Hot answers tagged

35

The variability you are seeing in your photos is due to the way many types of lighting convert alternating current into light. Although they look constant and steady state to our eyes, in reality they are flickering with the oscillations in the alternating current supplying them with electricity. When shooting under any kind of flickering lighting, ...


25

The blur is caused by the people moving while you were taking the photograph with a slow shutter. Honestly, I think it improves this particular photo a lot: it shows that the people are dancing, rather than just standing in weird positions. If you want to, the only way to avoid it is to use a faster shutter speed. This necessarily involves compromises. If ...


22

Will need flash to achieve good results... You'll not get "excellent quality results" using flash in this situation. Theatrical productions are lit with theatrical lighting. If you want your images to look like the show did to the audience, you need to capture what light the production is using to illuminate the scenes for the audience. You've got ...


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, ...


14

Honestly, the biggest problem I see in your picture is not the blur, but the badly clipped highlights. Next time, try shooting at, say, -1 EV (which will also reduce the exposure time, and thus the blur, a bit) and adjusting the exposure afterwards to get softer highlights. This does increase noise in the shadows a bit, as if you were using a higher ISO ...


13

Your exposure is a function of - The amount of light reaching the subject (with the quality and direction of the light allowing you to control the effect) The shutter speed (too long leads to blurring as you've seen) The aperture (wide lets in lots of light with shallow depth of field, narrow the reverse) The ISO (like an amplifier dial on a hifi - ...


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 ...


11

The short answer: It's darker then you think it is. Here's a depiction of various brightnesses and an an exposure value which nominally will give correct exposure at that brightness. Note that these are overlaid — the area of the whole circle is what matters, not the separated rings. This seems shocking, because our eyes are so good at adjusting, but ...


10

Yes, it's coming in through the top of the partially opened door to the left.


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 ...


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 answer @eftpotrm gave is pretty comprehensive, but let me highlight the single piece of advice that is by far the most likely to give you the desired results: Get a lens with a large maximum aperture, like f/1.8 !! The smaller the number, the better, but f/1.8 is the best that's typically available at a reasonable price. It's going to be a prime lens (...


9

As you have discovered, your camera is limited with regard to the brightest and darkest details it can capture at the same time. In order to keep the lights from 'blowing out' you must limit exposure to the point that the rest of the scene is extremely dark. In order to capture details in the darkest parts of the scene, you must allow the brightest parts (...


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

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 ...


6

It would take a rather brightly lit room to get your ISO down that low. I've got a low hanging, 5 light fixture in a small white room and I just metered f/3.2, 1/60 and ISO 1250. So, bright sun is definitely going to help, but ISO 200 or 100 inside, at f/3.2, without flash is an impossible dream. You either need a faster lens (like a f/1.4) - but that is ...


6

Hopefully you are aware of the relationship between the three main controls that affect exposure: Aperture, Shutter speed and ISO. In this case you've set an aperture of F/2. You have left the decision of shutter speed and ISO to the camera (by selecting Aperture Priority mode, and having Auto ISO on). It's a low light scene, so the camera doesn't have much ...


5

For tips you could start with the generic: What are your easiest photography 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. ...


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 1/...


5

I don't want to use flash Why not ? It's what flash is for. Get a good external flash and learn to love it. Learn to bounce light from the ceiling or using a bounce card or similar. Easy technique, great results. I would, however, agree that blur is useful in these shots sometimes. There's no other way to give a sense of motion. I disagree with the ...


5

In addition to mattdm's suggestion to get a flash or two (which can be a very cheap way to get better light for your image). The sharpness in the sample image looks reasonable for a kit lens - most of the objects are around the edges of the image - and the corners are likely to be the least sharp parts of a lens. The focal plane of a lens is not always flat ...


5

In a comment, you say I mean that simply camera auto settings change luminosity a lot depending on where you point the camera. In particular, I'm shooting the office furniture Right, so... don't do that. Get a meter reading that looks right, and then put your camera on manual mode with those same settings so nothing changes. If needed, adjust shutter ...


5

Will be taking photos both before and after, where I can get rather close to subjects For posed crew and actor shots both before and after, have the crew bump up the stage lights so that you have enough light to shoot without flash. Use your flash as a fill flash if shadows are harsh, either on or off camera as you see fit. From Tetsujin, 'Knowing the ...


5

When you're using the lens at the widest aperture and the photo is still too dark at the longest acceptable shutter time, then the only exposure parameter you have left with that lens is to raise the ISO. Then shoot raw and deal with the noise in post processing.¹ Ultimately, to get better image quality in dim light when you can not increase the exposure ...


4

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.


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

Why is my camera metering indoor scenes as darker than I expect it would? Because the scene is darker than you assumed it would be. Indirect sunlight is not as bright as direct sunlight. It is usually nowhere near as bright. Much, if not all, of the light that is shining through the window has likely already been reflected by something else and unlike ...


4

The short answer: It's darker then you think it is. Here's a depiction of various brightnesses and an exposure value which nominally will give correct exposure at that brightness. Note that these are overlaid — the area of the whole circle is what matters, not the separated rings. This seems shocking, because our eyes are so good at adjusting, but a scene ...


4

I had a must-have photo that was too dark or grainy for the same reasons. I went with a stylized image using a photo as a starting point. This was pre-digital: T-max 400, pushed to 800. That is a high-quality B&W film for you youngsters.


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