ByKatee Cheung 2020-01-06 1212
Misunderstanding 1: the higher the contrast of the lens, the higher the resolution. When shooting with a certain lens, some photographers will find that the image captured has a high contrast (generally referred to as hard), or it looks very bright. He blurted out that the solution of so-and-so was first-rate. Once you look at a picture with weak contrast (that is, it is often called a softer time), the interpretation of the sound channel lens is poor. This view seems to be a bit arbitrary, in fact, resolution and contrast come from two different things, should not be generalized, of course, there are some related places. Resolution (Resolution) is actually data obtained from some standard tests, using a black-and-white line chart and shooting with a lens under different apertures. However, the most standard data should be read by machines, but some magazines or experiments use film imaging for human eye judgment. This seems to involve some objective factors, such as the film processing process or the limitation of the human eye, but it is generally acceptable. Because at least the resolution performance of the same lens under different conditions (different aperture or focal length) can be found, and there is no need to compare it with other lenses. Generally speaking, the more lines you can analyze in the same range, the more resolving it is, that is, a sharper lens. Although the contrast (Contrast) does not represent the resolution, it is not irrelevant, but it cannot be said that if the contrast is high, the resolution is high. Contrast actually refers to the lens's ability to express the dark level, an image must have light and dark two contrasts, high contrast refers to the obvious separation between light and dark, while there may not be too many gradual layers of (gradation); in the middle, and low contrast means that the light and dark are not obvious or distinct enough, but there are more layers, which may make people feel more rigid. For color or black-and-white images, the definition of contrast is the same. Most people misunderstand that the high contrast is good, yes, the high contrast is more distinct and the tone is brisk, but there is no rich level, and the high resolution just now loses its meaning, hindering the careful performance of the whole. However, the contrast is indeed very subjective, and there may not be a standard, but specifically, a more comprehensive lens will be more popular, not to mention that today's films also have very good contrast and levels, as well as different choices, such as those designed for portraits and films designed to restore accurate colors, so there is no need for photographers to pursue them too blindly.
Misconception 2: adding 1B sky lens is better than UV filter. Whenever you buy a new lens, you will consider buying a filter to protect the lens. Generally, 1B SKYLIGHT and UV are more expensive than the latter. Some people say that UV is just a piece of glass, while 1B portrait will be prettier or the color will be more accurate, so 1B will be chosen, but this does not seem to be appropriate. 1B skylight filter is officially a colored color filter, is one of the standardized color correction filter, can separate the light wave of 360nm or below (belong to blue light to UV), and at the same time can slightly absorb about 550nm light wave (that is, green light), generally speaking, it is used to reduce the blue phenomenon and green reflection of leaves when shooting in mountain areas or seaside, and it may be useful to shoot portraits on green grass. However, shooting in direct sunlight, this 1B filter is a complete waste of martial arts, in other words, only a piece of glass. UV filter is used to separate ultraviolet light that is invisible to the naked eye, so there is no effect on color (the general color film can not show color on UV at all), but according to the factory's proposal, its greatest effect is to improve the blur of shooting infinitely far away, but frankly speaking, the weather is the final decisive factor, and if there are many dust particles or high humidity in the air, how many pieces of UV will be added. Since this is the case, is it best not to add any filters at all? Yes, optically it is absolutely good, because the addition of a piece of glass may backfire, but this may not be detectable by the naked eye. After careful measurement, buying a piece of glass to protect the front set of lenses seems to be more important than a little optical loss. But 1B is still UV, so suit yourself. But it is enough to buy a UV with multi-layer coating, which can not only protect the lens, but also reduce the loss of optics, so it is worth it.
Misunderstanding 3: professional film is prettier than amateur film some photographers often have the illusion that the image quality of professional film must be better than amateur film, but they often find that the truth is not so obvious. it seems a little pitiful that the cameras, lenses, light meters, and so on used are not good enough, or even themselves. It is true that professional film is superior to amateur film, but it does not mean that amateur film is necessarily worse. In fact, I just want to point out that professional film is designed for professional photographers. If it is to be used well, the method is very simple. Just learn how to be a professional photographer. What is needed is not necessarily professional equipment, but skills, especially skills in dealing with films. You might as well try to buy some professional slides for trial, and you will find that there is a refrigerator in every place on display. Pay attention to the instructions on the film. In addition to the expiration date, there is also a recommended storage temperature, which is generally about 12 or 3 degrees. Professional film is fresh enough, if the film can be preserved in accordance with the recommended environment, the film will achieve the desired results, but at will to deal with the film, and then to shop A, and then to shop B, it is strange to ensure that there is no different color performance each time. Of course, there are many ways to deal with film, such as exposure factor, reciprocity rate, etc., or you can refer to the instructions in the manual. Amateur film is different, in addition to expire date, there are no other instructions, and generally have a longer and more stable storage period, and high tolerance, it seems to be more reliable for general users.
Misconception 4: X synchronous shutter must be used in flash shooting. Many Chinese and foreign photography books have mentioned the X synchronous shutter, and even the term "fastest flash synchronous shutter". However, many beginners of photography misunderstand that a certain shutter should be used rigidly when shooting with flashing lights. In fact, the so-called flash synchronous shutter or the fastest flash synchronous shutter generally refers to the shutter that can be used for flash shooting, and the fastest means that the shutter above the shutter speed cannot make flash synchronization, otherwise a clear image of the full frame film will not be photographed. This problem exists in the camera of the mirror shutter, and each camera has an independent design, so the maximum synchronous shutter is not all the same. When using a flash, a photo with flash effect can be taken as long as it is in any gear under the highest synchronous shutter, but the slower the shutter is, the longer the exposure time of the scene light is. For example, if you shoot indoors with the highest synchronous shutter flash, the background may not be sufficiently exposed, which makes the main body's foreground white and bright, while the background is dark and dark; if you shoot with the slow shutter (even the so-called Slow Sync or night portrait mode in the camera, etc.), you can get a picture with a more on-the-spot atmosphere. In addition, when using a slower shutter, you can even choose the synchronous flash of the front or rear curtain, you can adjust the flash as soon as the shutter opens, and you can flash before the shutter closes, which can create a special shooting effect.
Misconception 5: the macro lens is specially designed for very close range shooting, but some people say that it will have a decline in quality during normal shooting or superstition can only be used for remake or macro shooting purposes. In fact, according to some optical tests, the resolution of macro lenses performs extremely well under most apertures, whether taken at 1:1 or 1:2 and 1:50, and at 1:49 or 1: 50, the resolution is much higher than other non-macro lenses with the same focal length. However, the biggest problem with the macro lens is that the focus design is designed for close range, so it may only need to rotate the focus ring for less than 45o at a distance of tens of centimeters to infinity, which may be greatly reduced in accuracy, but today's AF lenses are very accurate and may be able to make up for this problem. Therefore, it is absolutely no problem to shoot a scene at a normal distance with a macro lens, or even a portrait. Fhand 2.5 or fhand 2.8 aperture may not be fully used, because there is often a loss of light in the four corners, which is inevitable, but a first-level aperture can be solved. on the contrary, when shooting a macro, a fine aperture is easy to cause diffraction, so it will be more suitable for fbank 8 to fbank 11. However, some users of macro lenses will know that the resolution of the macro lens is very high, and the photos seem to be a little hard, but each person has his own preferences and has many choices, as he or she likes.
Misunderstanding 6: the argument that the incident light meter is more accurate than the reflection light meter is not comprehensive enough. Objectively speaking, both of them are equally accurate, but for those who only use a single light measurement method, it is understandable to believe that a certain kind of light meter is more reliable. because both have their own modes of operation and methods of measurement. However, in the case of the reflective light meter, it is slightly more troublesome than the incident light meter, because the limit of 18% grayscale is often considered, and the incident light meter can directly measure the luminosity cast on the main body and obtain the aperture value directly. However, all the built-in light meters on the camera are reflective light meters, and the advantage is that they are convenient enough, because they do not have to measure in front of the main body, and most of them are directly included in exposure factors such as the loss of light of the TTL (Throagh the lens), lens and filters, which reduces the occurrence of errors and is easier and more reliable than the incident type. However, the color of the main body and background (such as black or white) will cause measurement errors, the only way is to make exposure compensation, as long as more practice, to get the correct exposure is not so difficult. The incident type itself has some advantages over the reflective type, but it is more troublesome to use. If you don't mind bringing an extra light meter, this is no problem, but you must remember to take into account factors such as the filter in front of the lens. Also, for example, the NikonF5 already has a reflective light meter with 3D RGB, which means that there is still room to jump out of the cabinet, as long as the 18% grayscale limit is solved, there is no doubt about its accuracy.
Misunderstanding 7: sealing and moistureproof is the most reliable, and during the rainy season, photographers feel the most sad, because beloved equipment is reimbursed by moisture at any time, some people frantically buy all kinds of moistureproof products, such as dehumidifiers, dehumidifiers and so on. Once it rains, I would rather hide the camera lens and become a humidity anaphylaxis. In this way, we may not be able to shoot a tube of film all summer, which can be said to be very sad. Frankly speaking, there are very few days when RH is lower than 60% in the climate here in Hong Kong, let alone in the rainy season. However, turning off all the equipment may not be completely moistureproof, many people will have experience, and the old lens placed in the sealed box will somehow lead to mold. In fact, to prevent the lens from getting moldy, it is not wet but bacteria. To stop the lens from getting moldy, the first thing is to understand why it is moldy. Dampness and darkness are the favorites of molds. However, bacteria are scattered in the air, and it is impossible to prevent them. If there is mold in a sealed moisture-proof box, if you add moisture-proof beads (silica gel), is usually used, it will have a certain dehumidification effect (but it is not permanent, it will lose all its effectiveness as soon as it is saturated), and there are some moisture-proof devices on the market that can absorb water into the box. Although the effect of absorbing water is obvious, the author suggests that everyone should be careful, check whether it is full or broken, and avoid putting it in an excessively hot place, because the water is also likely to be transpirated. Therefore, many people would rather have time to play with the lens or use it. Seeing the light can greatly reduce the chance of mildew. And generally put in an air-conditioned room, as long as the air circulation, coupled with low humidity, the chance of mildew of the lens has been very low. If you really want to hide the equipment for a long time, it is best to put an appropriate amount of moistureproof material in a low humidity environment and load it in a sealed box. Remember to clean the lens so as not to grow germs. It is said that some electronic moistureproof devices also play a certain role, but the price is very expensive.
Misunderstanding 8: wipe the lenses frequently. There are many utensils and even mirror potions designed to clean the lens in the market. should the lens need to be wiped all the time? Generally speaking, photographers naturally love their own equipment. They are alarmed to see a grain of dust on the mirror and are in a hurry to buy something to clean the lens. Some people will use a sweeping air pump to sweep or blow away the dust particles, or even wipe them with mirror paper and potions, but this is not very good, unless the stains on the mirror, such as fingerprints, are more difficult to clean. otherwise, do not rashly wipe the surface of the lens with things, because this may make the mirror surface, or part of the film may fall off, but now the film is quite stable, but this is always too dangerous. It is recommended to add a UV or IB skylight filter to the lens for protection, even if it is soiled, you can wipe it at will, or even replace it with a new one, which is much more than the lens that spoils the lens. If it is really necessary, be careful when purchasing lens paper or lens cleaner and avoid using alcohol detergent, as this will cause damage to the lens. Do not drop the detergent on the mirror when using it. If it flows into the lens or the edge of the lens, it will also damage the lens. Therefore, the best way is to avoid smudging the mirrors at both ends as far as possible. if there is dust, use an air pump to blow it away, and if you have fingerprints or oil stains, you can wipe it with high-density cloth or polished leather. If there is mold inside or there is moisture condensation (such as in and out of air-conditioning places), it is best to return it to the original factory maintenance center for treatment.
Misunderstanding 9: the 50mm focal length is equal to the human eye. People often say that the 50mm focal length is a standard mirror, which is similar to the visual effect of the human eye. It is often said that the image taken with 50mm is the most realistic and realistic. However, if you look carefully from the viewer, compared with the naked eye, you may see a different size of the image, and you will find that the image under the 50mm lens will be wider than that received by the brain. If the visual angle (Angle of View), 50mm lens is only 46o, but the human eye can be close to 120o, but why is the human eye not wide enough for the 50mm lens? The problem actually lies in the plane size of the image and the difference between the lens and the lens in the human eye. The light sensed by the human eye is on the (Retina) of the retina, and the concentration of the photoreceptor cells is limited to one point, that is, the conical cell (cone cells) of the yellow dot (yellow spot), sensing color is less and more concentrated than the rod cell (Rod cells) of the black-and-white vision. As a result, you will find that when you read something (such as reading a book), you can only see the central part, and other words outside the circumference may not be able to see clearly, but the film is different, as long as the lens angle is covered, and the main body is flat, the whole plane will be clear, because the 24X35mm has equal photosensitive drugs. On the other hand, the image taken with 50mm is no different from the real object in proportion, as long as the image is enlarged to the same size as the real object and placed in front of your eyes, which is actually the same as when you look at it in front of the physical object, but this is not only possible with 50mm lenses, such as 80mm, 100mm, 180mm. It can be done. Where on earth is 50mm really? It may be closer to what the human eye sees from the viewer, but it depends on the distance of the subject. Remember: the Life size, at 1:1 is seen by the human eye, but it has a thinning effect from the viewer. Also, the focus or clear plane distribution of the 50mm lens is different from that of the human eye, so it may seem like that to say that the 50mm is close to the human eye, but it is also possible to say that the 50mm lens has no serious distortion and moderate range of view.
Misunderstanding 10: the focal length of the lens will affect perspective. Some photographers often say that so-and-so 20mm lens has a sense of perspective, and that so-and-so 300mm lens is very oppressive, all because different focal lengths have different sense of perspective. In fact, perspective has nothing to do with focal length, and perspective refers to the shrinking effect of light. For example, when the whole building is photographed from the ground with a wide-angle lens, the lines on both sides of the building will shrink upward instead of parallel. Generally speaking, there are three main factors that affect perspective: constant distance. If you keep the same position, the same angle and the same angle with the subject, but shoot the same subject with different focal lengths, the photos will have different field of view (Field of View), and the main body will have different magnification, and those with longer focal length will have larger magnification. However, perspective does not change at all. If you do not believe that multiple photos taken with different focal lengths can be magnified or reduced to the same magnification, the ratio of the subject to the background is very similar, that is to say, perspective is also similar. The perspective of changing the distance between the camera and the main body has nothing to do with the focal length of the lens, but if the same lens and the same focal length are photographed at different distances between the main body and the camera, there will be different perspective effects. Or, when shooting the same subject with multiple different focal lengths, the shooting distance is changed in order to get close to the subject of the same size. as a result, the 20mm will take more background, while the 100mm will have an effect close to human vision, and 200mm may take a picture in which the background is compressed or close to the subject. The angle between the camera and the subject another factor that affects perspective is the camera angle when taking a view. When shooting a standing portrait from a wide-angle lens, it will look like the upper body is short and the lower body is long, while shooting from a high angle, it will have the opposite effect. If you shoot horizontally toward the subject, this deformation of perspective will not occur.
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