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16

Camera settings are never going to make this easy. Photographs need light to work, and while modern sensors are actually quite sensitive, they can't live up to our perceptions, because our brains take the dark, noisy image from our eyes and subconsciously make a mental model where the imperfections aren't noticed. You don't mention what lens you are using, ...


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?


8

In addition to the points mattdm has made, you can shoot a few pictures of the same scene in rapid succession. Unlike when using a tripod, you won't be able to achieve perfect alignment of the pictures; without a tripod, the shifts will be rather large and then the fact that there will be a parallax will prevent you from perfectly aligning the pictures. But ...


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 ...


6

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

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

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 ...


5

In the past when looking for a bit more reach/separation I've experimented with both the Canon 100 f/2.8L IS and I found the IS of the 100mm not to be that useful when using ambient light only since shooting at 1/50s or 1/25s leads to subject motion blur in a lot of cases (especially when people are gesturing, laughing etc.) In most cases I had to use ...


4

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 ...


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 ...


4

There isn't necessarily a consistent difference in longevity or quality between LEDs and "regular" bulbs. The most consistent difference is that of color temperature and spectrum. LED lights are newer. They are solid state electronics that, when well designed and decent quality, can run for a very long time. Unlike traditional bulbs, they tend to lose ...


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

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

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

Parallax is a much larger problem when shooting at close distances so you will absolutely need a panoramic tripod head that allows you to pivot about the lens centre of projection, and be very careful with the setup. You can use any lens, though the longer the focal length the more images you will need to shoot and stitch to get the coverage. If you're ...


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 ...



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