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Hidden Beauty of the Night article for Samyang

Christopher Frost

Photographer from England

 

Hidden Beauty of the Night

 


For many years now, Digital SLR cameras (and more recently, mirrorless interchangeable lens cameras), with their large and highly sensitive image sensors, have opened up opportunities for photography even in the very darkest conditions. A new world of fascination with astrophotography has opened up among camera owners everywhere, and capturing startling images of the night has finally become an affordable pursuit, even for hobbyist and beginner photographers.


 

 

 

 

Samyang 8mm f/2.8 UMC Fisheye II lens, f/2.8, 30 secs, ISO 800, Canon EOS M3 camera


 


A whole invisible world can be discovered for those with a camera, a tripod, the right lens, and a little patience. Your camera can see what the naked eye sometimes cannot, and can capture a moment in time in a different light – a moment in time, frozen in history. In places where light is hidden and dissipated, a camera’s long exposure can reveal every detail that would otherwise remain concealed.



 

 

 

 

Samyang 12mm f/2.8 ED AS NCS Fisheye lens, f/2.8, 1.3 secs, IS 3200, Canon EOS 6D camera

Light pollution from the local seaside town downplays the effect of the stars in this picture, but the shape of the wisps of clouds, and the imposing cliffs, add to the picture

 

 

 

 

 

 

Samyang 10mm f/2.8 ED AS NCS CS lens, f/2.8, 30 secs, ISO 100, Canon EOS M3 camera

Caernarfon Castle, North Wales. Unfortunately it was a cloudy night, but the long exposure of 30 seconds give the clouds a smooth look of movement.

 


It’s not only the night sky that’s waiting to be captured. Cityscapes with impressive landmarks come to life in the night time, leaping out of the dark sky or the black sea to hit the viewer with bright colours, shapes, and lines, which blend in to the background in the daytime. Shooting from a high place of elevation downwards, or even from the ground upwards, can give your images the angle they need to draw the viewer in to the picture.


 

 

 

 

Samyang 12mm f/2 NCS CS lens, f/2, 1/10 sec, ISO 2000, Sony a6300 camera

 

The light and lively coastal town of Izmir, Turkey - shooting from an elevation with a very wide angle lens, for dramatic effect. I would have achieved sharper results with a lower ISO by using a tripod, which unfortunately I didn’t have to hand still, the bright f/2 aperture of this 12mm lens meant that I could shoot handheld, for decent results.



 

 

 

 

 

Samyang 12mm f/2 NCS CS lens, f/2, 1/13 sec, ISO 1600, Sony a6300 camera

Another dramatic angle of the same landmark in Izmir – another handheld picture taken at f/2.

 


If you’re using a lens with a longer focal length of 35mm or longer, and that lens has a bright maximum aperture (e.g. f/2 or brighter), then the city at night time is an ideal place to capture subjects against a beautifully out of focus background. Move your camera around, to ensure that the position of points of light in your backgrounds brings a balanced result to your final picture. Don’t be too consumed with your backgrounds though: make sure that your subject itself is lit the way you want it to be – don’t be afraid to use a soft flash, if you’re taking a picture of a human subject.



 

 

 

 

Samyang 50mm f/1.2 AS UMC CS lens, f/1.2, 1/125 sec, ISO 640, Sony a6000 camera.

The extremely bright aperture of this 50mm lens for mirrorless, APS-C cameras, means that a deeply out of focus background can be achieved, along with a fast enough shutter speed to get a sharp picture, even in the dark.

 


The city offers plenty of opportunity for bright and striking night time images – but astrophotographers are interested in capturing the majesty of the sky at night. For best results in this field of photography, most photographers choose wide-angle or ultra wide-angle lenses (20mm or wider on a full-frame camera, or 13mm or wider on an APS-C camera), which also have bright maximum apertures (f/2, or brighter). A wide angle of view and a bright aperture is a winning combination on a lens chosen for astrophotography – they will give you the field of view needed for a dramatic image, and the light needed to take it in the dark.



 

 

 

 

Samyang 12mm f/2.8 ED AS NCS Fisheye lens, f/2.8, 8 secs, ISO 5000, Canon EOS 6D camera

A picture taken in the middle of the Brecon Beacons, in Wales, UK, on a pitch-black, moonless night. This area of the UK is a special dark-sky designated area, away from civilization and light pollution from nearby towns. On the trees in the foreground, notice a slight blurriness, as they waved in the wind during the 8-second exposure.

 


A picture of only the stars in the night sky will not necessarily read well: it’s often necessary to have some object, shape or place in the foreground to give the viewer a sense of scale to help them appreciate the view they’re receiving. Sometimes the foreground can simply be the outline of a dramatic structure or landscape, or even a person.




 

 

 

Samyang XP 14mm f/2.4 lens, f/2.4, 25 secs, ISO 1600, Canon EOS 6D camera

One of the best lenses I’ve tested for shooting the night sky is the Samyang XP 14mm f/2.4. This is because of its astonishing sharpness in the image corners, combined with relatively low coma levels, which can smear bright points of light in the corners of your image. This is a picture of the ancient Pentre Ifan burial chamber, deep in the Welsh countryside, in the UK.

 



But if you want more than just a silhouette, then bring a small torch with you, with some coloured filters to hold in front of it: briefly ‘brush’ your scene with the light from your torch during your exposure to bring your foreground to life. Experiment for best results – and use your imagination! 

 




 

 

 

Samyang 12mm f/2 NCS CS lens, f/2, 30 secs, ISO 500, Sony a6300 camera

The same burial chamber, ‘painted’ with a little light from a torch from behind the camera during the exposure. It was an LED torch with a slightly blue tint to it, so, to balance the colour, I placed a warm yellow filter in front of it, as I flashed it towards the burial chamber for approx. 1 second during the 30 second exposure.

 

 

 


Be careful when shooting – remember, in the middle of the darkness your image will look almost too bright on your screen, and you can be tricked into taking a picture that turns out to be too dark when you get home and check it. Use you camera’s viewfinder if it has one, or take the picture brighter than you think it needs to be. Also, check the weather forecast in your area: go out on a night with good visibility and, of course, no clouds, and try to go out on a night with a new moon: light from the moon will ruin the contrast of your images of the stars.

 

 

 

 

 

 

 

Samyang 12mm f/2.8 ED AS NCS Fisheye lens, f/2.8, 6 secs, ISO 5000, Canon EOS 6D camera

It’s best to shoot on a cloudless night, but don’t panic if a few wisps make their way into your picture – they can add character and bring out your foreground. Have patience, and wait for the right moment.

 

 


 

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森养最佳标准画角提案解析

从人与人之间的关系乃至为了营造美丽的空间而布置装饰品时都需要保持适当的距离。那么,为了更好地欣赏美术或摄影作品,我们应该保持多少距离?

答案是相当于“作品框架对角线的长度”的距离。

표준화각 자료 이미지
표준화각 자료 이미지

为了将作品完整地纳入视野并予欣赏,保持相当于作品对角线的距离为宜。如果距离过近,将大于人眼可集中精力的50°视角而无法取的良好的欣赏效果。

为了最佳欣赏效果与最佳视角而保持理想距离也适用于摄影技术。在拍摄静止画像的摄影技术中,将等于摄像面对角线长度的焦距镜头定义为标准镜头。数码相机的全帧传感器尺寸为36x24毫米,其对角线距离约为43.26毫米,标准镜头应为多少毫米以下的最理想答案可以称为“接近43.26毫米的数据”,而难以断定是至今被视作标准镜头代名词的“50毫米”。

以往与胶片对角线长度相仿的45mm画角镜头较为常见,随着SLR相机大获成功,为了保留可容纳反射镜的空间,50mm被视作标准镜头。但是,最近随着无反相机底边大幅放大, 鉴于无反相机法兰距短的特点,需要将标准镜头的画角以45mm再度予以解释,由此开始研发AF 45mm F1.8 FE。 与35mm画角镜头相比,三阳的AF 45mm F1.8 FE将畸变现象降至最低,且比55mm画角拍摄范围宽,为人物、风景、建筑物及宠物等各种主题摄影呈献令人满意的效果。

什么是预设光圈功能?

在预设光圈功能中,光圈可以像”控制环操作音消除(De-click)镜头“一样丝滑驱动,为视频拍摄提供支持。

富士相机的设计根据最小曝光量(F-stop)控制光圈,当相机控制光圈时,会依靠短暂闪烁来调节曝光。而AF 75mm F1.8 X不会向机身传送光圈信息,这种刻意的“预设光圈功能”无需闪烁就可让平滑的曝光调节变为可能。只需控制光圈就可以使ISO和快门速度适应不同的曝光环境,因此即使采用1/2 F-stop也依然可以调节曝光。

什么是预设光圈功能?

在预设光圈功能中,光圈可以像”控制环操作音消除(De-click)镜头“一样丝滑驱动,为视频拍摄提供支持。

富士相机的设计根据最小曝光量(F-stop)控制光圈,当相机控制光圈时,会依靠短暂闪烁来调节曝光。而AF 75mm F1.8 X不会向机身传送光圈信息,这种刻意的“预设光圈功能”无需闪烁就可让平滑的曝光调节变为可能。只需控制光圈就可以使ISO和快门速度适应不同的曝光环境,因此即使采用1/2 F-stop也依然可以调节曝光。

有哪些预设光圈功能的使用建议?

预设光圈功能仅能在视频拍摄模式下运行。 建议在f/1.8光圈和A、M曝光模式下使用该功能。有关“预设光圈功能”的使用建议请参考上表。

* 预设光圈功能的使用方法

1) 设置相机机身
      AF模式 → 视频拍摄模式(“A”或“M”模式)→ 光圈值固定在f/1.8
(2) AF 75mm F1.8 X镜头设置
      将“自定义开关”切换为“模式2(M2)”
(3) 使用对焦环调整预设光圈

有哪些预设光圈功能的使用建议?

预设光圈功能仅能在视频拍摄模式下运行。 建议在f/1.8光圈和A、M曝光模式下使用该功能。有关“预设光圈功能”的使用建议请参考上表。

* 预设光圈功能的使用方法

1) 设置相机机身
      AF模式 → 视频拍摄模式(“A”或“M”模式)→ 光圈值固定在f/1.8
(2) AF 75mm F1.8 X镜头设置
      将“自定义开关”切换为“模式2(M2)”
(3) 使用对焦环调整预设光圈

Dolly shot是什么?介绍摄影办法

[Dolly Shot是什么?]

一般利用带轮子的车,根据调整相机变焦的速度前后移动拍摄的技术。这导致被摄体和背景的倍率差异,从而将梦幻效应记录在视频中。

[简单用手持拍Dolly shot的方法]

Tip.如果移动距离长,相机可能会晃动,请在35~100mm区间拍摄。
1.距离被摄体约1.5~2m左右。
2.将自定义开关切换到MF和Mode3后,将视角设定在100mm左右。
3.通过调节对焦环聚焦被摄物,然后将光圈设置为F8~16。
4.利用上身和手臂,将相机靠近被摄体,将变焦操作慢慢向左(广角方向)转动。
5. 完成Dolly shot!
※在与拍摄对象更远的距离拍摄时,使用卡丁车或万向稳定器等,可以更稳定地进行拍摄。

DSLR / Full Frame
1D X Mark Ⅱ
1D X
1Ds Mark Ⅲ
1Ds
5DsR
5Ds
5D Mark Ⅳ
5D Mark Ⅲ
6D Mark Ⅱ
6D
DSLR / APS-H
1D Mark Ⅲ
1D
Mirrorless / APS-C
M6
M5
M10
M3
M2
DSLR / APS-S
7D Mark Ⅱ
7D
80D
70D
60D
30D
D60
D30
77D (9000D)
760D (8000D / Rebel T6s)
1300D (Kiss X80 / Rebel T6)
1200D (Kiss X70 / Rebel T5)
200D (Kiss X9 / Rebel SL2)
800D (Kiss X9i / Rebel T7i)
700D (Kiss X9i / Rebel T7i)
100D (Kiss X7 / Rebel SL1)
650D (Kiss X6i / Rebel T4i)
600D (Kiss X5 / Rebel T3i)
550D (Kiss X4 / Rebel T2i)
500D (Kiss X3 / Rebel T1i)
1000D (Kiss F / Rebel XS)
450D (Kiss X2 / Rebel X냐)
DSLR / Full Frame
D850
D5
D810A
D4S
D810
D750
Df
D610
D4
D800
D800E
D600
D3s
D3x
D700
D3
DSLR / APS-C
D7500
D3400
D500
D5600
D7200
D5500
D3300
D7100
D5300
D5200
D7000
D300s
D300
DSLR / Full Frame
Z6
Z7
D810A
D4S
D750
D810A
DSLR / APS-C
D7200
D500
D3300
D5500
D5600
D3400
D7500

* Cameras released within 5 years from 2019 are tested.

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