Before the rush

Before the rush
by evan-pak

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Not sure about Nikon's lenses, but some Canon EF ones are certainly not designed to be manually focused while the lens is in AF. If you try, you can feel your hand actuates the AF motor in the lens, and whenever you focus too fast the gears start skipping. That ain't no good for them. It may result in increased wear or even internal mechanics failure. The ...


If you have the option to switch focus modes on either the body or the lens, and either function produces the desired result - there is no consequence to only switching one or switching both in regards to the equipment.


I think this really depends on the lens and camera body. But, in my experience with Nikon I have noticed that some of my lenses won't allow me to manually focus unless I switch the lens's focus to manual (as in the focus ring won't move or it won't actually engage the focus). So, personally, I find it easier to just leave the camera body set to AF and toggle ...


It is within the realm of possibility that the lens is back focusing. To confirm this and measure exactly to what degree, though, the target and distance scales need to be properly aligned with the camera. There are a couple of reasons why good alignment is needed to get a valid AF test measurement: If the camera is aimed at an angle to a target such as ...


It sounds like you are referring to the thin lens formula, but your interpretation of the geometry has led to some wrong conclusions. It seems to me that if a given lens geometry has a given focal length, then image sensor placed at that focal length would just have a dot at the center pixel as the entire collimated light entering the lens is focused to ...


The camera lens acts just like a movie or side projector lens in that it projects an image of the outside world on the surface of the digital imaging chip or film. Now the lens works by causing light to change directions. As the light rays from objects transverse the lens, they are caused to bend inward. This action is called refraction. It is the shape of ...


Get a tilt lens and use the Scheimpflug Principle. You can even use this technique to keep only one target in focus even if they are on a parallel plane.


What you need is high depth of field. That means the distance range from the camera where subjects are acceptably in focus is longer. You say depth of field is not the issue since the background is just a wall. The background doesn't matter. It's the min and max distance of all intended subjects from the camera that matters. Clearly this is your problem ...


Just take each shot so that it looks roughly right but with a wider lens/further away. Then match all images in post processing by cropping. This is a lot simpler than matching the images in camera. At least in terms of positioning the subject within the frame. Considering the pose itself I would not strive for a perfect match. If something looks too good, ...


Fun idea. That could be called hyperlapse. If you use a specific memory card for that project, you can always switch from viewing the first photo of the project to live view. Another option is that you built a box with a grid or something and put it in front of your camera, like the old matte paint technique used in cinema. Instead of having a paint of a ...


I realise that I could measure the distance in each shot, and have a point on her body centered within the view finder. But what about possible elevation changes changing the angle? A quick way to get close is to decide on the pose you want to use and do the first shot at home. Make a print and keep it in your camera bag so that you can refer to it ...

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