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

A few aspects mentioned in your question will be our starting point. Please note, we are not saying each of these issues will be determining factors for every photographer. We're not saying one system is better than the other because of... a or b. Rather they are a response to the question, "...what all should a person consider?" Once considered, each of ...


21

How many of Henri Cartier-Bresson's photos were taken using autofocus? How many of Ansel Adams' masterpieces were taken with a camera that had an internal light meter? How many of Walter Iooss, Jr. and Neil Leifer's iconic photos for Sports Illustrated in the 1960s, '70s, and '80s had the benefit of Image Stabilization? None, None, and None. The key ...


20

Overexposed areas have a sharp cut-off when the maximum pixel value is reached. You have a completely white area if this happens in all colour channels. There is nothing you can do in post to recover information in those areas. In contrast, underexposed areas retain information, but when you brighten them, you amplify the noise, too, and with less bits to ...


19

The idea is I will be down below, looking up at them to take the photo, so a flash would be useless. Only if you limit yourself to a camera mounted flash. The key to such a shot is to get the lights off the camera and onto the subjects from angles other than the optical axis of the lens. You'll probably need at least a couple of off-camera flashes with ...


19

This is known as "banding". Dark parts in the picture have a small range of values (in a JPG, you only have 256 values per color), when you lighten them, you increase the gap between consecutive values as much as the values themselves. Since the gaps more or less follow a line they are very noticeable by our eyes. Several fixes are possible : If you have ...


17

The "ray" effect is known as sunstar. There are 2 conditions to achieve sunstars : use a narrow aperture (like f/16). point camera to small and bright light source. You achieved that effect very well. However, it doesn't serve the photograph. In the photo, the subject seems to be the moon. However, it is hard to tell it is the moon by looking at it only. ...


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, ...


15

You misunderstand how exposure compensation works. Exposure compensation is not an actual physical thing the camera uses to control light - there are only 3 real things that control the amount of light: Aperture, Shutter speed and ISO. Exposure compensation is a way to tell the camera in one of the auto/semi-auto modes you want to override the light meter ...


15

It really depends on what you want to do with the camera. After all, there are many great photos that have been taken with older cameras, both when they were the hot new model and when they were no longer on the cutting edge. As with all equipment recommendations it comes down to the question of what do the technical demands of the photos you want to take ...


15

Neither. Underexposure means that you did not deliver enough light and you are losing information in shadows. Overexposure means that you delivered too much light and losing information in highlights. Both are wrong. Expose correctly. Check your histogram or allow the blinking under/over exposure alarm in the preview to see how are you doing. Correct if ...


15

No you're not a bad photographer for questioning your equipment But Yes you can outgrow your equipment. Granted Michael Clark's answer is correct about some of the greats not having some of the modern day capabilities we take for granted but you can genuingly get to a point where your kit is holding you back photographically. And this can be both what you ...


14

Those are almost certainly reflections from the UV filter. I recommend taking it off. This is a topic of much debate, but the fact is filters do cause artifacts visible in your photos — you've got the evidence right there. You can get better results from a more expensive filter, but then it'll cost almost as much as your lens. Lenses aren't as fragile as ...


14

Essentially, your argument is correct as long as you understand that negligible and high-price are relative terms. You are correct that you get one or at most two stops advantage between a full-frame and an APS-C sensor of the same generation. More importantly so, the advantage is lower at low ISO sensitivities with modern cameras which are essentially ...


14

Your strategy with aperture priority mode is a good way to go. If the light in the room is quite even and doesn't change, manual mode will give you more consistent results once you have found your settings. Choosing the right settings for the exposure triangle (aperture, shutter speed, ISO) is always a trade-off in low-light situations. Keep in mind that ...


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

It seems to me that the image is quite adequately sharp given the lighting conditions. Some things affecting the sharpness of a photo in low light: Almost any lens is going to be somewhat soft at its maximum aperture. As far as I know, the Canon 50mm/1.4 at f/1.4 is a bit on the soft side relative to other fast primes (even compared to the cheapo 50mm/1.8!) ...


13

If the result you are looking for is a photograph, the short answer is no. The same equipment won't give better results with video than it can with stills. I think the apparent difference is due to exactly one thing: resolution. Try taking one of your still frames, resampling down so it's 1080 pixels tall, and then comparing. There isn't any inherent low-...


13

No question: adding an external flash. See previous question Prime lens or flash: which upgrade will most improve baby photos?, which covers some of this. A flash can freeze motion, and makes it easy to get enough depth of field to get the whole scene in focus. And when you can move the flash off camera, you can create nice light where it doesn't exist ...


13

The general fuzziness and lack of detail in these photos is mostly due to being lit primarily by one strong color. Your camera's sensor has what is called a Bayer color filter array on it which allows it to record only one primary color per sensor element. In your camera or raw processing software, the single-color-per-pixel sensor data is combined to ...


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 - ...


13

A great deal of what makes a professional photographer; professional - is that they are able to capture great images in a wide range of different scenarios (especially true of event photographers). Another factor is simply being prepared, which can come in the form of research being done on the venue, bringing the appropriate equipment, or setting ...


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 ...


12

A streetlight in the park is sufficient for a photograph with modern cameras. However, the photographer doesn't need to be under the streetlight — the subject does. The photographer can (and, given the situation, sounds like should) stay completely in the dark. Although it's slightly technical, take a look at this chart of exposure values at Wikipeda. In ...


12

Shooting under dim LED lighting now common in small performance venues can be challenging to put it mildly. What often happens is that most of the light is from only a narrow part of the visible spectrum and either the blue or red channel will blow out completely. This is especially true when green is totally absent. If you are looking at a brightness ...


12

Are any of these options preferred, or is there an even better option/technique out there? Photography is all about tradeoffs. You can compensate for low light by using a longer exposure, or increasing the aperture, or increasing the sensitivity (ISO), or adding more light. You can reduce noise by using lower sensitivity, or decreasing the exposure time, or ...


11

If you have the RAW file from the shot, absolutely. Just pop it open in what ever RAW processor you use. Active D-Lighting basically applies a slight HDR-like effect. The effect should only be applied to the jpeg.


11

When I have extremely noisy images, I do two things: Use a 3rd party noise reduction plugin - in my case I use Topaz DeNoise - it, and others, have free trials - so you could give them a try if you want to experiment. These denoise plugins have sliders that will reduce noise, which softens the image, but you also have control over detail (you can decrease ...


11

I've been shooting high school bands for near a decade now. Your question as asked is hard to answer because there are too many variables you have left out. What type of photos are you after? Wide angle shots with a large portion of the band or closeups of individual members? What will your shooting position be? In the stands (how big is the stadium and how ...


11

There's already something that has been invented to collect light for photographs. We call them lenses. In order to collect more light, the front element of the lens must be larger for the same focal length, or have a wider angle of view for the same entrance pupil diameter.


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