What is Noise?

July 23, 2019

Noise is false data due to extremely small electrical signals that are not generated by light from the scene but are caused by interference or energy from other sources. It’s the demon of all digital photographers. It’s the digital analog of film grain. The primary source for imaging sensor noise is heat with the electronics, primarily amplifiers, adding it as well. This is why the most sensitive sensors in powerful telescopes are cooled to extremely low temperatures, often by liquid helium, to temperatures close to 270°C (-454°F).

1-noise 1-noise Sensor noise, exaggerated for clarity. Image should be totally black,

This is an image generated from a CMOS sensor noise test I did. You’re seeing individual pixels that had non-zero values in either the red, green, or blue channels. They should all be black (zero value in each of the R-G-B channels) but extremely low signals are almost always present (called noise). The procedure I ran forced these tiny differences to be exaggerated greatly so they could be easily visualized. This is a 586×386 section of the much larger sensor array and it shows that the noise is not exactly random but has some patterns to it.

2-noisy-image Noisy image

So, what does normal noise look like in images? Take a look at this cropped section of a larger image, snapped at a concert. The lights were lower than the usual low and mostly from behind the subject. The noise is what’s causing the grainy look throughout much of this image.

There are ways to remove the appearance of noise but the best way to combat noise is to not get it in the first place. Easier said than done, especially when you are forced to shoot in low light situations. Fast lenses, slow exposures, full frame sensors, and external illumination are about all that you can turn to minimize the effects of noise when you don’t have enough light.

Sensor Sizes

July 23, 2019

Confused about all the different digital sensor sizes? Don’t feel alone. There may be more than you realize. Take a look at the chart below. The blue outline is the standard 35mm format which is actually 24mmX36mm.

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The many different sized digital sensors compared with full 35mm film

On a 35mm DSLR, the sensor size determines how much of the normal scene gets captured. A cropped sensor as it’s called captures more of the center part of the scene while a full frame sensor captures a wider view. Cropped sensors usually have about as many pixels as their full frame counterparts but they have a higher pixel density and the pixels are smaller. The higher spatial resolution provides a magnification factor.

The Canon APS-C for example has the magnification equivalent of 1.6X that of a full frame. This can be a real advantage for long lens shooting. A 500mm lens on an APS-C body for example gives the same view as an 800mm lens on a full frame as demonstrated in the windsurfing image. That advantage is quickly lost on the other end of the focal length range however.

2-full-versus-crop1 Zoom advantage of cropped sensor

A 20mm lens, a super wide with an angle of about 94°, becomes the equivalent of a 34mm lens with an angle of view of only about 63°. This becomes a huge issue when shooting in cramped spaces where you can’t step back far enough to get the shot as demonstrated by the lighthouse staircase image.

3-full-versus-crop2 Disadvantage of cropped sensors

Another drawback to the smaller sensors, since they usually have smaller pixels, is that these small pixels gather less light and therefore their signal-to-noise ratio is less. The result is poorer performance at higher ISO values – noisier images.

So, when deciding on a camera, which one is better? Well, that all depends. In my case I use both full frame and crop sensors but I use them in such a way as to get the advantages of each. For all of my low light work, where my ISO values will be 3200 and up as high as 12800, I use my full frame Canon 6D. And for my long lens work, I almost always grab the 7D MkII with the cropped sensor. With the long lenses I’m almost always shooting below ISO 3200 and I get to take advantage of the magnification factor.

For a really good and entertaining narrative on the many different formats, take a look at “Crop or Crap” by Zack Arias.

My Gear

July 23, 2019

My Gear

When it comes to camera bodies, I am very brand-non specific, having started with Minolta, moved to Nikon, and then to Canon. My firm belief is that they all make great products. I’m sure I would be just as happy shooting Olympus as anything else. I’ll save the boring story about how I ended up with Canon gear in my hand because it’s totally irrelevant today. I do suggest however that whatever you decide as your basis, sticking with the brand name lenses gives you the absolute best performance possible. Having said that, I’m very loyal to third-party brands that produce great accessories. I don’t want to get out with my gear and have something fail when I need it the most so I’ll share with you what I have found that has worked for me.

Some of the cameras I’ve retired

Minolta bodies owned (all film): SRT-101, X-700, 700 Maxxum, Weathermatic
Nikon bodies owned: F3HP (X2) (film), D70s, D1 X
Canon bodies owned: Rebel T4i, T5i, 6D (two), 7D MkII, 1DX
Camera bodies used for work: Nikon F4 (film), Kodak DCS200, Canon 1Ds MkII, Canon 1D MkII N, Canon 1D X
Canon 6D
Canon 1Dx
Canon 7D MkII
Canon 1Dx MkII

My current gear bag is made by Lowepro and it’s probably 15 years old. That in itself should be a good testament to the brand. I’m rough on it as I carry it around almost every day of the year. I’m in and out of it constantly and have never had one problem with it whatsoever. If I ever need another one I’m likely going for another Lowepro. So, what’s in that bag?

I currently carry a Canon R6 body with a battery grip and a Really Right Stuff L-bracket. The power of the R6 is its outstanding image quality and its highly advanced auto focusing system that can detect and track the eyes of humans and many animals. My primary use for this body is live music and wildlife, where the subjects are always in motion and the lighting is always very low.

Extreme telephoto shot of a bald eagle taken with 7D MkII, 500mm lens, and 2X teleconverter

Also in this bag, I usually carry a Canon 70-200mm f2.8 Series II. I call this a bread and butter lens because it has such a wide variety of uses. It’s heavy but you don’t get something for nothing. It’s very sharp for a zoom and the fast f2.8 aperture allows me to shoot some pretty amazing scenes. The tripod collar is convenient and the lens hood is sturdy.

Looking for birds with my 70-200mm lens -Image by Wendy Podmenik

I usually only carry two other lenses in this bag. That’s my Canon 16-35mm f2.8 and my 24-30mm f2.8. I’ve always loved the perspective that a superwide lens gives me and the fast, f2.8 aperture of this lens makes it perfect for live music and other low light shooting.

Also in this bag is my Canon 2X Extender Series III. The Series III is noticeably sharper than the Series II, and my 2X is sharper than my 1.4X if you can believe that. So it stays in my bag and is almost always coupled to my big lenses.

I also carry a Hoya variable neutral density filter, extra batteries, a 12mm extension tube for closer focusing in a pinch, extra tripod plates, the usual lens cleaning supplies, and ear plugs for the loud music shoots.

The battery grips are a must for me. They make handling the bodies so much more comfortable, they retain the natural controls for vertical shooting, and they hold twice the battery power.

The Kirk and Really Right Stuff L-brackets really make the camera-battery grip combination solid, they provide for a robust mounting platform for my shoulder straps, and they have integrated, vertical and horizontal Arca-Swiss style plates for tripod mounting.

Image of Steel Panther from my 15mm fisheye lens

The three other lenses I keep handy are the Canon 50mm f1.8, the Canon 85mm f1.8, the Canon 15mm f2.8 fisheye, and the Canon 1.4X Extender Series III. Although I rely heavily on Canon products and their wonderful support via Canon Professional Services, my extension tubes are inexpensive Kenkos. I keep the 20mm and 36mm tubes in this bag as well. I now have a 12mm Canon one that I use along with my heavier lenses.

Outside of my bags I have the items that are too large to fit. My pride and joy is my Canon 500mm f4 Series II lens. That was my retirement gift to myself. It is so amazingly sharp, and with the Series III Extender added to it, it is still amazing. I rarely shoot without the teleconverter attached which is why it stays in my primary bag. When using this lens I usually use a reflex sight mounted to the camera’s flash mount, to aid in target acquisition due to the narrow angle of view this lens offers.

Using my 500mm f4 lens on a gimbal mount. Image by Jim Hansen

Next in line is my Canon 300mm f2.8 Series II (sold in 2020). Like all of Canon’s (and probably the others’ as well) prime lenses, this thing is just phenomenal. It’s small enough and light enough to carry around for a while and can be handheld with not too much trouble.

For the longer hikes, I have a Canon 300mm f4. Much smaller and lighter than its f2.8 big brother, it’s very compact and comes with an integrated lens hood. It also focuses closer than many lenses of its size.

Both 300mm lenses, the f4 version on the left is much smaller and lighter (and much less expensive) than the f2.8 version. Click for large image.

I recently upgraded to a very nice carbon tripod. I was amazed at just how much stability it gave me over my previous, aluminum one. I now use a Really Right Stuff TVC-33 tripod with one of their leveling bases and a quick release mount. I also got one of their very nice ballheads for scenic shots.

Occasionally I pull out my Manfrotto monopod. It’s handy for the 300mm days when I may be in a crowd and where a tripod is just too much.

For the supertelephoto lenses, I use a Custom Brackets gimbal on my tripod. If you’ve never used a gimbal with a long lens then you are in for a real treat. The cheap knockoffs can be had for under $100 and are fine for the lighter lenses. The gimbals, seen in the photo of me above, balance the lens about its center of gravity, making it easy and comfortable to move around with just a finger and it stays where you put it. This is great for wildlife shooting where you’re doing a lot of panning.

And finally, I am hooked on Black Rapid straps. I have the Sport, which I use when I’m just carrying one body, and the Double for most of my live music shoots and street touring, where I’m carrying two bodies.

My Black Rapid Double strap in use, carrying two 6D bodies and 70-200mm and 16-35mm lenses.
Image by Wendy Podmenik

Tech/Tips/Opinions

July 23, 2019

Here, you will find articles about photographic and photo imaging techniques, tips for getting better images, and honest opinions, in red, that you are free to ignore. This will be a living document in that it will constant grow as I add more to it.

General Tips

1) Always carry a camera with you!
The best camera is the one you have with you. I’ve shot plenty with my cell phone, many of which you’ve probably seen but didn’t realize I hadn’t used my fancy DSLR. Even a $5000 camera is worthless if you’ve left it at home or you can’t get a lens on it in time to catch the shot.

An image from my cell phone

2) Understand the limitations of your gear as well as its advantages.
Your $500 cropped sensor or point and shoot camera may not work well for concert photography but that doesn’t mean it won’t be perfect for macro or landscape work. Some of the gear we are using today is far better than most of the professional gear that the masters used decades ago.

3a) Learn the basic rules of photography.
They will help you make great photos quickly. The rule of thirds is one of the best and easiest to employ and get immediate results.

2-thirds-1 Classic use of the rule of thirds

3b) Learn to break the rules creatively.
Once you learn how the basic rules can help you, start trying to break them creatively.

3-no-rule-of-thirds2-1 Rule of thirds ignored here

4) Think about different perspectives and points of view.
Stop being a pedestrian and start getting into your images. Bend your knees and climb on things. Shooting children or pets? Shoot from their level. Or climb a step stool or a ladder. Just a little change in point of view will make your images stand out and not look like everybody else’s.

4-perspective-1 Try shooting from the point of view of someone else for something different

5) Start shooting in RAW…yesterday.
Unleash the full power of your digital camera. Most cameras capture in 16-bit. Why throw that information away when you can take advantage of it? When you do you will immediately wish you could go back and reshoot everything you ever shot in RAW.

6) Get good editing software.
Good software is cheaper than ever and there are plenty of choices. The camera is only half of the image. Learn how to use the other half. Where Photoshop used to be expensive, it is now affordable and there are so many useful tools in it as well as those made for it. It and LightRoom are tool boxes. Learn how to use at leas the basic software tools. Youtube is a great resource for learning.

7) Crop in-camera if you can.
Don’t be lazy and depend on cropping in software to get you up close. Move your body or use a longer focal length to fill the frame. Just like using all of the dynamic range the camera has to offer, use all of the pixels.

8) Process consistently.
Try to do your processing in the same ambient lighting conditions. It will help tremendously with getting consistent results.

9) Calibrate your screen.
Most computer screens are too bright and too blue (to make them look appealing in the store) plus you are trying to edit a transmitted image (display) to eventually become a reflective image (print). A good calibration will ensure that you are getting an accurate rendition of your work. And if you don’t calibrate your screen, calibrate your eyes. Using a file from which a print came out the way you like, bring up that image occasionally to make sure your ambient light is giving you the correct visual perception.

10) Share your work.
Don’t let your images go to waste but share them with others. It helps spread enthusiasm, encourages others to shoot and share, generates conversation, and you will probably end up learning something in the process. And who knows? You may even inspire someone else to pick up a camera.

11) Print your work.
Images certainly look good on a bright monitor but there is nothing as satisfying as seeing your images on paper. Make sure your monitor is calibrated so you can get accurate rendition. And if you don’t have a local pro shop to support, stick with whatever you find that you like so you can get consistency in your prints.

5-print-your-work-2 Part of my home gallery

Hardware-Specific Tips

1) Use a lens hood on every lens. They are sometimes an option but almost always a worthwhile one. They reduce flare from light sources outside of your angle of view and the greatly reduce the chance of your front element getting damaged from impact. There may be times when you need to remove the hood but 99% of the time it will save your lens and your images.

7-no-lens-hood-1-1024x683 Here, a lens hood would have gotten in the way

6-no_hood-1 Using a lens hood would have kept the sun from hitting the front element and producing this flare

2) Use lens filters when you need the specific effect. Do not use a clear filter to protect your lens. (See #1 above) Why spend big money for the best glass, only to put a $25 piece of glass in front of it?

3) Get yourself an inexpensive set of extension tubes. Check out my article on using them.

4) Stop turning your camera off.
Your camera is designed to turn itself off after periods of inactivity and even so, it will use very little power in standby. I turn mine on when I mount the lens and I turn it back off when I put it back in the bag.

5a) Use your focus limiter switch for faster autofocus operation.
When the focusing ring of your lens only has to travel a short distance, it greatly reduces the amount of time spent searching for a focus lock. Don’t miss shots because your AF is somewhere else.

5b) Turn off your image stabilization for high shutter speeds for faster autofocus operation.
This may not be useful for supertelephoto lenses.

6) Use Live View for precise focusing of dark scenes.
When the scene is too dark for effective autofocus operation, turn on your live view and manually focus. It is so much easier.

7) Tripods are a pain to lug around but they do their job and do it well when needed. Consider a monopod as an easier alternative in many cases. And compact, lightweight tripods are convenient but many are hardly better than hand holding. A good, sturdy, aluminum one can be inexpensive and do the job very well.

8) A good strap can often be more comfortable than the factory-supplied one hung around your neck. I’m currently using single and dual shoulder straps from Black Rapid which attach to the camera or lens tripod sockets for a much more balanced carry.

8-straps-1 I may look like a goon but I'm comfortably and conveniently carrying two heavy camera bodies and even heavier lenses. Image by Wendy Podmenik

Clinics

July 23, 2019

1- clinics

Tundra swans in flight

If you are stuck in a rut with your photography or would just like to take it to the next level, consider taking one of my private or semi-private clinics. Taught in Newport News, I can answer all your questions, give you individual instruction on the topics you need work on, and let you see exactly how I capture my images.

2- clinics

The Grand Tetons

Topics can include basic camera operations, understanding light, focusing, composition, exposure, back button focus, bracketing, High Dynamic Range shooting, proper gear selection and handling, and software processing, all in an unintimidating environment. Don’t give up because your pictures don’t look as good as you would like. Don’t think you need to purchase expensive gear. Let me help you to use the equipment you already have to get better images than you’ve ever had before.

3- clinics

Sun rising behind the gantry at NASA Langley Research Center

Private sessions last approximately two hours and cost as low as $50 for a classroom setting. On-location or field settings are as low as $100. Bring a friend or two (up to five in a group) and everyone gets a discount. Forget something we covered? No worries. After the clinic, I will make myself available to you for followup questions and image critique concerning any of the topics we covered.

Steel Panther

Contact me for a free consult. Once I find out what it is you would like to achieve and where you are now, I can tell you how I can help.