Optical image stabilization is a technology used to mechanically compensate for natural angular movements cameras to prevent blurring of the image when shooting at long shutter speeds. The optical stabilization system built into the lens serves as a kind of replacement for the lens in a certain range of shutter speeds. The benefit from using optical stabilization is usually approximately 3 - 4 exposure stops. Thanks to the optical stabilization mechanism, in some shooting situations the photographer can increase the shutter speed and calmly shoot handheld.
Optical image stabilization technology dates back to 1994, when Canon introduced new system, called OIS (Optical Image Stabilizer - optical image stabilizer). The circuit of this optical stabilizer consisted of special lenses that corrected the direction of the light flux inside the lens and electromagnetic drives responsible for the deviations of these same lenses.
The stabilizing element built into the lens was movable along the vertical and horizontal axes. Upon command from the sensor, it was deflected by an electric drive in such a way that the projection of the image on the light-sensitive film (or matrix) completely compensated for camera vibrations during the exposure time. Thanks to this solution, at small amplitudes of camera vibration, the projection always remains motionless relative to the matrix, which provides the image with the necessary clarity.
The main difficulty in creating such optical stabilization was the precise synchronization of the photographer's hand shaking and the amount of deviation of the corrective lenses. However, Canon has successfully resolved this problem. True, it was not without some shortcomings. In particular, the presence of an additional optical element in the lens design reduces its aperture ratio.
The operating principles of the optical stabilization system, laid down in the early 90s, have largely remained unchanged to this day. Other leading manufacturers of photographic equipment followed the Japanese company and presented their optical image stabilization systems, which received brand names:
Canon - Image Stabilization (IS)
Nikon - Vibration Reduction (VR)
Panasonic - MEGA O.I.S. (Optical Image Stabilizer)
Sony - Super Steady Shot
Sony Cyber-Shot - Optical SteadyShot
Sigma - Optical Stabilization (OS)
Tamron - Vibration Compensation (VC)
Pentax - Shake Reduction (SR)
Despite different names and descriptions for these systems, they are based on the same approach, but may differ in the degree of effectiveness of camera shake compensation. Let's briefly go through various options optical stabilization from well-known photographic equipment manufacturing companies.
Canon
Canon, which is something of a pioneer in the field of optical image stabilization, has traditionally paid great attention to the implementation of this system in its lenses designed for SLR and compact cameras. Branded lenses with a built-in optical stabilization system are marked IS (Image Stabilizer). The IS system provides an additional group of lenses located in the middle part of the lens structure. An electromagnetic drive allows you to instantly shift one of the lenses of this group relative to the optical axis. The vibration of the camera is recorded using two piezoelectric sensors, which are often called gyroscopic. One of the sensors detects the horizontal displacement of the camera, while the other, accordingly, is responsible for the vertical plane.
Signals from gyroscopic sensors are processed by a microprocessor, which determines the amount and direction of image displacement relative to the optical axis of the lens. Next, the microprocessor actuates the electromagnetic drive of the stabilization unit to correct the image position by shifting the movable lens along two axes in a plane perpendicular to the optical axis of the lens. As a result, the image can be stabilized and the degree of “smearing” of the image is reduced. Tests show that the IS system can be effective when extending shutter speeds up to 2 - 3 stops. If necessary, it can be forcibly disabled.
For high-quality macro photography, Canon offers lenses with a built-in Hybrid IS optical stabilization system. Camera vibration and shake significantly affect the quality and clarity of the image when photographing small objects. And the standard optical stabilization system is not so effective here. New technology optical stabilization Hybrid IS provides for the addition of another sensor angular velocity to determine the degree of angle deviation due to the effect of hand shake, as well as a new acceleration sensor that determines the degree of lens displacement in a linear plane.
It should be noted that the displacement of the camera in the linear plane greatly affects the quality of macro photography. The IS unit now includes four sensors, rather than two, to more effectively compensate for the slightest vibrations of a digital camera. The microprocessor analyzes the signals coming from the sensors and, using a special algorithm, generates control signals to shift the stabilizer lens using an electromagnetic drive. The Hybrid IS system allows you to reduce the influence of both types of “shake”, that is, both sudden change the direction angle of the lens in a circular plane, and the camera displacement in a linear plane.
The Japanese company also uses Dynamic IS optical stabilization technology, which migrated to cameras from video recording. It is used in telephoto and wide-angle lenses when shooting videos. Dynamic Optical Image Stabilizer is designed to provide a more stable image when shooting video by compensating for low-frequency vibrations such as camera shake or handheld shooting.
Nikon
Other manufacturers are introducing similar technological solutions. In particular, Nikon uses the Vibration Reduction (VR) optical stabilization system in its lenses. An additional group of lenses with a movable element is also used here, and the amount and direction of camera displacement during the exposure of the image are calculated by a microprocessor. It processes data from two gyroscopic sensors at a rate of approximately 1000 values per second. If necessary, the microprocessor, through two electric drives, controls the displacement of the movable lens relative to its central position.
The VR system is activated automatically when the photographer presses the shutter button halfway. When the shutter button is pressed halfway, the image stabilizer is less effective and only reduces minor vibration for a comfortable frame in the viewfinder or LCD monitor. At the moment you press the shutter button completely, the movable lens is instantly set to the central position, which allows you to most effectively compensate for camera vibrations.
Thus, during the process of exposing the image, the most accurate vibration compensation mode is activated, providing a clearer picture. Using the VR system allows you to increase the exposure time several times. Various modifications of this optical stabilization mechanism (VR and VR II) are used in a wide range of lenses produced for Nikon SLR cameras.
Panasonic
Panasonic uses an optical stabilization system called MEGA O.I.S, which was originally developed by company specialists for branded video cameras, but was then adapted for photographic equipment. In particular, for use in digital cameras of the Lumix line with interchangeable lenses. To compensate for the displacement of the image projected through the lens relative to the light-sensitive matrix, the optical system is supplemented with a group of lenses with a movable element. Having detected camera vibration, the built-in gyroscopic sensor sends a signal to the microprocessor to calculate the correction. Then, based on the received data, the microprocessor shifts the stabilizer lens so that the light is directed precisely to the matrix. This entire process takes a few fractions of a second.
Owners of Lumix cameras equipped with the MEGAO.I.S. system can switch the stabilizer operating modes. The first mode provides for constant operation of the optical stabilizer, and the second assumes that the stabilization system is turned on only when the shutter button is pressed. Naturally, it is possible to completely disable the stabilization system in cases where this is dictated by shooting conditions or the desire of the photographer.
Pentax has its own proprietary stabilization system called Shake Reduction (SR). It was first introduced for commercial use in 2006, when the company launched the Optio A10 compact 8-megapixel digital camera. Pentax later began using this system stabilization not only in their compact, but also in SLR digital cameras.
Shake Reduction technology is based on shifting the camera matrix. In this case, it is no longer the movable stabilizer lens that moves vertically and horizontally, but the photosensitive matrix of the camera.
This stabilization system does not affect the lens aperture or the cost of the optics; there is only one stabilizer and is located in the camera body; it consumes less energy than focusing systems built into the lens.
When choosing equipment for video shooting, it would be a mistake to think that you just need to buy a fancy high-resolution camera and the picture will look good. In fact, if we watch a video shot by professionals, we can already see from the smoothness of the camera movement that the camera is mounted on something that allows us to avoid sharp turns and shaking. That is, in fact, they play an equally important role various systems, fixing the camera or allowing it to be moved smoothly. In the case of handheld shooting, the most modern version of such a system is electronic stabilizers (steadicams), which compensate for camera rotation due to built-in electric motors.
Let's take a closer look at what they do.
With any electronic stabilizer, the camera and the handle by which it is held are connected by two frames located perpendicular to each other. Between the frames there are three hinges driven by electric motors. Each of these electric motors keeps the camera from rotating along one of three axes. These three axes are usually referred to in aviation terminology:
- Roll - camera tilt left and right
- Pitch - tilt forward and backward
- Yaw - rotation around a vertical axis
The design of the stabilizer also includes gyroscopes, which, in fact, determine the desire of the camera to rotate around these axes.
From all this it is clear that even in its simplest form, an electronic stabilizer is a high-tech device, the capabilities of which previously could only be realized for a lot of money.
Depending on the tasks and budget, different cameras can be used for video shooting. Accordingly, since cameras have different weights, stabilizers differ in maximum load. Therefore, we decided not to mix everything together, but to consider these devices in order of increasing maximum load.
Electronic stabilizers for action cameras
Action cameras are compact in size, so stabilizers for them are lightweight. They can be used with monopod extensions, which turn them into an advanced selfie stick.
The most popular and widespread stabilizers are the Chinese company Feiyu. Their popularity arises from their low price, which, in turn, is due to their functional simplicity.
The first of the models with which it all began - designed for GoPro HERO 3 - served as the starting point for subsequent devices. For control, only two buttons are used here - one to turn on, the other to switch modes. The camera is only attached to the stabilizer; it is impossible to control the camera from the stabilizer. Feature Feiyu FY-G4 - it cannot be turned on without a load, that is, a camera.
It had three modes, depending on which axes remain fixed with the stabilizer and which do not. Later a model was released, the mount of which became universal and was suitable for cameras from other manufacturers.
The main improvement of another updated model is the ability to rotate the camera 360 degrees horizontally, as well as connect a GoPro to the connector on the stabilizer for ease of use, all this coupled with a new, more convenient mount for the camera itself. The stabilizer finally has a joystick to control rotation.
Another form factor of electronic stabilizers for action cameras is represented by the model. The name itself suggests that it is more compact.
It has a small body without a handle, as it is designed for installation on various mounts for action cameras. That is, you can put it on a bicycle, helmet, or any moving platform, and it will stabilize the fixed action camera. However, no one bothers you to attach it to a monopod and use it for selfie videos, like the FY-G4.
Stabilizers for smartphones
A professional is unlikely to purposefully shoot on a smartphone, but for an amateur it may turn out to be the main video recording device, fortunately modern models of “smart phones” allow this.
Feiyu launches the FY-G4 Pro and FY-SPG Live in this segment.
The main feature of the second one is the ability to rotate to a vertical shooting position and connect to a smartphone via Bluetooth. At the same time, it is installed on the smartphone special program, with which you can calibrate the stabilizer.
But the best stabilizer for this style of shooting is probably .
The main advantages of this device:
- The stabilizer connects to a smartphone via Bluetooth and can control photo and video shooting using dedicated buttons.
- The software supports face detection, so Osmo Mobile can automatically capture a person by tracking their movements by turning in their direction.
- The stabilizer supports motion timelapse function. The smartphone camera takes a series of pictures with a slight angle shift after each one, and then these pictures are combined into a video.
- The ability to upgrade image quality with the advent of new smartphone models.
- Ability to use the stabilizer with GoPro HERO using third-party mounts.
Stabilizers for cameras and video cameras
From compact stabilizers come the most simple models- with one handle. Here we return to the Feiyu models. The fact is that they have developed a stabilizer model similar to the FY-G4, only intended for cameras bigger size. This model is called FY-MG.
It supports cameras weighing up to 1 kilogram, which, of course, is not only a quantitative but also a qualitative leap.
When using such a stabilizer, it is necessary not only to adjust it to the weight of the camera, but also to adjust it to the center of gravity. Therefore, the FY-MG provides the ability to adjust the camera balance in all planes.
U of this device There are two versions: FY-MG Lite and FY-MG V2. The second differs from the first in a plastic carrying case and, most importantly, the presence of a holder in the kit that allows you to hold the stabilizer with two hands. Thus, the stabilizer has several usable configurations, shown in the photo below.
Devices of the DJI Ronin series, despite the same principle of operation as those of other manufacturers, have a number of qualitative differences that allow them to be considered as a separate class. Let's list these features:
conclusions
The choice of an electronic stabilizer is determined primarily by what kind of camera you want to use and what your budget is. This is not the case when you have to choose from many similar models, since the number of manufacturers in our market is very limited. One way or another, any electronic stabilizer significantly improves work productivity. In some cases, it can be replaced by a classic mechanical steadicam, which, oddly enough, gives a more natural stabilization effect, but that's a completely different story.
), including focus.
But still, why can photos sometimes be blurry? What else should you consider during the photography process to prevent this from happening?
How the stabilizer works in a camera
Today we will understand the concept of image stabilizer in SLR cameras. So, what is it and why is it needed?
The fact is that the lens and the camera body itself contain a set of complex internal mechanisms. Among them there are sensitive sensors that are responsible for the perception of camera movement in different directions and with at different speeds. That is, the camera processor initially takes into account the possibility of some error in obtaining the image.
With the help of a special device that counteracts this movement, we see the projected image on the screen clearly, without noticeable blurring.
Of course, at certain moments you need a stabilizer in the camera; without it, the photo will turn out to be of much worse quality than with it. This applies even to cheap point-and-shoot cameras. But built-in stabilization has its limits. Let's look at everything in more detail.
When stabilization is necessary:
- Trembling hands and unstable position of the photographer.
- Strong wind, shooting in motion or moving objects.
- Long focal length lenses. A long focal length can give a significant “shuffle”, which will certainly be reflected in the photo.
- A slow shutter speed required for special visual effects in a photo or in low light. As the shutter time increases and the resulting frame takes longer, the likelihood that the camera will move increases.
The consequence of image destabilization is invariably a blurry, unclear picture. These problems can be solved in some cases. So, problem No. 1 and partially No. 2 can be solved by using a tripod when shooting, or you need to take a more stable position with support on both legs.
It is very useful to train yourself not to move, to freeze when photographing. Beginners often have difficulty with this, but the camera needs time to take a picture, and in this regard there is no need for unnecessary movements.
To avoid camera shake when working with long focal lengths, as an option, you can come closer if the shooting conditions allow, then you won’t have to turn up the zoom of the device.
If you have a crop, but you need to multiply the number by the value (1.6 for Canon and 1.5 for Nikon). Thus we get 1/80 and 1/75, respectively. Thus, it is not recommended to shoot below these limits to avoid movement. Try to follow the rule, although it cannot be an absolute guarantee of getting a sharp shot.
If there is strong external vibration (shooting while running or in a moving car, in an open space in very windy weather, etc.), even a good stabilizer is unlikely to save you - just take this into account when shooting.
Stabilization in cameras of different models
Where to look for stabilizer in cameras? The switch is usually located on the side of the lens itself, next to the autofocus. And everything is simple with him - on. and off
Sometimes, however, some cameras have active and normal modes of operation of the stabilizer. The first should be turned on during large fluctuations in equipment, and the second during normal quiet shooting. Their differences lie in the frequencies and amplitudes of camera movement that they can suppress.
Regardless of the camera, stabilizers have the same principle - to make a sharp image, to prevent the appearance of blur and blurriness. The only thing is that its names may be different: for example, in Canon cameras the stabilization button is called Image Stabilization, in Nikon it is called Vibration Reduction. The abbreviation you will find on your cameras is IS and VR, respectively.
This concerns the stabilizer in the lens, but there are other options that have their own advantages. Manufacturers of some cameras (for example, Olympus, Sony, Nikon, Canon) have made a stabilizer built into the camera sensor itself.
We can say that stabilization in the lens is convenient, but on the other hand... what if you come across optics without a stabilizer and there is no stabilizer in the matrix itself?
Most likely, with such parameters of the camera, you will win in its lower price, but you will lose in quality. Thus, the stabilizer in the matrix is more reliable, it allows you to think less about whether there is or not this function for a specific lens.
For example, such a stabilizer in Nikon cameras is called “noise reduction” and is set in the menu.
External stabilizer
What can be an additional means to stabilize the camera? Of course it is. Here we have a wide variety of choices; it can be either a tripod or a monopod. A few words about the requirements for a tripod.
- A heavy tripod made of metal rather than plastic will cost more and be more difficult to carry due to the weight, but it will be more stable. This is a definite plus for stabilization.
- The higher you extend your tripod, the greater the potential for camera shake.
- Legs: they should be well fixed.
Any camera weights are, in fact, DIY stabilizers. Here craftsmen offer many options, but the main thing is good stability on the ground and immobility of the entire structure, achieved due to its weight.
If you are interested in the information and are ready to go further in learning photography. If you want to learn how to take photographs and get beautiful photos, then today it has become possible. As a guide, I offer you a video course “ My first MIRROR" This is a series of video lessons that will help you understand the basic and important points obtaining high-quality photographs.
My first MIRROR- for fans SLR camera CANON.
Digital SLR for a beginner 2.0- for fans of NIKON SLR cameras.
That's all for today. I look forward to seeing you on my blog again, goodbye and see you again!
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All the best to you, Timur Mustaev.
Cameras in smartphones have a constant tendency to improve. Smartphone modules are now being purchased additional functions, which were previously available only to high-end cameras. Optical image stabilization (OIS) is a good example - it makes images look sharper and smoother. In this material we will learn in more detail what this function is and how it works, and you will understand how much it will be needed in your next smartphone.
Optical image stabilization first appeared in commercial devices such as compact cameras and SLR lenses in the mid-90s. Thanks to it, users were able to take better photos without using a tripod. OIS works by moving optical elements to counteract camera shake, thereby reducing image blur.
Subsequently, twenty years later, this function reached flagship smartphones. Since the sensors in modern mobile devices are much smaller than those in traditional cameras, it takes some effort to get enough light in adverse conditions.
During operation, the camera detects the movement of the smartphone using special sensors (gyros and computers), and directs the movement of the lens to counteract external factors. The lenses move from side to side or up and down. There are also digital stabilization, she uses software in order to reduce the impact of movements.
And despite its features, iOS can't do anything if an object is moving too fast to capture it. The function can improve the image only if the hand you are shooting with shakes. This leads to clear advantages of optical image stabilization during video recording. Of course, it is possible to smooth out a video in various video editors, but it will take quite a lot of time and it is quite possible that the desired result will not be obtained.
OIS requires a larger camera module, which is why it is currently found in larger smartphones. Among such examples for Lately is Samsung Galaxy S7 and S7 Edge and LG G5. It is also interesting that the large iPhone 6 Plus and Plus 6s have OIS in their arsenal, while regular-sized models do not have this feature. It is likely that the small size of regular iPhones is to blame for this fact.
Camera manufacturers list equal equivalent shutter speeds on their products. This way, camera buyers have the ability to compare, unlike smartphone buyers. Manufacturers of the latter do not seem to want to repeat a similar experience and simply note only the presence or absence of OIS in their device.
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An optical image stabilizer is a device designed to mechanically compensate for camera vibration that occurs when shooting handheld and, thereby, reduce the effect of camera shake.
The benefits of optical stabilization are obvious: the stabilizer allows you to shoot handheld in low light conditions, using relatively low shutter speeds, and, despite this, get sharp pictures. In other words, in certain borderline situations, a stabilizer is quite capable of replacing a tripod for a photographer.
However, optical stabilization also has its own dark side, the existence of which photographic equipment manufacturers, as a rule, prefer to remain silent about. But the fact remains: if used inappropriately, an optical stabilizer can, depending on the circumstances, either improve or worsen the technical quality of your pictures. And if everyone is well aware of the advantages of optical image stabilization thanks to advertising, then photographers have to learn about its not so obvious disadvantages on own experience, which often leads to disappointment in one’s own photographic capabilities.
To protect you from both disappointment and dangerous optimism when using a stabilizer, I will try to talk about the principles of its operation, when a stabilizer is really useful, and, most importantly, when it is better to refuse to use it.
Everything that will be said below concerns primarily the Nikon VR optical stabilization system - simply because I myself shoot mainly on Nikon and my experience with other systems is insufficient to make any authoritative judgments. However, I will take the liberty of saying that almost everything that applies to Nikon VR also applies to Canon IS. Both Nikon and Canon use very similar optical stabilization modules built into the lens, and, by and large, the Nikon VR (Vibration Reduction) and Canon IS (Image Stabilizer) systems function approximately the same, differing only in name. Other similar systems are not far behind: Sony OSS (Optical Steady Shot), Fujifilm OIS (Optical Image Stabilizer), Panasonic OIS (Optical Image Stabilizer), Tokina VCM (Vibration Compensation Module), Sigma OS (Optical Stabilization), Tamron VC (Vibration Compensation).
Stabilizer built into the camera rather than the lens, as implemented in the Sony SSS (Super Steady Shot), Olympus IS (Image Stabilizer) and Pentax SR (Shake Reduction) systems, works a little differently, but most of my comments remain the same. strength and for intracameral stabilization.
Before moving directly to practical recommendations, let me at least briefly outline the internal structure and operating principle of the optical stabilizer so that you have a better idea of what it is capable of and why it behaves this way and not otherwise.
How does the stabilizer work?
The optical stabilization module in Nikon VR and Canon IS systems is built into the camera lens and consists of the following components: a movable optical element (lens), which is part of the optical circuit of the lens; angular velocity sensors (ARS), measuring camera vibrations; electromagnets that move the optical element in accordance with the readings of the DUS and a microcircuit that ensures the coordinated interaction of all components of the system.
The VR and IS systems have two angular velocity sensors with piezoelectric gyroscopes. One of them is used to determine camera deviations relative to the transverse axis, and the other monitors deviations relative to the vertical axis. If we use aviation terms, the first sensor is responsible for pitch camera, and the second - for yaw.
When the stabilizer is active, information about the direction, speed and amplitude of camera movements is read at a frequency of 1000 Hz, i.e. 1000 times per second. This data is processed by a microprocessor, which in turn forces electromagnets to move the optical element of the stabilizer, thereby changing the trajectory of the light rays inside the lens. As a result, the projection of the image remains more or less motionless relative to the camera matrix, and the photographer is able to take a clear photo, despite the vibration.
Please note that the two-sensor system described above is not capable of dealing with camera vibrations relative to the longitudinal axis, i.e. roll, which in particular occurs when you press the shutter button too hard.
Also, classic VR and IS do not take into account the camera's vertical or horizontal shift parallel to the focal plane, since angular velocity sensors are only capable of recording rotations. This is not big problem, since the contribution of parallel vibrations to image blur is negligible, except when shooting from very short distances. In this regard, some Canon lenses are equipped with a Hybrid IS system, designed specifically for macro photography and also responds to parallel camera shift.
As for the optical stabilization systems built into the camera, they generally work on a similar principle, with the only fundamental difference being that the camera matrix itself acts as a moving element, and not the lens lens. Modern systems In-camera stabilization is capable of taking into account roll, pitch, yaw, as well as vertical and horizontal camera shift.
The main advantage of systems with a moving matrix is that the stabilizer works with any optics. This saves you from having to overpay every time you buy a new lens with a stabilizer, as happens when using Nikon or Canon equipment. Moreover, Nikon and Canon only have telephoto lenses of the latest generations stabilized, and a significant part of normal and wide-angle lenses, in principle, do not have versions with a stabilizer.
A significant drawback of in-camera stabilization is its relatively low efficiency when working with long-focus lenses. But it is when using telephoto lenses that the movement is most noticeable and increased demands are placed on the stabilizer. The longer the focal length of the lens, the greater the speed and amplitude of the photosensor must move to compensate for vibration, and the degree of its mobility inside the camera is very limited. At the same time, the stabilizer built into the lens only needs to slightly move its optical element so that the projection of the image on the matrix moves a distance sufficient to eliminate vibration. As a result, such systems can operate faster and more efficiently.
The main rule
The most important rule for using VR and IS is: The stabilizer should always be turned off, except in cases where its use is justified. In short, the default switch position should be “OFF”.
This may seem strange, given the fact that both advertising and official instructions It is recommended to keep the stabilizer turned on all the time and turn it off only when shooting from a tripod. Manufacturers of photographic equipment insist that a stabilizer cannot harm your photographs, while experienced photographers prefer to adhere to a completely opposite opinion: yes, a stabilizer is useful and sometimes even irreplaceable, but if used improperly, it is more likely to lead to image degradation . Optical stabilization is first and foremost a solution to a problem, and if there is no problem, then an improperly used stabilizer can become a problem itself.
By using the word “degradation,” I may have gone a little overboard. In fact, even an incorrectly used stabilizer rarely renders the image completely unusable. It’s just that on modern high-resolution cameras it does not allow you to get what is called “ringing sharpness.” Yes, the pictures come out more or less sharp, but this is not the same sharpness that can be achieved by shooting in windless weather from a tripod with the mirror raised and the stabilizer turned off.
Thus, if you do not suffer from perfectionism or reduce all your pictures by fifty times for publication on social networks, then, of course, you do not need a crystal clear multi-megapixel picture, and you can easily keep the stabilizer on all the time, as manufacturers recommend doing. – the pictures will be quite sharp. If you expect the highest possible technical image quality from your equipment, then you should take a more conservative approach.
It is the fact that turning on the stabilizer at the wrong time worsens the image very slightly (but still worsens) that forces me to adhere to the strategy described above: keep the stabilizer mostly turned off and turn it on when really necessary.
Don't get me wrong: sharpness drops both when the stabilizer is turned on, but should be turned off, and in the case when the stabilizer is turned off, but should be on. Moreover, in the second case, sharpness may suffer even more than in the first. But learning to recognize situations when the stabilizer should be turned on is much easier than situations when it should be turned off. And if I forget to turn on VR, I will quickly notice the consequences of this and turn it on, and if I forget to turn off VR, then I will only be able to notice my mistake when I return home and look at the pictures on the big screen, i.e. when it is too late to fix anything.
When a stabilizer is useless
Optical image stabilization is absolutely useless in two situations: when the lack of sharpness is not associated with camera movement and when shooting at objectively long shutter speeds.
Regarding the first question, it should be understood that the optical stabilizer compensates only and exclusively for camera vibration. He can't do anything about the movement of his subject. If you want to freeze motion, you will need a fairly fast shutter speed anyway, regardless of whether you use a stabilizer or not. VR and IS allow you to increase shutter speed with impunity only when shooting static scenes. If the subject is moving and moving quickly, the stabilizer will not help you.
In the same way, the stabilizer is not able to correct focusing errors, lack of depth of field and other technical errors that steal sharpness - it just eliminates vibration.
When it comes to long exposures, a tripod will be more useful than VR or IS. With help wide angle lens With a stabilizer, I managed to get more or less sharp shots, shooting handheld at a shutter speed of 1/8 s, but this is already a toss-up game. At shutter speeds around 1 s and longer, no stabilizer will provide you with acceptable sharpness. Those. Of course, there will be an effect from stabilization: instead of disgusting quality, you will get simply bad quality. But is this what you are striving for? It’s better to take a tripod and enjoy uncompromising sharpness at arbitrarily long shutter speeds.
When is stabilization most effective?
VR and IS are most effective in the 1/30-1/60 s shutter speed range. This does not mean that all your pictures will be sharp - just that the percentage of sharp pictures, all other things being equal, will be greatest in this range. Again, this does not mean that at other shutter speeds stabilization will not work - it will, but its effectiveness will be somewhat lower. In general, you can expect a stabilizer to have a positive effect on sharpness at shutter speeds from 1/4 to 1/500 s. It’s just that at long shutter speeds (1/4-1/15 s) the stabilizer will be of little use and the sharpness of the pictures will be very poor in any case, and at short shutter speeds (1/125-1/500 s) the movement is not very good even without stabilization - it's noticeable. After 1/500 s (and sometimes earlier), the rules of the game change somewhat, as will be discussed below.
The stabilizer does not guarantee sharpness, but rather increases the likelihood of getting a sharp shot. Sometimes even with a stabilizer the picture turns out to be blurry, and sometimes you are lucky and the picture comes out sharp without any stabilization and even with a relatively long shutter speed. The difference is that with a stabilizer the percentage of defects will be significantly lower, and the greatest difference here is noticeable precisely at moderate shutter speed values, i.e. 1/30-1/60 s. The gain of 4 exposure levels promised by marketers falls exactly within this range. However, according to my observations, a gain of 2-3 steps is the realistic maximum that can really be expected from a stabilizer operating under optimal conditions.
The need for stabilization increases sharply as the focal length of the lens increases. An optical stabilizer in a telephoto lens is not just a fashionable option, but a truly necessary and useful device. The longer the focal length, the more difficult it is to get a sharp shot without a tripod and the more noticeable the contribution of optical stabilization even at relatively short and safe shutter speeds. However, not everything here is as simple as it might seem at first glance.
Short exposures
At shutter speeds above 1/500 s, it is advisable to turn off the stabilizer. There will be no benefit from it. The fact is that if Nikon is not lying and the sampling frequency of the stabilizer is really 1000 Hz, then the Nyquist frequency (half the sampling frequency) will be only 500 Hz. In other words, the stabilizer’s microprocessor is capable of processing information about oscillations with a frequency not exceeding 500 Hz or 1/500 s without errors. Even with vibration at 500 Hz, the system will operate at its maximum capacity. Higher frequency vibrations may not only not be suppressed, but even aggravated due to sampling errors. With vibration with a frequency of over 1000 Hz, it is simply naive to expect any positive effect from the system.
Thus, at high shutter speeds, an optical stabilizer is useless for the reason that we are protected from low-frequency fluctuations by a short shutter speed, but it still cannot cope with high-frequency fluctuations.
At the same time, the angular velocity sensors continue to work, and the movable optical element continues to move frantically. Those. The stabilizer itself is a source of high-frequency vibration - you can hear it buzzing. At normal shutter speeds, we're willing to put up with this because we're concerned with combating more intense low-frequency vibration, but when shutter speeds become so fast that they easily cut out gross vibration, sacrificing potential pixel-by-pixel sharpness just because we're too lazy to turn off the stabilizer is unwise.
Shooting from a tripod
If you are using a tripod, it is again better to turn off the stabilizer. Even photographic equipment manufacturers agree with me on this issue. Compared to a stabilizer, a tripod provides a better, and, most importantly, more predictable result.
When the camera is mounted on a tripod, the stabilizer, forgotten when it is turned on, may well turn out to be the main source of vibration. Trying to catch non-existent vibrations, the stabilizer itself generates vibration. This vibration, amplified by the resonance in the legs of the tripod, is perceived by the stabilizer as something external, and provokes it into an even more active fight against vibrations, the cause of which it itself is. This is somewhat reminiscent of guitar feedback.
My advice to turn off the stabilizer when shooting from a tripod also applies to more advanced optical stabilization systems (like Nikon VR II), which supposedly can automatically detect by the absence of shake that the camera is on a tripod and turn off independently. In my opinion, the ability of these systems to distinguish true from phantom vibrations is not reliable enough to be relied upon. Forced manual shutdown of the stabilizer protects me from any vagaries and errors of overly smart electronics.
Despite all of the above, there are circumstances that justify the use of a stabilizer even on a tripod. We are talking about those cases when the camera, even mounted on a tripod, still remains unstable, i.e. firstly, when the very surface on which the tripod stands is subject to vibration, secondly, when you shoot while holding the camera with your hands and not firmly fixing the tripod head, and thirdly, when using a monopod. However, in these cases, the use of optical stabilization is not necessary, although sometimes it can have an effect positive influence for sharpness.
Shooting from an unstable position
In some situations, camera shake can be particularly severe. Whenever you take a photograph while walking, or hanging, or holding the camera at arm's length, or even in one hand, you are kindly inviting a little girl into the frame. In general, I advise avoiding such situations, but when they are unavoidable, optical stabilization will come in handy. For example, some non-standard angles are simply unattainable if you hold the camera strictly according to the regulations. And it is difficult to ask a climber who is hanging over a cliff and wants to casually photograph a high-mountain landscape to take a somewhat stable position or use a tripod. In a word, if circumstances require, feel free to turn on the stabilizer - according to at least, it will save you from gross out of focus and allow you to get an interesting photo.
Photography with Vehicle in motion: cars, boats, helicopters, cable cars, etc. Here, rather intense external vibration is added to the tremor of the photographer’s hands, and therefore the use of a stabilizer is very, very desirable. You still can’t expect ringing sharpness in such conditions, so let the stabilizer make your life a little easier.
You should never lean on the side of a motorboat or press the camera against the window glass. Try to sit or stand in such a way that, if possible, you do not lean against any structures that conduct vibration. Hold the camera in your hands and let your body itself extinguish most high frequency vibrations.
Some Nikon lenses have a VR mode switch: Normal and Active. So, the Active mode is designed specifically for such extreme situations, when not only the camera shakes, but everything around shakes. When shooting from a stable position, you should select Normal mode. It is designed for a smaller vibration amplitude and standard conditions works more accurately.
Shooting with wiring
When shooting with wiring, it is appropriate to leave the stabilizer on.
On Canon lenses equipped with an IS mode switch, you should select mode 2, which is designed specifically for panning. In this mode, the stabilizer compensates only for those vibrations that are perpendicular to the direction of wiring.
Nikon VR does not have a special mode for panning, since panning is detected automatically. The system itself notices when you smoothly move the camera in a certain direction, and does not try to compensate for this movement. Perpendicular vibrations are processed in the usual manner.
Smoothness and continuity of panning are key here. Stopping or slowing down the wiring at the moment of releasing the shutter is not only quite a serious mistake in itself, but also confuses the stabilization system, forcing it to perform unnecessary actions.
Stabilizer and back button focusing
If you use the AF-ON or AE-L/AF-L button to focus, then you should remember that this button only activates autofocus, but not the stabilizer. Activation of the stabilizer is still controlled by the shutter button, and it is advisable to press it in two steps. Having focused using the AF-ON button, press the shutter button all the way, and only when the stabilizer elements begin to move (usually this takes a split second), press the shutter all the way. You don’t have to wait for the stabilizer to wake up and immediately press the trigger to the second stop - the stabilizer will still turn on and do everything in its power to eliminate the movement. It’s just that if you still give him half a second to spin up the gyroscopes and analyze the nature of the vibration, he will be able to act more efficiently. Additionally, when you press the shutter button in two steps, the camera experiences significantly less shake than if you put your finger on the shutter in one fell swoop. Do not forget that neither VR nor IS can compensate for the roll that occurs with this approach.
Stabilizer and flash
If you use the built-in flash of your camera at least from time to time (and only professional cameras do not have a built-in flash), then perhaps another unpleasant surprise awaits you: while the flash is recharging, the stabilizer does not work. Due to the fact that both the flash and the stabilizer are quite active consumers of electricity, the camera is forced to restrain their competition for access to the battery, and it does this by turning off the power to the stabilizer until the flash capacitor is fully charged. The camera rightly assumes that since you've turned on the flash, you're probably interested in recharging it as quickly as possible, even at the cost of foregoing stabilization. If the flash is operating at maximum power, it may take up to several seconds to fully recharge. The only radical solution to this problem is to install an additional flash with independent power supply into the hot shoe.
Effect on bokeh
One of the unpleasant features of optical stabilization systems built into the lens (like Canon IS and Nikon VR) is their Negative influence on areas of the image that are out of focus, i.e. bokeh The stabilizer is designed to keep objects in focus sharp and, when engaged, moves its optical element in accordance with this task. In this case, the optical path of all rays changes, and not just those that converge in the focal plane. This is fraught with a difficult to predict change in the degree of correction of the lens’ spherical aberrations, which in turn can lead to a change in the nature of the bokeh. Usually, when the stabilizer is turned on, the circles of confusion acquire slightly more pronounced boundaries, and the bokeh becomes a little harsh in appearance. However, this effect is so insignificant and unnoticeable that I personally do not consider it necessary to attach great importance to it.
Obviously, the stabilizer built into the camera does not have any effect on the bokeh, since the light rays pass their entire path through the lens, without additional deviations from the path specified by the lens design.
Isn't this all too complicated?
Perhaps it’s a bit complicated. But what to do? Since you started reading this article and made it almost to the end, it means that you take the quality of your photographs very seriously, and a capricious stabilizer will not scare you.
Frankly, I myself do not always follow my own recommendations, and sometimes I leave the stabilizer on even at short shutter speeds, when I could easily do without it. I become especially liberal during hikes and long walks over rough terrain, when the tremors of my hands noticeably intensify due to fatigue, and I have no time to take out a tripod or am too lazy. But in the most critical moments, when the quality of pictures becomes of fundamental importance to me, I try to be extremely conservative and not turn on the stabilizer without a good reason.
This brings us to another interesting question: is it even worth buying a lens with a stabilizer if there is a similar model without it on sale? Very often, conventionally outdated lenses without VR and IS can have excellent optics and at the same time cost significantly less than more modern stabilized models. As for budget zooms, the premium for the stabilizer is usually small, and therefore the purchase of the latest models is almost always economically justified. In the end, all other things being equal, a lens with a stabilizer is better, at least because it is more versatile. Look, stabilization will come in handy. But when it comes to buying expensive professional glass, the price difference between stabilized and non-stabilized versions of the same lens can be quite significant. For example, the Canon EF 70-200mm f/2.8L IS USM, popular among photojournalists, costs $2,400, while the slightly inferior Canon EF 70-200mm f/2.8L USM costs only $1,400. And this difference is not the limit.
Analyze your needs. If you are into photography sports competitions, and, therefore, you work mainly at short shutter speeds, then the stabilizer will not help you much. If you mainly photograph landscapes and architecture, and even from a tripod, then you don’t really need a stabilizer. The same is true when working with studio flashes. And only if you regularly shoot handheld in low light conditions, and your subjects are not very agile, will a stabilizer be a good help for you.
Thank you for your attention!
Vasily A.
Post scriptum
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