Sunset in Kruger

by MrFrench

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11

It's called "Nisen Bokeh" and is mainly due to the lens design (though the background plays a part, it's possible to "provoke" this effect with any lens with the right background). Overcorrected spherical aberration (blur disks which are brighter in the periphery than the centre) is usually to blame. It's showing up more often with the A7 due to the use of ...


10

In this case, you shouldn't be using a grey card at all. Grey cards (and related devices and and cards) are used as a reference point to make an image's color neutral, as your second two images show, but you don't want neutral, you want warm. What you need to do is change to color temperature and/or saturation in post processing; changes to color ...


7

In most cameras the scene modes automatically set the file type to JPEG and apply different processing settings to those files (Landscape mode often boosts greens and blues, sunset mode boosts reds, for example). They also prioritise aperture and/or shutter speed appropriately. However, this comes at the cost of creative freedom - the camera is making all ...


6

No, larger sensor cameras are not more likely to mis-focus - if you take the Canon 1DX (with a modern lens) for example, it's a full-frame camera that's about as far away from "likely to mis-focus" as possible. But when a large sensor camera mis-focuses it's more noticeable, especially when most tiny sensor cameras (cellphones) have wide angle lenses. The ...


5

These are different designs, developed at different times. Forty years have gone between each was initially launched as the A-mount was simply acquired from Minolta which had by then fused into Konica-Minolta. The A-mount introduces AF which worked by Phase-Detection and hence lenses for that mount are designed to focus that way. Over the years, they were ...


4

I think the key thing for here is that smaller sensors inherently have more depth of field at the same aperture number and framing. That means that with a larger sensor, focus is more critical. It's not that the larger sensor is really worse. With a camera phone, in low light, the result will be very noisy (with automatic, non-optional noise reduction ...


4

Most advanced cameras allow you to separate exposure and/or focus lock from a half press of the shutter button to allow each photographer to choose how and when focus and exposure are locked for a given composition. Even what happens by default in the camera's "factory" settings will often vary based on what shooting modes in terms of exposure and focus are ...


4

An adapter is great if you already have Canon lenses or want to share lenses between Canon DSLRs and NEX cameras - but it isn't that good compared to getting the Sony lens. No adapter is perfect (actually, the lens and camera aren't perfect either) The adapter will add some more (usually small and almost unnoticeable, unless you pixelpeep) misalignment to ...


4

The problem is actually a problem of neither your eyes nor the camera being able to capture the color. Your best bet is setting the white balance to "sunlight" and going from there. Here is the reason: color is a continuum of wavelengths, like sound is a continuum of frequencies. Now the human eye has three different kind of receptors that have some ...


4

The ratio f/2.8 means the diameter of the entrance pupil is equal to the focal length divided by 2.8. The key thing to note about the above is that the entrance pupil is the image of the aperture stop as seen through the front of the lens, the ratio does not depend on the physical size of the aperture itself. A rear-mounted 2x teleconverter, such as you ...


3

More generally, you'll find that most cameras which are primarily stills cameras will be limited to 30 minutes of video. This is due to EU regulations which mean that anything which can record longer than 30 minutes is a "video camera" and attracts a higher rate of duty. Panasonic are a notable exception to this in that they produce separate EU and non-EU ...


3

It means the same thing as it normally would. A lens can not let in more light than the size of its widest aperture though. Focus is achieved with the aperture all the way open. In other words, at EV0 (enough light for an f/1 image at ISO 100 for 1 second exposure), your camera will let in enough light through an f/2.8 lens to focus. If, however, you ...


3

Bulb mode holds the shutter open until you close it (or allow it to close). As you said, hold the shutter release down, or use a wireless remote. If you want more precise timing, something like TriggerTrap is what you want.


2

The A6000 is impressive camera with very sharp sensor. Surely to use it at best you need better lenses than 16-50. The good news is that these lens exist: the Zeiss/Sony, the old MF lenses (Canon FD 50 1.2 1.4) Zeiss Planar and so on. The little Sony 1650 is not bad in absolute, I can say that it is very good, considering the cost. If you use it with ...


2

Actually, they aren't much smaller. Lens size for similar formats is actually pretty comparable, if you look at similarly speced APS-C vs. APS-C designed lenses. Take the examples (on camerasize.com) of 18-55 kit lenses, the 55-210 vs. a 55-250, or crop 35/1.8 lenses. The size difference is mostly between full frame and crop lenses. But if you look at a ...


2

The scene modes are simply collections of settings to make 'auto mode' work in a way suited to particular subjects (e.g. the 'portrait' mode will prefer large apertures, the 'landscape' mode will prefer small apertures - to give a simple example). If you're comfortable setting aperture / shutter speed / ISO yourself (and know what to use for different ...


2

With conventional Phase Detection AF systems found in SLRs the width of the entrance pupil of the lens is one of the factors that determines the baseline: how far apart the rays from each side of the lens are from each other. The wider the aperture, the wider the baseline. The wider the baseline the more difference there will be between out of focus light ...


2

Sony 18-200mm for $748 at BH Canon ef-s 18-200 for $699 BH + Metabones adapter for $399 for Af BH The sony is both cheaper and lighter. If you dont have any canon cameras or don't plan to get canon cameras, I would stick with Sony if I was you. Metabones reviews say AF is slow with it. I'm not sure how it compares vs AF with a sony camera but it's something ...


2

your 3 images are al expected. Your flash is very little impact. You see impact on the metal pole to the right and the ground in front of you (look at the lower left). Your flash tells your cameras it near daylight 5500K WB) so it sets that WB. In both images with flash. The ground in the bottom and the right metal pole has a nice color with that WB but the ...


2

The brightness of the light from your flash falls off with the square of the distance to the subject. For example, if you are using only flash for illumination and something 10 feet away is exposed properly, then something 20 feet away will be 2 f-stops (4x) darker. Something only 100 feet away will be 100 times (almost 7 f-stops) darker. Conversely, the ...


2

The problem here is that -- whether you do that in post or in camera -- you don't have a proper point that you can say "hey, this is a neutral color". The camera actually accurately captured the color in its sensor information, it is just that the development process went a bit differently for the computer image than for the image you saw. What you see with ...


2

Have a look at http://www.photoguard.co.uk/digital-camera-insurance.asp Also check your credit card insurance. Some cover this as part of the yearly fees.


1

The problem here is that cameras do not capture the colour of light sources at all. They capture the colour of objects which reflect light. This wall is white, the neutral grey card is a neutral grey. To create a picture that shows a false yellowish colour, as you saw it, you need to manipulate. You could fix wb on a blue object, which looks grey in this ...


1

You are correct, it is computed from the JPEG and that makes it harder to tell if you've clipped the shadows/highlights. It doesn't make it less useful though. Most likely both histograms are calculated from a "gamma corrected" image and they will not be able to tell you if you've clipped for sure. The R, G and B channels on your histogram represent the ...


1

I don't have any link but I'm an sony A7 user and if you have it try to experiment at the highest speed (1/8000) with and whitout the first electronic curtain shutter. if your picture has bokeh you'll the shape modified by this factor. It may depends on the electronic speed of reading/writing. From 1/1000 to 1/8000 there is a clear effect, the faster the ...


1

What you are demonstrating in your pictures is more of a case of "aliasing" than pixelation. If that's what you mean (the perception that the picture is composed of straight lines rather than proper curves), it happens because of the real time picture resize algorithms the camera uses to display the 24MP images coming from the sensor on the 2MP EVF, and it ...


1

There's 2 things to consider. Firstly the overall contribution of flash compared to ambient light. If the flash is putting out a small amount of light compared to the total ambient light over the course of the exposure then the flash itself and any changes to the flash will go unnoticed. Secondly flash exposure compensation only biases the flash metering ...


1

With an exposure time of 5 seconds, with the amount of light being gathered, the relatively far distance of almost all subjects, and the relative weakness of the flash used, I would expect there to be very little difference. The difference between photos 1 & 2, and photo 3 is the white balance.


1

I have a NEX-3N. There, when the magnified view is displayed, you can switch between the two magnifications via the button next to the lower right corner of the display (next to it, the magnification you can switch to is displayed, while in the upper left corner you see the current magnification). To complete the answer for others, here's how to enable the ...


1

Two of those scene modes combine photo bursts in-camera for greater dynamic range, noise reduction, or (in other cameras) zoom range, shallow depth of field, etc. Although you can post-process your own bracketed or burst of photos, the camera might make you trade off pixel depth (in RAW mode) vs. burst speed (in JPEG mode), and you'll need image stacking ...



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