| Using a telephoto lens to get in close to
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| | just about anywhere.
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| the action or sneak up on a subject from
| |
| | It won't allow you to set shutter speeds
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| a discreet distance is terrifically
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| | as slow as you can get away with using a
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| exciting, and can yield great pictures.
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| | tripod. But it will let you shoot
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| But the high magnification of long tele
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| | safely-that is, without a serous risk of
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| and zoom lenses accentuates the effects
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| | image-softening shake-at speeds two or
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| of camera shake caused by your inability
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| | three steps slower than you'd have to use
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| to hold the camera and lens absolutely
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| | if you were shooting handheld. That may
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| still. The effects of wind, moving or
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| | make it possible to shoot in lower light,
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| shaking floors, residual vibration from
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| | and/or to use a slower, finer-grained
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| camera mirrors flipping up just prior to
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| | film.
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| exposure, atmospheric haze, and heat
| |
| | Get a monopod that can be raised to your
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| waves can also add problems.
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| | eye level, is quick and easy to set up.
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| Cold, tired, been drinking stimulants
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| | If you shoot a lot of verticals, you may
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| (coffee, tea, or cola)? They add to your
| |
| | want to add a good swivel ball head for
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| problems. Avoid them all if you can and
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| | maneuverability.
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| don't despair.
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| | A tripod is the best device for insuring
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| When handholding your camera and lens,
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| | minimal effects from vibration with a
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| start with a fast film, ISO 400 or
| |
| | long tele or zoom lens. With a sturdy
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| higher. This will allow you to use higher
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| | one, you can use slower shutter speeds
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| shutter speeds (1/1000 sec and above) and
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| | and lower ISO-higher resolution films. If
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| minimize the effects of shake in a
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| | you own a shaky tripod, tie a three to
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| variety of lighting conditions. Use the
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| | five pound weight to the center column
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| proper stance: arms closely tucked into
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| | for added stability.
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| the body, elbows partially supported by
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| | Physically long teles should have
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| the chest or abdomen, lens and camera
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| | tripod-mounting collars to attach the
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| balanced by the left hand and arm.
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| | lens at the proper fulcrum to the tripod
|
| Practice supporting and focusing the
| |
| | rather than the camera. You can also use
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| camera with your left hand, aim the
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| | a secondary support for the camera like
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| camera slightly above the subject, take a
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| | Bogen's Long Lens Support. This
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| deep breath, let the view drop to the
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| | telescoping brace attaches to most tripod
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| proper composition while exhaling, and
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| | legs via a universal clamp at one end and
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| gently press the shutter.
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| | a swivel ball head for the camera at the
|
| For support, find a fence post, parked
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| | other. The brace makes it more difficult
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| car, or folded jacket. Lean on it or rest
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| | to change camera position, but it
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| your camera on top of it while shooting.
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| | considerably lessens the effects of
|
| If you have such a support, a 1/30 second
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| | vibration.
|
| exposure isn't an impossibility, even
| |
| | If you're on shaky ground, tripods won't
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| with a 500mm lens. You'll be using slower
| |
| | help. They'll actually transmit the
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| shutter speeds more often than you'd
| |
| | motion right to the lens and camera. It's
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| like. The minimum shutter speed rule of
| |
| | better to handhold the camera if you can
|
| thumb for hand-holding a long tele or
| |
| | set a reasonable shutter speed, and let
|
| zoom lens is this: Slowest safe shutter
| |
| | your body damp the vibration.
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| speed = 1 over the lens focal length.
| |
| | Atmospheric haze and heat waves can't
|
| For example, if you're shooting with a
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| | always be eliminated, but using a haze or
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| 500mm f/4 lens, the limiting shutter
| |
| | polarizing filter can help cut through
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| speed for a handheld shot would be 1 /500
| |
| | the haze and increase color saturation
|
| second at the correct aperture for a good
| |
| | and contrast. Also, use your lens hood,
|
| exposure. This rule applies to a
| |
| | or shade the lens, to minimize the
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| properly-braced photographer standing on
| |
| | possibility of flare.
|
| solid ground.
| |
| | Few techniques in photography require
|
| Chest braces, rifle stocks, and similar
| |
| | more expertise and skill than the
|
| devices aren't as practical as a
| |
| | successful use of a long tele or zoom
|
| lightweight monopod or tripod. A monopod
| |
| | lens. If you want to become more
|
| is easy to carry, and you can set it up
| |
| | proficient, practice, practice, practice!
|
