It’s been a while since I’ve done a hardware review, and I realized that when the folks at Expo Imaging had sent me the Rayflash to review, I had also received an Expodisc. I know I recorded the video for it, but for some reason it never got published, as the two were meant to be posted back to back.
In any case, here is the long-awaited review of the Epodisc from the folks at Expo Imaging:
First – what is the Expodisc? It’s simply a disc that defracts light as it passes through your lens in order to determine the proper white balance setting for your images. Why is this a good thing? It’s a good thing because light doesn’t always fall into the specific categories designed by your vendor. It’s not always daylight, tungsten, florescent, etc. These vendor pre-sets can get you close, but if you want spot on white balance settings in camera, this is definitely the way to go! Here’s the short video I had put together a while back on how it works:
Do I like the Expo Disc? Absolutely – and if I were in an environment where lighting conditions change often, or it was tricky to determine (say those lights in gyms with the green phosphorous), these utilities are a godsend. Landscape environments can also be tricky when you are dealing with things like snow, shade and sunny areas at the same time, and portraiture can be tricky too – say you have a bride’s wedding dress, the whites of the eyes, and the teeth for sample areas – which do you set? Use the ExpoDisc and it will be spot on every time!
Thanks again to the folks at Expo Imaging for lending me the review units of the Ray Flash and the Expo Disc. It was a pleasure, and for those interested in learning more about their products, please visit their website here.
Happy shooting everyone – be sure you get your shots in, because there’s limited time left in the Circles contest for a lucky participant. Here’s the Flickr thread – keep on posting and keep on shooting! We’ll see you back here again tomorrow!
The field of photography is a very challenging venue and finding your “voice” in a crowded field can often make the task seem daunting. If you want to challenge yourself in different ways, try something else. Painting, singing, and yes, playing a musical instrument can not only give you a new vision for your photography, but it can get your creative juices going in ways that you may not realize. While you may never become a Picasso, Luciano Pavarotti, or a Mozart, even picking up something you used to do as a kid (or when you were younger for those among us who are under the 30-something cutoff!), and giving it a whirl can give you new-found pleasures.
For instance, when I was much younger, I took piano lessons for seven years. Endless scales, arpeggios, and the whole nine yards filled my practice sessions for days, weeks, months, and well….years! When I moved onto college, other interests bended me away from the piano, probably because after seven years I realized I was never going to be a Mozart. Nevertheless, I enjoyed the practice and occasionally I return to tickle the ivories from time to time. The photography vision has been clouded this week, and I found some solace in the keyboards late Friday night. So, I plugged in the M-Audio keyvoard to my Mac and pounded away for a while as my fingers tried to remember their proper positions. I remembered again that I am no Mozart, but I do have some creative ideas again, all because of a little ditty I put together. Does this ring a bell for any of you?
Have a great weekend everyone! Happy shooting, and we’ll see you back here Monday with the results of my creative challenge! 🙂
With the major holiday of the year behind us, many are proudly wielding new cameras…but many are also asking questions. The most popular question I am getting via emails is something along the lines of:
“I got a new ______ for Christmas. Now What?” (Insert your own camera make/model in the blank)
The answer to this really depends on what, if anything, you had before the new item made its way into your hands. For simplicity sake, I’ll break the response down to 3 different categories:
1. This is your first “serious” camera, and you are making the foray into digital photography. Right off the bat, let me say Congratulations! Joining the digital revolution of photography and imaging is definitely exciting, and the onslaught of information can be intimidating. A couple resources are better in this case over a huge amount of information overload. In this case, I would recommend doing three things:
Read the Manual! Seriously – it may not be the most well-written thing, but it can give you insights as to what all the buttons, dials, and knobs do.
Learn the basics of exposure – The Digital Photography School offers a great page that goes over the nuts and bolts of how exposure works in cameras – very helpful!
Learn the basics of composition – There are so many resources on this, but I like Wikipedia because it links to many others and thus I would deem it very reliable and unbiased. The one linked here is the article on the Rule of Thirds. Many other sites cover this too (including mine), but this is just a superb starting point.
Make an inventory – if this is an SLR, it means you should now be including it on an inventory of “high ticket” items in your house, and a home inventory is always a good thing to have in case of disaster!
Get out and shoot, practice, then shoot some more! Trial and error is an important part of the learning process, and by learning what doesn’t work, you will be one step closer to learning what does work. So, don’t be afraid of getting out and shooting!
2. This is an “upgrade” from a previous digital camera, and you are simply adding more features. In this scenario, you are probably already armed with the basics, and are looking to expand your creative efforts with the increased features of faster shutter speeds, larger MP counts, etc. Here, there’s only three things instead of the five above:
Read the manual – there are many more options, custom functions, features, buttons, dials, knobs, and menu options. Reading this will help get all this sundry stuff down quicker so you can…
Get out and shoot – the tried and true rule of practice, practice, and more practice is what will gain the most in terms of comfort and ease of use for you whether it’s a new camera or an upgrade! It also will give you an opportunity to see and note the differences between your previous body and test for things like sharpness, functionality, and all that sort of stuff while you are still in the important warranty period.
If you already have an inventory of gear, be sure to add it here, making note of the serial, registration, purchase date and (if available) location of purchase. If you don’t have an inventory of gear – the new addition should be motivation enough to ensure that you do get one together. You may also want to consider your insurance situation: Do you have coverage? Do you have enough? Call your agent to find out.
3. Here, you are an established photographer, and this is simply adding another item to your tool belt. In this scenario, you are likely adding another body for redundancy purposes, or to relegate your other one to a backup role. Nevertheless, there are some important things to consider doing as you move forward:
Use it! Check for compatibility with all your current lenses – that everything works as expected, that there are no cracks, chinks, nicks, or other things that you should be concerned about.
Add the gear to the list of inventory that you likely already have – make note of the serial numbers, the date of purchase, and if your gifter doesn’t mind, the place where purchased. All this can be very helpful in keeping records current and up to date. Check with your insurance agent and make sure you still have enough coverage for your gear – see that they get all this information too.
There you have it, some key points to keep in mind for you and your new camera. Congratulations on the new gear, and don’t forget to get creative, because while the gear is fun – it’s really just a tool in your creative tool belt! Did I miss anything? Are these categories sufficient enough for most? Do you fit into one of these categories or is another one needed for your situation? Any other ideas for what to do with a new camera purchase? Got any specific questions? What kind of camera did you get? Share your own questions, feedback, and stories below, by sounding off in the comments!
Last, but not least, don’t forget about the December Giveaway over on FLickr. Over $400 in prizes including books, prints, papers, and software that are great for any photographer! Thursday the 31st is the last day to enter, so make sure you get your best “Giving” themed photo in before the deadline!
Happy shooting all, and we’ll see you back here again tomorrow!
Can capture detail as far away as 300 feet in most cases.
Can adjust to extreme low light scenarios in an instant
Can adjust to extreme bright light scenarios in an instant
Can capture HDR imagery with no post processing
Can capture 3-D in the truest sense of the word
Can capture images with no pixelation
Can capture the widest tonal range available in the visible light spectrum.
How much would you spend on these lenses? How much would you protect, treasure, and cherish them? We all love our high quality optical glass whether we be Canonites, Nikonians, Pentaxians, Olympians or whatever. Across all brands, we know the value of high quality optics, and also know that such optics do not come cheaply.
We also know that owning such gear requires regular maintenance. I know people who take a lens out of it’s case, place it on a camera, take a picture, and when done, replace it right back in the case. When the lens costs upwards of $5000 or even $10,000 for the super zooms, it’s understandable. Many would say that even the most expensive lenses in the market today do not meet all of the above 9 criteria. So, it’s kind of hard to put a price on such a hypothetical lens.
However, we are all given two of these lenses by default – even before we got into photography. What are these two lenses that are priceless? OUR EYES!
Think of all the time we spend cleaning our lenses, wiping them down, avoiding scuffs, chips, and keeping away from dust and dirt as much as possible. Then compare that to the amount of time we spend maintaining our optical health. It’s kind of ironic, eh?. So many of us take our eyes for granted. The moral of the story?
GET YOUR EYES CHECKED REGULARLY!!!
I just got back from my annual eye exam the other day, with some good and bad news. The good news is that the glaucoma and macular degeneration which runs in the family (both sides) has not reared its ugly head yet. The bad news is that apparently I am getting to an age in my eye health where I need a little assistance at both the near and far end of vision – in other words: bifocals! *shudder*
While it’s not the end of the world, and I certainly can swallow my pride, accept the fact that my eyes will see better and get the glasses, it is just another anecdote where a little education can come from it – to take care of your own lenses (your eyes). After all, without your own lenses, the rest of the lenses in the world won’t make a difference! On that note, let’s get out and use our eyes to capture the world around us! Happy shooting, have a great weekend, and we’ll see you back here on Monday!
With the October Contest underway where the winner will walk away with a fully licensed copy of Noise Ninja, courtesy of the folks at PictureCode, today is a great day to give everyone an idea of what makes this program one of the industry leaders. Since I have talked about the presence of noise in your images before (read that post here), re-hashing the principles of what introduces noise and the artistic benefits and image quality downsides of it in your images isn’t really needed.
Instead, here I will simply share some of the interface, and a few before and after shots here so you can get an idea of how well this software handles noise in your images. So, enjoy!
First up (after entering your license code), you’ll have a screen that looks like this:
Noise Ninja
You can see the yellow squares in the image on the right that shows the sections scanned to determine the noise profile for the image selected. On the right, a closer view of what the image will look like (or at least a close approximation) after the noise reduction is run. You see how you can make certain adjustments on one of several tabs. On this main tab, you can see the options for Image Profile, Profile Chart and radio buttons for luminance and color values, along with the reset option. I actually leave these alone most of the time.
On the second tab is where I vary my noise reduction adjustments (and I would venture to guess most people make their valuation adjustments based on the image used). Here’s the options available to you:
Noise Ninja
You can see here that many more detailed adjustments can be made to the strength, smoothness, contrast, USM amount, radius, color noise, and then checking whether you want the processing done quickly (turbo) and applying the settings to coarse noise situations. I made my adjustments to 12 for the strength, smoothness and contrast (and typically use these ones for most images with noise).
In the next tab, as shown below, you can see the noise brush, where you can apply the noise on a paint mask or an erase mask, specify the channel (luminance, chroma, or all) ad the quality of the brush trail by not only the type of edge, but also by radius and strength. (This is very handy if you want the noise reduction faded across the image so as to leave some noise behind for artistic effect! Normally I don’t make adjustments here either – but it is fun to play!) Take a look at the interface:
Noise Brush
The Actions tab, as shown next, defines how Noise Ninja operates when it’s loaded. Specifically, here is where you can tell NN wither the profile is by default configured based on EXIF data or to create a profile from the image, or to use a specific profile. This can be very handy as well if you are batch processing a lot of photos that were shot under the same or similar circumstances so that a profile doesn’t have to be loaded each and every time. The fallback, and filter policies can also be defined here as well. Here typically I leave the default settings alone as I prefer not to batch profess since my type of work is more geared toward fine art and individual edits rather than massive quantities. To each their own I guess – take a look at the interface:
Noise Ninja Actions
The next tab is the annotations tab. I almost never use this, as this is a place where you can add additional EXIF and metadata. Since I prefer to take the values from camera rather than adding my own specific notations, this tab doesn’t get any use from me – but it can be handy if you want to vary settings based on things like manufacturer, Model, FIlm type Megapixel count, ISO level, etc. A second tab lets you add even more…see the interface captures below for reference. Noise Ninja to me is isn’t about editing exif data though – it’s about noise reduction, so I skip these tabs. Take your pick:
I do occasionally reference the Image Info tab though, because some useful information can be obtained there as well. Things like the manufacturer, model, and more specifically, the ISO setting at which the image was taken. ISO settings can be an indication on the amount of noise that was introduced due to camera settings and thus, how much can be reasonably applied.
Noise Ninja Image Info
You can see that my first image, shot at ISO 3200, was subject to some pretty intense noise on the 40D. So, I ran the process, and take a look at the before and after results:
Before
Before Noise Ninja processing
Some pretty heavy noise, as expected, so let’s just look at the image after processing:
After
After Noise Ninja processing
See the difference in grain? Yeah, I was impressed too. But is it always the case? I ran another couple images through NN and got the same or similar results on other objects in my print box. (Which, by the way, is a great resource for test shots when looking into lens and gear performance on a wide variety of things like noise, white balance, macro, depth of field, and much more.) Here’s another sample crop just to show you for comparison sake:
Before NN Processing 2
and after…
After NN Processing 2
Again, some impressive results. When push comes to shove, results is where it counts in my book and PictureCode delivers at a superb value.
Now granted, there are other noise handling programs out there, and if you ask a dozen people what they use, 5 will say one, 5 will say another, and 2 will offer up another alternative. When push comes to shove, it really is up to personal preference on which one “works best”. For me, it doesn’t really matter as long as you are aware of what noise is, what it can do to an image, and how to fix it. The tool you use is up to you. I think Noise Ninja is probably recognized well enough for a reason, and the results here seem to suggest why.
The rest I’ll leave up to personal preferences, and if you would like to contribute your own thoughts, by all means, share them here in the comments or with me via email. If you want to try it – you can download a free copy from the folks at PictureCode here – or simply participate in the October Contest over at Flickr and win a copy from them for free!
That’s it for today – happy shooting all, and we’ll see you back here again tomorrow!
Framing your work can be an expensive proposition. Once you get an archival mat, conservation glass, and a custom frame created for your print – you can start spending upwards of $100 for something as small as an 8×10 print. Depending on what it is you want to accomplish though, you could easily be spending as little as $10 per print to mat and frame. Here’s a few things to consider, and some explanations why:
Classics are called classics for a reason – they work!
I like classic looks, and the museum style frame suits that look – a thin black border, simple white mat, and picture inside there. Not only does it keep focus on the image, but because I can buy these easily and in bulk, which helps keep costs down. Also, it makes ordering new materials easier (these will never go out of style…) Even if you end up going through a frame shop, getting a classic style can make it easier to match things up down the road. So, what if classic is not your thing? That’s cool too – but remember, the more off the beaten path you go in framing, the tougher it can be to duplicate and repeat down the road (which can also increase costs).
Be aware of the learning curve
Buying things in bulk means you will have to do a little of the legwork yourself. For instance, say you buy 50 mats from some online reseller and save money there. Congratulations – but do you know how to mount a print to a mat? You can tape a print, hinge it, or even super glue it. Each will have pros and cons, and your results will vary depending on how much you know before dipping your toes in the water – so read up on attaching prints to mats before deciding to DIY. (Quick tip: You’ll ne to stockpile various supplies depending on your eventual display method including things like hinges, foam core board, low tack tape, perhaps a few cans of spray-on adhesive and perhaps a few Exact-o blades if you are cutting your own mats to custom sizes. Heck, they even make mat cutters that you can get at hobby shops!)
Some Supplies
Don’t Go Overboard
Much like the mat work, framing can be tricky in and of itself. Making your own mats can be initially be pricey to get all the tools you will need (see above) . Framing is no cheap project either. Making your own frames involves getting long lengths of the borders, cutting at precise angles, and making sure it all seams together cleanly. It requires patience, attention to detail, and specific tools which can be a drain on the wallet (Have you priced a miter saw at Lowe’s or Home Depot? Even the cheap ones aren’t real cheap!) So, if you want to go the DIY route, know that some startup costs will be associated with it.
Storage Issues
Physical prints, physical mats, physical frames, physical glass pieces – all of these take space. How do you store all this stuff and in some semblance of order? First off – find an understanding and encouraging significant other? Don’t have one? Make that a requirement if you do! The amount of space that is involved in storing not only the obvious stuff, but the not-s0-obvious stuff, can be staggering! I have so many boxes of materials it really is ridiculous. It helps to have a system though, and labels are always a good idea.
Shoeboxes make great sizes for lots of things
Never have enough storage
Never have enough storage
********
So, there’s my trifecta of tips for framing your work. It’s just a starting point, but will hopefully help when you decide to start framing your work for display. The results can be rewarding, but like anything else, with a little work, pre-planning and preparedness, you will be well on your way to having a gratifying gallery of imagery!
Some Prints on the Wall
Some More Prints on the Wall
Keep in mind though – I certainly do not have a corner on the tips and tricks associated with matting, framing, and displaying your work…there are many other elements to consider and be aware of. Just peruse the comments here to see a sample of what I am talking about – oh wait, that means you gotta share your own tips, tricks and ideas in the comments too! So, sound off – what else do people do when preparing prints for framing? Any styles that work? Any vendors to recommend?
That’s it for today…thanks for stopping in, and be sure to stop back again tomorrow for more photo goodness. Happy shooting and we’ll see you then!
Have you ever seen something that looks so out of place that it catches your eye? Well catch it with your lens too, because contextual positioning of subjects in interesting or unusual/unexpected areas creates visual interest. This is what I refer to as controlling the context of your subject. So many times I’ve heard people tell me “but how can I change the surroundings?” The answer lies not in changing the surroundings of subjects you want to shoot, butin reversing that idea: find unusual subjects in your given surroundings. Say you are on a photo walk and in a city area. Well, try and find subject matter that contradicts the sense of city.
Additionally, you can also create contextual appeal by the use of negative space too. See something standing all by itsef, or away from other things? That’s a picture possibility! Conversely, something that is amidst other things could be a cue for creative expression. What if you saw a plastic water bottle among some glass beer bottles? That could be cool…or what if you had a computer mouse sitting in a mousetrap? You can create subject and background contextual associations in your own environment too ya know. Photographers that make good money do it all the time. (Hint: that’s called stock photography! 🙂 )
Here’s a few examples to give you a springboard for creativity. Find something you like? Tell me below! (I love to get feedback on photos just like everyone else…) Got your own ideas? Share those below too! Sound off in the comments, and don’t forget to keep on shooting! (That Flickr Contest thread is still alive and kicking you know – great chance to win $500 of gear, including a Thinktank bag System and a copy of the Topaz Labs PS Plugin Bundle!)
Earlier this week, we looked at the idea of how contrast/luminance can impact a photo, and that your creative style may tend toward a wider contrast or a narrower contrast. Then, yesterday we looked at how the element of color can impact a photo, both in the sense of how colors can balance and compete against one another, and how bright versus dark colors can play off each other. Since we’re moving from more theoretical to more tangible elements that we want to include in our photos, next up is the geometry of our photos.
So, what is geometry? Basically, it’s shapes! Shapes are everywhere, and the types of shapes (or the geometry) can play a huge role in the impact of your photos. So, it makes sense to include geometry as an element of control. Since shapes are nothing more than lines that are connected together, this also means we are looking at the lines in a photo. Whether it’s long rectangular lines of grass or circular lines of a persons eyes, the sharpness of square and angles lines in architecture or the looping curves of ovals in a landscape, shapes and lines can really define our work. So, with that in mind, let’s look at a few photos here to help illustrate what kind of impact different shapes can have. Look through the images and see if you can find all the different types of geometric shapes. What kinds of shapes do you see? DO they help or hurt the photos? Share your thoughts in the comments! In the meantime, Happy Shooting and we’ll see you back here tomorrow for #4 of the Five Elements of Control…(any guess what it is? 🙂 )
Curved SeashellDew-dropped LeafLooking through the Fenceline...Charleston Street CornerDays of Yore
This week I am doing something special here on the blog – starting a week long series on the subject of Control. We can control our photography in several different ways, and I’ve seen different outlets talk about each of these (and others) to a certain degree, but I’ve not seen many that address all of these elements collectively. Since a discussion of all the elements that go into a photograph would be both exhaustive and likely impossible to touch on everything, it would probably be better to narrow that focus (pardon the pun) on some of the more salient elements to consider. Today, the element of control that I’ll be looking to in more depth is:
Contrast/Luminance
Contrast, or luminance, can be described as the tonal range of light within a photo. If the tonal range is broad, then that means we have an extensive range of tonality from the lightest point to the darkest point in the photo. Likewise, a narrow tonal range will mean that we have a limited range of tonality from the lightest point to the darkest point in your photo. Take a look at the following two photos and see if you can determine which one has a broader and a more narrow tonal range.
Santa Fe Church #1Santa Fe Church #2
It should be pretty clear that one has a wider range of luminance to it than the other. What’s exciting to learn here though is that this is the same photograph! That’s right! I simply changed the exposure settings in ACR to output a different result. Different tastes will look at each of these differently, and like one over the other for a variety of reasons. What’s important to understand here though, more than anything else, is that all I’ve changed is the luminance. The tonal range or contrast of luminance can have a powerful impact on a photo, either by how it limits and defines focus or by its range and extent of difference between high and low luminance points as we change from white to black.
So, why am I talking about luminance first? Because it is probably the most important element to control. After all, luminance (or contrast) deals with the principle of light! Photography by definition means to paint with light ((look up the Greek roots photo and graphos) Without understanding how to control for the element of luminance (a.k.a. contrast or light), the rest won’t really matter too much. Rather than say more or less luminance is better or worse than the other, (because it really is a matter of subjectivity) I’ll simply leave you to ponder a few things between now and tomorrow:
Which one do you like better?
Why?
What other elements of control can you think of?
Finally, what other examples of the effect of luminance can you think of? Got any you’d like to share?
Feel free to share your thoughts and sound off in the comments or with me directly via email. Until tomorrow and the Second Element of Control, Happy Shooting!
There’s no denying it – we’ve all deleted countless shots both off our camera and off our computers because they were just even to horrible to admit to publicly. And while filtering out the chaffe from the wheat is a good thing, if we don’t learn from our mistakes, we’ll continue to get chaff and never be able to make bread (take great pictures)! So, don’t just look at blurred photos and toss them instantly without thinking. Don’t immediately delete out of focus subject matter, and most importantly don’t blindly drag your less than stellar work to the trash bin.
So wait – does this mean to keep our bad pictures? For a short while – yes it does. You certainly are not going to go back and create photo galleries for clients with their mouth firmly clamped onto a forkful of food, but in seeing bad pictures and recognizing what makes them bad, helps you to avoid errors in the future. And to help illustrate what I am talking about, you’re going to see something here today that is a cardinal sin in photography – I am going to show you a terrible shot! Take a look at this:
The Virgin Star Tracker Voyage
So, why is this terrible? Well, it was taken from my recently built star tracker. As you may recall from the DIY video on YouTube, the whole purpose of a star tracker is to minimize star trails…to keep the stars bright and in one location as your camera moves relative to their position in the night sky. So, when I saw the above image, needless to say I was disappointed. But in seeing not only the blurred star, I also noticed that the star was much more blurred than it would have been from even being on a stationary tripod. This told me that the problem could be one of several things:
There is a flaw in the design of my tracker, or…
There is a flaw in the execution of the shot, or…
There is a flaw in the design of the camera, or…
There is a flaw in the design of the photographer!
So, back to the drawing board I went, hoping it wasn’t #4! What did I do wrong? Off to the web I went – first stop: Wikipedia on Barn Doors. As it turns out, I learned that while the barn door I built was the simplest in design, referred to more scientifically as a Haig Mount (characterized by a bolt or screw that rotates vertically as it pushes the one door up. Advances in the mathematics show that if you tilt the screw and have it push the door up at an angle, you are using the Isocoles method, which translates to less shift as your exposures get longer. Finally, the curved bolt mount minimizes shift even further. As the details explain at Wikipedia though, the shift only occurs in exposures as your shutter length increases past the 5 minute mark. Since I was doing a 30 second exposure, the design should not have been a factor. Other links off of Wikipeda pointed me to a several sites on how to build better barn doors, using a different method, but one note struck a chord with me:
“The double arm mount shown in the photograph uses a 6mm (M6) threaded rod to drive it.”
The more I thought about it, the threads on the bolt I used were awfully thick, so one revolution in a minute likely pushed the top door more than it should have gone, thus causing the significant star trail. The little jig in the line also told me I was not moving the screw smoothly and that I should probably motorize this if possible. Clearly the project is growing more detail-oriented, and mistakes have been made. But, as I (we) learn from mistakes, our chances of capturing better images only increases with time. As I make the modifications, I’ll report back with more details, but some additional points to consider that I learned through all my additional reading if you’re interested:
Polar alignment is critical – this means you have to have some understanding of the stars and where they are in the sky (time to brush up on the astronomy class I took in college…)
If you want to build a DIY kit – an average to intermediate grasp of math and formulas helps because your dimensions are dependent on one another for proper configuration (I am going back to check my cuts and drilling points on the first kit, but I am happy to know I have some spare parts in reserve…)
Wider lenses are more forgiving on trails, and longer zooms are less forgiving – if you are just a hair off, that movement will be even more pronounced on a field of view that is narrow… (I was shooting on my crop sensor, with a t.4 TC and my 70-200 zoomed all the way in (448mm) – a pretty narrow field of view).
For today though, (and this holds true whether you are into astro photography, landscape, wildlife, portrait, event, or any genre of photography) the instructive point is to learn from your mistakes.As the old saying goes – those that don’t learn from the mistakes from history are doomed to repeat them. I had an economics professor in college say something very similar to the class once too: “I don’t care how many mistakes you make in this class – just don’t make the same one twice!”
So, look at your bad photos – find out whythey did not come out well. Was it the camera? Was it the subject? Or was it the photographer? Learn from your mistakes so you don’t repeat them! Kind of an odd post for today, and for those that are not into astrophotography, I promise to return to some content tomorrow that has a wider interest base. But I figured that when I learn something, the whole point is to share that newfound knowledge with the reading and listening audience. On that note, how about the rest of the CB faithful? Anyone out there have any mistakes or goofs they learned from? Share your mistakes if you dare in the comments! (Or with me privately if you’d like to contribute, but remain anonymous – jason <AT> canonblogger <DOT> com.) Thanks for stopping in all – keep on shooting and we’ll see you back here again tomorrow! Happy shooting!
