See the hot topics at the expo that are sure to light your fire 

This year’s The Digital Show Expo brings a breath of fresh air to Melbourne. That fresh air smells fragrant of camera equipment and curious digital gadgets. Never before has there been more contests, draws, and giveaways for visitors to enjoy. As if the jaw-dropping photo imaging technology wasn’t enough, many of the world’s most prolific and celebrated pro photographers were there to bump elbows and share the tricks of the trade. Here are the highlights of The Digital Show Expo 2012, but hang tight, it’s going to be a wild ride.

Looking for the best tips? Get them straight from the pros

There has never been a greater gathering of industry leading professionals, all for the purpose of working hands on with visitors. Those lucky enough to spend time at The Digital Show Expo were treated with one-on-one, hands-on time with the experts. No question was left unanswered.

Epson shows us that projectors shouldn’t be all work and no play

There was no shortage of impressive, wheelin’ and dealin’ technology at the expo. However, Epson seemed to find the perfect balance of cutting edge and heart warming. Displays of the dream home theatre setup and an interactive projector really opened our eyes and apertures to some fantastic ideas.

The entertaining training camp kept visitors glued to their seats and asking for more

The lively Training Camp theatre offered a wide range of speakers and topics to help visitors take their photographic skills to the next level. Between using flash creatively, taking better portraits, capturing nature, and using the latest tools and gadgets, the Training Camp theatre had it all. Visitors had the chance to watch, be amazed, then have their burning questions quenched by the cool knowledge of the experts.

Speakers at the Training Camp included brilliant artists and photographers Abraham Joffe, Nick Ghionis,  Christian Fletcher, James Madelin, Vicki Bell, Glynn Lavender, Darran Leal, and even yours truly, Jerrel Dulay. The Digital Show theatre across the hall also featured photographic legends such as Michael Coyne, Tony Hewitt, and Dean Jones.

So many different props, with only one chance to enter the contest!

There were countless opportunities for visitors to win big. Of all the draws and contests, this one run by Yaffa Publishing Australia really stood out.  Visitors selected three items out of a mysterious box of of props and took a photo. The most creative photo wins some seriously sweet swag.

Making prints has never been more fun as a family day out

 What’s better than making photo prints with your family? How about making those prints for free? Looks like everyone was a winner at The Digital Show Expo! Visitors who happened to bring SD cards or USB sticks with photos were able to walk away with memories in hand.

Our phones have become ‘smart’, and it’s about time our printers caught up!

The Digital Show Expo saw some brilliant new technology, but this one just about takes the cake. Lightweight, attractive, and user friendly, this Bolle Photo smart printer allows pretty much any smart phone user to produce photo prints that their friends and family can truly ‘Like’.

Try this on for size! All the latest camera bodies and lenses were present for hands-on time

The world of photography has been ever expanding, making massive strides in image quality, ease of use, and creative freedom. It’s no surprise that nearly every cutting edge camera body and lens made a showing at The Digital Show Expo. Nikon left no stone unturned, and put every latest model out on show. Visitors curious to see exactly what makes these new cameras so hot were able to get the answers straight from the horse’s mouth, and then try those cameras and lenses for themselves.

Take it to the extreme with the right camera gear

So you want to be a hero? Now you can be, and prove it to your friends and family back home.  Tackle the toughest winds and waves with the most rugged photo gear. There was no shortage of “radical” gear at the expo.

The absolute best photographers judge this year’s AIPP awards

Visitors were able to have a peak into the award judging to see exactly how the ‘best photos’ are decided upon. Each year, the photo judging has seen more and more entries, but the quantity of entries certainly has not outweighed the staggering quality of art.

A visitors takes his time to enjoy one of the most stunning galleries we’ve seen

It wasn’t all gadgets, gizmos, and talks at The Digital Show. Visitors enjoyed a magnificent and prolific gallery of the most beautiful scenes to be captured on fil… er… camera.

It’s been an electric show this year, with more gadgets, gizmos, and advancements than we could shake a tripod at. However, it’s not over yet! The show is just getting started! The Digital Show website will help keep avid photographers, and anyone who enjoys digital tech and entertainment as much as we do, right in the loop.

High fives around the table for those who had the chance to attend the expo this year! For those who missed out, catch up and follow The Digital Show facebook page, and don’t worry, there’s always next year!

Stay strong, keep your cameras high, and as always, happy hunting!

Jerrel Dulay

Have an exclusive, sneak peak at the impressive gear on display at The Digital Show Expo

It’s not every day you can find such an exhilarating gathering of the world’s greatest photographers and the most advanced imaging technology all in one place. The Digital Show looks like it will be bringing the ‘not every day’ to today! Or rather, this week! Whether it’s waterproof armor for your camera, the ability to print on just about any surface and material imaginable, or face to face encounters for personal tips from the world’s leading photographers, The Digital Show somehow manages to bring it all together!

The doors to the expo open at 10am on Friday for business and trade, and 10am on Saturday and Sunday for the general public. However, we were able to have an early look at just a few of the jaw-dropping exhibits on display. Some of the latest technology was simply out of this world! Here are just a few glimpses of the photographer’s dream that awaits visitors.

Trust us, it’s safe to go back in the water! Up to the minute, and downright cutting edge, Scubapix has everything you need to take your brand new Canon EOS 5D Mark III underwater! Not only that, but they’ve also got water housing for Phase One, Nikon D800, and the Nikon D4.

Ever wondered what the future would be like? While we still may be far off from hovering skateboards, flying cars, and self drying clothes, we do have the next best thing. On display is an actual printer that creates real objects from photos and 3D models loaded from a PC. This tech can ‘print’ out objects in stainless steel, tough ABS plastic, and more. The printer even paints the objects as well!

Can’t find that always-conveniently-missing wrench? Don’t bother looking for it. Grab your new 3D printer and make yourself a new one!

Need ideas for unique, meaningly gifts? We could not keep track of all the amazing ways to print photos. If creative printing solutions were stars, then The Digital Show would be the night sky. Everything from pocket books, teeshirts, mugs, caps, and even some astounding new framing solutions will be sure to razzle and bedazzle!

Pocket photo books not tough enough for you? Then how about some nice, tough metal? The innovations and new framing ideas at this show certainly left us wide-eyed and star struck. With layered-dimensional collages and an incredible range of printing materials, Print2Metal certainly had us ooh-ing and ah-ing.

It is vital for photographers to be strong and stand firm. What better way to stand firm with the latest and most advanced Tripods that have ever been on the market. Every photography will be able to find exactly what they need for stability at The Digital Show. When was the last time you saw this many tripods? Can’t remember? Neither can we!

With so many world-leading photographers in one room, it only makes sense to have a gallery of award winning photographs, stretching on for as far as the eye can see. Some of the works we caught glimpses of made us laugh, others almost made us cry, while others had us wishing we owned a more expensive camera. This is one of the most evocative photo galleries we have ever seen.

Quite a few of these interesting, analogue-TV-static filled squares really had us curious. They’re not just for decoration! The Digital Show is adorned with a myriad of QR codes, hidden all over the place! We used our iPhone to scan them, and found some fantastic surprises! We don’t want to spoil anything, but we will hint that there are some exciting contests to join, and enticing free giveaways to take part in!

Just make sure you download a free QR Scanner/Reader for your smart phone, and get in on the fun!

We were lucky enough to catch a glimpse of The Digital Show, and whatever treasures and plunder lie on the other side will be revealed when the doors open on Friday. Bring your friends, family, and a camera. The Digital Show looks to be one wild ride that you definitely won’t want to miss!

Entry is free with online pre-registration. Sign up at www.thedigitalshow.com.au !

Hope to see you at the show!

Happy Hunting,

Jerrel Dulay

Sometimes the going gets tough,  and photographers simply have to get tougher. Here’s the gear to help you do just that.

Sometimes, photography can be compared to an adorable kitten; gentle, delicate, and requiring the utmost precision to pet it the right way.  However, sometimes that kitten becomes a vicious lion, and when photography starts to bite, it’s time to bite back.

If you missed part 1 of this article, check it out HERE.

Whether it’s due to sub-zero temperatures, seven-hour hikes through rugged mountains, or having to outrun a ravenous pack of zombies, photography is not always an easy sport. To help make dealing with these tough situations easier, we take a look at some wicked gear for the aggressive photographer.

Lowepro’s SlipLock harness system can be one of the most vital tools in a photographer’s arsenal. The harness system is fully customizable to fit the user’s needs. The Lowepro harness uses a modular system that fits a wide range of add-ons, consisting of a variety of lens pouches, pockets, and bags.

The belt holds most of the storage space, and is sold on its own. The shoulder straps must be purchased separately, and they make the belt much more comfortable to wear. The shoulder straps take some of the weight off the belt and distribute that weight through the shoulders. This alleviates a lot of fatigue and soreness when photographers must carry a hefty amount of gear while on the go. Plus, the shoulder straps themselves can hold a total of four attachments.

The shoulder straps and belt don’t come with any attachments, so right off the bat, users won’t be able to carry anything just yet.

Being able to customize the set up and loadout of the belt and shoulder straps allows photographers to adapt to any situation.

For photographers who need to hike, camp, and backpack through rough terrain, the Lowepro Harness is a dream come true. The harness can be worn with a fully loaded pack-bag, as well as other shoulder harnesses to hold the camera. The material and construction of the harness itself is tough and durable. The lens cases are heavily padded and scruff resistant. Rugged build and light weight score the lens cases an A+.

Backpacking is an intense and exhausting sport. The last thing a backpacking photographer wants to do is remove his or her heavy pack bag to fish out a lens just to take a shot.

The lowepro harness keeps lenses and important camera gear well within reach. As seen in the photo above, we are also able to conveniently secure a monopod to the harness as well.

The Lowepro harness also has a few sturdy, metal rings. These can be used to latch on all sorts of vital gear. We slapped on a pair of smartly sized carbiners to make an easy way to latch on a monopod. We used zipties to attach  keyrings to our monopod. This allows us to latch the monopod on the lowepro harness, as well as access it easily and quickly.

The monopod with a pivoting head can be a valuable tool for any photographer. For those photographers who play a bit rougher, this type of monopod is an absolute must have.

Having to carry around a tripod in hand for long periods of time is just not practical, especially when hiking in rough terrain. Monopods, on the other hand, are light weight and compact, making them excellent hiking companions. They are great for gaining stability, but can also be used to elevate the camera. This allows photographers to capture scenes in a unique way.

When elevating the camera using the monopod, it can be difficult to take multiple exposures. That’s why we combine the monopod with a wired remote to capture some unique scenes.

Combining the Samyang 8mm fisheye with a monopod and wired remote makes sharing close encounters with giraffes a breeze.

A scene like this would be extremely difficult to capture without a wired remote. The wired remote allows the photographer to take multiple exposures without having to lower the camera and raise it up again repeatedly.

*Editors note: I came up with the idea of using the wired remote with the monopod while trying to snap photos of a giraffe at Taronga Zoo in Sydney. The remote allowed me to take a few dozen shots quickly, and since then, I’ve referred to this technique as “Giraffing“.

Monopods can be used for much more than just holding cameras. They can also be used to hold flash guns! Being able to use off-camera flash while moving around quickly has amazing advantages.

In the setup above, the camera has a wireless emitter, which triggers the wireless receiver connected to the flash. A diffuser is used to soften the light and make it look more natural. Below are the results of chasing down zombies, even after the sun went down.

Nothing compliments a killer zombie quite like a killer stache.

Even in undeath, zombies make sure to keep their glasses clean and teeth sparkling white.

Say cheese and die…or un-die… wait, now we’re just confused.

With the Stedi Stock stabilizer, Op-Tech Shoulder Harness, Lowepro Harness, and pivoting head monopod, this photographer is ready to do some damage

Some photographers have to play a bit more aggressively to get the shots they’re looking for. Luckily for us, there’s plenty of gear to help make the job easier. Join us next time for the photographer’s outdoor survival guide.

Click to register for free entry!

Happy Hunting,

Jerrel Dulay

iDigital Darwin

Title Image by Heath Quint

All Photos copyright Jerrel Dulay *excluding title image and marketing images of Manfroto Monopod and Nikon Wired Remote

See how mobile-photo-enthusiasts can take their creativity to the next level with an SLR camera.

Smart phones like the iPhone have changed the way we communicate with each other. Mobile phones with camera features have introduced many people to the world of photography.

To deal with the limitations of mobile phones, many apps have been introduced. However, using an app to ‘fix’ an image taken with a mobile phone only masks the faults and limitations of the phone hardware.

SLR cameras grant users an exciting level of creative freedom, and quality of images that simply cannot be matched by mobile phones. For those smart phone owners who have had a taste of photography and are looking for more, we look into the photos that your mobile phone simply cannot take.

Click any image to see the full-size versions to really compare the differences

#1 Fast Shutter Speed

Ever wonder why some pictures taken at kids birthday parties have all sorts of colourful blurs where there should be happy children? This happens when a camera’s shutter speed is too slow to capture a scene with movement. Mobile phones do not offer much control for the user in this respect. When there are options for controlling shutter speed, they are extremely limited.

Most entry level SLR cameras can capture pictures at up to 1/4000^thof a second!  The faster the shutter speed, the more “frozen in time” the image will look. Modern phones automatically do what they need to do in order to achieve the “best” picture. This often results in unwanted images. SLR cameras allow users to have full control over shutter speed with just a flick of the wrist.

#2 Long Exposure

There are few things quite as enchanting as a glowing city skyline at night. Ever try to snap a quick photo, only to see bunch of little squiggly lines? Sometimes with luck, one might get a photo that kind of looks like the city, except with blue and gray sprinkles everywhere. These are not the same kind of delicious sprinkles found on donuts and cupcakes. These sprinkles are referred to as “noise” or “grain”, and they definitely do not make the picture look good.

SLR cameras allow users to take “long exposures”, which means the camera is taking a photo for a few seconds, or even a few minutes! This lets users take amazing photos at night, where there doesn’t seem to be any light at all.

Taking night pictures isn’t the only cool thing SLRs can do. Long exposure shots allow anyone with a flashlight or torch write out cool messages or draw silly pictures. Ever wonder how some people are able to take mystifying photos with blurry ferris wheels or misty oceans and waterfalls? How about those star-filled night sky photos? The answer is long exposure photography!

#3 Rapid Exposure

Anyone who has ever yelled at their phone for lagging a few seconds before taking a photo is not alone. It’s easy to miss a winning opportunity with kids, pets, and funny moments while mobile phones think about what they want to do. Often times, it’s important to take many photos rapidly.

Maybe a parent wants to take a photo of their son’s first goal in his first soccer game. A mobile phone is likely to miss the moment completely. SLR cameras are able to snap repeated photos quickly, one after another. This can help users capture a moment that would otherwise have been near impossible to catch.

#4 Macro

Click on the image to open the full size and see the real difference between the two

Want to take a close up photo of something very small? Mobile phones simply were not built to handle these scenes. Results will typically be blurry, out of focus, or just plain disappointing. SLR cameras can capture mesmerizing, miniature scenes with amazing clarity and detail.

Macro lenses can uncover a whole other world that no other type of photography can see. Users can make the camera focus on a single ant, and have everything else pleasantly blurred into the background.

With true macro photography, it’s a whole new world. It’s a new exciting point of view. There’s no one to tell you no, or where to go, or say you’re only dreaming.

#5 Optical Zoom

Look, up in the sky! It’s a bird! No, it’s a plane! Well, we really can’t tell what it is, because the picture I took using my mobile phone looks like a blurry blob.

Many mobile phones brag about their “zooming” capabilities. However, these claims rarely describe “Optical Zoom”. Mobile phones use “Digital Zoom”, which simply takes a normal photo, but stretches the picture to artificially make something look bigger. This results in a blurry image with reduced detail and quality.

SLR cameras make use of Optical Zoom, which means the lens is physically adjusting itself to simulate the user actually being closer to the thing they are taking a picture of. The images above were taken from about 60ft (18m) away.

The mobile phone photo is blurry, and there is no difference in focus between the dog and the background. This is digital zoom!

The SLR captured an image where the dog is sharp in focus and the background is all blurred out. The definition is sharp and there is no loss in quality. This is optical zoom!

#6 Intense Direct Light

The great thing about mobile phones is that you can hold them any way you’d like, and touch them all over the place. The bad thing about mobile phones is that by holding them, fingerprints, grease, and dirt get all over them.

Having any grease or dirt over the image sensor in a mobile phone vastly reduces the quality of photos taken. It can become very inconvenient to have to remove a mobile phone from its case or cover in order to wipe down the lens before taking a shot.

In the example above, we did clean the mobile phone lens fully before taking this shot. Due to the nature of small optics, mobile phones are not able to cope with intense direct light the way SLR cameras can. This allows SLRs to capture a wide array of scenes, without needing an app to apply a filter to hide the fact that the shot “didn’t turn out quite right”.

#7 Wide Angle

One of the most important things in a photo is the amount of the scene you can fit into the picture. Being able to fit a whole lot of the environment is vital to conveying a sense of space and size to make the picture look grand and epic. It is vital for many landscape shots to be captured with a wide angle lens.

In the example above, the mobile phone is “zoomed out” as much as possible. The SLR image is able to express a sense of openness and say much more about the environment.

Also, in the example above, a huge difference in color is apparent. This is because of something called “White Balance”. Controlling the white balance allows users to ensure that their photo has colors that are close to the real life scene they see with their eyes.

Mobile phones typically allow very little, if any, control over the white balance when the photos is taken. The mobile phone image above appears colder and the colors have less dynamic. This is a result of the phone automatically  trying to do what it thinks is best, which is not always correct.

#8 Custom Bokeh

Pronounced “bow-keh”. Bokeh describes what things in the scene look like when they are out of focus. When lights in the background are out of focus, you see the bokeh clearly. Mobile phones have extremely limited capability and control on how much something is out of focus. SLR cameras give users full control over how much the background is blurred when it is out of focus.

In the example above, the SLR is equipped with custom shape bokeh filters. These filters turn any out-of-focus lights into dainty heart shapes. There is a wide range of shapes on the market, and the fun to be had is endless!

The mobile phone image in the example above has been processed using a “bokeh app”. Unfortunately, the app requires that the scene be blurred somewhere of the user’s choice. This is quite frustrating, as it wrecks havoc on the actual image itself. Needless to say, software solutions are not very effective in simulating a true bokeh shape effect.

#9 Controlled Depth of Field

What makes professional portrait photos of actors and models look so much better than the snapshots we take with our mobile phones? One of the biggest contributing factors is the depth of field. DoF is simply the area in a scene where things appear in focus, while everything else appears out of focus.

In the example above, with the SLR image, we can see that only a narrow area within the photo is in focus, while everything else is blurry. This helps create and control flow in the image, and it directs the viewer’s attention to what the photographer wants them to look at.

In this case, the depth of field directs the viewer’s attention to the pebbles. SLRs give users complete control over depth of field, and lets the user decide whether they want only one thing or everything to be in focus.

With the mobile phone image in the example above, the depth of field is quite wide. The far background and near foreground are only slightly out of focus. However, because too much of the scene is in focus, there is no way to direct the viewer’s attention to any one thing in the scene. Mobile phone cameras usually allow absolutely no control over the depth of field.

#10 Dynamic Range

Dynamic range describes an image sensor’s ability to record both light and darkness at the same time. However, there is a limit to the amount of light and dark that an image sensor can pick up at one time. In the example above, the mobile phone’s limitation of dynamic range is evidently seen.

The photographer in the example above is on a wicked bushwalk, wherein he would like to take a fully sick picture of himself to post online and share with his friends and family. Unfortunately, his mobile phone is not good at capturing both dark shadows and bright light at the same time. This is because the image sensor has low dynamic range.

As seen in the example above, the SLR camera has a high enough dynamic range to be able to capture the photographer’s face, as well the details in the shadows, and even the sky and trees caught in the bright sunlight. This is a characteristic of SLR cameras having a lens and image sensor that is physically bigger than those found in mobile phones.

#11 Studio Portrait

A studio portrait may seem as foreign and difficult as traversing the surface of the moon. However, setting up a home studio and taking portraits are much easier and affordable than it sounds. Just about any SLR camera can be used to take studio portraits. A home studio can be a great way to take fantastic photos for friends, family, and even enemies, if for some reason they wanted their photo taken.

In the example above, the SLR is equipped with a wireless emitter that allows it to trigger 3 wireless flash units when the picture is taken. The result is a fun and beautifying image that would make the model’s facebook friends weep with envy. However, the mobile phone image, taken with the phone flash turned on, is rather normal for a facebook profile pic. The red eyes aren’t quite normal, and either the phone flash caused it, or the female model is a vampire.

#12 Fisheye

The fisheye lens is the greatest example of taking lemons and making lemonaide. Barrel distortion is typically unwanted in images, but fisheye lenses have so much distortion that it is actually desirable!

The fisheye takes the scene and bends everything to look wobbly and curvaceous. The properties of this type of lens are not just for having a willy nilly fun time. It allows users to be more creative with their photos and capture some truly unique scenes.

In the example above, the mobile phone image is the product of running an image though a “Fisheye App”, which applied a filter. The result is an image which appears to have a fisheye-like distortion. However, the resulting image has reduced quality, as it stretches the image, losing sharpness and detail.

The corners of the scene are chopped off like bad 80s sideburns, producing an image that is difficult to use anywhere. A true fisheye lens allows users to capture a lot of the scene in one photo, and can be useful as wide angle lenses. This is something that apps and software will simply never be able to simulate.

Mobile phones make everyday living and communication much more convenient. Being able to spontaneously snap a photo in situations when one would not normal carry a camera allows the mobile phone to fill a gap that the SLR could not address. These mobile phones allow us to play with our pictures and share them quickly and easily, but they are not the end-all solution to photography.

There are many issues which really separate mobile phones from proper cameras. Th ephysical size of the image sensor in mobile phones prevents images from having the same quality as those taken by an SLR camera. At this stage of technology, photographs taken by mobile phone will always have less sharpness, dynamic range, contrast, clarity, and depth of field when compared to images taken by an SLR.

While mobile phones do many things that an SLR camera cannot do, it can be said that SLR cameras do many things that mobile phones cannot do as well. Neither is a replacement for the other, and it’s important to see how one compliments the other. Water guns are good fun during summer time, but when someone needs to put a fire out, they use a proper fire hydrant and hose.

SLR cameras are perfect for people who want to make an art of capturing scenes and sharing them. Mobile phones are perfect for casual photo takers, and are great for spontaneous moments deserving of a photo. For anyone who loves taking photos with their mobile phones, it only makes sense to take the next step and pick up an SLR camera to see where their creativity takes them.

The list below details some excellent entry-level SLRs from some of the top brands, and are all excellent choices for getting into the art of photography.

Click on any image for a review of each camera

Keep your chin up, your held head high, but most of all, don’t take your finger off the shutter button. You never know when you’ll get the chance to take that award winning photo.

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting,

Jerrel Dulay

All photos copyright Jerrel Dulay *excluding images of “Nikon D3100″, “Canon EOS Rebel T3i”, “Sony SLT-A35″, “Fujifilm FinePix S100fs”

Learn the do’s and don’ts of relying on natural light to take better photos

Whether taking happy snaps at a family party or capturing breath taking landscapes, the most important ingredient to taking a photo is light. Have you ever wondered why a photo you’ve taken simply doesn’t look how you expected it to turn out? Much like how a chef cannot prepare a soup without water, a photographer cannot take a photo without light. Keep these few easy tips with you to take not only better pictures, but memories as well!

Much like how a chef can use different ingredients to create different flavours, photographers must understand how the natural light in a scene changes the ‘flavour’ of the photograph taken. Have you ever had a dish with too much salt? That’s like taking a photo with too much light! How about a dish without enough salt? That’s like a photo without enough light!

There are very few aspects about light to keep in mind, but these few aspects are very important!

Intensity

The first thing to keep in mind with natural lighting is how bright that light source is. One might say the summer sun emits a very intense light! However, a street lamp at night emits a light of very low intensity. Intensity can be a gift or a curse, depending on the photo you want to take. Shadows will be much harsher and dramatic in high intensity light.

Shooting in High Intensity Light

A summer day at the beach or at the park are common scenes with high intensity light. A great to tip to keep in mind when taking photos in these scenes is to make sure your subject is facing the source of light. If the sun is bright, it is best for the photographer to take a photo with their back to the sun.

GOOD IDEA: Have the subject face the source of light

If the subject is facing the sun, it can be almost a guarantee that his or her face will be evenly lit, and have more presence in the scene.

BAD IDEA: Have the subject with their back to the source of light.

If the subject is facing the same direction as the light source, and the photographer is shooting towards the light source  (ie. the camera is pointed directly at the sun), we run into some problems. First, the subject’s face becomes lost in shadows, and is overwhelmed by the brighter surroundings. This is not what we want!

BAD IDEA: Have the subject stand in the shade

It’s also important to ensure that the subject is not in the shade! This may result in the background being brighter than the subject, and the subject will not be able to stand out in the scene. This is not what we want! In this example, the subject’s face is darkened by the shadows of the trees. It is his jeans and background water reflecting the sunlight that stand out most in the scene. Typically, it is best if the subject’s face draws the most attention in a scene. Hats and caps can also cast obscuring shadows, so… decapitate!

Shooting in Low Intensity Light

Low intensity lights can come in the form of light fixtures at a restaurant, lit candles, and even moonlight. The best thing to do in these situations is to ensure that the light source is between the photographer and the subject, and that the light source is illuminating the subject. In many situations, better photos can be taken with the automatic flash on the camera turned OFF!

GOOD IDEA: Have a source of light close to the subject, between the camera and subject

Taking photos close to the light source. Make sure that the subject is in the light source range. This helps the subject stands out in the scene. It is also a good idea to have lights in the background as well. This will provide balance in the image. In the example above, the model is holding a lighter to light a cigarette, which provides just enough light to illuminate his face. The floodlights in the background illuminate the environment, and the stars create an interesting sky.

GOOD IDEA: Have a light source behind the subject

Try to include light sources in the background to capture interesting scenes!

BAD IDEA: Have a light source for the subject, but none for the background

However, if there are no lights in the background, the subject will appear to be floating in a black empty void. This usually is not what we want!

BAD IDEA: Have a light source for the background, but not for the subject

Here is what happens when the subject is not receiving any light from a light source. See how they blend into the background? This is not what we want!

Direction

The next thing to keep in mind when shooting with natural light is the direction of the light itself. When taking photos outside on a summer day, the sunlight is very different at noon than it is at sunset. This is because the direction of the light decides how shadows are cast.

Taking photos at high noon, where the light source comes from directly above, may often result in dramatic face shadows. This can help achieve a rugged, tough guy look. However, mom or grandma may not be happy with these extra shadows!

At mid morning, or late in the afternoon, the sunlight direction can be much more direct. This makes facial shadows softer and more gentle. Often times, having less dramatic shadows is desirable, especially for portraits. To reduce shadows, position the light source so it is directly in front of the subject.

Dramatic shadows can actually be very desirable, depending on the situation. By situating the light source to the left or right of the subject, instead of head on, some very interesting shadows can be employed to make the subject more interesting.

Temperature

Color temperature of a light source in a scene is one of the most important elements of taking a photo. The temperature of light also allows photographers to have an exciting level of control and influence over the mood of the scene. The temperature of light can be described in a simplified manner by thinking of light as “cold”, “hot” or something in between.

Even though the particular scene above may be “cold” in actuality, the image captured expresses great “warmth”. This is because the color of the bonfire, the primary source of light in this scene, is reddish orange. This is a “warm” color temperature.

The moon can be an invaluable light source. However, it is important to keep in mind that the moon emits a very “cold” light. Scenes relying on moonlight will undoubtedly turn out “cold”. However there are many ways to deal with this. In addition to various post-production techniques, controlling the camera’s White Balance can alter the way the camera captures the scene.

Many professionals believe in leaving White Balance on “automatic”, taking a pure, RAW format photo, and adjusting the color temperature later in Post Production. However, it can be very useful for the photographer to adjust White Balance settings while they are out shooting. The camera captures details differently, depending on White Balance settings, which can draw the photographer’s attention to something in the scene they would not have noticed otherwise.

Playing with the White Balance setting while shooting a scene can help you find something interesting you might have otherwise missed, and may help you find new angles to shoot. In the example above, the “Warm” White Balance captures highlights more distinctly than the “Cold” White Balance, and there is great distinction between the moss and the rocks.  Seeing this while out on the shoot can help photographers think differently and gives them something to think about when framing his or her next shot.

Diffusion

The last, but certain not least important, aspect to keep in mind is the diffusion of light. The easiest way to understand this concept is to think of a mirror. When a flashlight hits a mirror, the light bounces off the mirror! In the big exciting world, everything reflects light, though not as much as a mirror does! The idea of ‘reflection’ can be grouped together with diffusion, as when an object reflect lights, it is actually creating diffusion.

The perfect example of light diffusion can be seen by comparing a summer day with clear blue skies to a cloudy, winter day.

On a summer day, we can take photos with harsh, dramatic shadows! The best way to capture scenes in an interesting way is to express the relationship and difference between the light and the shadows it casts.

However, on a cloudy, winter day, the light and colors appear to be washed out, and the shadows are much softer. In many situations, the diminished distinction between the light and shadows is not desirable, as scenes will be less interesting to look at. It is difficult to take interesting landscape photos with diffused sunlight like this. Why does this happen? Simply put, the clouds act as a ‘diffuser’, and soften the light before it reaches our eyes. The moisture in the clouds are like millions of billions of tiny, foggy mirrors, bouncing the light back and forth against each other, until the light finally reaches us. This makes the light much softer.

If the light in the scene is too intense, and there is no diffusion, the camera may not be able to capture all the details in the scene. In some cases, the bright bits of the photo will be blown out (or just plain white with no detail), and the shadows will be too dark, also lacking detail. In the example above, the sunlight was very intense. In the over-exposed capture on the left, the, trees, and shadows on the ground have lost significant detail, but the detail on the rock wall is maintained. In the under-exposed capture on the right, we have regained the details of the sky, trees, and shadows on the ground, but have lost detail in the rock wall. This is a scene that would benefit from a cloud day, diffusing the light to make it more even.

The difficulty here is finding the balance of sunlight and shadows, to retain the most amount of detail in the scene. In scenes of high intensity light, these issues will often arise. There are many techniques a photographer can use to handle situations like these, such as taking multiple exposures from a tripod to process as an HDR image later. However, the most important thing is to understand first is what exactly is happening, and why.

Light boxes, reflectors, umbrellas, and various tools can be used to achieve diffusion.

Diffusion can be both wanted, and very unwanted. For portraits, depending on the nature of the image, diffusion may be desirable. For “glamour shots” and “professional portraits”, it is best to make use of diffusion to soften shadows and distribute light evenly. In the example above, two different types of diffusion are used. On the left, soft diffusion is used to make the light more gentle and reduce shadows. On the right, a harsh diffuser is used to make the subject look more dynamic and aggressive.

In other situations, it is best to have dramatic shadows. To achieve this, shoot with direct light without making use of diffusion. Combine this concept with Direction to create some truly interesting scenes!

Time of Day

Here’s a top tip that can serve as a valuable tool for any photographer. The Time of Day affects all four aspects previously mentioned. By keeping this in mind, photographers are able to plan their photo shoots to capture award winning photographs.

Morning Pre-Sunrise

This time of day can be ideal for capturing gentle, serene scenes of tranquility and grace. The light is not very intense, and the temperature tends to be a on the cooler side of warm. There tends to be a high amount of diffusion. Direction tends to be difficult to identify. Due to the lack of definition between light and shadow, it can be difficult to create truly interest scenes. However, this time of day is vital for photographers, as it allows them the opportunity to examine their environment and set up to take photos for the upcoming time of day.

Morning Sunrise

Often sought after by photographers is the magic moment when the sun just rises. If conditions are ideal and weather is just right, truly breathtaking scenes can be captured. Intensity is at a mid point between strong and weak, and direction of light is a low angle, which creates delicate shadows. Due to the way sunlight travels through the earth’s atmosphere, we have a light amount of diffusion, which also makes the temperature quite warm.

Late Morning – Early Afternoon

Many scenes benefit from this time of day, due to even light distribution. Intensity tends to be a bit high, but direction can make certain scenes difficult to capture, if there is a big difference between light and dark. The temperature tends to be a bit cool in late morning, and warms gradually into the afternoon. On a clear day with minimal clouds, there will be a minute amount of diffusion.

Mid Afternoon – Late Afternoon

This time of day can make many scenes easier to capture, and other scenes more difficult! Intensity is at its highest at this time, and the overhead direction of light can make capturing faces and other features difficult to capture. Depending on the time of year and weather, the temperature can be quite cool, which can make capturing landscapes with that “golden” atmosphere rather difficult. If there are minimal clouds in the sky, diffusion will be at its lowest at this time.

Evening Sunset

Widely considered a magical moment for photographers, looking to capture glowing, bittersweet scenes that seem to tug at the heart strings. A scene that could be considered rather plain during the afternoon could look absolutely amazing during the evening sunset. Intensity is at a seemingly perfect point between strong and weak, and direction comes in at a low angle. The temperature at this time is wonderfully unique, providing a gentle, golden glow. There tends to be a high amount of diffusion, resulting in gentle shadows. Depending on the time of year, Intensity, Temperature, and Diffusion can change drastically. Spring, Summer, Autumn, and Winter all have unique attributes at this time of day.

Early Evening

This can be the most difficult time of day to capture scenes in an interesting way. Just after the sun has set, there is a high amount of diffusion, but intensity is quite low, and diffusion is high. Temperature is luke-warm.

Night

Both technically and physically, this is a very challenging time of day to shoot. However, with a bit of effort, night can produce surprising and rewarding scenes.  Depending on the size and position of the moon, time of year, and cloud coverage, Intensity, Direction, and Diffusion can be frustratingly unpredictable. Temperature is at its coldest at this time, however, experimenting with the White Balance settings on the camera can help photographers see things they normally might miss. With a bright moon, intense shadows with definite direction can be expressed. Even without cloud coverage, diffusion is quite high, but in a very pleasant way. Having misty and moderate cloud coverage can create truly fascinating scenes. For an in-depth guide on how to improve your photography at night, check out our article here.

Intensity, Direction, Temperature and Diffusion! They may seem like strange, alien words, but are actually quite simple to understand! Try practicing and really comprehending one at a time, and you’ll see a great improvement in your photos!

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting!

Jerrel Dulay

Wondering what all the 3D hubbub is about? Save some serious cash and try this easy alternative!

With technology pushing forward full steam ahead, it’s easy to get lost in the transition. Just like the conversion from black and white to colour television, 3D TV has not been an instant hit. Instead, the rise of 3D TV will be a very gradual one. Don’t feel like splashing thousands of dollars on that fancy new 3D-enabled HD Television Set?  Don’t sweat it! We’ll help you upgrade your existing home PC to play 3D TV. Once you’re done, you’ll be able to not only watch 3D channels, but convert normal 2D TV content into 3D!

Here’s what you’ll need:

(Click on the item names to find them for the best prices on eBay!)

Step 1 – Prepare Yourself

First off, make sure your existing PC is able to be upgraded. Be prepared to open up your PC and operate. If you are not comfortable doing this yourself, find a friend or family member with a bit of experience. Remember to unplug your PC from the power socket in the wall before opening it up! To save some trouble, make sure the 3D Monitor you obtain comes with 3D glasses.

• Ensure that your PC has an available PCI-E (PCI Express) slot, because this is where we will plug in the new video card.
• You will also need to make sure your PC has two available USB slots.

Step 2 – Install Video Card

This step should be performed by someone with experience working on PC hardware. PC repair shops can do this for you if you have no other options. Once the new video card hardware has been installed on the computer, your new 3D monitor is ready to be installed!

Step 3 – Install 3D Monitor

The new 3D monitor can take the place of any existing previous monitors. It performs like any normal 2D monitor. Putting on the 3D won’t glasses will not magically turn the entire computer 3D! Instead, the monitor displays 3D graphics when it is explicitly asked to do so by special software. Make sure to plug the monitor into the new graphics card, and not the previous spot where it used to be plugged in to.

Follow the installation guide of the monitor. If the monitor has a USB cable coming out of it and leading to the PC, it means the 3D emitter is in-built to the monitor. Make sure to plug in the USB! If the monitor comes with a little free floating box with a USB cable, be sure to plug it in and keep that little box in plain sight: that little box is the 3D emitter.

Step 4 – Install Graphics Card Drivers

The NVidia video cards are recommended for 3D content, as they are user friendly and easy use. The guides at www.nvidia.com are very helpful, and will help with any aspects needed with installation. All drivers and 3D software can be downloaded there! Be sure to download the correct driver for your graphics card, and install the NVidia 3D software as well.

If the 3D Monitor comes with a driver installation disc, install those drivers and software to ensure proper function.

Step 5 – Install the AverMedia 3D TV USB Dongle and software

The Avermedia 3D TV USB dongles are recommended, as they are user friendly and easy to use! The USB dongles also tend to include TV remotes, just like a normal TV set would! The USB dongle comes with an installation disc. Install the drivers and TV viewing software. Afterwards, plug the USB dongle in. If you have a nearby wall connection to a TV aerial or antenna, you can connect it directly to the USB dongle for maximum reception. If not, you can use the tiny antenna that comes with the dongle, but it may not get the best reception.

Step 6 – Launch the TV software and enjoy!

You can view TV by launching the Avermedia TV software. By default, content is displayed in 2D. However, follow the instructions, hit the 3D button, and suddenly, your world will be transformed! If the screen displays an odd double image like below, you know you’ve got it right!

Make sure to charge and power up those 3D glasses, because this is where the magic happens. Put on the glasses, and ‘ask’ your graphics card to turn 3D on. Normally, this requires the user to press “Ctrl+t”. You should see a fantastical, mystifying world of wonderment and limitless imagination.

You will be able to watch any normal 2D TV programs in fantastical 3D. Your PC is now fully equipped to display any available content in 3D, from video games to DVDs. Check in next time and we’ll guide you through watching any 2D video files on your PC in glorious 3D. Until next time, enjoy your new 3D TV, and be sure to amazing and bewilder your neighbours, friends, and family.

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting,

Jerrel Dulay

See how and why Tamron’s latest kit lens may change the way you pack your gear bag!

In a crowded market of kit lenses all claiming to be the best, the Tamron 18-270mm f/3.5-6.3 Di II VC PZD brings a lot to the table. We took this ambitious kit lens on a wild ride across North America and Australia for a test run, and were more than happy to have the Tamron in the gear bag and along for the ride. Potential flaws are addressed by a some convenient features. What’s best about this lens is being able to shoot wide landscapes and zoom in close to capture distance subjects, all without having to change lenses. Read on to see how and why this lens may change the way you pack your gear bag for a day out.

First off, we clear out the cloud of confusion and address the basics. The full title of this les is the Tamron 18-270mm f/3.5-6.3 Di II VC PZD. The suffix letters indicate the key features of this lens.

Di – “Digitally Integrated” – This feature means that the lens is designed to reduce unwanted darkening of the corners (otherwise known as vignetting) and minimize flare and imaging ghosting in bright scenes. The Di also works to reduce unwanted purple tinting (chromatic aberrations) that normally occurs between light and dark colours in the image. Di lenses are appropriate for Full Frame Cameras as well as APS-C sized sensors that are used in most DSLRs on the market.

VC – “Vibration Compensation” – This feature can be turned on and off with a simple switch. It allows the lens to reduce “wobbling” and “shaking” that may become noticeable at slower shutter speeds. Later, we will go into detail about how well this works in this lens.

PZD – “Piezo Drive” – This feature means that this lens makes use of Tamron’s latest ultrasonic motors. This ensures the lens is quick, quite, and accurate to focus.

It’s In The Bag

How does the 18-270mm f/3.5-6.3 Di II VC PZD measure up exactly? At its smallest length, the Tamron isn’t too much longer than similar lenses. However, when fully extended and zoomed in, the lens more than doubles its length.

On The Field

By packing the Tamron 18-270mm f/3.5-6.3 Di II VC PZD, we were able to carry one less lens in our gear bag. At its widest viewing angle, the Di technology really comes into play. Images are nice and bright from corner to corner. Being able to zoom up to 270mm is a fantastic treat. Whether out in the city or hiking out on the trails, the versatility of this lens allows it to play many roles.

The 18-270mm f/3.5-6.3 Di II VC PZD makes an excellent lens for capturing animals from a distance. On our Nikon D90, the VC (vibration compensation) seemed a bit difficult to use for still photos. This is because while focusing, the VC tries to stabilize the image, causing the actual frame to shift around. If this proves to be a problem, the VC can be turned on and off easily via a simple switch on the side of the lens.

However, when using this lens for filming video, the VC becomes an invaluable tool. Use of the VC vastly improves hand held filming, especially when panning and zooming. Check out this video to see the different between filming with and without VC.

When compared to a Sigma 18-200, the Tamron performs ideally, with less vignetting, and being able to zoom closer in to a target. Colour, Contrast and dynamic is fantastic in the Tamron, especially when compared to mirror lenses such as the Rokinon 500mm. While mirror lenses do provide superior reach and zoom, they lack the versatility, autofocus, and convenience of the Tamron kit.

Getting in Close

While the zooming capabilities of the Tamron 18-270mm allows you to capture subjects from afar, the lens is by no means afraid of getting in close. The lens performs quickly with auto focus and captures sharp images even in low light. VC works great and allows lower shutter speeds while handheld, even in low light environments.

Use the features

One issue we had while using this lens was a sneaky, subtle lens creepy. The lens could be resting quietly at our side, and after a few steps, the barrel might have fully extended itself. This can prove to be a bit of a nuisance, as the lens may end up bumping or knocking into something. Fortunately, the lens is designed intuitively and includes a locking switch that keeps the lens from creeping and ‘zooming out’ all by itself.

Wrap Up

The 18-270mm f/3.5-6.3 Di II VC PZD is a solid lens that any photographer would be happy to have in the gear bag. It is most appropriate for situations where photographers need to be able to shoot wide angles and zoom in close, without having to switch lenses. It’s perfect for a day out in the city, out hiking in the bush, or spontaneous gatherings, events, and parties. Intuitive design addresses the few issues that arise when using a lens with such a wide viewing angle range. Superior sharpness, colour, contrast, and minimal vignetting make this lens a sure fire winner. When it comes to filming video, a filmographer could hardly ask for more.

iDigital Darwin gives the Tamron 18-270mm f/3.5-6.3 Di II VC PZD a big thumbs up, and a Seal of Survival.

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting,

Jerrel Dulay

Mobile phone cases have become a great part of everyday life as both a guardian force to our phones, as well as a fashion accessory to character. Nothing says ‘Princess’ quite like a pink case encrusted with rhinestones. Express yourself with style, or put a bit of laughter into someone’s day with a clever phone case.

At iDigital Darwin, we don’t like to mull over what’s already popular and well known. We like to find the obscure, somewhat exotic gems of technology. Here are the Top 10 Coolest iPhone cases we’ve seen in 2011. As always, click the images to find these items for sale in online shops.

Gameboy Silicone iPhone 4s

No classic gamer can be without the clever Gameboy case and its humbling charm. There are  a myriad of colours and alternate designs for the iPhone 4 and 3G. The buttons are even beveled, so it feels as if they can be pressed. This way, you can pretend you are playing an actual classic Gameboy with the contrast turned all the way down.

Slipper Thong iPhone 4 Case

Heading out for a day at the beach? You wouldn’t leave home not properly dressed for the occasion, and neither should your phone! Sadly, this case does not improve the iPhone’s resistance to sand or water.

Pastry iPhone 4 Case

Looking to lose weight for the summer? Try confusion therapy. Blur the line between delicious snack and communication device to prevent impulsive munching.

Tape Cassette

What better way to say, “I’m a child of the 80s and 90s” than by rocking this surprisingly articulated tape cassette case? The answer; there is no better way.

Chocolate iPhone 4 case

The only thing that could make this Chocolate iPhone 4 case any better would be if the case itself was scented. And perhaps even flavored. Yum.

NES controller iPhone 4 case

Relive those magical 8-bit moments of your childhood with this sweet NES controller themed hard case.  We guarantee it will be much more comfortable in the hand than the old controller.

Calculator iPhone 4 Case

 Love the built-in iPhone calculator app? Take that love one step further and slap on this calculator-wanna-be iPhone. If this case doesn’t win you the geek of the week award at your office, nothing will.

Camera iPhone Case

Are your an avid iPhone photographer? Your phone may as well look the part!

Retro Brick iPhone 4 Case

There’s no better was to end this awesome list of  phone cases than with this marvelous icon of  mobile technology. This huge, lumbering chunk of raw plastic mined from deep within the bowels of our mother planet completely envelops the iPhone like some sort of monstrous skin cancer. You won’t get any closer to time travelling than slapping this sucker on your iPhone.

Keep a camera in hand, and don’t be afraid to look back. You never know what photograph you may miss.

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting!

Jerrel

Everything you need to know about this creative secret weapon. Plus! Five tips to help you master the Composer Pro!

Why follow the rules of photography, when it’s so much more fun to break them? Lensbaby has the perfect range of tools for any photographer looking to break the artistic boundaries of the photographic world. For giving scenes that added edge of creativity, look no further than the Lensbaby Composer Pro.

Lensbaby optics are perfect for really putting a creative spin on things. With the ability to swap interchangeable optics in a lens, such as Soft Focus, Pinhole, and Plastic, the possibilities for creating unique scenes is endless. The Composer Pro is specifically built for creative photograhers who really like to make scenes their own with their own expressions.

We’ve given the Composer Pro with the standard Double Glass optic a place in our gear bag to see just how well this lens really works. Much like a Fisheye or Macro lens, the Composer Pro gives photographers a whole new perspective with which to view the world.

Who is it for?

The Composer Pro is perfect for photographers who love to have fun with their work. The lens appeals to those who love to change their perspective, snap unique captures, and see how far they can take their creative freedom. Whether you are professional, hobbyist, or anything in between, you can definitely enjoy the Composer Pro.

HARDWARE

The Composer Pro feels sturdy in hand, as the plastic body feels solid, and the two focal and locking rings are a nice, grippy rubber that makes adjustments easy to make. The focusing action, though strictly manual, is smooth. There may be a minute amount of fidgeting towards the nearest focusing distance and infinity, but this depends on the optic being used, and never posed any sort of issue for us.

The 2nd ring on the Composer Pro locks the focal plane into place. After unlocking the ring, the lens can be shifted and tilted in all directions. Tightening the ring will lock the lens in its position.

The Composer Pro, with metal mount, fits our Nikon D90 like a glove. The reference dot for lining up the lens is on the bottom of the Composer Pro, right on the metal mount. There are no reference points on the sides of the lens, which can make mounting the lens a bit difficult sometimes. The trade-off for this is that the Composer Pro does look more sleek and streamlined once it is mounted to the camera, as it is free of any extraneous markings and labels.

Lensbaby Optics make use of a specialized tool to change manual aperture rings. This may be a nuisance at first glance, but is actually one of Lensbaby’s strongest assets.

Lensbaby Optics use their own unique lens caps. These caps are solid, springy, and feel quite tough once they are in place. This is a blessing, since replacing a lost cap won’t be as easy as it would be for a standard cap.

Changing optics is actually quite easy, and with a few minutes practice, can be done in a just a few seconds. The Optics contain the glass through which the image passes, while the Composer Pro is the outer shell that mounts the Optic to the camera body. There are many Optics to play with, and many of those Optics allow the use of Creative Aperture Filters. We’ll cover more on that shortly!

PROs

Create your own, unique focal planes. Make grand scenes look like miniature play sets. Make every scene your own creative playground. The Composer Pro lets photographers stretch their wings of artistic expression and take their photography to a whole new level. Don’t just capture scenes. Create them!

The Composer Pro is solid, streamlined, and unique. It pushes creative boundaries and opens up a whole new playing field for photographers. While it may seem like a crazy, cooky concoction of a scientific experiment, it simply works wonders.

If you’re looking for a new way to have more fun with your photos, the Composer Pro fits the bill just right. Once we picked up this sweet lens, we couldn’t put it down. With a constantly growing selection of interchangeable Optics and Bokeh Filters, there’s enough to make a photographer feel like a kid in a candy store! Lensbaby’s selection of Optics and mounts literally lets photographers “do what they want”.

The rule bending focal circle of this optic allows for brilliantly unique photos that are simply not possible with any other lens. With miniaturizing and zooming effects, the Composer Pro is one hot customer. The possibilities for synthesizing creative effects is endless.

Lastly, one of the greatest yet immeasurable qualities of the Composer Pro is that it really does incite photographers to challenge themselves and extend his or her creative limits. The first time we took this lens into the field, we were excited yet a bit lost as to what we should do with the lens. However, on our third or fourth outing, we found ourselves really searching and framing some truly interesting scenes. Any tool that helps photographers improve their physical game, and their mental game as well, is a winner in our book.

CONs

One of the first things that really strikes an odd note with the Composer Pro with the standard Double Glass Optic is that this lens requires the user to manually change aperture rings. What does this mean? Simply put, instead of turning a dial on the camera body, or letting the camera automatically manage the Aperture, the user must use a magnetic tool to reach into the lens optic, pull the lens out, and replace it with a different one.

This can be rather frustrating and time consuming for new users. In fact, taking this lens straight out into the field, without practicing at home first, was one of the worst ideas we’ve ever had. We found ourselves fumbling around on a windy day, struggling to juggle a number of aperture rings and get them to stay in the optic properly.

With a bit of practice, within a week, we had the technique for swapping Aperture Rings down to an art- to some degree. However, the unforgiving nature of the manually changed aperture rings seemed to be a mere shadow at the feet of the Composer Pro’s roughest aspect.

The Composer Pro simply has a high learning curve, and all of our early experimental shots were about as pretty as Sunday night’s rubbish. The Composer Pro with Double Glass optic has a seemingly ever changing focal plane. Things out of focus tend to smear, and Point Light Sources come out with a decidedly undesireable bokeh.

However, the Composer Pro’s weaknesses actually turn out to be the most valuable creative assets! With patience and practice, the Composer Pro can easily become a vital tool in a photographer’s arsenal. After running around beaches, bushland, and soaring through the sky, we’ve compiled the best five tips to help you master shooting this lens!

Tip # 1 – Start Small

While it may be tempting to take a brand new Composer Pro straight out into the field, it’s a good idea to start at home. There is quite a bit of information to keep in mind when shooting the Composer Pro. The best way to figure out the characteristics and little tricks of any new lens is to start at home, and start small. Take your time to figure out how to adjust the focusing ring and focal plane adjustment without having to pull the camera away from your face to look at it. The biggest difference between the Composer Pro and a conventional optic is the shape and nature of the Focal Plane. Have a look at the following diagrams to see the differences.

A Conventional optic captures scenes with a linear focal plane. It flows horizontally flat from left to right with even distribution across the scene.

The Composer Pro makes use of a round focal plane. Due to the shape and nature of the Composer Pro, the area of focus in a scene is actually circular. This gives scenes a wonderfully unique perspective that dangerously teeters between fantastic and undesireable. The best way to avoid capturing blurry disasters is to gain a strong understanding of the nature of the Composer Pro.

To quickly get a hang of things, try setting up a few small subjects on a table with controlled lighting and a flat background. Set the camera on a tripod and maintain a consistent framing. Practice moving the focal circle around the scene by adjusting the Composer Pro optic. In the images below, the diagrams indicate how to attain each desired effect.

Controlling the focal circle is quite simple. To move the focal circle to the right of the frame, tilt the Composer Pro optic to the right. To move the focal circle upwards, tilt the Composer Pro optic upwards.

Check out these reference diagrams. To set the focal circle to the upper left of the frame, tilt the Composer Pro upwards and left.

To set the focal circle to the bottom right of the frame, tilt the Composer Pro downward and to the right.

Shift the focal circle to the top right corner of the frame by, you guessed it, tilting the Composer Pro upwards and to the right.

Sensing a pattern yet? Move the focal circle to the left by keeping the Composer Pro elevation level and tilting to the left.

The Composer Pro does not simply “blur” things out. It actually “stretches” the portion of the scene outside of the focusing range. This characteristic resembles a zooming effect and can be a blessing or a curse. This brings us to our next, and vital tip.

Tip # 2 – Watch Out For Point Light Sources

One of the Composer Pro’s most identifying qualities is the way the optics stretch and pull the areas of the scene outside the focal plane. What does this mean, exactly? In a conventional lens, something “out of focus” is simply blured. With the Composer Pro, parts of the scene outside of the focal circle are “stretched”. The farther from the focal circle we get, the more stretching we see.

This stretching can often lead to undesired distortions that seem to distract and detract from the subject of the scene. This is most apparent and important when Point Light Sources are caught outside the focal circle. Anything like a light bulb or a spot of light peaking in through tree branches can become an unwiedly streak of light.

For the most part, it would be wise to avoid Point Light Sources when framing a scene. At the very least, be aware of the point lights and keep in mind that it is vital to manage those lights in the scene. However, if those rascally stretchy light just won’t go away, zip on over to our next tip!

Tip # 3 – Use Aperture Rings

It’s common knowledge that when life gives you lemons, you should make lemonaid! And what happens when life gives you a lens which uses external aperture rings that must be manually changed? The answer is simple! Use special Creative Aperture Filters to kick your creative freedom up a notch!

Creative Aperture Rings are most commonly used to change the shape of out of focus Point Light Sources in a scene. Usually, obvious shapes such as hearts and stars are employed in this fashion. However, we can do much more than that! In the case of the Composer Pro’s smearing and stretching Point Light Sources, the use of just the right Aperture Filter can turn a distorted scene into an artistic one.

As a basic function, you can mask unsightly stretched bokeh with creative aperture filters. To add to that, you can also gain an enlightening level of control over the composition of the scene with these filters.

Creative Aperture Filter Rings can be used to infuse scenes with various effects, such as paint brush strokes or even a more natural looking branch-like pattern. There’s a wide range of Aperture Filters to try out, and even more interchangeable optics to combine with those filters to create some truly unique scenes.

Tip # 4 – Shoot From a Great Height

The Composer Pro stands in a class all on its own. However, it can be closely compared to Tilt Shift lenses. Tilt Shift lenses can move a scene’s focal plane while remaining linear (a straight line, as opposed to a circular area). Tilt Shift lenses are most notably used to make big scenes look like a miniature playset. The Composer Pro can achieve similar results with some thoughtful planning and favorable conditions!

The best way to achieve this miniaturizing effect is to gain height. Taking a shot through a window of a hotel room on the 24th floor, or through the window of a helicopter allows photographers to turn the world below them into a delightful playset of children’s figurines.

Again, it’s vital to make use of aperture rings to stop down and minimize stretching effects. It also helps to minimize shifting of the focal circle within the frame.

Tip # 5 – Use a Strong Subject

Captures taken with the Composer Pro entice viewers to focus their sights on one particular subject in the scene. The best way to take advantage of this characteristic is to frame a scene with a strong subject. The worst way to shoot the Composer Pro is to not place an obvious subject within the focal circle. Have a look at the follow examples.

If we are missing a subject to focus our eyes on, our scene falls apart

The focal shape of the Composer Pro with Double Glass Optic pushes the viewer’s eyes to look at one thing out of the whole scene. However, if there is nothing there, the viewer can be confused. “What am I supposed to look at?” “Is there something there?”

Scenes with a strong subject really allow the Composer Pro to shine.

By placing an obvious subject within the focal circle of the frame, photographers can make the most the Composer Pro’s focal plane shape. The best part about this is that the Composer Pro allows photographers to shift the focal circle to any position in the frame. Experiment and see what you can come up with!

To sum things up, we love Lensbaby’s Composer Pro. There is a distinct air of sophistication and artistic freedom that is difficult to find with any other optic. There is a steep learning curve when it comes to achieving satisfying results with the lens. Take this as a challenge, because once you get the hang of it, you will find yourself taking grand creative strides with your photos, and you will be rewarded.

Tune in next time, as we cover some great Lensbaby Optics to use with the Composer Pro, and more tips on taking your creativity to the next level!

For more tips, techniques, and hands on time with cool camera gear, check out the upcoming The Digital Show Expo in Melbourne, VIC!

Click to register for free entry!

Happy Hunting!
Jerrel Dulay