Category Archives: equipment

Experimenting With Sport and Silly Frame Rates

I recently wrote about spending a bit of time at a local cricket club watching a couple of games for a while. I haven’t really photographed cricket much so didn’t have strong ideas about what to try and get with regard to angles and action. I was just playing around, really, to see how things came out. I ramped up the frame rate for some of the shots that the batsmen were making. I was interested to see how I might miss the critical moments and how far the ball had moved between frames.

Now, clearly getting the shot is something that technique and skill should deliver. Compensating with the tech is not ideal but I wasn’t trying to prove anything to anyone. Instead, I was just out having fun. Consequently, I decided to use a feature on the R3 that I only occasionally drag out and that is the super fast frame rate of 194fps. This will not use autofocus or auto exposure once the sequence starts, but that isn’t a problem in the 0.2 seconds that it takes to shoot the 50 raw frames that are the limit.

It is amazing that, even with such a high frame rate, the ball still can move quite a distance between shots. You do end up with a ton of frames that are going straight in the bin. Since the ball either hasn’t arrived in frame or it has gone. That is a pretty easy process of culling of course. You also never know whether a given delivery is going to result in anything. You can get 50 frames as the batsman lets the ball through. Those are even easier to cull! Did I get anything I really liked? No, to be honest, I wasn’t too excited by any of them. However, it has got me thinking about what would make for a better shot. I shall have to work on that and head back to see if I can improve things.

Messing Up the F-35B Departure

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Since I switched to my R3 bodies, I have been playing a lot more with low shutter speeds to emphasise speed in images. This has been a topic in multiple posts on the blog in recent years. However, it doesn’t always work out well. I know that the keeper rate will fall when shooting fast moving objects at low shutter speeds, but you hope/expect that you’ll get something worthwhile from the ones you take.

However, that doesn’t always happen. During Seafair last year, the US Marine Corps F-35B departed Boeing Field for its display. I decided to go low with the shutter speed from my location up on the tower with the aim of having the airfield background blurring out and leaving me with the plane as the dominant element in the shot with little distraction. However, when I came to go through the sequence of shots that I took, I had some sharp ones as it approached me and as it flew away but nothing that really pleased me as it was closest and alongside me.

Some of them weren’t terrible but it was a huge disappointment as I clicked through the images and came to the realisation that I had blown it. You can’t always get lucky, and I knew what I was doing so I can’t be totally surprised that it didn’t work out, but it was still a bit galling. Does this mean I won’t do it again? No. Getting the record shot is fine, but I am more bothered about having a shot I really like these days. Might as well give it a go!

Heathrow Departure and I Resurrect an Old Camera

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I had something coming up where I might be a bit limited in my camera that could be accommodated so I dug out an old camera as a possible alternative. This is my EOS M6. It is a little mirrorless unit that has really been overtaken by the developments that Canon has undertaken but it was still a useful piece of kit. It is an APS-C sensor camera with some specific lenses which don’t have a role in the current product lines. However, it will do the job with some limitations.

Ahead of the intended usage, I decided to take it with me on a work trip to check it was still working as expected. My journey took me out of Heathrow so I decided to see what shots I could get of the planes around us as we headed out. Things all worked pretty much as I remembered. It isn’t a fast camera and the 55-200mm lens I have on it in these circumstances is okay but not special. However, it does okay and, when shooting through a dodgy aircraft window, the problems are more likely to be that than the kit you use. Sitting on a taxiway does give you some views of jets you wouldn’t normally have access to so that is fun. Plus, some A350s will always make me smile.

Cargolux Turns on to the Approach

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The joy of the 200-800 lens is the ability to get some really distant shots of something when a spontaneous opportunity presents itself. I was in Seattle at the locks in Ballard when I saw the familiar shape of a 747 approaching. Since passenger 747s are few and far between these days, I figured it would be a freighter and, sure enough, the Cargolux colours were on this example. It came close overhead as it headed for the approach path to SEA.

It was well beyond our location when it started to turn south on the approach but, courtesy of the long reach of this lens, I was able to get a decent shot of it as the topside came into view during the turn. It was a bit of a gloomy winter day, so the conditions weren’t ideal. However, no big heat haze issues to reduce image quality too much – although you aren’t getting great clarity at that range. How nice it is to see a 747 these days.

Extreme Packaging for a Cap

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When I bought my EOS R3s, they had a cap on the hot shoe to weatherproof it. I found the cap was very easily dislodged so I ended up putting some gaffer tape on them to hold them in place. When the R1 and R5 Mk II were released, a new cap was introduced which had a locking mechanism built in. I decided to get a couple of these since they would also fit the R3. They only cost a little over $20 but, when they arrived, I was amazed to see the large box and the high-quality bag that was included for something so simple. How much of the price for the cap was for the box and bag?

Taking Out Reflections – Photoshop Experimental Features

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I have been using Lightroom since the initial version was released. It used to be quite a simple application and anything complex was undertaken in Photoshop. As Lightroom has got more and more capable, the number of times I go into Photoshop has reduced. What I didn’t realize until recently was that Adobe uses Photoshop as the proving ground for some of the features that will ultimately make their way into Lightroom. I thought that Camera Raw and Lightroom’s Develop module were identical and they almost are. However, not quite.

In Photoshop, they have a check box to allow you try experimental features. I found out about this related to a feature designed to remove reflections. Anyone who has taken a photo through a window will know that you can get reflections off the glass of things your side of the window and these can ruin an otherwise usable image. (Photographing through a window is not a great option but sometimes it is all you have to work with.)

This feature analyses the image to see what it thinks might be artifacts from inside the window and allows you to remove them. Interestingly, the slider that comes with it can be moved either way. You can fully remove the reflection or can fully remove the rest of the image and leave only the reflection. This can be rather fun to play around with.

I was interested in what this would do for some shots I had got while inside the airport at Narita a few years ago. It was a dark and rainy day and I did try to avoid reflections but was not always successful. Some of the shots I liked most from an action point of view were the ones with light from inside intruding into the shot. These were the ones I worked with. You can judge the results. As I have the before and after versions here. It isn’t perfect but it does work rather well for an experimental feature. I hope it gets productionised soon and finds its way into the Lightroom Develop module too.

Pano Experiment with a Fisheye

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I will freely admit this is not my idea. It is something that I read about recently on an astrophotography post that caught my attention. I was about to make a visit to a museum where I thought I might end up taking some interior images in confined space. My 16-35mm lens was probably going to do the trick but I wondered whether the fisheye might be a better bet if things were really tight. My only concern with that is the distortion is such a feature of that lens that it might not be worthwhile.

Then I came across the aforementioned article and it talked about shooting panos with a fisheye. The article was concerned with wide sky shots for astrophotography, but I thought it might work for me too. Supposedly, stitching together multiple fisheye shots takes out a lot of the distortion while still giving you the wide reach. I decided to experiment with this in advance to see if it worked.

I played with this indoors but taking a sequence of shots with good overlap between them making sure to catch as wide an image as possible. I was using the fisheye with full frame coverage rather than the circular version of the image. In Lightroom, I had to turn off the profile correction since that plays with the shots a lot and then set the pano function to work. It combined the images very easily and, sure enough, the verticals across the shot were not all vertical and not distorted at all. This could be something I now use a lot in the future when working in confined spaces. I will need to test it for closer subjects first since I suspect that will be a lot more testing for the alignment issues in pano stitching.

Generative Remove in Lightroom

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As with all software tools, Lightroom has been constantly evolving since the initial release. If I were to see the original version of the software, I would probably be shocked at how limited it was. I do come across old edits and, when I convert it to the latest develop presets I have created, it is shocking how much of a change can result. One area that has gone through various updates over time is the tools for healing or cloning. They have been okay but definitely had limitations – not least pulling in odd artifacts from other areas.

A recent addition to the tools has been Generative Remove. This is an AI driven method for selecting and removing elements of the image. I try to do any of this before any cropping because I have previously found cropping to confuse the healing tools by leaving stuff out of sight that it tries to reincorporate. I don’t know whether this matters for Generative Remove or not, but I have stuck with the same sequence just in case.

The selection process is really simple. Brush around an area and it will fill it in. You can refine the selection with brushes to add or remove areas. I have used it a lot to remove power lines where a click at one end and shift click at the other gives you a quick straight line. Then let it do its thing. It will provide three options for the solution, and you can decide if one of them works or make it try again. Generally, I have found the results to be very good and no obvious artifacts as a result of the healing. No doubt they will continue to refine the process, but I think it is a big step forward in cleaning up elements of images that you don’t want and is now something I will consider for images that I would otherwise have cast aside.

Blossoms in the Back Yard

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By the time this hits the blog, it will be the best part of year since I took these shots. We have a variety of plants in the backyard at home and March was the time when blossoms started to make their appearance. Our plum tree had some blossoms, but the other plants also had some cute little flowers too. I dragged out the macro lens to get some images of them. Get up close with these and you can’t easily tell just how big (or small) they actually are.

Heavy Departures from SEA

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I have had plenty of chances to shoot the departures from SEA when they are on a northerly flow and the afternoon light provides a good option for the jets. Previously, I have used the 500mm since it gives good reach but, for the larger jets, as you get the jet abeam your position, it will be too large for 500mm. The arrival of my 200-800 provided a great new option. 800mm provided a tighter view on the jets after rotation (provided the heat haze is not negating any focal length benefit) and the ability to zoom out means that you can keep the aircraft fully framed throughout the climb out. I took the lens down when I first had an open afternoon and the right conditions and here are some of the results. As fall moves towards winter and the heat haze and high sun become less of an issue, this combo should get even better.