are not necessarily best for everyone. In fact, I suspect the opposite may be closer to the truth. Many professional and experienced amateur photographers prefer to shoot in full manual mode. I don’t.

In any given situation, there are some settings I absolutely want to control and others I’m perfectly comfortable allowing the camera to control. It’s been my experience that modern digital cameras are reliably competent at choosing settings like shutter speed and ISO. Even if the setting the camera chooses is off by 1/3 to 1/2 a stop, shooting in RAW allows me to correct for that in post with just a few clicks of the mouse.

In short, the settings I use work for me and my workflow. My intent in sharing them in this series is that they may help you to make better photos and get more satisfaction from photography.

So, let’s get to it. Here, are the settings I typically use with my Nikon D610 when shooting sports:

Mode: Aperture Priority
Aperture: f/2.8
ISO: ISO-auto with 1/1000-second as minimum shutter speed and 6400 as maximum ISO
Autofocus: Continuous with a 9-point cluster at the center
Back Button Focus: AE-L/AF-L button assigned to autofocus control
Burst Rate: Continuous High (6 fps)
Image Quality: RAW

Why? Let’s start at the beginning. Before I start shooting, I give some thought to what I want to accomplish with the photograph. Here are my goals for sports photography:

Capture the decisive moment
Communicate the emotion of that moment
Put the audience in the middle of the action

The above settings allow me to accomplish all three.

A goalkeeper prepares to send the ball out of her zone. (Bill Ferris)

The first decision I make when setting up the camera is selecting a mode to use. I never shoot in full Auto. In that mode, the camera makes all the decisions and I’ve yet to find a camera having an aesthetic identical to mine. I rarely shoot in Manual. In that mode, I make all the decisions and, frankly, that’s just a lot of work.

Aperture Priority allows me to lock in a focal ratio. Normally, I’ll set the lens to f/2.8. Since I’ll be using a fast shutter speed to freeze action, I need to deliver big heaping gobs of light to the sensor to produce a properly exposed image. Shooting at f/2.8 maximizes the light collected by the lens and delivered to the sensor, at any given moment.

A large aperture also produces an image with a shallow depth of field. That is a huge plus when shooting sports. Often, the shot is focused on one player, coach or person. But how to draw attention to someone who is surrounded by a melee of athletes, officials and fans? A shallow depth of field serves to isolate the subject by putting everything and everyone else out of focus.

With a wide aperture selected and locked in, the next choice is which shutter speed to use. For basketball, soccer and football, I have found a shutter speed of 1/1000-second does a great job of freezing the action. Now, I could do this by putting the camera in manual mode, selecting the aperture (f/2.8), shutter speed (1/1000-second) and ISO. But I’m lazy. I don’t want to be responsible for all three variables. I want the camera to do some of the work. I’ll choose the aperture and shutter speed, and let the camera choose the ISO.

This is why I use Nikon’s Auto-ISO setting. In this setting, you choose a minimum shutter speed and a maximum ISO. For sports, I select 1/1000-second and a maximum ISO of 6400. Shooting with the D610, I’ve been very pleased with the quality of images taken at ISO 6400

At this point, I’m almost ready to start shooting.

This photograph was taken with a Tamron 70-200mm at 135mm, f/2.8, ISO 3600, 1/640-second (Bill Ferris)

Next, i check the image quality setting to confirm it’s still in RAW. Shooting in RAW serves several purposes. First, it is the format that captures and preserves the most information about each image. The more information there is at my disposal, the greater the flexibility I have in post. RAW allows for adjustments to be easily made in Lightroom, not just in exposure, but also in white balance, contrast and a host of other key settings. As such, shooting in RAW gives me the greatest latitude when processing an exposure. And since I’m trusting my camera to choose the ISO, RAW acts as my insurance policy against a setting that is off by as much as a full stop. Typically, however, the Nikon D610 is within 1/3-stop in the ISO it chooses.

To ensure that my photographs are properly focused, I use Nikon’s AF-C or continuous autofocus mode. In this mode, the camera continuously adjusts focus to keep the subject sharp, For most events, I’ll use a cluster of nine autofocus points – sometimes, a single point – to allow the camera to focus on the subject while ignoring distracting objects within the frame. The autofocus points at the center of the frame are most accurate. Hence my preference for a central grouping.

Now, to give myself more control over when and where focus is set, I also engage back button focus. This is a technique where you assign focus control to a button on the back of the camera body. I assign focus control to the AE-L/AF-L button on my Nikon D610. With back button focus engaged, I am able to push the AE-L/AF-L button when I want to set focus. If I’m shooting a stationary subject, I can set focus then remove my finger from the button and recompose. If the subject is moving, I’ll continue pressing the button and allow the camera to follow focus while I’m keeping the subject framed.

With 12-seconds left in regulation, NAU’s Dan Galindo hauls in a Jordan Perry pass to score the game-winning touchdown. (Bill Ferris)

Almost by definition, athletes are quick and fast-moving subjects. As such, I use my camera’s highest burst rate to rip 6-10 exposures in a 1-2 second burst. This gives me the best chance of capturing the decisive moment. The only thing that’s missing from the above photo, is the official’s arms in the air signaling a touchdown. But that didn’t happen until long after the receiver made the catch.

While we’re on the subject of moments, let’s address a setting that, all too often, is ignored. Moments are fleeting. As soon as you recognize one as being of significance, it is already gone. One of the keys to successful sports photography is anticipating a decisive moment, recognizing that it is about to happen. This has more to do with you, as a student of the game, than with your camera settings. Know the sport. Decide ahead of time the kind of moment you want (a score, a collision, the joy of victory, dignity in defeat), watch for that moment, recognize when it is about to happen and press the shutter release.

Now, get out there and shoot.

Bill Ferris | January 2015

A, Is for Aperture Priority

I don’t recall exactly how long it took before I was able to look at the letters on the menu dial of my camera and see anything other than alphabet soup. It certainly wasn’t overnight after first getting the camera, weeks at a minimum but probably closer to months.

In part this was due to the ability of the modern DSLR camera to auto select settings that produce good photos. Another factor was the menu of scene modes on my Nikon D70. When taking pictures of people, I used the Portrait setting. I also used the Landscape, Sports and Night settings. The names said everything I needed to know about their function and made it easy to explore settings other than Auto. Yes, I was getting all radical with my camera and trying different menu dial positions just weeks after getting it.

But the real experimentation started when I took the leap of faith required to dive into the alphabet soup settings on the menu dial: A, M, P and S. In addition to being an anagram for, spam, those four letters tease and temp a new photographer with hints of the unknown and mysterious. What happens when you choose, A? Will the camera even function?

The Command Dial on most DSLR cameras allows you to choose between a variety of scene and other settings, including Aperture Priority (A) (Graphic used courtesy Creative Commons)

A, is for Aperture Priority, a setting where you manually select the aperture and the camera fill in the other settings. An aperture is an opening that allows light to pass through the lens and fall on your camera’s sensor. If you’re framing a shot at high noon on a sunny day, there’s a lot of light hitting your subject. This abundance of ambient light means your camera’s aperture can be small and still allow enough light to hit the sensor to capture a beautiful image with a short exposure. This brings us to the concept of f-stop or f/ratio. These terms mean the same thing, the ratio of the focal length of your camera lens to the diameter of the lens opening (aperture) allowing light to fall on the camera sensor.

Suppose your shooting with the kit zoom lens that came with your camera and the focal length (zoom) is set to 50 mm (millimeters). Put the camera in auto and take a picture of something. Then, play the photo and look at the information about that exposure. In particular look for the f-number. The number next the f tells you the ratio of the aperture to lens focal length. A picture taken with a 50 mm lens at f/10 had a 5 mm (1/5-inch) aperture. A picture taken with a 50 mm lens at f/4 had a 12.5 mm (1/2-inch) aperture or opening.

So, the smaller the focal ratio or f-number, the larger the aperture. In short, when you shoot with a small f-number, you’re letting more light into the camera to fall on the sensor. Or at least, your camera is trying to let in more light. When we started this discussion, we began by imagining a scenario of taking a picture at high noon on a sunny day. Let’s change the time from high noon to the golden hour, that first hour after sunrise or last hour before sunset when natural light is soft, warm and dramatic. The light quality is better but there’s not as much of it. So, in order for your camera to allow the same quantity of light on its sensor as a shot taken at noon, the aperture needs to be larger.

The begs the question, so what? Why should you care that the aperture needs to be bigger during the golden hour than at high noon? Well, aperture determines the depth of field in a photo. Depth of field is the range of distance within which objects or people will be in focus in a photograph. When shooting portraits, it’s often more pleasing to have a shallow depth of field. In other words, the person who’s the subject of the photo is in focus but anything in the foreground or background will be out of focus. This quality of an out of focus foreground or background is called, bokeh. Bokeh is a Japanese term describing the portion of a photograph that is obviously out of focus. When shooting a portrait, obvious bokeh in the background is typically very pleasing to the eye. The way to create bokeh in your shot is to shoot using a small focal ratio or f-number, the smaller the better.

Northern Arizona’s summer monsoon calls forth brilliant yellow wildflowers near Flagstaff, Arizona. (Bill Ferris)

Above, is an example of bokeh. The subject is in focus in the foreground and the background is obviously out of focus. This transforms the background flowers into a pleasingly abstract tapestry of hues and textures complimenting the subject of the photo.

Suppose you’re shooting a landscape at sunset. A wonderful, warm light is painting the temples and buttes of Grand Canyon. For this shot, you’ll probably want everything in your frame to be in focus. You’re not trying to capture just one temple or butte. Everything in your frame needs to be in focus. In this scenario, a shallow depth of field will put much of the frame out of focus. To put everything from the most distant butte to the blooming foreground wildflower in focus, you need to shoot using a large focal ratio. Typically, I shoot at f/9 when doing landscape photography.

The last light of day paints Desert View Watchtower on the South Rim of Grand Canyon a deep rusty red. Desert View overlooks the Palisades of the Desert and the Colorado River in eastern Grand Canyon National Park. (Bill Ferris)

This photo of Desert View Watchtower on the South Rim of Grand Canyon was taken at sunset. My Nikon D90 was mounted on a tripod. The camera was in aperture priority at f/9, ISO 500, a lens focal length of 19 mm and an exposure of 1/30-second.

This brings us to the final question of this blog entry. What impact, other than depth of field, will shooting at f/9 have on your photo? As we’ve discussed, the larger the f-number the smaller the aperture or lens opening. If shooting at sunset to capture a landscape illuminated by that gorgeous, soft light, you can compensate for the small aperture by boosting the ISO setting. The same scene that can be captured with an ISO of 200 at high noon, may require an ISO setting of 800 during that dusky time around sunset.

But there is a price to pay for taking this approach. Boosting the ISO to make your camera more sensitive to light adds digital noise to your photo. With higher end digital cameras, images shot at ISO 800 often look very good. But if you’re shooting with an entry-level camera or an older DSLR, an image shot at ISO 800 will often looking grainy and rough. Rest assured, however, there is another solution.

Use a tripod. For landscape photography or any photography where you want to capture sharp, detailed images with good depth-of-field, a tripod is essential gear. Mounting your camera on a tripod allows you to precisely frame the shot. It also allows you to shoot at low ISO’s of 400 or less during the golden hour and still capture great detail. The scene that was perfectly captured with a 1/500-second expose in bright sunlight may require a 1/10-second exposure at a time of day when the quality of the light is warmer, softer and more dramatic.

Now, 1/10-second may not seem slow but trust me, it is slow in photography. As a general rule when shooting handheld, you want exposure times to be no slower than the reciprocal of the lens focal length. OK, in English. Let’s say you’re shooting with a 50 mm lens. If you’re holding the camera in hand for the shot, the slowest shutter speed you’ll want to use is 1/50-second. Faster would be better. Any slower speed will allow the camera to capture the vibration or unsteadiness of your handhold. That vibration will soften details and produce an image that looks out of focus. If the camera is mounted on a tripod, that rock solid platform will allow you to take longer exposures producing crisp, focused photographs.

OK, I’ve rambled long enough. The next time you’re out with your camera, experiment with using the A or aperture priority setting. Shoot the same subject using different apertures. Compare the ISO settings and exposure times for the resulting photos. Most important, compare how the photos look. Which one looks best to you? Write down or make a mental note of those settings and spend the rest of the day shooting with them. You’ll learn a little more about your camera and you’ll get some great shots.

Get out and shoot!

Bill Ferris | August 2013

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