<body><script type="text/javascript"> function setAttributeOnload(object, attribute, val) { if(window.addEventListener) { window.addEventListener('load', function(){ object[attribute] = val; }, false); } else { window.attachEvent('onload', function(){ object[attribute] = val; }); } } </script> <div id="navbar-iframe-container"></div> <script type="text/javascript" src="https://apis.google.com/js/platform.js"></script> <script type="text/javascript"> gapi.load("gapi.iframes:gapi.iframes.style.bubble", function() { if (gapi.iframes && gapi.iframes.getContext) { gapi.iframes.getContext().openChild({ url: 'https://www.blogger.com/navbar.g?targetBlogID\x3d944685001832829029\x26blogName\x3dDSLR+video+making+guide\x26publishMode\x3dPUBLISH_MODE_BLOGSPOT\x26navbarType\x3dBLUE\x26layoutType\x3dCLASSIC\x26searchRoot\x3dhttps://dslrbuddy.blogspot.com/search\x26blogLocale\x3den\x26v\x3d2\x26homepageUrl\x3dhttp://dslrbuddy.blogspot.com/\x26vt\x3d7083394698123833930', where: document.getElementById("navbar-iframe-container"), id: "navbar-iframe" }); } }); </script>

Focal length and portraits

Sunday, January 31, 2010


When shooting a portrait, it’s also very important to pay attention to focal length
because, just as the sense of space in a large scene changes dramatically depending
on your focal length choice, people’s faces can be similarly distorted. Again,
here are two images framed with the subject taking up the same amount of space:

The left image was shot with a slightly telephoto lens. For the image on the right,
I switched to a wide-angle lens and moved in closer. Obviously, the wide-angle
lens has greatly distorted the man’s face. Note, too, the change in background. In
the left image, the oven in the background looks very close, whereas in the right
image it appears farther away. The wide angle lens has stretched the distance between
his nose and ear and between his head and the background.
Portrait photographers typically use a focal length that’s a little longer than a normal
lens. On the T1i, 50mm is just about perfect for flattering portraiture. When
combined with a large aperture, you’ll get nice portraits with a soft background.

Composing Your Shot

Composition is the process of arranging the elements in your scene—the shapes
and objects that comprise your foreground and background—to create a pleasing
image.

Earlier we looked at some simple composition rules: fill the frame, lead your
subject, don’t be afraid to get in tight. These guidelines can greatly improve
your snapshots and are relevant to all kinds of shooting. For more complex
subjects and to produce more compelling images, though, you’ll want to think
about some additional compositional ideas.

There’s no right or wrong to composition, but some compositions are definitely
better than others. Rules are made to be broken, of course, and many compositions
won’t ascribe to any particular compositional theory or set of rules. However,
when trying to make a photo—that is, when you’ve found an interesting
subject and you’re trying to figure out how to shoot it—remembering these compositional
ideas will help you explore and experiment, and will probably lead you
to better results.



[get this widget]
posted by DSLR MASTER, 9:43 PM | link | 0 comments |
Powered by Blogger Tutorials

The Rebel T1i Sensor/canon eos 500D

Friday, January 8, 2010

The Rebel T1i Sensor

In Chapter 2 we took a quick look at the anatomy of your Rebel T1i, and you
learned something about the architecture of an SLR camera. In that discussion
I mentioned the image sensor in your camera. As you already know, in a digital
camera, the image sensor takes the place of a piece of film and is the mechanism
by which the camera can “see” an image.
The image sensor is a chip that is mounted parallel to the back of the camera so
that the light focused by the lens hits it head-on. In the canon eos 500d, the image sensor
is the same size as a piece of APS film.

The Rebel T1i image sensor is based on a technology called complementary metal-
oxide semiconductor, or CMOS. All Canon SLRs use CMOS image sensors, while
many other SLRs and most point-and-shoots use Charge Coupled Device, or
CCD, image sensors. You will often see people praise the merits of one sensor over
another, and although these can be interesting engineering discussions, as a photographer
the only thing you need to worry about is final image quality.

If yourimage sensor delivers excellent images in a range of lighting situations—which
the Rebel T1i does—then the relative merits of sensor technology are fairly moot.
Whether CMOS or CCD, most image sensors employ the same basic design. A
rectangular area on the sensor is sensitive to light. This area is divided into a grid,
with one cell for each pixel that the sensor can capture. So, the canon eos 500d's 15-
megapixel sensor is divided into a grid with 15 million cells (for those of you who
are sticklers for accuracy, it’s actually closer to 15.1 million cells), and on each cell
is a tiny electronic circuit called a photo diode.
When you turn your camera on, the image sensor is given a charge, so that each
photo diode has a certain voltage stored in it. When you press the shutter button,
the sensor is exposed to light. When a photo diode is struck by light, it releases
some of its voltage, and the more light that it receives, the more voltage it releases.
After the shutter closes, the camera measures the voltage at each cell, to
determine how much signal struck each cell.

Since the camera knows how bright each pixel should be, and since it has so many
pixels on its sensor, the image sensor can build up a very detailed image. Obviously,
all of this happens in a fraction of a second, and in practice you don’t
have to worry about what the image sensor is doing at the individual pixel level.
However, you do have to think about the amount of light that you expose the
sensor to, because if there’s too much or too little, your shot will be ruined.
What’s more, you can change the method by which the sensor is exposed and
achieve very different results.



[get this widget]
posted by DSLR MASTER, 4:53 PM | link | 0 comments |
Powered by Blogger Tutorials

Canon eos 500D/t1i video to 24 fps

Thursday, January 7, 2010



canon eos 500d video to 24 fps, or cinema vision mode, its gives a real movie or cinema look to the video.



[get this widget]
posted by DSLR MASTER, 1:17 PM | link | 0 comments |
Powered by Blogger Tutorials

Recovering deleted images

Recovering deleted images

There will probably come a day when you will accidentally delete an image, or
even accidentally format your camera’s media card. You might be able to recover
deleted images from your camera’s media card.

The reason it’s possible to recover files that have been erased is that when you
delete a file, the camera doesn’t actually erase the image data. Instead, it removes
that image’s entry from the directory of contents on the card and marks
that image’s space as available. Even if you have already shot more images, the
image data for a deleted image probably hasn’t been overwritten. Special recovery
software can construct a new directory to your deleted files. When you realize
you’ve deleted an image that you want to recover, immediately stop shooting
with that card. Take it out of the camera and use a different card until you get
back to your computer.

Normal file recovery software (the type you use with your computer) won’t
work for your camera’s media cards. My favorite media card recovery software
is PhotoRescue from Data Rescue. You can download a fully functional version
of PhotoRescue for free from www.datarescue.com/photorescue. The free
download lets you analyze your card and shows you which pictures, if any,
it thinks it can recover. If you see images you want to recover, you can then
pay the $29 purchase price to unlock the software and perform the recovery.
What’s great about PhotoRescue is that you don’t have to spend anything to
determine whether you can recover your lost images.





[get this widget]
posted by DSLR MASTER, 12:46 PM | link | 0 comments |
Powered by Blogger Tutorials