Why I use filters instead of lens caps

In my photography early days, I was a faithful user of lens caps. Whenever I wasn’t shooting, I would snap the lens cap onto the lens. I considered this a safe way to care for my equipment. Of course, most of us also enclosed the entire camera inside its companion leather case. Yes, we were very protective of our precious equipment. And yes again, I spent a lot of time looking for misplaced or buying replacement lens caps.

When I acquired my first SLR at age 14, I quickly fell out of the habit of using lens caps. I may have inherited this trait from my photography mentor for whom I worked while still a student. John explained that removing a lens cap required too much time when you are trying to capture the action.

Instead, I began to using a filter on the lens to protect the front glass element. The filter prevents dust and dirt from accumulating on the lens surface. And the filter is easier and safer to clean. To this day I use either a high quality UV or Skylight filter for most of my shooting. Now that digital cameras have replaced film cameras I also notice that leather cases have all but gone out of style. I see very few them of them these days. But I do notice that many photographers still use lens caps to protect the glass in front.

I’m not here to make a political case for or against lens caps, only to suggest that filters offer more than dust protection for your lens. In addition, they can protect the front lens element from nasty scratches. Here’s my latest proof. I was carrying this camera into the house when it slipped out of my hand and onto the floor. As you can see the filter is shattered.

Of course my heart missed a few beats as I watch the camera as it hits the floor. However, after removing the filter I can see that the front lens surface remains untouched. In spite of the fall, the camera is working perfectly. Apparently the lens barrel took the brunt of the fall so I’ll have to repair the lens’ electronics.. But the glass is still pristine.

This isn’t the first time that I’ve had a mishap such as this. Actually, this is the third time that a filter has saved the front glass element of one of my lenses. This alone tells me that I should keep on buying filters for each of my lenses.

 

 
Written by: Arnie Lee

 

 

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High Speed Photography and More

As I was walking the aisles of the PhotoPlus Expo, an impressive photo caught my attention. It was a stop action of a glass bottle as it was shattering into hundreds of small pieces.

I was at the booth of a company named Triggertrap and they were showing off its Redsnap trigger. This device is unique in that you can use one of several sensors to trigger your camera or flash.

 

This is the Redsnap. It accepts interchangeable sensors: laser, sound, infrared and lightning. It has three outputs to connect up to three cameras or flashes. A sensor snap into the top of the unit. In this photo, the sound sensor is attached which was used to trigger to sample photo of the breaking bottle.		this photo from Triggertrap website
These are a pair of laser sensors. A laser sensor can trigger a camera when the laser beam is broken. The Redsnap can also be set to take timelapse photographs.

 

The good news is that this looks like a promising product.

The bad news is that the Redsnap is not yet available. Triggertap has been raising money to build and distribute the Redsnap through a Kickstarter campaign. The goal was to raise £50,000 but they surprisingly raised £290,000.

I learned that the electronics and enclosures for the Redsnap are now being finalized. Small production batches will be available for Kickstarter contributors beginning in December and January and full production is scheduled to begin about May of next year.

Retail prices have yet to be determined. For more information go to the Triggertrap site.

It looks like an interesting accessory. I hope to review one when they become available.

Written by: Arnie Lee

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Stop Lens Cap Loss

Honestly, I’m not a big fan of lens caps. In the field, I don’t want to remove the cap, put it in a pocket for safe keeping and then be get prepared to shoot. Nor do I want to dig it out of my pocket and put it back onto the lens.

Instead I’ve made it a habit of buying a good quality UV filter for each of my lenses. The filter is to protects the lens front surface from dirt, grime and scratches. I feel a lot more comfortable cleaning the surface of the filter repeatedly rather than the surface of the lens itself. To be fair, this is my preferred way of shooting and I know that not everyone subscribes to this way of working.

So how did we get into this round-about discussion about lens caps? At the PhotoPlus Expo last month as part of my reporting I received a Press Kit from show management. Inside were a few sample accessories courtesy of the exhibitors. One was these gifts was the Hufa S, a lens cap holder. Last week I took a few minutes to look at this product.
This small and clever accessory is made of hard plastic that’s fully covered with a soft rubberized material. The Hufa easily attaches to your camera strap without having to disassemble the entire setup. Instead the strap slips through the slots and is ready to use in seconds. WHen you remove your cap from the lens, you simply slip it beneath the large clip. The clip places enough pressure to hold the cap regardless of its size.
Here you can see how the Hufa S attaches to the camera strap. You can adjust the position of the Hufa S further up or down along the strap so that it won’t interfere with your handling of the camera.

 

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There are actually two models: the Hufa and the Hufa S. The Hufa attaches to wide camera straps that are often found on camera bags. The “S” model shown here is for the narrower camera straps. Each model is available in three different colors: black, red and white. They are affordably priced at $10 each.

If you’re interested in buying one, please visit Hufa Holder.

 

 

Written by: Arnie Lee

 

 

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Tamrac’s very compact tripod

For photographers who like to travel light, Tamrac has introduced the ZipShot.

 

This is a very small and lightweight tripod. Weighing less than a pound and only 15″ long when folded, it’s easy to carry. Alana, the rep for Tamrac is showing me how the compact ZipShot easily unfolds for setup.

If you’ve set up a camping tent that uses fiberglass shock-cords, then you’ll understand how the ZipShot works. It has aluminum legs that stand 44″ above the ground and has a heavy duty ball head. Alana told me that the ZipShot can be used with equipment weighing up to 3 pounds so it won’t be useful for long, heavy telephoto lenses.

She also showed me the Quick-Release accessory kit for the ZipShot. Place the base to the ZipShot’s ball head and you can quickly attach/detach your camera to the tripod. Price of the ZipShot (TR406) is about $59. The Quick-Release kit (A120) sells for $20.

 

 
For more information about Tamrac’s ultra-light tripod see ZipShot

 

 
Written by: Arnie Lee

 

 

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Hand Grip and Shoulder Strap Combo

For much of my shooting, I’m out in the field exploring and enjoying the outdoors, nature and landscapes: you get the picture. I like to travel light so I rarely use a camera bag or backpack. As I’m walking, hiking, climbing, bending, kneeling and at times crawling, my cameras get a mighty good workout from jostling around on my shoulder and banging against my side.

Occasionally, I’ve used various camera shoulder straps. While these provide ample padding to cushion the weight on my shoulder, they do little to prevent the camera from swinging back and forth as I’m moving. As I was wandering through PhotoPlus Expo recently, I stopped by the Joby booth where their rep Kate showed me a new hand grip/shoulder strap combo. The UltraFit Hand Strap lets you comfortably hold the camera without having to use any finger pressure. You can carry a heavy DSLR with minimal effort and without the fear of dropping it.

You can also see the shoulder strap that’s hanging below the hand grip that Kate is holding. Flip the camera over and you’ll see that the hand grip attaches to the camera body with a Swiss-Arca style flat plate. For times when you want a hands-off way of carrying the camera you can screw Joby’s Pro Sling Strap to the plate. A short but strong tethering line minimizes the swing of the camera as it hangs from your shoulder.

 

The UltraFit Hand Strap with Plate sells for about $35. The Pro Sling Strap sells for about $30.

After talking to Joby and seeing it in action, I’ve already placed a set of these on order.

 

 
Written by: Arnie Lee

 

 

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The Case For a Tripod

I’ve never been a big user of tripods. I have nothing against using them and in fact I own several of them. I use a tripod mostly around the studio when shooting still life and products. But when I’m shooting out of the studio, I rarely take one along. I like the lightweight freedom and try to minimize the amount of gear that I carry. And I am not very patient trying to set up for a shot. When traveling by airplane a tripod is just not very convenient.

 

That being said, I found a tripod very helpful on my most recent outing. To be completely truthful, I didn’t use a conventional tripod. Instead I carried a Joby Gorillapod. The Gorillapod is a very lightweight flexible stand. It has a 1/4″x20 screw for mounting to your camera’s tripod socket. Its legs are jointed and bendable to provide a stable platform even when rested on uneven surfaces. I carried a Gorillapod with me while exploring Antelope Canyon in northern Arizona. These are slot canyons formed from sandstone and carved by wind and water over millions of years. What is thrilling about these formations is that light filters it way from above through narrow passages creating amazingly colorful visuals as you hike through the passageways.

 

During daylight, the canyon is dimly lit yet remains easily and comfortably walkable. Photographically, there is enough light in some areas to shoot handheld. However to capture images of some of the more dimly lit rock faces, you’ll need to use longer exposure times e.g. 1/2 second or longer. Not many of us can handhold at these slower shutter speeds.

Knowing this ahead of time, I mounted one of my cameras on the Gorillapod. As you can see from its short legs, when placed on the ground it’s not convenient to use unless you’re kneeling down. In the canyon, the rocks are the perfect surface on which to rest this mini tripod.

For much of the tour, I’m looking upwards towards the light entering the canyon from above. To capture a long exposure, I twisted the legs to conform with the contour of an adjacent rock surface to make a “rock steady” platform. I used this technique for exposures up to two full seconds.

If you too are a non-tripod guy like me, you might find it useful during one of these outings to include a very portable tripod. There are several brands of portable steadying devices. You can find out more about the one I used at Joby Gorillapod

If you’re interested in visiting these amazing slot canyons located near Page, Arizona, you’ll want to book a tour with one of the five Navajo owned companies. I chose an extended photo tour 2-1/2 hours instead of the normal 1-1/2 hour tours. I booked through Antelope Canyon Tours and our tour guide Rosie was splendid in pointing out many of the colorful formations and giving us photo shooting tips.

 

 

Written by: Arnie Lee

 

 

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Avoiding the $8,500 shock

Those of us who like to hunt wildlife with a camera know that you can never have enough mm of lens. But sticker shock kicks in when you look at the prices for a fast super-telephoto lens. Last year I made it a high priority to seek out an alternative way to acquire one of these highly sought after gems and ended up with a prized lens at a bargain basement price.

My lucky catch doesn’t have the features of late model glass, but neither does it doesn’t carry an $8,500 price tag. Instead of the a brand spanking new 400mm f/2.8 with auto focusing and vibration reduction I picked up a used 400mm f/3.5 manual focus lens. As you’ll see, although it lacks the convenience of the high price spread, it performs very well for my type of shooting. And at a price of about $600, it is a steal. If you’re a lover of long lenses that isn’t willing to take a mortgage out to buy one, follow along to see if the used lens approach can satisfy your equipment wants.

To be exact, my “find” is a Nikkor ED IF AI-S 400mm f/3.5 lens. There are no marks or scratches on any of the lens surfaces. The lens body shows heavy wear and a few scratches to the paint. It has a tripod collar, a built-in lens hood and accepts affordable 39mm drop-in filters or expensive very 122mm external filters. Mechanically, this lens has high quality optics; manual internal focusing (lens barrel does not extend or retract as it is focused) and automatic indexing so that the camera can determine the aperture setting.
To try out the lens, I mounted it on a Nikon D600 body. Notice the white dot on the lens.	Simply line up the white dot on the lens with the white dot on the camera body and twist counter-clockwise.
This monster of a lens weighs more than 6 pounds. You won’t want to handhold this camera and lens combo for very long. While it is possible to mount this combo directly onto a tripod, a more practical solution is to use a gimbal mount. Here’s one that I use.
Using the tripod collar on the lens, the combo is screwed onto the gimbal. The gimbal itself is mounted and balanced onto the tripod. With the arrangement, you can now frictionlessly tilt, swivel and pan the camera and lens combo to take aim of your subject.
There’s one final step to complete before we can use this older lens with a newer camera body. Newer Nikkor lenses owe their intelligence to a tiny CPU which controls the exposure settings. Since this lens does not have a CPU, you must “register” this lens to the camera by setting its maximum (widest) aperture. The Tools menu has an item for doing this.
Having registered the lens, there are two options for setting the exposure: ‘M” manual, where you set both the shutter speed and aperture or “A” aperture priority, where you set the aperture and the camera sets the appropriate shutter speed. In either case, you rotate the aperture ring on the lens to the desired lens opening. In “M” mode, you also dial in the camera shutter speed. In “A” mode, the camera automatically sets the shutter speed. You’re all set to take aim, carefully focus and fire away. Here’s a few of my first shots with the lens.
This photo is a full frame capture of a colorful duck. The lens’ large focusing ring lets me easily bring things into sharp focus.	To give you an idea of the quality of the lens, this is an enlargement of the duck’s head taken from the photo on the left.
How sharp is this lens? Full frame shot at f/5.6.	The enlargement here looks pretty sharp to me.
In this comparison of the same capture at f/3.5 and f/5.6 you’ll see a noticeable drop in sharpness when using the widest opening. The lesson for me: stop down to achieve the sharpest photographs.

At first I was a little hesitant about buying an older lens without the autofocus and autoexposure features that I’ve come to expect from newer lenses. After all, this lens comes from the early 1980s; isn’t it obsolete? Now that I’ve had some positive experience, I realize that quality equipment lasts for many years.

I feel that I hit the jackpot with this lens at a great price. Now I’m hoping to find some time to capture many more birds in the future.
 
 
 
Written by Arnie Lee
 
 
NOTE: While this article featured Nikon equipment, I’m hoping to look for similar money-saving angles for my Canon equipment.
 
 

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Underwater Photography – Blllllrrrrrpppp!

For those of us who spend their winters in the frigid cold, surrounded by ice and snow for months at a time, a visit to the tropics is a blessing. To me, the mention of the tropics brings warmth and water to mind. And that’s precisely what we were after when we booked a trip to the Big Island of Hawaii.

The weather there is predictably warm so it’s easy to pack: a couple of bathing suits, a few pairs of shorts and several shirts. And don’t forget the snorkeling equipment! As an avid picture-taker, my luggage also includes a camera or two so that I can record the events that we may encounter.

The least enjoyable part of the trip is getting there. It’s an all day affair starting with a short hop from our home in Grand Rapids to Chicago followed by a very long, 9-hour flight from Chicago to Honolulu. Clouds covered most of the flight path to the islands. These sparkling beaches of Oahu (to the right) are about the only sites that we see along the way and this only upon leaving Honolulu on a 45 minute connecting flight to Kona. And owing to a six hour time difference, we arrive in time for dinner.
Being in the middle of the Pacific, there’s water galore everywhere. The next morning, with our snorkeling gear in tow we head down to one of the local beaches.	For this trip, I’ve taken a camera that can be used underwater. I’ve never invested the thousands of dollars needed for a “real” underwater outfit, but this Olympus Tough 6000 will do the trick.
The Big Island is surrounded by shallow reefs lined with coral. Many of the popular beaches attract bathers for this exact reason. The coral is teeming with tropical fish and wildlife just a few feet below the water’s surface. Without heavy scuba equipment and expensive deep water photo gear, my small, relatively inexpensive camera makes it possible for me to record these amazing wonders of the ocean. Here’s some of my “catch” made simply by gently kicking my flippers, goggles and snorkel facing downward and camera in hand.
Colorful sea anemone among the coral.	We even spotted this mermaid among the coral!
Big Island Turtle – my wife captured this short video of a turtle that was swimming nearby.	A lovely sunset on the Big Island

 
So I returned home with a slight tan, a relaxed body and a nice set of photos of some spectacularly colorful fish. Of course these photos aren’t of the same quality that you’d expect from a full-blown underwater outfit. But I’m happy just the same having recorded some of nature’s gorgeous water landscapes with a very affordable camera.
 
 
 
Written by Arnie Lee
 
 

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Photokina Part 2 – the new stuff

Photokina is the largest photographic trade show and takes place every two years in Cologne, Germany. Photokina is a major venue where photographic manufacturers showcase their upcoming products. Here’s a short report about some of the new products that caught my attention during my short visit in late September.

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Walking the aisles, I observed two opposing trends taking place among the photographic equipment makers.

On one side, there’s a movement towards larger sensors. Advanced and professional photographers have typically chosen equipment that produces the highest quality images regardless of size and weight. Equipment with larger, full-frame sensors have dominated this category. In Part 1 of this article, I described several of the new full-frame cameras that I demo’d at Photokina.

On the other side, there’s is a flood of activity devoted to making smaller, higher quality cameras.
(more…)

Relearning things from the past   Not long ago as part of spring house cleaning, my wife had me rummaging through one of our closets. I happened upon a relic from the past – a film camera. Upon seeing it, nostalgia completely overtook my mind and I quickly loaded a roll of film into the camera and was out of the house and ready to take a stab at it the “old way”.

After years of using digital equipment, I felt a strange sensation going retro and having to set things manually. I was no longer comfortable shooting without the help of today’s “take in for granted” modern features: zoom lens, auto exposure, and autofocus.

Instead I felt compelled to plan each shot by positioning myself at the desired distance from my subject, picking a specific pair of shutter speed and aperture settings and carefully focusing before pressing an almost silent shutter button. Afterwards, I instinctively peeked at the back of the camera and felt slightly silly – there isn’t an LCD on the back of a camera from the 1950s.

I shot only one roll that day. Then I dropped off at the photofinisher and had to wait an entire day before I could see the results. Of course, the film is returned in an envelope with the proofs. But I find it hard to judge a photo from a 4″ x 6″ print so I scanned the negatives to see the results up close on a computer monitor.

Here’s a few of the shots.

For this photo, I first estimated the exposure and then I asked her to remain still for a few moments while I slowly focused the lens. I like the result.

Having scanned the negative, I used Lightroom to turn the color image into a greyscale. I prefer this photo which removes the somewhat distracting green color.

It’s been a few days since I’ve reviewed the 4″ x 6″ proofs. I am now able to deconstruct the process that I experienced that day.

Knowing that I was limited to 24 exposures, I carefully selected, posed and composed my subjects. Rather than snapping off six or eight shots of a single subject, I settled for one or two. Since I was shooting without the convenient features of late model cameras, I found myself checking and double checking the focus and exposure. I’m able to report that there’s a slightly liberating feeling of not having to (or being able to) instantly review each shot. I didn’t feel hurried to snap away. Instead, I took a few extra seconds so I could try to get things right in the camera.

I was able to catch the family dog resting so I didn’t have to rush my shot.

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I was so pleased shooting film after such a long respite that I retrieved these other cameras from storage. I bought a few more rolls of film and so I’m ready to go at it again the “old way”.

Caution: I quickly rediscovered that I need to brush the dust from the negatives before scanning. This is what happens to poorly scanned negatives. Don’t let this spoil your day.

Armed with a couple of these older cameras, I’m planning to go out and shoot more film.

I’m hoping to adopt this method of working more deliberately when I’m shooting with digital equipment. I’d like to improve my goal of getting it right in the camera. I think we can all learn a few things from shooting with film. Why not grab your trusty film camera and shoot a few rolls? It may do you some good.

Written by Arnie Lee

 

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