As an avid proponent of doing due diligence, I’ve always encouraged people to do research on lenses before buying them. Whether it means renting them from vendors like LensProToGo, Rent Glass, or through vendor relationships, it’s a great way to get a first hand look on how lenses perform under a variety of circumstances. This was the case when I’d been the benefactor of a solid relationship with the folks at Sigma. I spent about a month kicking the proverbial tires on one of their latest lenses to hit the market: the Sigma 8-16mm lens. Continue reading “Hardware review: Sigma 8-16”
Category: gear
How to Hold Your Phone Camera
How you hold your camera is so important, yet so many of us take our camera grip for granted, assuming that we will naturally hold it in the most stable way available. For some, it does come naturally, but for most of us, bad habits can take root before we even know it. To that end, there’s a couple pointers I’ve put together on How To Hold Your SLR and How To Hold Your P&S. To wrap things up, today I’d like to share a couple tips on How To Hold Your Phone Camera.
Video seems to work for demonstration purposes, so again, YouTube to the rescue:
The takeaways from the video? Three simple ones:
1. Finger Curl – curl your middle fingers around the front lower side of your camera phone – this will add stability and will help subconsciously you to keep your armed tucked in
2. Arm Tuck – Since I just mentioned it, avoid sticking your arms out – either to the side or in front of you. Extended your arms reduces stability and tends more toward camera shake. Keep your arms tucked in, elbows into your tummy by your waist.
3. Double L – Make an L with both hands and cradle your camera phone into the corner of each hand. Position the phone so that your camera lens is on the topside. That way, your thumb (either left or right depending on phone model) will be at the ready for the trigger on the edge of your phone (don’t use the on-screen one).
As always, there is no hard and fast set of rules to follow – using these techniques will not guarantee a stable shot. If you watch the video – notice even as I demonstrated, the camera shifted slightly even in my grip. The best way to hold any camera is not with your hands but with a tripod!
There are options out there for phone cameras now too – I like this one:
Got your own tips, ideas, or suggestions for hand holding a camera phone? What works for you? Do you use a tripod or a monopod? What gear would you recommend?
How to Hold your Camera – The SLR
A while back I was up at Maroon Bells in Colorado, anticipating the peak of the fall colors. The lake there at the base of the Maroon Bells has become quite an idyllic scene for photographers of all levels to aspire to. So, I was not alone when I was there. Quite the contrary. The place was loaded with literally hundreds of photographers, bot from Colorado and even from places as far away as St. Louis (from those I talked to anyway).
One of the things that struck me was that from all the expensive gear out there, I saw many many people holding their cameras wrong. It honestly seemed like they knew more about the gear than about taking and making pictures. What do I mean? Simple. You can know all about the technical aspects of gear. You can learn what the maximum ISO settings are. Even get rock solid on frame rates, crop sensors, and all that techno-jargon pretty easily. All it takes is an internet connection and some time to memorize the numbers. But what you can’t learn online is good photography techniques.
Proper Holding Techniques
So, how do you hold a camera? Excellent question! This has been covered by many in the blogosphere, and inevitably, someone will likely say refer to Joe McNally’s “The grip” video. In this video, he talks about shooting hand held at slower shutter speeds, and introduces a grip technique for left-eyed shooters:
It’s got some great pointers in there, but many can get distracted by the “low light shooting” and the “left-eye shooters” concepts. Rest assured, there are elements of this whole approach that are universally applicable. Here’s some simple pointers:
1. Keep your arms tucked in – letting your arms go outside past your core body introduces instability…never a good thing when hand-holding.
2. Unfortunately for left-handed shooters, the camera vendors have designed cameras with the grip on the right side. This is the part where your fingers curl around the camera body, so just make sure your right hand is curled there. Most everyone gets this right…the part where there is a lot of variation is the left hand!
3. Keep your left hand under the camera and resting on the lens. Resist the urge to bring that left hand out to the side to turn the dial for zooming…you can do it with your hand on the bottom, and this way, you are providing more stability to the camera. The other upside is that by keeping that left hand under, you are also keeping your arms tucked in!
4. Stop using the LCD/Live Preview. I know, we all like a big screen and the bigger the better to see your shots…but so many people are migrating to using the live preview (especially when the camera has that articulating screen), and it’s introducing bad techniques. When you use the LCD screen – what happens? Your face goes back or your arms go out, and the camera becomes unstable. Keep using the viewfinder for as long as the vendors keep it on the camera! Keep your face planted up against that camera body…it helps with that whole stability thing!
A great way to test this is to take a shot using good technique and an identical shot using..well, a not-so-good technique. Compare the results and see what produces better results! Of course, some will likely chime in and ask “What if I don’t have an SLR?” That’s a great point, so if that describes you – make sure you come back later when I talk about how to hold a point-and-shoot camera (and a camera phone tutorial is coming too!) 🙂
Or, if you can’t wait to read the text (because let’s face it, we all wanna binge watch stuff these days anyway…)
and here (for the smart phone technique):
Hardware Review: Sigma 18-250
The subject of today’s post: The Sigma 18-250mm lens review! You read that right – Sigma has a lens that covers the range of 18-250. This allows you to go from relatively wide angle shots at the 18mm end to zooming pretty far in at 250mm on the opposite end. But, is the quality really there?
I took the lens through its paces over the weekend and here’s what I found out about the Sigma 18-250! In the interests of full disclosure, I should also note that this was actually requested by myself for review, and that I am not being compensated in any manner by the good folks at Sigma. So, this is, in fact, a loaner and I am required to send it back no later than June 26th. Since I will be busy next weekend, decided I should get the review shots done with this weekend so the lenses can be shipped back on schedule.
Pros:
- Weight – this has a nice solid feel to it. With I think a total of 13 elements in here, it’s no surprise that it doesn’t feel the slightest bit flimsy. The weight adds a certain durability, but I still took things carefully as this is only on loan from Sigma for the purposes of this review. Compared to the 70-200, it certainly felt heavier, but I am not sure what the comparative weights are. All in all though, I think the weight is a good thing.
- Noise – Excellent! My prior experience with Sigma is my own 70mm Macro, which does not have the HSM (hypersonic motor). That thing is NOY-ZEE! This, on the other hand, rivals the USM operation of Canon lenses. Compared to the 70-200L glass I own, the two are pretty close to each other in terms of silence in operation. The test I did for this was switch focus to manual, then take the lens all the way out to the opposite end of its last focus point. I then switched it back on to AF and listened for the motor operation. Sure, I could hear it when listening, but man was it quiet!
- Range – This is without a doubt, my most favorite element (bad pun) of this lens. The fact that I could go from wide angle work to close up work with such ease makes this an ideal lens for things like photo walks (which are becoming more and more popular), or for just a go-to lens on a regular basis without having to switch out.
- OS – Optical Stabilization – the equivalent of IS on Canon lenses. While I don’t own a Canon IS lens for direct comparison, I will say that it went a full stop faster than my 70-200mm CanonL f4.0 did at the same focal length/light. In a day and age where fast glass is becoming pretty much the standard, I would say this meets the mark.
- Size – This lens is remarkable compact – standing at almost half the height of my 70-200 comparison lens. Think about that – a wider range of zoom and half the length. I can store this vertically in my bag, saving precious cargo space for other accessories and accouterments. Alongside would be the 70mm Macro, the 10-22mm, lensbaby, flash and other such items. Very tempting for that reason alone.
- Feel – The signature brushed metal feel of Sigma lenses is present here and it just exudes “cool” and “professional”. No bells or whistles, no fancy L rings or anything, just brushed smoothness. Gotta love it!
- Image Quality – The bugaboo, the real deal, the end result – the pictures! So how does it stack up? Pretty well actually, but rather than wax on, I’ll just share some images I took for you to judge the IQ – just remember to distinguish IQ from compositional quality! 🙂 Here’s the results…
Cons:
- Weight – Yes, I am listing weight as both a pro and a con – the weight did get to me after a while of shooting on the 40D. While it’s durability is not in question at all, the heaviness can get on your wrist and forearm. I should put this qualifier out that I am still recouperating a tender arm from our move last July, which I am for the most part over, but it still flares up with extended use. So, things like shooting for a day can wear on me. Lighter is always better, but if I had to choose between durability and lightness, the former would win every time. Take what you wish from this con then…’nuff said.
- Cost – It retails at B&H for $529, which is always a big price tag to swallow no matter what you are buying. Then again, when you look at a comparable lens from Canon that has the OS/IS built-in, the Canon counterpart goes for almost twice that at $1025 (and you still don’t get the same range of focus). While it may be a lot to pay on first glance, you really are getting quite a bit of bang for your buck.
Truth be told, I couldn’t find much else to nit on. I also liked the fact that they made this lens so you can put the lens hood on while also leaving the cap able to attach. Don’t ask me why, but I like that… Believe it or not, the lens also performed fairly well with portrait work too. I did a few test shots with yours truly as the subject and even got one I liked! So, would I recommend this lens? Absolutely! To see a complete gallery of photos I took this weekend, including the portrait ones, and even a few of the moon last night with a TC attached), follow this link:
Sigma 18-250 Gallery of Images
Well, that should be enough content for the day (I know, my reviews are long-winded), so get out and shoot (with a Sigma if you like! 🙂 ), and we’ll see you back here tomorrow. Happy Shooting! Don’t forget – would love to hear reader thoughts and ideas for product reviews – let me know in the comments or via email!
Cleaning Your Sensor
As with most things, your camera needs maintenance too – and I’ve waxed here periodically about establishing a maintenance schedule, cleaning schedules, and the whole schmear – but I’ve never addressed the specifics of cleaning that most important piece of equipment – the sensor in your camera. As I dive in here, it bears mentioning that I am not advocating any one of these over another – just sort of laying the foundation on the various ways that are available:
1. Having someone else do it – Most camera stores offer this service for around $50, so if the idea of getting anything near your sensor just gives you the heebie-jeebies, by all means, this option is a good one for the nervous Nelly.
2. Air Blowers – These are rapidly becoming one of the more popular options as they are relatively cheap, easy, and don’t require messing around with chemicals. You simply put your camera into the cleaning mode, insert tip of the air blower near the sensor and puff it a few times remove and you are done. Some claim fantastic results with these while others say stubborn dust won’t come off from this method. The advantage of this approach is that you never have to touch your sensor (technically the filter in front of the sensor) with anything! The downside is that results may not get everything off.
3. Sensor swipes – Certain swipes are made just for camera sensors that use hydrostatic charges to remove dust from your sensor. It’s got an advantage in that it’s a dry cleaning approach so requires no chemicals. I have heard of some who are reluctant to use this as foreign fibers and materials can get in the swipe which could scratch your sensor.
4. Chemical cleaning – Pec Pads, Eclipse alcohol and sensor swipes all combine in this method to give the most thorough cleaning, virtually guaranteed to remove even the most stubborn dirt from your sensor. The risk – doing it wrong can permanently damage your sensor and the cost of buy-in is a lot higher than other methods. Once you buy-in though, the long term cost drops rapidly!
Since I only mentioned it briefly at the beginning, I should also clarify that the idea behind cleaning your sensor is actually a misnomer – all of these solutions are cleaning the filter in front of the sensor – the sensor technically never gets cleaned unless you use option 1 – sending it in for a cleaning. All the camera vendors (Canon, Nikon, Pentax, etc.) offer this service, but the downside there is multi-faceted in that it’s usually more expensive, you have to go without your camera for a period of time, and there’s shipping involved!
What methods do you use? I know some people that combine multiple approaches, while others simply just shake it out once and a while (heck, I read a story once of a guy that used his t-shirt! – not sure how valid it is, but you get the gist). Sound off in the comments with your own cleaning products and approaches!
A Pro Level Point and Shoot?
I need some help! Recently I had the idea of creating a Pro level Point and Shoot camera review corner as an interesting addition to the blog. To that end, I am compiling a short list of P&S cameras that would be useful material here for the reading audience to have. However, since most of my experience thus far has been with SLR gear, I could use some help in ensuring my final selections are both useful and of interest to the audience here. So – I need your help!
You see, it’s a given that there are limitations to the “point and shoot” grade of cameras. You simply don’t have the same degree of flexibility – no changing out lenses, a smaller sensor, more inherent noise, etc., etc. etc. Yet, when you take an SLR, there’s a lot more gear involved, even if you “go light”. At a minimum, you’re likely to have a camera body, a lens, a flash, and a tripod. So, which do you do? Thankfully, with the advancement of the “P&S” grade cameras, the differences between SLR’s and the “P&S” category has narrowed substantially.
So, the question becomes: which P&S is a good alternative for the SLR when you just want to take something and go, yet still have the malleability to capture the kind of images you want? Now, if you ask ten different photographers this same question, you will likely get ten different sets of cameras in varying degrees of priorities. That being said, a short list of high-end P&S cameras is always helpful to consider. Here’s the short list I picked:
Canon: Powershot S95, Powershot G12 Nikon: Coolpix P7000 Sigma: DP1xThere were some others I considered including a few from Panasonic, Sony, and Olympus, but in looking at the specs of those, all had an interchangeable lens feature, which makes them more SLR-like than most P&S counterparts, so I removed them from consideration. Here’s the criteria I am using to consider cameras for inclusion in a P&S review section:
1. True point and shoot design (no interchangeable lenses)
2. Cost should be less than the entry level SLR for that vendor
3. Raw or sRaw capacity is probably going to be a requirement…most high end P&S cameras I’ve seen have this feature.
These are of course, just subjective takes on which P&S cameras stand head and shoulders above the rest, and the criteria to classify ones for inclusion as “true P&S cameras”. As they come through the doors, I’ll share thoughts and feedback with you, but for the time being, I’d also like to hear what others think of these selections.
Can a P&S really stand toe to toe with an SLR? Is it even worth looking at? What about the cameras themselves? Are there others that you wish were included? Do you own any of these? What have your own thoughts and experiences been? Sound off in the comments, and I’ll see what I can to do add others to this roster for upcoming review! In the meantime, happy shooting, and we’ll be back tomorrow!
Buying Used?
I’ve not been in the gear market for a while, but while discussing some technical stuff with colleagues over in the NAPP forums, had some time to check pricing in various outlets for used gear, and there are some deals going on these days! In my previous experience, used gear would go for roughly 10-15% less than the new retail equivalents. That percentage is apparently a bit low now as some gear is selling for up to 25% off new pricing! So, if you’re in the market for gear, check out the used market for some serious savings! Here’s a few items I saw in just a mere matter of minutes:
- Nikon D7000: New = $1200, Used = $1000 (16%)
- Sony A580 kit: New=$899, Used = $699 (23%)
- Sigma 50mm f1.4: New=499, Used = $420 (15%)
- Canon 500mm f4: New=$7000, Used=$5600 (18%)
- Canon 5D Mark II: New=$2500, Used=$2135 (15%)
There’s more out there, but that’s just a sampling of what you can expect to see. The nice thing is many of these items include useful accessories like bags, straps, cases, and media cards as incentive pieces…savings add up even more (about a 20% average in my estimation). For what it’s worth, I used the forums from Fred Miranda to look up used gear pricing and B&H for retail equivalents. Your mileage may vary.
What sort of discount would you expect to pay for used gear over it’s new counterparts? Is 15% the new minimum? 20%? 30% What’s considered a “good deal” anymore? Since I’ve not been in the market to buy anything lately, am totally not sure where things are except what I’ve seen above. Those sound good to me but I have not scoured all of the internet to be sure…so, let me know if you’ve had similar or different experiences. Likewise, if you’ve got any of your own deals you’ve noticed recently? Sound off in the comments!
Hardware Review: Hoodman Loupe
As mentioned previously in the monthly contest series post, this month the featured vendor is none other than Hoodman. Their patented and widely recognized CF cards and loupes are proudly made in the U.S.A. (the only ones I know of that can make this claim), and are virtually indestructible. They have generously donated one of their Loupes for the contest winner, and allowed me a chance to review it as well. So, without further ado – here is the latest in the hardware review category for the blog:
Hoodman Loupe
The whole purpose of the Hoodman Loupe is to block stray light from hitting your LCD. In sunlight or hazy scenarios, it can often be challenging to view your screen, and even change settings if you own a newer camera. Given it’s simple function, the review aspect of this really is a simple matter to determine, does it do the job it claims to do or not.
Not only did it completely block all ambient light with ease, the Hoodman Loupe also seemed to make the on-screen photo much more brilliant and crisp than I had remembered before using it. That surprise was further mitigated by seeing how compact the Hoodman Loupe actually is – at roughly 2 inches long and an inch deep. Not only did it perform adequately, but at this compact size, the Hoodman Loupe is an easy addition to your camera bag with the minimal footprint it takes up in space.
Most rubber or manufactured products attempt to make things slick of shiny and in so doing, the product becomes quite slippery and difficult to hold. Not so with the Hoodman Loupe, as the rugged rubberized exterior was nicely made, and I was pleased to get an easy grip on it. Although easy to hold when in use, I was not as thrilled with the ease of porting. The short trap that they provide to carry it around your neck is much too short for me. Now granted, I am 6’1”, but certainly no giant, and the size was just awkward for me. While the quick release snap does attenuate it to a certain degree, the idea of keeping it tethered somehow is a little more reassuring (I have a penchant for losing small items when taken away from my body…LOL) The accompanying carrying case was a nice addition, but did serve to really make it easier to carry…this seems to only serve as a storage container for when not in use so you can differentiate it from other gear in your bag.
I did recall after using this that a DIY solution was suggested by Larry Becker, of NAPP notoriety (he does the weekly NAPP News segments and writes his own blog at Larry’s Cheap Shots), and think his belt clip idea is both innovative and and highly functional. If the folks at Hoodman made this accessory and slapped their brand on it, I’d be half inclined to purchase the entire kit from them directly.
It’s a fairly simple idea in total, and not much else to say other than – it works! The sturdy construction, and compact nature of it is perfect for any photographer who wants to utilize their LCD. For those of us with older cameras where shutter, aperture, ISO, and all other settings done via dials and the top viewer, it may not be as relevant, but for shooters using more recent gear like the Canon 50D, 60D, and 7D, the back screen is used much more to make these adjustments, so a device like the Hoodman Loupe could be a huge aid in making sure you’ve got your settings where you want them. For $80, you almost can’t go wrong! This is definitely the accessory you never thought you needed, but you really did!
Remember, this very Loupe is being given away at the end of the month, so for your chance to win this cool accessory, don’t forget to submit your BLOCK themed photo in the Flickr thread here. Good luck to those who enter, and thanks again to the folks at Hoodman for their sponsorship and contribution!
8 Megapixels…
When I first transitioned to digital photography seriously, my camera of choice was the Canon Rebel XT. In that camera I found a whopping 3 frames per second, 8 megapixels, and a host of other features and benefits that go with SLR photography. The times, how they change…
My Droid2 smart phone bit the bullet (this was the third one of these to die prematurely), and Verizon in its wisdom decided I needed to go to a different model phone. After several logistical problems with getting the correct battery shipped for the correct model to the correct address, I finally got a battery for the new phone, powered it up and activated my number on the new line. Imagine my surprise when I found out that this new phone has…yup:
8 Megapixels!
It staggers my mind that they can fit the same number of pixels on this teensy sensor that used to fill a sensor for an SLR. My hesitancy at embracing this MP count is that there will be excess noise, and pixelation on the images. While the smart phone features (phone, email, Facebook, Twitter, etc.) look to perform adequately, the camera is always a point of contention for me as I wish these phones could adapt somewhat and figure out a way to have an adjustable aperture. If you can fit that many pixels onto that teensy a sensor, surely the aperture could be adjustable!
This could just be me ranting on quixotically though – so, here’s a sample image at full resolution (click it to see full size). Does this seem decent enough for a camera phone? Sound off in the comments with your own thoughts on cell phone cameras – what features are good, what should be thrown out, and what should be improved? (No carrier bashing please – try thinking of this as carrier agnostically as possible! 🙂
Everything Old is New Again
Let’s face it. The economy is still not the powerhouse it was five years ago. We’re all still reeling a little bit and saving money is at a premium, while spending excessively is a luxury only for those with deep pockets! Count me in the former group too, so when someone asked me recently if it’s worth saving the coin to buy used I answered…“It depends”! I know, you thought I’d say yes, but it really does depend. Here’s where and when it can be a good idea when upgrading your camera!
Buying used cameras versus new cameras
It’s no secret by now that the best place to invest the bulk of your money is in your lenses. However, you still gotta have a camera, right? So, should you opt for using last years model and risk having a client show up with better gear than you? Or, should you just step up, spend the bigger dollars and always be on the leading edge? If it’s a matter of economics, and there’s no gear limitations that stand in your way (slow shutter speed/clicks per second, etc), my answer is to always go used. There are some of the perils and pitfalls of buying used gear though, so here’s a few tips to keep in mind when shopping around for used gear:
1. Shutter count – the shutter has an expected lifecycle of clicks it is built for. If you can get the shutter count (lots of software programs to do this) make sure you have at least 50% of them left.
2. Overall camera condition – check the camera for nicks scratches, scuff marks, and the like. If it’s all beat up, that cold be indicative of interior problems.
3. Sensor and other internals – Some problems aren’t as easily determined on a visual inspection, and it’s always best to take a few shots with the camera. Check to see if the sensor is scratched, nicked, has dust spots, etc. If it’s dust, that can be easily cleaned, but nicks and/or scratches can be a deal-breaker.
There’s obviously more to it than that, but those are the basics in looking at used camera bodies. In general, my rule of thumb when buying/selling used gear is to start at retail minus 10-15%. If the price is in that ballpark, it’s likely well cared for. I also look at seller ratings whenever possible. Fred Miranda is one of the better places to buy and sell, but Craigslist can be good since they are most often local and you can go do a visual inspection before throwing money out the window… If you’d like my take on buying and selling through FM – I’ve touched on this before here
What experiences have others had with buying and selling new gear? Any places that are preferred? Places to avoid? Sound off in the comments with your own thoughts and experiences! In the meantime, remember, it’s really not about the gear – it’s who’s behind it, so keep on shooting!
One last thing to mention today – the April contest is live (I announced it over the weekend in the free newsletter blast), and the winner will get an 8×10 image of their choice printed and mounted in a pretty cool Backlitbox! Very cool prize and thanks to the folks at Backlitbox for sponsoring the April giveaway! I promise more details are forthcoming here soon in the form of a product review, but time’s a-wastin’, so be sure to get your entries in soon! Congrats also to Evelyn for her win of the March giveaway! She’s getting a very cool Tether Table from the folks over at Tether Tools – just drop me an email to claim your prize! Here’s her winning image up in lights!
