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The light flux, when passing through the camera lens, is weakened to some extent, and therefore the image formed by the lens will often have a lower brightness than the photographed subject. The more light will pass through optical system to the matrix or film, the faster the subject is. This is what aperture is.
Light Level Ratio optical image, which is formed by the lens in the plane of the photosensitive material, to the brightness level of the photographed object is called lens aperture.
This parameter is characterized by the value of its relative opening. This relative lens aperture characterizes the ratio of the diameter of the active aperture of a photographic lens to its focal length. The aperture value is indicated by a fractional number, for example, 1:3.6 or 1:1.7. For greater ease of use, only the denominator of the fraction is usually marked on the aperture scale.
Numerical expressions of the main characteristics - focal length and aperture value - are applied to the frames of photographic lenses.
Photographic lens with great value aperture will be very convenient when shooting in low light conditions. However, if the photographic subject is illuminated quite brightly, then the high aperture value of the photographic lens will only be a hindrance, since the brightness of the image created by it will already be so high that even if the fastest shutter speed is used, the image will be overexposed.
When shooting with a fast lens, certain difficulties may arise with adjusting the depth of field. For example, in very bright sunlight conditions, it will be necessary to stop the lens as wide as possible in a way that, as we already know, will lead to an increase in depth of field. This circumstance may in some way limit the creative freedom of the photographer.
So, if photography is carried out in very bright sunlight, the diaphragm hole will have to be “clamped”. But, for example, portrait photography requires a low depth of field, which can only be achieved at low aperture numbers. What to do in this situation? In practice, the problems of increasing depth of field with increasing illumination are partly solved by adjusting the sensitivity of the matrix or choosing film with a minimum ISO value. Another option is to install a special “darkening” filter on the photo lens. As a rule, the maximum aperture value is indicated on the lens barrel, but manufacturers sometimes also add the aperture value at the highest aperture number in parentheses.
Theoretically, the maximum lens aperture can reach 1:0.5. However, in reality it is much smaller, and the most common lenses are with an aperture ratio of 1:1.4 and below.
For most zoom lenses, the aperture level changes at different focal lengths. As the focal length increases, the aperture ratio will decrease. In manually controlled cameras, the variable zoom aperture caused certain difficulties and inconveniences.
We used modern devices with electronically controlled will not experience problems with measuring light when installing a zoom lens with variable aperture, since the real aperture value is usually determined, and the electronics monitor the set value without additional user assistance.
For a zoom lens, only some professional zooms have a relative aperture of 1:2.8, while for other zoom lenses the maximum aperture value is about 1:3.5-1:4.5.
High-aperture optics make it possible to take a good shot even in low light conditions.
You've probably noticed that the lenses of many photographic lenses have a purple or bluish tint. It may appear that the glass these lenses are made of is colored. However, you can easily verify that this is not the case. If you look at the light through the lens, the lenses will appear completely colorless. The coloring of the lens glass is obtained only in the side rays of light. This effect justified by the so-called “optical refraction”. What is it and why do you need to clear your optics?
The thing is that light rays, passing through the lenses of a photographic lens that does not have an anti-reflective coating, will encounter several glass surfaces on their way and will be reflected from each of them many times. The rays, as a result of such re-reflection, create a diffuse glow inside the lens. Although it is quite weak, even so it causes flare of the frame. This will appear as a haze in the photo, reducing the clarity and overall contrast of the image.
In coated photographic lenses, the surfaces of the lenses practically do not reflect light, and negative optical phenomena are significantly reduced - the picture becomes cleaner and more transparent.
The principle of lens brightening is that a thin film of a transparent substance with a refractive power that is significantly lower than that of glass is applied to the surface of external optical lenses. And at a certain thickness of a given film, the aperture ratio and the amount of light that is reflected by the surface of the lenses decreases significantly. In this case, the antireflective film will acquire interference coloring, which is visible exclusively in reflected light.
Another parameter of a photographic lens, in addition to aperture, which directly affects the quality of the photograph is resolving power. It is estimated depending on the number of strokes reproduced per 1 millimeter of the image that the photographic lens can project on the photosensitive element (digital camera matrix or photographic film). It goes without saying that the subject being photographed is in focus.
Resolution measurements are carried out using special world-test tables, on which strokes of various lengths and widths are applied. These tables are photographed at the largest working aperture of the lens, after which the image is viewed and, depending on the number of lines separately transmitted by the photographic lens, conclusions are drawn regarding its resolving power. An indicator of the resolving power of a photographic lens is the number of lines that are separately transmitted by the lens per 1 millimeter in the image plane.
In the center of the frame, the aperture and resolving power of the lens will always be higher than at the edges, so the technical specifications indicate two values: for the edges and for the center of the frame. Some modern lens models have very high resolving power, up to hundreds of lines per millimeter. Resolving Power good lens often even exceeds the resolution of a digital camera matrix or the grain structure of photographic film.
To understand better what a resolving power is, for example, 50 lines per millimeter, it will be enough to remember that the human eye from the distance of its best vision (about 25-30 centimeters) in one millimeter is capable of distinguishing no more than a dozen lines.
Modern models of photographic lenses are tens of times sharper than human vision. This makes it possible to enlarge prints of photographs without loss of sharpness and while maintaining fine details.
03.12.2011 13491 reference Information 0
Lens aperture is a value that characterizes the degree to which the lens attenuates the light flux. To understand what a fast lens is, let's look at how the lens affects the flow of light.
As you know, when taking photographs, light hits the matrix, forming an image. The lens weakens the light output. This degree of attenuation is called aperture ratio.
In simple terms, aperture - maximum amount light that the lens is capable of capturing. Lens aperture refers to the maximum open aperture (the opening through which light enters the sensor). It is characterized by a minimum aperture number. That is, the lower the number, the more the aperture is open and more light enters. The minimum aperture number corresponds to the declared aperture ratio. So, with aperture f/2, the aperture number can be two or higher.
If the lens is not a prime lens (with a fixed focal length), then two pairs of numerical characteristics will be indicated on it: the first pair is the minimum and maximum possible focal lengths, the second is a variable aperture ratio corresponding to these focal lengths (the first number is for the minimum, the second is maximum). There are also more expensive lenses that have a fixed aperture ratio at a variable focal length.
Why do photographers chase fast lenses?
There are many reasons. In a SLR camera, sighting is carried out through the shooting lens - and with relative apertures of 1/5.6-8, the human eye no longer catches the image well, that is, a fast lens is more comfortable for the photographer.
A fast lens allows you to shoot at faster shutter speeds, which is vital when photographing sports and wildlife, because to stop the movement of a bird’s wings, shutter speeds shorter than 1/1000 s are needed. The longer the lens, the more it needs short shutter speeds when shooting handheld, otherwise it is easy to “blur” the image.
A fast lens can shoot in more difficult light conditions, so those who shoot indoors - fashion, dance, and some sports photographers invest in very expensive long-focus lenses with an aperture of f/2.8 and f/2, or even more.
A fast lens can be used to shoot at low sensitivity. IN digital cameras Lower sensitivity and shorter shutter speeds produce images that are freer from noise.
An important factor for artistic photography- By changing the aperture value you can change the depth of field. At full aperture, at apertures greater than f/2.8, the depth of field (DOF) is shallow, allowing the background, foreground, or unnecessary details to be blurred. This quality is difficult to replace with anything in portrait photography, and in general it is essential for almost any genre, except, perhaps, landscape. The portrait, by the way, does not like too bright light.
small depth of field
For telephoto lenses professional level The aperture ratio is also important because they are used as part of a photo system with converters that increase the focal length. For example, a 300 mm professional telephoto with a one and a half converter turns into a 450 mm, and with a double converter - into a 600 mm.
The aperture ratio also has one technical limitation. Autofocus systems work reliably at apertures up to f/5.6. At smaller ones - (f/6.3, f/6.8 - they usually work, but unreliably and less accurately, and at f/8 or f/11 they don’t work at all. But when the focal length increases by the square root of two, the aperture drops by one step. Accordingly, a telephoto camera with an f/4 aperture and a 2x converter will not work in autofocus mode, since the resulting aperture will be about f/8, and the viewfinder will be visually darkened.
At the same time, the aperture also changes when focusing. For example, if a lens is focused on an object at a scale of half its natural size (1:2), then its aperture drops by one step, and if the natural size is taken, even by two. Thus, at the initial relative aperture of f/4, autofocusing will become impossible at all.
This is why photographers spend more money and wear heavier lenses, although they could use light and inexpensive zooms with exactly the same focal length range.
I thought that I would write the rest in about a month. But no matter how many times I started, I couldn’t sit down calmly and continue the topic. Now there is some time to sort out the characteristics of optics, as they say, on the shelves, and the second part is in front of you. Let me remind you that in the previous article we talked about the focal length and its recalculation taking into account the crop. Today we will take a closer look at aperture and its derivatives - shutter speed and depth of field.
Aperture
Once you have decided on the required focal length, aperture is the second most important lens parameter. What does it influence? First of all, on shutter speed - the higher the aperture, the slower the shutter speed, which means you can shoot in darker conditions without a tripod. The second is blurring the background; all other things being equal, the higher the aperture ratio, the less depth sharpness and the more the background is blurred. I dwelled on this issue in detail in the article ““, so I won’t repeat it here, but I’ll still tell you in a nutshell.
The aperture of a lens is essentially determined by how wide the aperture is open. In the markings, for example, Canon EF 50mm f/1.4 USM, the maximum aperture value is indicated as f/1.4. With rare exceptions, Canon has a lens with an aperture of 1.2 and seems to have been prepared with a value of 1, all other lenses have a “narrower” aperture such as 3.5 or 4 or even 5.6. Maximum values can be constant for high-quality optics (one number is indicated) or variable depending on the focal length for optics of a lower class (numbers are indicated with a hyphen). The photo on the left used an aperture of 2.2, even for many professional lenses The L series does not offer this level of blur.
The influence of aperture on shutter speed
I think now there shouldn’t be any problems with determining the aperture value, so let’s talk about why we need this in real conditions, not in theory. A small aperture makes the lens appear brighter or faster, whichever you prefer, compared to a larger aperture. In other words, a lens with aperture 2.8 would be better suited for working in the twilight or for shooting a dynamic football match than optics with aperture ratio 4. A lower shutter speed in the first case will allow you to get clear, bright handheld photographs, because with a wider aperture, more light will reach the matrix in the same amount of time. And in the second it will stop the moment of the game, because... the shutter speed will be very short and the camera will catch the most fast movement without blurring the players.
As an illustration, I will give the photo above. The shooting parameters were as follows: shutter speed 1/1000s, aperture 4.0. These values made it possible to obtain a clear photograph of the athlete, although the speed upon landing was quite noticeable. But if it had been darker, the shutter speed would have increased and the figure of the jumper would have been blurry, and this is where faster optics would come in handy.
Lens aperture and background blur
I hope this is clear, now the second aspect is background blur. In short, if you want beautiful background blur, take a fast lens. Inexpensive kit lenses and L series lenses with an aperture of 4.0 are quite suitable for photographing architecture, landscapes, product photography and studio work. In these genres, all objects in the frame must be sharp, and background blur rather interferes. But if you want to shoot portraits, then separating the model from the background becomes very important task and this is where optics with a wide aperture come to the rescue, because the wider the aperture is open, the more the background is blurred. A shallow depth of field can also be useful in macro photography.
For example, let's look at a photograph of a lizard. Aperture value - 2.8, the background blurred and the viewer's attention is focused on the reptile. Already at aperture 4.0 there is significantly less blur, which will make the photo look flatter and distract from the main subject.
Optical stabilizer
Lenses for Canon and Nikon cameras can be equipped with image stabilization. Denoted by the letters IS for Canon and VR for Nikon. You can read more about why a stabilizer is needed in my other article in the “shutter speed” section. Sony has a stabilizer built into the camera itself and, accordingly, choosing a lens is somewhat simpler.
This digression appeared in the article on aperture ratio for a reason. If blurring the background is not important to you, but quite often you shoot in low light, then having a stabilizer allows you to save quite a lot on the purchase of a lens. You can take a slower lens, but with a stabilizer, and the shutter speeds at which blur-free photographs will be obtained will remain approximately the same. In addition, lenses with smaller apertures are usually simpler in design, which allows them to significantly reduce their weight, and this can sometimes be a big advantage.
To summarize the article, I will formulate a brief conclusion on the aperture ratio of the lenses. The higher the lens aperture, the wider the range possible conditions lighting and even more beautiful background blur can be obtained, the other side of the coin is, of course, the price, which increases with the aperture ratio.
What is written on the lens?
Please look at this lens - what do the numbers on the lens barrel mean?
Lens aperture is the value of the lens aperture when it is fully open
For the lens in the photo just above, the lens aperture is 2.6. And what the number is less those Lens aperture is greater. Paradox?
There is no paradox here... when we say MAXIMUM APERTURE, this means that it is completely open and we mean the size of the aperture opening, and not its designation by a number. And the number indicating the aperture at its maximum opening will be minimal because in reality it is the denominator of the natural fraction (if you noticed, 1: 2.8 is written on the lens frame - these two dots are a mathematical division sign, often there is so little space on the frame, that the division sign and unit are simply not written
Why is it important to know the lens aperture when choosing a camera?
When choosing a camera with a removable (=replaceable) lens, you can buy a fast lens and replace the existing one. But if you are going to buy a camera with a fixed lens (for example, a compact camera), it is very important to find a suitable camera model with a fast lens - with an aperture of at least 2.8. Because the larger the lens aperture opens, the more freedom you will have, the freer you will feel in non-standard lighting conditions.
In addition, the depth of field depends on the lens aperture. In turn, it depends on your photos.
Many compact cameras have a very limited aperture choice, and as a result greater depth sharpness. Moreover, some super-compact models digital cameras and almost all cameras do not have smartphones and phones - in such cameras, instead of a classic aperture (an adjustable hole in the partition between the lens lenses), a special filter is used, the transparency of which is regulated by the camera electronics. With such a camera it is generally impossible to influence the depth of field. I can’t say that this is good or bad. It all depends on
If you don't want to bother with camera settings and you like to just point the camera at the subject and press the shutter button, you won't even notice the difference. If you like to experiment a lot, shooting in different places, you often don’t ideal conditions lighting - the 2 or 3 available apertures can greatly limit your options.
Article text updated: 02/13/2019
In a photography lesson for beginner photographers on choosing camera settings, we saw a table showing the dependence of shutter speed, ISO and aperture on each other. In the commentary to it, I explained that high-aperture optics (that is, those that allow you to open the aperture as wide as possible) make it possible to reduce photosensitivity when shooting or significantly reduce exposure time. However, again and again in discussions of various nuances of photography on the site, the question arises about the advisability of using expensive high-aperture zoom lenses for beginners. Let's try to dig deeper into this topic today and finally understand it.
For those blog guests who haven’t read the tutorial on camera settings, I advise you to read it first. Let me briefly remind you of the essence: the correct exposure of a photo depends on the settings of light sensitivity (ISO), exposure time (shutter speed) and the diameter of the hole in the lens (aperture). The same exposure value can be obtained by changing one of these three parameters separately. The shutter speed range and ISO values are technical specifications specific camera, the size of the relative aperture is a parameter determined by the design of the lens.
The aperture affects not only the exposure value, but also the degree of blurring of the background in the photograph - the wider it is open, the closer the subject and the farther the background is from it (and also, the longer the focal length), the more the background is blurred. Therefore, the first advantage of a fast lens is the ability to greatly blur those objects that are behind our SVKC (the plot-important compositional center).
Aperture needed for bokeh
High-aperture optics (especially zooms) are expensive. There is a common belief among some photographers that there is no point in paying for it, and you can blur the background simply by using a longer focal length. To a certain extent, this is true. If you open the bokeh simulator (the term means “blurry”, “fuzzy”), the link to which is posted in the lesson with a story about shooting kittens (see above) and play with the settings, you will find that the same DOF (depth of field) can be obtained on the insanely expensive Canon EF 85mm f/1.2L II USM portrait prime and the cheap Canon EF 70-300mm f/4.0-5.6 IS USM telephoto lens. For example, with a distance to the subject of 5 m and an aperture of f/1.2 with a Canon 85mm f/1.2 fixed lens, you can get a depth of field equal to 15 cm. If you screw the above-mentioned Canon 70-300 telephoto onto the camera and move to a distance of 15 m, then when the maximum open aperture f/5.6, we get the same depth of field of 15 cm. However, the portrait will turn out to be large-faced, not half-length...
Shooting wide open can be difficult due to the shallow depth of field when photographing at close range. I encountered this, for example, while photographing kittens (see the lesson on blurring the background at the link above): they are small, you have to get close, there is not enough light in the room, opening the relative hole leads to a decrease in depth of field - only the head is sharp. Therefore, I am ready to partly agree or at least not argue with those amateur photographers who claim that there is no reason for expensive high-aperture optics.
Aperture is needed to shoot at low ISOs with short shutter speeds
On the cropped Nikon D5100 DSLR, my main standard lens was the Nikon 17-55mm f/2.8G fast zoom. When switching to a full-frame Nikon D610, I bought a Nikon 24-70mm f/2.8G ED AF-S Nikkor full-frame reportage lens for it. In the comments, some photographers noted that it would be better to take the cheaper, but dark Nikon 24-120mm f/4G ED VR AF-S Nikkor zoom, because the difference in aperture is only one stop. In response, I said that even this often gives me a noticeable advantage. Let's see why this is so.
The photographer's task is to shoot lowest value ISO so that there is no digital noise that spoils the image.
I took the two shots above with the camera set to . The subject was stationary, so there was no need for a fast shutter speed. Everything changes if we do not have the opportunity to put the camera on a tripod: we must use the formula: B = 1/FR for cameras that have a matrix with a small number of pixels like Nikon D7000 or B = 1/(2*FR) for multi-pixel sensors like Nikon D7200.
The situation gets even worse if we photograph moving objects in poor lighting: we need an even shorter exposure time, which means we need to raise the ISO even higher.
For example, in the spring of 2016, my wife and I went on vacation to Turkey. , where I photographed a marble column with the head of Medusa the Gorgon.
While photographing the scene with my fast wide Samyang 14mm f/2.8, I tightened the aperture to f/5.6 because I was afraid that I wouldn’t get into the depth of field. Now I see that this was a mistake: at short focal lengths the depth of field of the imaged space is quite large, and Medusa’s face would have turned out sharp - it was possible to open the aperture to f/2.8. This would give me the opportunity to lower the ISO or shorten the shutter speed to 1/250 of a second, that is, the tourists would come out clear and not blurred (note: although, I believe that blurry people here do not spoil, but rather improve the picture).
As you can see, for a full frame Nikon D610, the photosensitivity of ISO 25’600 is completely unworkable. You can try converting the image to black and white.
Another way is to use noise reduction (noise reduction), but then we lose details: the picture becomes plasticine.
To better understand how an open aperture helps reduce light sensitivity and speed up shutter speed, I suggest once again compiling a table that displays the relationships between these parameters. I take the camera, put it on a tripod and change the settings, writing down the values.
Note. IN ISO settings numbers of the natural range are usually displayed, extended numbers are hidden behind abbreviations: L1.0 – 50, L0.7 – 64, L0.3 – 80 for parameters below ISO100, and for numbers above 6400 units - H0.3 – 8'063, H0 .7 – 10'159, H1.0 – 12'800, H2.0 – 25'600 units.
There is no need to memorize the numbers in this table: they change at any given time depending on the lighting of the scene we are shooting. But they can be analyzed. I suggest doing this using the example of the image I received,
If instead of the fast Nikon 35mm f/1.4G I had used my Nikon 24-70mm f/2.8 reportage zoom, then at open f/2.8 the aperture would have differed by 6 stops (f/1.4, f/1.6, f/1.8, f /2.0, f/2.2, f/2.5 and finally f/2.8). From the table it follows that to obtain the same time in an exposure of 1/100 second, ISO would have to be raised from 320 units to 1250. On cropped cameras, this value is the threshold for obtaining high-quality images. Full frame handles high ISO better: up to 2900 for Nikon cameras and 2300 for Canon EOS cameras. Therefore, a Nikon 24-70mm f/2.8 zoom would not spoil the picture.
Now, let’s assume that I decided to save money and instead of my expensive fast lens, I took a darker version of the Nikon 24-120 f/4.0. At open f/4.0, the difference with the f/1.4 aperture is 9 steps - ISO needs to be raised from 320 to 2500 units - on the verge! Third option: take the cheapest one kit lens for full frame Nikon AF-S Nikkor 24-85 mm F 3.5-4.5G ED VR SWM IF Aspherical. It forces you to set the already non-working ISO 3200.
And the last option is, say, a very dark ultra-long telephoto lens Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens. The difference with the Nikon 35mm f/1.4G prime is 13 stops, which means to shoot this particular scene at f/6.3 you will need ISO 6400 units!
Such are the metamorphoses. Do you agree that the difference is stunning? But, probably, one of the photographers will say: “So in the open - the depth of field is too small. In practice, you won't be able to open the aperture to the maximum." And here I want to show a photo report that I took during a business trip to Germany on December 10, 2016. In the evening we went to the New Year's fair in Frankfurt - there was no light at all, then we visited the Düsseldorf automobile museum "Classic Remise Düsseldorf" and the famous Cathedral in Cologne, where the lighting was also not so great. I had with me a full-frame Nikon D610 body and only a fast Nikon 24-70mm f/2.8G zoom. This is what came out of all this.
Shooting a report with a fast zoom
So, we came to the fair when it was already dark outside. We are shooting carousels - to make it come out sharp, you need a short shutter speed.
Here, of course, the aunt in the foreground did not hit the depth of field and ruined the frame. But when we are filming a story where the SVCC is in the foreground (and that is the majority), this problem does not arise.
Photo 10. High-aperture optics are not a problem for the photographer in shots where the main subject is in front. 1/1000, +0.67, 2.8, 3200, 56.
To photograph moving objects, we need to set a very fast shutter speed. Fast lenses allow you to get very a short time exposition. It’s not for nothing that such glass is called “fast lens” in English.
Of course, when filming diverse subjects, you always need to remember about the depth of field and analyze whether everyone will fit in important objects into the sharpness zone. Either it's flat plots.
Photo 13. Shooting at the open aperture of a fast lens always balances on the edge of depth of field. 1/500, +0.33, 2.8, 3200, 45.
The following photo was taken at f/2.8 at ISO 6400. According to table No. 6, when shooting with a dark travel zoom Nikon 28-300mm f/3.5-5.6G ED VR AF-S Nikkor, short end at f/3.5 it will be H0.7 (ISO 10’159). At long, at f/5.6, we would have set it to H2.0 (ISO 25’600), and this would not have been enough, the picture would have turned out dark, that is, underexposed.
A couple more reportage shots demonstrating the fact that f/2.8 aperture is not a problem as long as our SVKZ is in the foreground.
However, the advantage of the Nikon 24-70mm f/2.8's light zoom is critical if the photographer has the ability to shoot from afar. As you approach the subject, the depth of field decreases sharply and, despite the darkness, you have to clamp the aperture.
To get the camera into the cutting zone, I had to reduce the focal length of my lens. But the plot turned out completely different.
Okay, the examples above were mainly written for extremely difficult lighting conditions. Let's look at scenes shot indoors during the day.
Lately I have been actively using the Auto ISO control function on my Nikon D610 camera. In most cases it works great, but here it failed: I think that for handheld shooting a shutter speed of 1/40 of a second was enough, which means the ISO would have dropped to 400 units.
When it comes to choosing lenses for crop or full frame, two approaches often collide: 1) one universal zoom (high-quality, but expensive) or 2) a set of cheaper primes. I can be considered a fan of zooms - I received this on this excursion another confirmation such a position: I would not have taken the following photo with a wide shot, showing the viewer the scene of action, if I did not have a Nikon 24-70mm f/2.8 zoom. It was not possible to take fixes with us on a trip.
The next few frames probably cannot be considered a good illustration for this article, since due to failures of the Auto-ISO functions, the shutter speed was too short with an unreasonably high light sensitivity. At least I was convinced that for some scenes ISO 6400 is not critical.
Photo 25. A trip to the automobile museum with high-aperture optics. If I had not trusted the automation, I could have easily lowered the ISO. 1/400, 5.6, 6400, 29.
Photo 27. Big sizes The subject of shooting does not allow you to take advantage of high-aperture optics - the aperture is tightened due to the small depth of field. 1/640, -1.0, 5.6, 6400, 24.
I want to show two identical photographs taken at different ISOs. Oddly enough, I don't see much difference. Well, maybe the ISO 100 shot is a little better in the shadows.
We continue our journey. We saw the Christmas market in Frankfurt am Main and the Classic Remise Düsseldorf automobile museum. Now let's move to the glorious city of Cologne.
Photo 31. We’re shooting through the car window—it’s clear that we focused not on the car, but on the building in the distance, which ruined the shot. 1/100, -0.67, 5.6, 640, 70.
Of course, Cologne is famous for its Cathedral. , I said that you need to set a goal to visit all the buildings presented there in reality. Apart from the Statue of Liberty in New York, Cologne Cathedral is a close second.
We go inside the Cathedral. I don’t know if you can use a tripod there, but I would like to, since the room is very dark. You have to take photographs handheld, setting the maximum possible shutter speed to shoot without blur. After processing the photo looks pretty good.
According to table No. 6 “Ratio of shutter speed, aperture and ISO,” if I, at one time, had chosen the darker Nikon 24-120 f/4.0 zoom, I would have had to “raise” the ISO to H1.
At an open aperture, my fast glass even allowed me to photograph the stained glass windows of the Cologne Cathedral handheld without losing image quality.
When shooting with a dark Nikon 28-300mm travel zoom, you would have to set the ISO to 2500 units (at f/ 5.6)
I can’t think of anything to comment on the rest of the pictures from the excursion to the Cologne Cathedral, just look at the difference when shooting in a dark room and outdoors.
Across the road from the Cathedral there is a beer garden. It would be a sin not to come here without trying a glass or two of Cologne Kölsch. Another test for my fast Nikon 24-70mm f/2.8 reporter.
Photo 39. Yes, small depth of field is a disaster... 1/250, 2.8, 6400, 70.
Like this long haul I found it to show off my rental car trip in Germany. Joke! Seriously, the example images in today's report, in my opinion, show that the full-frame Nikon D610 camera has a working ISO of up to 5600 units, and at 6400 we already get “plasticine”. Well, a fast lens is a good help for taking photographs in low light conditions.
Since my photos are in a New Year’s mood, I’ll take this opportunity to congratulate you, friends. I wish that in your families next year everything was great, your hobby didn’t ruin you family budget(which is difficult to provide, since high-aperture optics cost money), and also made you and your loved ones happy. Happy New Year, my friends!
P.S. I hope this article will help newbies understand how to get great New Year's photos. There are two ways out here: either run to the store for high-aperture optics, or external flash, which will allow you to get a short shutter speed even with a dark lens.
