PK 2011 Event Photography

Just got back from shooting in Christchurch at Promise Keepers, a weekend-long christian men's event where I was one of the official photographers. I wrote in my last post about ISO settings for the indoor event - and how I was most likely going to shoot on ISO 1600 all weekend (and this turned out to be the case).

In this post I want to show some of the image from the weekend, and go into the nuts and bolts of shooting the event - a sort of personal de-brief now that the dust has settled (and my feet have recovered).

Sung worship. Canon 5D & 20-35mm

To begin with, lets talk technical. How did I set my cameras up to shoot, what gear did I use, and what did I learn from the exercise?

Well, to start with, I used both of my Canon DSLR's - the 5D and the 20D - and set them up exactly the same. Both were set on centre weighted metering, tungsten white balance, AI Servo auto focus and ISO 1600. I also shot in AV (Aperture mode), wide open for the whole weekend. Both were also set to highest quality jpeg so I could download and hand-off the images instantly, without having to go through RAW conversion software. I decided not to bother with RAW + JPG since I thought I might be shooting a LOT over the course of the weekend and didn't want to have to be dealing with too many Gigs of images.

PK Band. Canon 20D & 70-200mm

The only difference between the two bodies was the inclusion of the vertical grip on the 20D, and the exclusion of a grip on the 5D. Why on one and not the other? The decision had to do with the lenses I decided to use on both cameras (see, there is a method to my madness).

I borrowed a Canon 100mm f2.8 to take because I thought I would need as fast a lens as possible - but at the last minute I also bought along my 70-200mm f4 L. And boy, am I glad I did! When I got to the venue, I set up the 70-200mm on the 20D, effectively giving me a 112 to 320mm f4, and attached this outfit to a monopod for better stabilisation. I found that I was getting anywhere from a 60th to a 125th second shutter speed, depending on the lights, and decided that this was fast enough. It's a big venue - even though I had the run of the place and was told that no where was out-of-bounds for me (except actually on the stage itself of course) - so I opted for reach over speed. Considering I used this set-up about 70 to 80% of the time, I'm happy that I bought the 70-200mm f4 L along.

Lost in Prayer. 5D & 20-35mm

On the 5D I went with the widest lens in my bag, the Canon EF 20-35mm f3.5/4.5, and again, it was another really good choice. With the 20D, long lens and monopod in one hand, I slung the 5D with wide-angle over my shoulder and was good to go. I wanted it to be light and maneuverable with the second camera, hence not attaching the vertical grip, and with my new camera strap (see two posts ago) the 5D and wide-angle stuck at my side all weekend. Don't want to harp on about the whole strap thing, but I really did feel that the 5D was very securely planted on my right shoulder all weekend. I was moving around a lot, and never once felt the camera start to slip off of my shoulder. I know I couldn't say the same thing about the standard canon strap.

I also bought a 50mm f1.8 with me (again, because I thought I might need super-fast glass), but didn't use it. Ditto my 580EX flash.

The wide angle allowed my to get in really close to the crowd and get some very emotive images - as well as step back and get in a sweeping crowd shot to fit in as much as I could of the venue.  Both scenarios worked really well.

Ian Grant. 20D & 70-200mm

Most of the images of the speakers were taken using the 70-200mm on the Canon 20D - and most of those at the longest 200mm end. I waited to shoot until a: the speaker looked interesting, and b: the light was good - to give me the best chance of getting a sharp, interesting image. And I shot a lot! Even so, my hit rate was maybe 50/50. I took as many blurry images (normally because of subject movement) as sharp ones - and tried to up this rate by shooting in short bursts (so that at least one would be sharp). This worked very well, and I am very pleased with the amount of keepers I got for each speaker.

The event organisers wanted at least 10 good images of each speaker to choose from - but using the technique above I managed to give them twice as much!

Corridor. Canon 5D & 20-35mm

Of course the whole weekend was dedicated to taking photos for the Promise Keepers organisation - trying to cover all the images that they required. This meant taking wide crowd shots, photos of the speakers, capturing the various group break-outs, as well as getting intimate worship images of fathers and sons, individuals etc. With every shot I took, I had these criteria in the back of my mind.  Over the whole weekend, there was only one shot I took for myself - a 'grab' shot that doesn't really fit any of the required categories - and it just happens to be my favorite shot of the weekend.

It's the image above, 'Corridor' and literally was a grab shot I took while going from one room to another. As I was about to go onto the top floor to get some wide crowd shots looking down from above, I spied this group just standing at the end of a long corridor. I swung the 5D to my eye, snapped one shot, and went on to get the photos I was after. This is 'my' shot for the weekend. I love the light, the silhouette, and enigma of this image, and despite it not fitting in with the brief, I'm glad I took it.

Bill Subritzky. Canon 20D & 70-200mm f4L

Finally, an image the definitely does fit the brief, and one of my other favorites from the weekend, is this image of New Zealand's most famous faith healer, Bill Subritzky. Promise Keepers is organised by his two sons, Paul and John, so it was important for me to get some very strong images of their father giving his message. I positioned myself purposefully to include the cross in the image, and waited for Bill to strike an obviously 'religious' pose (which didn't take long).

Overall, the weekend shooting at the Christchurch Promise Keepers event was incredibly positive - and fun. I was nervous going in to it since it was such an unknown quantity (photographically speaking), but it turns out I needn't have worried. I got some fantastic images that the PK event team are thrilled with, and at the end of the day that was all I wanted to achieve. I was very sore by the end of it (I have a problem with my ankles if I stand for too long), but looking back over the photos, the pain was worth it.

Even though I enjoyed the experience, it might be a while before I do it again. Next year I'm going to take my son Joshua to Promise Keepers to actually sit and be part of the crowd. He'll be 11, and old enough to take part in one of the break-out groups for young boys. He's very excited about going, and so am I. Only one year to wait!  :-)

Canon 5D at ISO 1600

This weekend I'm off to Christchurch to attend Promise Keepers - a christian men's event that runs from friday through to saturday night. It will be the fourth time I've attended the event (there are different speakers and a new theme every year), although this time it will be very different - I'm one of the official photographers for the event!

I'm very excited about this because I think that it will be a: challenging, b: rewarding and c: fun (hopefully). In preparation for shooting the event, I've read up a little on concert/stage photography (although there are conflicting views and it's nothing I couldn't have figured out for myself), and bought a manfrotto monopod head to use with my 5D and 70-200mm f4 L.

Of course I'm taking the 5D, as well as the 20D with an assortment of lenses. There will be no flash during the presentations, but I'll take one anyway since I may get to use it during the breaks for group shots etc. I will also need to take my laptop for burning CD's and maybe for some quick editing? The event organisers would like as many images as possible supplied immediately - although there may also be the option of taking the files away and working on them for supply at a later date.

I know the venue reasonably well, and am happy that there will be plenty of room for me to work in. I can probably get as close to the stage as I like without actually getting on it(!) - so I may not even need to use the 70-200mm a lot? I'm actually thinking of using my 50mm f1.8 on the 20D (giving me a 75mm f1.8 effectively) for stage shots when the presenters are doing their thing, together with the 20-35mm f3.5/4.5 on the 5D for wide angle shots of the crowd, band etc? Then of course there's the 28-135mm IS lens on the 5D if I want a 'one lens fits all' kind of approach - and finally the 70-200mm f4L on either the 5D or 20D, depending on how much 'reach' I need?

Canon 5D @ ISO 1600

Having never really pushed the 5D in terms of high ISO's, I figured I had better do an 'experiment' before next weekend to see how comfortable I would be shooting at max ISO (which is 1600 for both the 5D and 20D without using the 'extra' high setting to go to 3200 on the 5D).

I simply focused on a dark area of my daughters bedroom - giving me both highlight and shadow detail - and made a shot at all the different ISO settings, up to the 1600 max. I then gave all the files identical processing in terms of sharpening, levels and curves adjustments, and then zoomed in to 100% to examine the results.

Without going in to too much detail, I'm very happy with the high ISO results the 5D gives, and won't have any worries shooting all weekend maxed out at 1600 if I have to.

The results above probably don't show up all that well on the internet - they probably all look much of a muchness? Even clicking on them for a bigger look probably doesn't help much - although you're more than welcome to do so :-)   Yes, there's noise there - of course there is. But it's not horrible, and there is still lots of detail as well. This is, after all, a full-frame sensor with a very large pixel size, so the detail isn't turning to mush (like it will with many compact digitals).

So really, what it does say, is that the high ISO performance of the 5D (and also the 20D which is said to be comparable in all the reviews I've read), is very good - and nothing to worry about. No, it won't be as good as the 5D MkII, or recent 7D, or even the new 60D - but it's good enough for me. Especially if I put the really good images through a noise reduction program later on when I can edit at my leisure. But even without it, they will be fine.

ISO 1600 should be enough to give me shutter speeds of around 125th sec when under the bright stage lights, especially if I can use the 50mm f1.8. It will be a different story when I turn around and shoot the crowds, but the monopod should help me to get steady shots - even around 15th or 10th of a second. Hopefully I can get the crowd to stay still for that long?  :-)

Get a new Strap!

Hands up those who are using the supplied strap that came with your camera?

Yeah, I thought so. That would be most of us - right?

'Hey buddy, there's nothing wrong with the strap that came with my camera' I hear you say. 'It's got a cool Canon/Nikon/Sony etc logo on it - say's 'Digital' on there somewhere, and is in the company's trendy colours. What more could you want!'

How about comfort? How about extra features like cushioning and grip? Think they might make a difference when you're talking about supporting a 2kg+ load of camera gear around your neck for a day? You betcha. And these are the features that you don't get with the camera strap that comes with your digital SLR - even the Pro bodies that cost megabucks.

My new Kaiser (made in Germany) camera strap for the Canon 5D.
Unfortunately the Leica doesn't come with the strap.

If you've never used any other strap on your camera than the one supplied by the manufacturer, then you owe it to yourself to make a change. I guarantee you will wonder why you put up with the crappy supplied one for so long!

There are myriad number of camera straps available as an alternative, and like anything to do with photography, you can spend as little - or as much - as you like.

Straps like the 'Black Rapid' have become very trendy with 'pro' photographers, but even going to a very basic cushioned neoprene style camera strap will totally revolutionise your camera-toting experience. I finally decided to change the supplied camera strap on my 5D (which is a pretty hefty camera, especially with the vertical grip attached), and opted for a 'Kaiser Pro Camera Strap'. It wasn't very expensive - only $25NZ - but makes a huge difference when carrying the 5D around the neck or on the shoulder - and has a few extra features over the Canon bog-standard strap.

No, it doesn't have a big 'CANON' logo on it - and guess what - I think that's a good thing. It's obviously attached to a big Canon camera, but it doesn't scream at you from across the room "hey look at me, I'm a Canon camera". It's just black, with no big expensive looking logos across the neck - just a couple of very discreet 'Kaiser' logos on the side.

What it is, is cushioned (mmmm...) and made of neoprene which is much more slip-resistant than the standard material type. I'm forever hitching my camera back over my shoulder if I use the supplied strap - but not so with a decent strap. And don't dismiss that cushioning. It really does make a great difference - more so the heavier your camera is.

Maybe it's not very sexy? Maybe it's not the first thing that comes to mind when you think of 'upgrading' your camera, and it's probably not top of your list of 'must have' camera gear. But that's a shame - because maybe it should be at the very top of your list! As I said, you don't have to spend too much money to get an infinitely superior product to what you're using at the moment. And once you've used a decent strap, you'll never go back to the supplied straps ever again. Promise.

100th Post and HDR!

According to blogger, this is my 100th post! Yippeee!!!

Over the last few days I've been using HDR software, with an eye to writing a review/article for publication. I've pitched the idea at a couple of editors, but they haven't gotten back to me yet. But it's early days.

I have stayed clear of HDR (High Dynamic Range) Software in the past, but have grown increasingly more interested in what is out there. As someone who uses Photoshop extensively, I'm certainly not adverse to manipulating pixels for a HDR 'look'. Yet until relatively recently, the options were limited. But in the last year some major software developers have released HDR programs (including Adobe with CS5), so I figured it might be time to see for myself what all the fuss is about.

'True' HDR uses a range of exposures (at least three and up to five) that expose for both highlight and shadow detail. These are then 'blended' (more correctly referred to as Tone Mapping) together to create one HDR exposure. Some argue this is cheating. Others claim it better represents what our eye actually sees when we take a photograph. I don't know that I quite agree with either side of the debate - and I'm not sure I care. It's my photo, and I'll do what I want with it, thank you very much. And if that means HDR, then so be it.

Anyway - you can also create an HDR image with just one RAW photo - and that's what I'm going to show here in this post.

First - the original image, as captured. Yes, its a little dark - and so that's why I used it, to see what these HDR programs could get out of it.

Original image - as shot.

To get the ball rolling, I downloaded the 'grandaddy' of all HDR programs - the one that started it all - Photomatix. Anyone who has played around with HDR has probably used Photomatix at some stage, and it remains a strong player in the market.

Processed with Photomatix

As you can see, it does a good job of pulling detail out of the shadows, but retaining it in the highlights, while adding that HDR 'punch' that this process is (infamously) known for. It is only a small program (7MB) compared with some of the others, and doesn't offer as many pre-defined styles or tweakable sliders, but there is enough, and I really liked the result I got using Photomatix. So far so good.

As a side note: I downloaded trial versions of the software discussed here - bar one (which was a free, but limited program). Photomatix is the only company that insists on placing a watermark over the image until you purchase the full product. Boo hiss. Shame on you Photomatix!

Anyway, onwards and upwards.

Next is HDR Efex Pro, from Nik Software -  a giant in the software plug-in industry. I was very excited about this product, and was expecting big things. They pioneered 'U-Point' technology that I first saw in Capture NX software for Nikon cameras, and with big names like Tony Corbell behind them, I hoped it would be a winner.

Processed with HDR Efex Pro

Efex Pro certainly goes all out with its pre-sets and styles to give you the HDR look, which it achieves often at the sake of detail. Try as I might, I couldn't get any detail out of the trees at top left of the image - which wasn't an issue with any of the other programs I tested. Having said that, I like the dramatic look you get using HDR Efex Pro, even though I struggled to get the detail I wanted out of it - even with U-Point technology.

Third on the list is HDR Express, touted as giving a more realistic HDR look to its Tone Mapping algorithms.

Processed with HDR Express

I processed the image using a 'Cool' pre-set, simply because I liked to look. True to its marketing hype, all the set styles looked more natural as a starting point than you get from HDR Efex Pro. It also has fewer sliders or style options, but I found this a good thing. Results can be tweaked, but there is no doubt that HDR Express gives a more subdued HDR result that Nik's offering. Depends what you are after.

And finally, I checked out a FREE application specifically for Mac users - HDRtist. As files go, it's even smaller than Photomatix (5MB), and has basically no options whatsoever - save for a 'Strength' slider. Surprisingly, though, it actually did a pretty decent job - especially for FREE.

Processed with HDRtist

You can spend a little more (US$29.99) for the PRO version, which does give you styles and sliders so you can customise the look. And considering it is at least US$60 cheaper than the other offerings, might be worthwhile if you only wanted to do HDR very infrequently. It definitely works, and has to get the 'bargain' award for HDR software if nothing else.

Which do you like? What would suit your needs or budget? If you like a more natural HDR effect, then HDR Express might be fore you. Looking for something more gutsy and in-your-face for your images? Check out Nik Software's HDR Efex Pro. Want to use the tried and true software that started it all - and produces really great results - look no further than Photomatix. Then, of course, there's HDRtist for FREE if you use a Mac - and there are certainly others out there for you poor Windows users. So, something for everyone.

More importantly, I've discovered that converting images to HDR is a lot of fun? Of course you can do what I did, and try them all for free (trial versions range from 15 days to 1 month). I'm sure you will create some truly stunning images with any of these programs. I know I did.

Decisions, decisions. For me, the question remains. Which one will I choose...?

First shots with Canon Powershot G6

It was overcast, but not raining, at lunchtime today - so I decided to go for a walk down at the wharf with my G6.

I wanted to get the feel for using it for my style of shooting; playing with the exposure value dial, using the lcd screen or optical viewfinder, reviewing, deleting etc. Basically just getting used to how the G6 operates.

I fumbled around for a little while getting used to button placement, but on the whole the camera is set up very intuitively.

Exposure compensation is a feature I use for almost every shot - even though I also shoot in RAW. I appreciate that RAW gives you a little exposure latitude, but I still like to nail it on every exposure as much as possible. I do this by viewing the shot on the lcd screen and checking the histogram (not the jpeg image on the screen), and then moving the exposure compensation up or down as necessary. The G6 makes this pretty easy, with the exposure compensation function (+/-) built right into the main selector pad. A quick flick up and you access the exposure compensation screen, flick left or right to add or subtract exposure, and flick up again to make it all go away so you can take the shot. Easy.

Although I normally prefer to hold a camera up to my eye, with the G6 (and almost all other compacts for that matter), using the lcd screen to compose is really the better way to go. The optical viewfinder is only 80% of view, and isn't easy to compose critically with. Whereas the lcd screen is 100% of the final image. And with the flip-out screen and reasonably large 2" monitor, it is quite nice to use. I am, however, painfully aware of the camera shaking when it's being held out away from my body - and the G6 doesn't have stabilisation. So I kept an eye on shutter speeds and made sure that they didn't fall lower than I thought I could manage. Reviewing the images from the shoot I seem to have gotten this right - no blurry photos, even though often times the boats were rocking slightly in the water.

And speaking of hand holding the G6, I find it easier to do with the lens adapter tube attached. It gives a nice solid 'lens' barrel to hold on to, while the lens is free to zoom around inside. It also allows me use a UV filter on the front - and of course a polarising filter or other filters if needed.

The G6 also has a built in ND (neutral density) filter that you can turn on whenever you feel the need to lower the shutter speed or lighting values. I turned it on for a few shots, but it didn't really have that much of an affect. I will wait until I have a waterfall or other classic subject to try this feature out a bit more. Should be handy though. Would have been even greater if it could somehow have been graduated  :-)    Now that would be handy.

Even though it was overcast lighting, the G6 sensor has produced strong colours and heaps of detail. I kept the ISO at 50, although I'm sure pushing it to 200 wouldn't have hurt either. I have played a little in photoshop with the images you see here, but not a lot. No more than I would with an image from any of my digital SLRs.

Overall I had fun with the G6 today. And isn't that the main reason to take photos for yourself - for the fun of it?! Of course the image quality matters, and fortunately the G6 has fantastic image quality with its 7.1MP sensor and high quality 35-140mm lens. I'm looking forward to using it more often.

Canon G6 Converters

The Canon Powershot G6 arrived today and I'm very pleased with its overall condition. 

I was keen to get a Canon G series camera because of their handling, image quality, ease of use and features. I used a G2 about 10 years ago and loved it. I've wanted another ever since. I was especially keen to get this G6, because it also came with wide and telephoto conversion lenses.

The lenses are from Opteka, and simply screw on to the front of the adapter tube that can stay on the G6 at all times. The tube allows the use of 52mm filters or, of course, the lenses.

So what sort of difference do they make? I fitted the adapter on the G6, placed the wide conversion lens on, and took some images to find out.

First, without the wide angle, the lens on the G6 goes down to 35mm. This is what it looks like.

So what happens when you put the wide conversion lens on with the adapter...?

Oops. At the extreme wide end it gets, well, extreme. You can see the adapter tube showing at the corners - not really a good look. Don't know if this happens with the official Canon wide angle conversion lens - but it certainly does with the Opteka brand. You can crop in a little, and still get a wider image than you get without using it. Looks like this...

Even cropped, the image is probably still around the 28mm mark, and is obviously wider than the wide end of the G6 without the adapter.

If you zoom in a little so that the adapter edges go away, you get this...

Probably around the 30mm mark. Wider than the G6 lens, but not super wide. Don't know if I'd bother pulling it out and using it on a regular basis, but if you need to get a little wider it's good to know it's there.

The same is true for the telephoto converter. Without the adapter lens the Canon lens goes to 145mm.  This is how close it got me without changing my position for the wide angle shots.

When I attached the Opteka telephoto and kept it at the greatest telephoto setting, this is what I got...

Is it closer - yes. Is it remarkably closer - nah. Again, it works - but... Not sure it's going to find me reaching for the teleconverter for this kind of result. 

So all-in-all, even though I was excited about the possibilities the wide and tele converters would afford me, the actual results with the Opteka converters are less than impressive. I'll hopefully get outside this weekend and have a better play. But initial results ain't that impressive.

I am happy with the G6 though. Great little camera with a stellar lens, and really good image quality from a compact sensor. Looking forward to capturing some great travel images with it.

Canon Powershot G6

Yes, I do know my numerals, and can tell a 3 from a 6. The Powershot G3 that I won on Trademe arrived in the post the other day - and long story short - it doesn't work!

Still not sure whether I should be annoyed by this, or chalk another one up to a learning experience? Upon reflection, I probably didn't ask enough questions about the G3, since the seller did state there was an issue - but they 'presumed' the issue was with the CF card, and not the camera itself.

Never presume. Ever.

I presumed they were right, and it would just need a new CF card. I was wrong, and so were they.

So I now have a useless G3 (turns on, but doesn't write to the card - it shuts down giving an E52 error), and I'm not quite sure how much I can push the 'you didn't tell me' line of enquiry with the seller? I have emailed them to let them know that the camera still doesn't work with another Cf card, and I guess we'll take it from there.

It does mean, however, that I come away from the experience a little wiser - no matter the outcome - but still without a Canon G series compact.... or do I?

Never one to muck around, and, watching many other camera auctions as is my want, I had been following an auction for a G6 (in mint condition), with both tele and wide converter lenses that looked like it might go for a very good (i.e. low) price. And I was right. Because I won it! For a very good price.

So it's out with the G3 (even if I end up cutting my losses and keeping it) and in with the G6. And I'm pretty pleased about that.

The Canon G6 is an 'almost' doubling of megapixels (from 4 to 7.1) which will give great A3 sized prints (again, more than enough for me), with the same excellent lens that was on the G3 (and G5). But this time I get both the wide and teleconverter lenses with it as well! For not much more than I paid for the G3 in the first instance! Bonus!!

The G6 also increases the screen from a 1.8" to a 2" (with the same resolution), and uses the same battery as my 20D and 5D - very handy indeed.

ISOs remain at 50 to 400, although a test I saw recently rated them more like 100 to 640, with excellent noise control despite the larger megapixel rating.

Button placement has been fiddled with for better ergonomics, and the G6 is lighter and smaller than both the G3 and G5 that it replaces.

Actual G6 from auction with conversion lenses

But what I am most excited about with the G6 is getting the accessory lenses included with the auction.
Above we see the telephoto lens on the left which takes the focal distance up to 245mm (from 140mm) and the wide angle lens on the right that takes the lens down to 24.5mm (from 35mm). The conversion adapter required for both lenses to fit also has a filter thread allowing for the use of 58mm filters.

Add to this the ability to use my 420EX flash in full ETTL mode, and I'll have an instant 'compact' kit.

I realise that it's not as 'compact' as today's offerings, but I actually like that fact. I don't like my compact cameras to be too small, because then they become too light and tricky to stabilize (even with built in stabilization). I like a little bit of 'beef' to a camera. Gives me something to hang on to. But that's just me.

So the instant demise of the G3 may turn out to have been a blessing in disguise. I have a feeling the G6 and I will become very good friends. :-) Can't wait.