How To Be A Sharpshooter With Your Digital SLR
by Jason Schneider |
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Camera shake is the leading cause of blurry images. Here’s how you can prevent it, by using ingenuity, or the right portable stabilizing devices. According to Kodak, Fuji, and other leading imaging companies in a position to know, the number one cause of unprintable pictures is camera shake. Indeed, camera shake is such a pervasive problem that many camera manufacturers now build anti-shake systems into their digital point-and-shoots, but only one company, Konica Minolta, builds it into its digital SLRs, namely the Maxxum 7D and 5D. While anti-shake zoom lenses are available from Canon (using the IS system) and Nikon (using the VR system) these lenses tend to be bulkier and costlier than their non-image-stabilizing counterparts, and, of course they provide anti-shake only for the focal lengths they cover. What steps can you take to insure sharp shots with your digital SLR? Herewith some useful suggestions guaranteed to maximize sharpness when you’re shooting handheld plus a rundown on easy-to-carry accessories to help you keep your camera steady. The handheld shutter-speed rule How slow a shutter speed can you use if you handhold your camera? The time-honored rule of thumb for 35mm cameras is: One over the focal length of the lens in use. In other words, with a 50mm lens you can safely shoot at 1/50 sec (or 1/60 sec, the closest selectable shutter speed) and expect to get sharp images of stationary subjects, but with a 300mm lens, any shutter speed slower than 1/300 sec (or the closest marked speed of 1/250 sec) is likely to give you blurry results. Why? Because the longer the focal length you use, the greater the image magnification, ergo the greater the visible effect of any slight blur due to hand or body movements. In fact, the so-called “slowest” shutter speed is really a threshold value—you’ll get sharper results more consistently if you use even faster shutter speeds than the rule suggests. The DSLR dilemma Actually, the situation is even worse than you might expect with digital SLRs, because most of them have image sensors that are smaller than the standard 24x36mm frame of a 35mm SLR, you have to include the “35mm equivalency factor” in calculating the slowest hand-holdable shutter speed. For example, to calculate the 35mm-equivalent focal length with the Canon EOS 20D (and other consumer DSLRs with APS-C-size sensors) you have to multiply the actual focal length of the lens in use by 1.6. Therefore, if you’re using, say, a Tamron AF18-200mm f/3.5-5.6 lens at 200mm on the 20D, it’s the same as using a 320mm (200x1.6) lens on a 35mm camera. Therefore handholding at that focal length requires a shutter speed of 1/320 sec or faster if you expect to get sharp pictures consistently. Handholding strategies: Try a little ingenuity The good news in all of this is that the shutter speed rule of thumb is based on a “worst case” analysis—it assumes that you are using your body alone to stabilize the camera. Well, not surprisingly, the human body does not make a very effective tripod. You can improve your steadiness by cradling the camera firmly in both hands, pressing the viewfinder bezel into your eye socket or holding the camera upside-down against your forehead, bracing your elbows at your sides, placing your feet apart about the same distance as your shoulders, and squeezing the shutter release as gently as possible moving only your index finger. You can also try the rifleman’s trick of inhaling deeply, and letting out half a breath before firing. However, the best way to shoot at slow shutter speeds without a tripod is to brace your body or your camera and lens against a solid object. Simply leaning against a large tree or doorjamb will let you shoot at one speed slower than the rule suggests. Placing your camera on a sturdy table, window ledge, or other secure platform may let you get sharp shots at even slower speeds than that. In a pinch, you can hold your camera and lens against a rock, fence, or building, or brace your elbows on the ground to form a short-legged “bi-pod.” Another handy trick is making a “rope tripod” using a 1/4x20 eyelet screw (available at any well-stocked hardware store) and a 6-foot length of stout cord. First, tie the cord securely to the eyelet, then thread the screw end into your camera’s tripod socket. Be careful not to thread the screw in too far—stop as soon as you feel any pressure. To use your “tripod” step firmly on the dangling end of the cord to hold it against the ground, pull the camera upward to tension the cord, and shoot. No, it’s not as good as a monopod or a tabletop tripod---two popular and widely sold stabilizing accessories that also belong in your camera bag--but it costs practically nothing and fits in any pocket. Another unlikely steadying device used by many pros, especially wildlife shooters, is a beanbag, which has the virtues of contouring to just about any irregular surface, and providing an abrasion-free cushion for your camera and lens. Photographic beanbags come in several sizes, and are sold by camera specialty stores, but you can also find them in toy stores or make your own. Bogen Imaging has taken the humble beanbag to the next level by offering THE pod, essentially a beanbag with built-in tripod screw! |
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THE pod: High-tech meets the classic beanbag? Sorta. Measuring 3.75 inches in diameter and 1.75 inches high, and weighing in at 7 ounces, this handy stabilizer stows almost anywhere and its centrally mounted 1/4-20 screw fits most tripod sockets. Maximum capacity: “Lots—THE pod can be stepped on by the average male and come out smiling.” MSRP $17 www.bogenimaging.com
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Three legs are better than two Perhaps the most useful photographic accessory ever invented is the tripod. SLR shooters determined to get the maximum sharpness from their lenses should own at least two—a sturdy medium-sized tripod that provides maximum stability, and a well-made travel tripod that offers a reasonably stable shooting platform along with a relatively short (under 2 feet) folded length, and light weight. Travel tripods are essential tools for shooting in the field or on location for one simple reason: The best tripod is always the one you take with you, not the super heavy-duty model you leave at home. The three most important criteria for choosing a travel tripod are stability, compactness and eye-level shooting height. Light weight is a definite plus, but an extra pound or so of weight is not likely to be crucial unless you’re trekking in the wilderness or toting a lot of other equipment. Other things to consider: Many shooters find separate pan and tilt controls more convenient than a ball head, but ball heads are more compact and used by lots of pros. Legs with lever-type flip locks are quicker to adjust than those with twist locks. Geared center columns offer more precise adjustment, but sliding ones offer faster set-up. Convenience features to look for: Quick-release heads, bubble levels, convertible leg tips that convert from rubber to spiked ends for indoor and outdoor shooting. When checking the maximum height of a travel tripod, the most important specification (not given in most tech data) is the height of the yoke (where the legs join at the top) when the legs are fully extended. That’s because extending a tripod’s center post more than about 6 inches decreases its stability considerably. If shooting at eyelevel is important to you, make sure the travel tripod you buy extends high enough so you can view and focus comfortably at eyelevel without over-extending the center post. Guide to travel tripods Here is a selection, in no particular order of travel tripods covering a wide range of prices and brands that the author has used with satisfaction. Obviously, these tripods shown here represent just a small percentage of the literally scores of travel tripods on the market, so it does not pretend to be comprehensive. However, we think you will find it useful, if only to whet your appetite. No matter which travel tripod you choose and use, your reward will definitely be sharper shots. Good shooting! |
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Manfrotto 714B Digi Tripod: Sturdy and compact, with a collapsed length of only 17.3 inches, weight of 2.5 pounds, and 4-section legs, it has a clever built-in ball head that’s controlled from the bottom of the center column. Maximum height: 64.2 inches; minimum height, 15.8 inches; maximum load, 5.5 pounds. MSRP $106 www.bogenimaging.com |
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Gitzo G1155T Traveler: A gadgeteer’s delight, this ingenious, beautifully made tripod with unique pivoting leg-folding system is the last word in portability, with a folded length of only 16.1 inches and a weight of 2.1 pounds. It has 4-section legs, built-in ball head, maximum height of 58.7 inches, minimum height of 14 inches, and a 4.4-pound load capacity. It’s expensive! MSRP $850. www.bogenimaging.com |
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Sunpak DigiPro 4x4: This solid, compact (folded length 17.5 inches, weight 2.3 pounds) tripod has an amazing number of features, including variable-angle leg adjustment via a one-touch wheel, split center column, tension adjustment for the leg connectors, and a 4-way pan/tilt head that can flip to the right or left for vertical shooting as well as moving horizontally or vertically. Other features: 4-section flip-lock legs, bubble levels on both head and quick-release platform, maximum height 56.5 inches, load capacity 3.3 pounds. MSRP $99.95 www.sunpak.com |
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Velbon Maxi-347GB: Very sturdy and stable for its size, this nicely finished tripod folds to a commendably short 16.8 inches and weighs 2.6 pounds, yet extends to a taller-than-average 63.4 inches, and has a substantial load capacity of 8 pounds to accommodate a pro DSLR and long range tele-zoom lens. It has a geared center column, 4-section legs, leg braces for added stability, and it comes with a carrying case. MSRP $139.95 www.tocad.com |
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Davis & Sanford Switchkit: This unique 4-piece “7 in one” tripod outfit includes a lightweight aluminum tripod (4-pound capacity, 3-section legs), a tripod bag that converts into a camera case, and a SwitchGrip pan/tilt handle that has a 2-section tabletop tripod (2-1/2-pound capacity) hidden inside! The SwitchGrip also extends the main tripod’s maximum height from 53 to 59 inches, gives the option of shooting with two cameras at once, and can be set for unusual angles for copy work. MSRP $39.98 www.tiffen.com |
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Davis & Sanford Magnum X3T: If you need a really sturdy 3-section tripod plus pan-head with a high load capacity that’s perched midway between a lightweight travel tripod and a medium-weight tripod, this may be the ticket. While it’s fairly hefty, with folded length of 25 inches and weight of 6.6 pounds, it extends to a really tall 69-1/4 inches so you can shoot at eyelevel without extending the center column. It features a built-in bubble level, degree scale, and quick-release platform. MSRP $154.98 www.tiffen.com |
