Use your filters on all your lenses with a Step Up Ring

If your anything like me you probaly have lenses of various diameters.  Some of the more common ones for Canon Lenses are 52mm, 58mm, and 72mm.  Well, I spent a fair chunk of money to get a very high quality Circular polarizer in the Tiffen unit.  But a couple of my favorite lenses are my Nikon 135mm, and Canon 50mm 1.8 Mk2.  Both of these lenses are actually smaller than the 58mm polarizer.  As well they are actually smaller than all of my filters.  So you might think I had to buy another set of filters for these lenses.  We’ll, your wrong!

You can actually use the 58mm filters you already purchased with these lenses.  You can simple go into your local camera shop and ask for a 52mm to 58 mm step up ring.  One end fits the 52 mm size of your lens, and as the name implies the other end allows 58mm filters to be screwed in.  This is a great thing to have, especially for things like ND Grad filters which you may not use everyday.  You can now simply by one set of high quality filters and use them on all your different lenses.

The adapter ring is very easy to use. You just screw it on your lens, and than add the filter you wish to use. There is no glass elements and these should be very cheap at your camera store.

Wireless Flash Trigger

The key to any studio or even photography in general is having good control over your lighting.  In that sense an on camera flash really isn’t that controllable.  It is from an awkward angle, and can’t be directed. Using a studio strobe or off camera flash can be an excellent way to achieve dramatic and flattering lighting effects.  I opted to try out one of the Wireless Flash Trigger’s found on eBay.  Mine was sold by Photoland168, and is of the RF 4-channel type.  There are some pretty nice advantages to going with this unit.

Most importantly to me was going to be cost.  Pocket wizards are probably one of the best wireless flash trigger options available.  There is also the new Microsync device which is very tiny.  But these options are extremely expensive.  The money I would need to spend on these would actually cost more than the lighting I have.  In fact I could’ve easily spent more than my camera is worth.  So these were not an option.

A really interesting option was actually to pick up a 2nd flash unit such as Canon’s 580EX or the Sigma Super units.  These could be used on camera and act as a master to my 420EX which would than be a slave.

The only disadvantages to this option is that the master flash has to be mounted on camera thus limiting it’s usefulness, and that because it’s an infrared signal the flash units would have to have some kind of line of sight, and it wouldn’t work that well outdoors.

There are a couple of huge advantages though.  First you’re getting a 2nd flash unit, and a 2nd light source.  Because the flash is on camera, you would actually have full E-TTL functionality with this setup.  The camera would be able to control the flash unit how it sees fit.

I choose to go with these low cost wireless flash trigger units for a few reasons.  One being cost of course.  At only $30 CDN it didn’t cost much at all.  They provide good range.  These work on a radio signal so they are not disturbed by Flash triggers like the Wein, or bright lights.  They can even be used around a wall.  The cost to expand the system is cheap as well.  Adding more lights to the system doesn’t increase cost too much.

The biggest downfall in my situation was my 420EX.  It is fully automatic flash unit.  It does not have controls for power output.  Therefore it is fired at full power every time when it’s not on my camera or controlled by a master unit.  So the only way to control the unit is by distance and coverings over the head.

A good solution is to get some cheap Vivitar 283/285, or Sunpak flash heads. These can be manually adjusted and are very cheap.  I personally think it’s an excellent way to learn about lighting.

Mine actually happens to be Model YHDC-B. The sender unit is on the left, the hotshoe adapter in the firont right, and the reciever in the background.

The system consists of a radio sender unit which sits on the flash hotshoe of your camera.  When you take a photo it sends out a radio signal to a receiver unit.  In my case my receiver unit actually plugs into a hotshoe adapter since the 420EX also has no connections like a PC Sync.  The units can be operated on 4 channels, so if you get interference you can always change. It also means you can set off different lights by co-coordinating lighting on different channels.

The range is good with my unit.  It’s at least as good as the range of my 420EX.  I’ve never tried it from down the street because otherwise the flash would be useless.

I have also found battery life to be good.  There is no real on-off switch with these devices.  I just unplug them and put them back into my bag.  I plug them in when I want to shoot and it just works.  The receiver is the only unit that actually requires a battery and I have yet to change mind after hundreds of shots, and a few months of use.

I would highly recommend these units for anyone who wants to start out in studio photography. It’s an excellent and cheap way to go, and the advantages of this system far outweigh any disadvantages it might have.

One tip I would suggest is to use some Velcro on the receiving unit and your flash head so you can attach the two when you are using the system. That way it doesn’t just hang down by the cord.  Also don’t forget to hit the test button every few minutes otherwise the 420EX will actually shut off to save power and you will have to go manually cycle the power.  I find this particularly annoying when I’m trying to setup a shot.

Canon RC5 Wireless Remote Trigger

Having a wireless remote trigger for the shutter of your camera is extremely convenient. Instead of waiting for the 10 sec timer you can remotely trigger your camera to take a photo with this handy little device.  The unit is compatable with both the Canon Digital Rebel and the Rebel XT.  The range I’d say is about 15 ft, but if your using it in strong sunlight outdoors, it may be reduced some.

To use the remote control, all you have to do is set the camera up in timer mode, point the RC5 at the camera and press the button.  The light on the camera flashes and takes a photo after a 2 second delay.  I find this very useful when I wanna be in a portrait with the family.  Instead of running like a madman into the scene, I can casually walk over and prepare myself.  I also find it helps when I do product photography.  I can take a photo of a product remotely, re-arrange or adjust lighting, and fire off another shot without having to go back to the camera.

This is a must have accessory for anyone doing a lot of family shooting.  It can be found for about $25 CDN and I use mine all the time.  The only downside is it is just a basic remote. I doesn’t have any zoom, aperature, shutter speed adjustments.  The only unit that seems to be able to do this is the much more expensive Canon Wired controller.

Canon 250D Close Up Filter

Macro photos are a favorite of mine, and a lot of people enjoy taking them.  They provide a unique perspective into the world, and it’s especially fun to find something to photograph in and around the house.  The Canon 250D Close up filter is actually a double element close up lens. It is of excellent build quality, and is not to be confused with some of the cheaper close up filters on the market.

The lens itself has a metal frame, and is quite heavy. It comes packed in a pretty clear round case with a screw on cap. The cap can come loose if not put on tightly.  The Canon 250D and 500D close up lenses work by screwing on the front of your lens the way a filter does.  They then reduce the closest focusing distance of the lens.  So say your lens normally can only focus as close as 1.5m, with one of these filters attached you might be able to focus as close as half a meter.

The quality of the optics is actually very good.  These are better than the +1, +3, +5 type filters you might find online, or in stores.  Those tend to be single element lenses and will distort the picture more.  Edge sharpness will especially suffer with those lenses.

When shooting with the close up filter you will tend to have a very narrow DOF.  That is very thin area in front of your camera will be in focus.  If you imagine a photographing a ruler flat on a table from a 45 degree angle maybe only a few mm of that ruler will be in focus.  So it’s very important to use a tripod or have a very steady hand.  You will often want to shoot at f10-22 to put more of your subject in focus and thus requiring even more light.

This is a great way to get into macro photography.  You can stick the 250D on a good quality medium zoom and have a pretty macro lens.  The 250D is recommended to be used on lenses in the 28-135mm range, while the 500D is meant for 100mm-300mm lenses.

This high speed water drop shot was with my Canon 28-105 USM lens and the Canon 250D Close up filter attached. It allowed me to get extremely close to the drops and provide great detail in this macro.

Manfrotto 724B

My Review of the Manfrotto/Bogen 724B

This is one of the tripods in Manfrotto’s “digital” entry level series.  Not everyone needs or can afford a $300 tripod.  This is where the digital series tripods come in.  I would consider them higher quality versions of the cheap Silk and Velbon tripods found in Japan Camera and Futureshop. My 724B had fairly good build quality and wasn’t too bad for the money.  But I did have some problems with it.

I originally went with the 724B because of the build quality, and I liked that it was black.  It also comes with a carrying case which is useless for me since I carry my tripod around strapped to my Lowepro bag.  The 724B also reached a height I needed, and it comes with a Ball head.  The unit itself isn’t too bad depending on what you’re using it for.  Weighing in at only 3.1 lbs it is actually 2 lbs lighter than my 486RC2 and 190Procombination.  It actually is a few inches shorter when folded down as well, so portability is definitely a selling point of this little unit.

However this unit obviously isn’t as stable as my 190Pro and 486 ball head.  This unit in fact cannot support my Digital SLR, coupled with 28-105 USM lens, macro adapter and 420EX speedlite.  So it isn’t that suitable for when I’m doing macro photography.  Where this unit shines is in its portability.  You have to make sure you’re not using heavy lenses such as L glass, or long zooms with this unit.

Another disappointment is that the ball head can’t be detached and replaced.  I would’ve liked to be able to use this small ball head on something like a monopod, but I won’t be able to use it.  As an investment it is a dead end.  If you read enough articles on my site, you’ll find investment value is a big selling feature for me.

I would recommend this only for times when you are going to be using a Point and Shoot camera, or you really need to travel light, but can’t afford a Carbon Fiber tripod.  Otherwise it isn’t the greatest investment, and the small ball head and weak legs won’t be a great support for your equipment. If you are extremely tight on budget it is better than a cheap Velbon or Silk tripod though.  I would spend the extra few dollars on the new Manfrotto 190 classic and 484 ball head.  It’s not too much more, and a much stronger tripod and it’s a better investment.

Manfrotto 486RC2 Ball Head

Review of the Manfrotto/Boken 486 RC2 ball head

Manfrotto also known as Bogen in the US is very well known for their tripods and support equipment.  I had been using a Manfrotto tripod and ball head for the past while, but it was time to upgrade to something a little heavier duty to support my camera equipment.  The 486 Ball head was an excellent size for me, and it’s from a company I trust.  If you have never tried a ball head for photography, you should read on to find out why most serious photographers use a ball head.

Using a ball head on a tripod is one of those things you will have to experience for yourself. Traditional 3 way pan-tilt heads are for camcorders, and not cameras.  I never understood what the big deal was until I tried one myself.  It lets you frame your shot quickly and easily. It lets your tripod do what it was meant to do; support your camera.  With a 3 way pan and tilt head that most people are accustomed to, especially if you bought your tripod at an electronics retailer or small photo printing store in the mall is actually like putting hand cuffs on your camera.  It lets you move around somewhat, and you can look it in place, but you don’t have real freedom.

A ball head attaches to your camera and lets you move it around freely while on a tripod. The best feeling in the world is having your camera attached and following action around at like a baseball game. You get excellent control so you can follow a batter swinging, and while he’s running around the bases.

So I was in the market for another ball head.  The biggest concern when shopping for tripod equipment should be, well this support my equipment? There is no point in getting a tripod, or head that can’t hold your camera, lenses, and accessories properly.  When looking at a brand like Manfrotto you know you can trust their ratings for max weight. With some other cheap manufacturers around I wouldn’t go anywhere near their max load ratings.

The 486 was a good size for me as it would be able to hold not only my camera, but my camera when fully loaded.  Don’t forget macro adapters, flash heads, camera grips, or anything else you might have when shopping.

The price is excellent on these ball heads as well.  A good ball head can be in the several hundred dollar range.  While I’m not going to say this is better than a $450 Markins Ball head it is excellent quality for less than 1/4 the cost.

The ball head is pictured on the left, with the quick release plate on the right. You can see the locking mechanism as well as the safety pin on top of the head.

The 486 has a single lever which locks the ball in place.  This same lever also locks the base from panning as well. So if you do a lot of panning type shots (at a race track for example) you probably will want to opt for the 488 which has separate locks for the panning and ball movements.  There is no spirit level on this head either, unless you opt for one of the other quick release plates.  I have never felt a spirit level totally necessary, although it would be useful for panoramic shots.

The 486 adds 10cm of height onto your tripod, and is rated to hold up to 6kg of equipment.  The ball movement is pretty smooth, and the locking mechanism is strong.

The Manfrotto quick release plate is actually fairly nice to work with.  It is easy to screw on to your camera, and the extra clip to help you really tighten it is very useful.  It takes all of 1 sec to release and snap back in place.  A lot of people will recommend going with Arca Swiss style release plates and L clamps, but that is another $200 I could be spending on lenses and lighting so it’s an option I did not go for.  If funds became unlimited it is something I would look into. But for now the Manfrotto release system is more than adequate.

This is a ball head I would recommend if budget is of concern. If you have a little more to spend, get the 488 for the separate locks.  And if your budget is unlimited, look into the RRS, and Markins heads.   The Manfrotto 486 RC2  is a head that will suit your needs and get the job done.

Manfrotto 190 Pro Tripod

Review of the Manfrotto 190 Pro / Bogen 3001 Tripod

If you read some photography books or websites you will find a good quality tripod is very high on the recommended list of things to have.  There have been many times a tripod has allowed me to get a shot I otherwise would’ve had no chance at getting.  There have also been numerous times where I’ve been too lazy to bring my tripod with me and missed a shot. (Yes even with the Canon IS lens) So I was really excited when I had the opportunity to replace my old Manfrotto tripod with something a lot better.  My choice was the 190 PRO.

I needed a tripod that would be able to support my camera equipment with lenses, macro attachments, flashes, and other accessories, bodies, or lenses I might get in the near future. It has to be somewhat portable, and cost as always was a large factor.

Manfrotto 190 Pro legs with my Manfrotto 486 RC2 head attached.

The 190 PRO was easily the best compromise for what I needed and is one of the most highly recommended legs available.  When buying a set of legs, first find out how heavy your equipment is going to be at the heaviest.  That will limit you to units that can carry that load.  Next you want to filter out units that aren’t going to be tall enough.

You always want to try avoiding raising the centre column on your tripod.  So if possible get one that will reach a comfortable height for you with the centre column lowered.  Don’t forget you will probably have a ball head (like the Manfrotto 486RC2 I also picked up) and your camera. I’m a little lucky here, as I’m only 5’6.  The 190 Pro will be a little short for those of you taller than me.  Something you might want to consider at that point is Canon’s Angle finder for your camera.  This will help with the height issue and make macro and low level shooting much easier.  It’s something I will probably pick up at some point as well anyways.

The 190 Pro has a max height of 46.85″ with the centre column lowered.  Fully raised it is 57″.  Adding a few inches for my ball head, and than another couple for the camera, it is a fairly good height for me.  It also only has 3 leg sections which I prefer because it saves weight, and is quicker to setup.

The 190 Pro might be heavier than what a lot of you are used to at 4.2 lbs. but it’s actually fairly light for a tripod of this quality.  If it’s too heavy, you’ll either have to go with something that doesn’t provide as much support, or spend a lot more on a carbon fiber version.

Using a telescope as a camera lens

Some of you might be thinking I’ve gone off the deep end.  But it actually makes quite a lot of sense. A telescope is actually a lens itself.  Now obviously a high quality camera lens is going to perform better than the average telescope.  But what if your camera lens doesn’t have enough reach to get a close-up of a subject? The great thing about telescopes is that you can get some great magnification for a very low cost.  A lot of you might have one lying around that was given to you as a gift like I did.  I won’t go into details about different types of telescopes.  I will tell you mine is not considered very high end.  It is a small 80mm Schmidt-Cassegrain.  In the photos below you can see it’s of the Towa brand. Don’t ask me who they are, I got this as a present as a child.  So how did my 800mm Monster do?

Well, the first thing to keep in mind is telescopes are fixed aperture.  The lens is 80mm in this case, and the focal length is 800mm. That comes out to f/10.  Keep in mind in this type of telescope design part of the center mirror is blocked, so I’d say it’s practically closer to shooting at f/11-f/12.

What you will need to attach your telescope to the camera is called a t-adapter.  These can be found in your local telescope shop, or possibly even some larger better photography stores.  Mine obviously is for a Canon EOS mount but they are available for other mounts such as Nikon and Minolta as well.  This is the same type of mount you would use if you were to attach your camera for astrophotography as well.

Of course like with any large telephoto lens you mount your camera to the telescope, not the other way around.  I find it much easier to attach the adapter to the telescope first, and than mount it on the camera.

Turning dirty yellow snow into Clean White Snow

Winter is actually a great time to shoot photos.  A lot of people shoot less in the winter, but up here in Canada you got to learn to enjoy the cold.  I’ve always wanted to shoot a waterfall in the winter, so up to Hamilton it was.  The only problem is Hamilton is known for its air pollution.  This air pollution gets in the water, on the snow and everything.  The snow and ice around the water actually turned an ugly yellow.  So I thought I’d share with you a tutorial or lesson using a very easy Adobe Photoshop technique to turn your ugly yellow or grey snow back into something that looks clean and pure.

Here’s the photo I’m going to work with.

This photo of Websters falls isn’t too bad. Except for the yellow snow. It’s not the pristine clean white stuff we think about of a winter scene.

As you can see the waterfall is quite pretty.  Except it looks like someone urinated in the river.  Maybe King Kong or the Green Giant.  There’s also quite a lot of detail and variation in the waterfall so masking it is going to be difficult.  Luckily this technique is so easy we won’t need to mask off the snow and ice from the rest of the scene.

We’re going to use the Color Replacement Tool in Photoshop.

I used the default settings and a brush size of 30.  You can vary the brush size depending on your scene and what you’re painting of course.

The technique is simple; you can either select white or something close to white as your foreground color.  Or if your snow has a bit of a tint to it, use the color picker to select a bright white area of your snow.  I would actually move the slider a bit whiter than what you got from your color picker because we are in a way tinting the snow.

Now simply just paint over the areas of snow and ice.  I like to do a lot of small strokes so I can easily undo any areas that I got sloppy in.  You’ll find you don’t have to be perfect as mostly the white areas will show the effect the most.

It actually only took me about 5 minutes to do the whole photo.  I than used a similar technique to make the sky bluer.

And of course our Final Result.

Our final result looks like what we would expect of a nice photo. Clean snow, and a blue sky. 

If you used this technique, or enjoyed the article, I’d love to hear from you! Please contact me or leave a comment below!

Thanks!

 

BG-E1 Battery Grip

The Canon BG-E1 Battery grip or vertical grip as it’s sometimes called is an accessory often overlooked by many amateur photographers. Besides the obvious of adding capacity to shoot off two batteries instead of one, there are many intangible ergonomic functions to the grip which are of even more importance.

The front of the Canon BG-E1 Battery grip. On the bottom is the quick release plate for my Manfrotto Tripod which is not included.

Having always had a battery grip for my Canon Film EOS camera adjusting to the 300D or Digital Rebel without a grip took some adjusting to. In the end I broke down and opted to buy a used grip on eBay. The grip allows you to hold one extra battery to extend shooting time. This makes extended shooting very convenient especially when it gets cold up here in the winter. If you find the camera heavy however you can still shoot with the grip with only one of the battery slots occupied. This isn’t like some other Canon grips that use both batteries simultaneously. My understanding is when the first battery is drained, than the grip switches to the second battery.

The grip is meant to be used vertically. So in this image you would rotate it 90 degrees counter-clockwise. Than all your essential camera controls are at the top again.

Besides extra battery storage the grip adds controls for shooting portraits. Instead of having to hold the camera in an awkward and likely unsteady position. You can hold it much as you would normally. The jog dial, shutter, Av, focus selector, ae/fe lock controls are all located on the grip where you would expect them if your camera was held vertically. This makes shooting portraits a lot easier. I also personally find it easier to access the controls while the camera is on a tripod as they are in an upright position. The BG-E1 also includes an on-off switch which allows you to turn off the grips buttons if you are shooting landscape format shots only and don’t want the buttons to trigger automatically.

One other excellent thing the extra battery grips allow you to do is since you actually are shooting with the camera vertical, and that’s the way the controls are set, there is no reason to turn the camera back to horizontal after taking a photo.  That means you can turn off auto-rotate in the 3rd menu of the 300D.  This applies to all cameras though.  Think about it, since your holding the camera normally vertically, you can view the photo in the same manner.  The camera has less processing work to do on the image preview, and you can view the photo full size in the screen.  This is a huge thing for us 300D users because we are stuck with a relatively small LCD screen and the 300D is a relatively slow camera as well.

Here’s a tip.  A know many people who have never read through the instructions of the things they buy.  For all Canon battery grips I have ever known including the BG-E1 there is a place to store the battery cover you had to remove to insert the grip.  On the BG-E1 it is located on the part that inserts into the battery compartment. You simply slide your cover in.  For those of you with the BG-E2 or BG-E3 it’s actually more of a little hole you slide the cover into.  Make sure you use it otherwise you’ll lose your original cover.  Trust me.

I love the extra weight and feel of the grip. For those of you used to larger or pro bodies the BG-E1 and other Canon grips are essential. I find this even more so on the Canon 350D or Rebel XT. Without the BG-E2 grip for that camera it is extremely unbalanced and lens weight biased. In other words with a decent lens on the 350D and no grip the camera tips forward in weight and is very awkward to use.