Hot answers tagged indoor
12
The problem with the prime 35mm is that in order to frame your shot properly, you'll need good mobility. Which you may not always have in a busy and crowded car show. So I would give one point to the 18-200 for that: It'll let you frame your shots even if you can't get yourself at the exact right position you'd need with the 35.
Then, the thing is: it's a ...
9
A pop-up flash has barely enough power to work indoors of a residential space; in larger rooms, professional photographers have practical reasons why they carry separate large flashguns. The Puffer, whilst making the light slightly less harsh and therefore more pleasing, does it so at the expense of chewing the power even further down.
So, your gear is ...
9
The last thing you want to use is the built in flash. It will only wash out the color and the contrast.
The best way to deal with the skylight is to shoot early or late in the day when the illumination from the skylight is not as bright and balances better with the artificial lighting in the room. You are still dealing with several different types of light ...
8
Yes - but for indoor shots of fast moving kids, I'd highly recommend a good flash first. You'll be guaranteed to freeze that motion regardless of the lens.
Indoors, in low light, with fast moving subjects - I'd choose a flash over a f/1.8 lens. With that lens, you'd still have to crank your ISO considerably to get motion freezing results, but a flash ...
8
Keep both eyes open.
The strain of squinting or closing an eye over time can be very stressful and headaches are common.
http://www.all-things-photography.com/both-eyes-open.html
How can one learn to shoot with both eyes open, and what are the advantages?
6
The ISO used will depend upon flash power, how bright/dark the scene is, the subject distance, and what settings the camera and flash are using. That is, it's possible that no, ISO 100 can't be used because the flash doesn't provide enough light.
The D5100 built-in flash has a guide number of 39 (measured in feet) at ISO 100. By the math, GN39 / 10 feet ...
5
Architecture photography often involves shooting large buildings and interiors without the ability to move back so wider lenses increase your chance of framing enough to show your subject.
What also happens is that you often end-up tilting your camera upwards which causes converging verticals. The typical and expensive solution to this is to use a ...
5
An ultra-wide angle is very handy as it'll make spaces look bigger. Something like the Canon 10-22 would be ideal, or the Tamron/Sigma/Tokina version would also do.
28mm is very long on a crop body for indoor architecture, and is going to make rooms look small. If you can't get hold of a wider lens then you might be able to get away with using the 28-135 ...
5
It sounds like you are pretty new to photography so I'll keep this as easy as I can:
Light is your friend, darkness is your enemy :)
Push your ISO up as high as you are comfortable with - ISO 1600 or 3200
Open up your variable aperture as wide as possible(use Av priority mode) - f/3.5-5.6
Use a flash or additional lighting as much as possible
5
Please don't be afraid of higher ISO settings. While it's true that ISO 6400 is a bit much for the 600D (and ISO 12800 is for emergencies only, like surveillance or "get the shot or else" photojournalism), ISO 1600 is perfectly OK on the 600D and ISO 3200 will clean up acceptably.
Remember: look at the picture, not at the pixels. It will make you a much ...
5
Lighting off the camera is going to be a distinct help, but you probably should be aware of a few things in doing so:
Hotshoe flashes are small lights, so you want some diffusion if possible. This can be an umbrella or even your own homemade reflector that you point the flash at. Anything that softens and spreads the light so that the source is not ...
5
For tips you could start with the generic: What are your easiest beginner tips?
Specific Event Tips
For your specific situation, I would recommend scouting the location at the same time of day that the christening is. Do this so you can have an idea of the lighting conditions and also give yourself some ideas of possible locations to shoot. Take some shots ...
4
While it won't be exactly the same as a wall or ceiling†bounce, you can move the flash off camera and make it significantly bigger without moving it off camera. Something like the Lumiquest Big Bounce will make the light source quite a bit bigger and softer, while elevating the light source enough that pictures taken at typical portrait distances will have ...
4
Most Chuck E. Cheese locations that I've been in have generic white ceiling tiles. If that is the case at the location in your town, I would try bouncing the flash off of the ceiling with an external flash rather than using a Puffer. Although the cost is a bit more, the results will be that much better. You can get a Yongnuo YN-468 II i-TTL that is ...
4
The first thing I notice is that you need to find a better angle for the composition. The colors themselves, even from the point and shoot, if shot in raw (and with less noise) could be pretty easily salvaged by color grading. No amount of editing is going to solve composition and artifact issues though and the sample has issues with both.
Try to give ...
3
IF your subject is not moving (as I saw in the comments) then the things are simpler:
put ISO at 400 or less.
Use the aperture mode and put the aperture at the best value for your lens (somewhere between f/5.6 - f/8) usually one or two steps down from the largest aperture at that focal length.
Use a focal length somewhere in the middle of your zoom range ...
3
Just did the Montreal Auto Show yesterday as a regular visitor, meaning during visiting hours. The press probably enters before the show to shoot cars and without crowds first and then stays to shoot the event. This is an important distinction for any type of event, shooting its content (cars in this case) is not the same as shooting the event (people ...
3
No need to write off the 35mm completely, since it does have great low light gathering capabilities. However, as has been said you simply won't be able to get the crops you want with it and you won't be able to go wide enough for anywhere that there are people crowding around and you want a clear view without people in the way.
The 18-200 can do this but ...
3
Bouncing is not the only option. It creates strong shadow under the chin, it is in fact much better than straight-on flash, but there are other alternatives.
Try to find a white wall or a white curtain, or a relatively white surface would do. For me, I consider bouncing off a white wall a much better option than bouncing off a white ceiling.
The light will ...
3
Good is a relative term. I can explain how to get the best shot with your current equipment. Of course with added equipment, you could achieve better results.
The first obvious option is to select the sports mode from the dial on the top. This auto mode will help with sports the majority of the time, but may not select the ideal settings always. That is ...
3
Photographing kids indoors is very often a nightmare but a 35mm f/1.8 would be a good lens to use. The large aperture will give faster shutter speeds for the available light and in a well lit room or near a window you will probably get away without flash and the focal length is good for restricted indoor spaces especially on a crop sensor body. If you really ...
3
Yes, it probably will:
The focal length is good for restricted indoor spaces (as you probably know from shooting with your kit lens)
The aperture is great so you can do low light shots in much faster speed than with the kit. You mentioned that your kids are moving a lot. In this situation (subject motion) the image stabilizer that you have on the kit lens ...
3
Stitched panorama photos can add dramatic impact to your indoor photography. They are not difficult to do and have the following advantages:
a) they can give a field of view that no lens can achieve.
b) panorama software can compensate well for convergence problems, making tilt-shift lenses unnecessary.
c) you can produce large prints which are pin ...
3
Is this a theatre piece that you are shooting for publicity or documentation?
If so, I'd talk to the lighting director and director/choreographer and explain the problem and see if you can arrange a dress rehearsal with more light. You can then either underexpose and/or post-process so the resulting images match the intended lighting effect.
3
Some of the basic things I can see is that everything uses a red shifted color balance. It gives more of a rust look. Also shifting the gamma down to make things dark but high contrast (brights are still bright, but a larger portion of the image is in the darker range). There may also be some desaturation to make colors look more faded and aged.
It also ...
2
As mentioned before, you better do with a wider lens. The 10-22mm is perfect, while a much cheaper alternative, which is still better than the 28-135mm is the 18-55mm kit lens, used at the 18mm side. Normally, indoor pictures for selling properties are not required to be hi-res, so the (not-so-bad) quality of the 18-55mm should be just adequate.
A tripod is ...
2
The normal professional solution is to place gels (big plastic filter sheets) over the external windows.
Since the actual interior lighting is usually a feature of architectural photos, additional lighting inside is normally balanced to whatever the existing lighting is (often tungsten or "warm white" fluorescents). If you are adding additional light, that ...
2
Yes, for low (available) light work with the Nikon D5100, the Nikkor 35mm f/1.8 is a very good lens. However, as others have said, for sharp images of fast-moving subjects (such as kids at play), a good Nikon SB flash unit is indispensable, and will give much more versatility than the built-in pop-up flash. For still-life, product, or street photography, ...
2
This will be a bit tricky for low light condition. You have to balance things. Set your ISO high enough, but not too high to avoid grains on your images. 800 maybe will do. If you can do lower it would be much better. But not low enough. Keep your aperture wide open so you can get more light. That should do the job.
If not then you have to open your shutter ...
2
Your 50mm prime will certainly get the job done, on full frame or APS-C. On APS-C for event photography 50mm works very well for 1 or 2 subjects, typically covering the torso. Unless you step back considerably, 15-20ft - you aren't going to get full body portraits or more then 2 people in the frame. When you switch over to full frame, the 50mm becomes better ...
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