What is new in the latest Canon cameras?

As you might have come across about the announcement of two new cameras from Canon, this post is about my take on those cameras.

One being named as Canon EOS 5DS and the other being EOS 5DS R – the one big difference between these two cameras is the 5DS R comes with “Low-pass filter effect cancellation” which must be a good news for Professional Landscape photographers. However, I am writing a separate article about the low-pass filter aka Anti-alias filter.

Both the two cameras are full frame sensors and having high resolution of 50.6 megapixels. First time in the line of Canon EOS cameras, to have this high resolution.

  • The specification of both the cameras states about the Low-pass filter that “Fixed position in front of the image sensor” and in the feature page of 5DS R clearly states that LPF (Low-pass filter) effect cancellation takes full advantage of the original resolving power of the 50.6 effective megapixels CMOS sensor, delivering even higher resolution images” Which makes me wonder Canon might have taken the Nikon’s way as Nikon did it in it’s D800 E. If canon have taken a different method to cancel the filter’s effect, we don’t know, will have to wait for the detailed lab review from the reviewers.
  • The prices for 5DS mentioned as $3699.00 and for 5DS R as $3899.00 for a 50.6 megapixels camera, I would say decently priced.
  • Maximum ISO on both the cameras are 6400 only. Whereas in 5D MKIII one can peak up to ISO 25600. If not all, few will definitely going to turned off by this. The reason behind this is because of bringing in more pixels in the same sensor area. (The pixel unit for 5D MKIII is 6.25μm square and the pixel unit for 5DS is 4.14μm square. The more this no. better spacing,better signal to noise ratio, better image quality, going in depth about this becomes a science class, where I am not that good, I will leave it here itself).
  • Shutter speed remain same as in 5D MKIII, max speed is 1/8000. Possibilities are there for the same shutter as in 5D MKIII.
  • Built in Intervalometer comes in both the models, which will be lauded by the enthusiasts.
  • The 1.3X and 1.6X are the options in processing (in-camera processing). Post capture, the image will be cropped and pushed to the memory cards as the user desires.
  • Advanced mirror control mechanism is definitely going to help minimise shakes in low shutter speed.
  • The Dual DIGIC 6 processors are definitely expected to handle the massive 5 fps data from the sensor.
  • USB 3.0 is as well going to support transferring the images.
  • EOS Scene Detection System features a 150,000-pixel RGB+IR Metering Sensor for excellent precision, this is going to help in nailing perfect exposure.

In a nutshell, ISO performance is going to turn off the professionals, especially event photographers. Many would have expected Wi-fi and in-built GPS, which is not been provided in one model even.

Except the above, I think the other specifications calls for a go around though. I would like to take out this machine for a while.

A small announcement to all my readers – I have transferred all my posts from here to my website under a sub-domain blog.navansphotography.com. For sometime I will be continue posting here.

Head to the site and subscribe to my blog by typing your mail id in the right side bottom corner box to receive my posts, product notifications and offers to your inbox straightly. Being our esteemed subscribers, you will be in our priority list to get to know about our upcoming stuffs related to photography – be it an e-book or trip or even photo walk. We assure you that you won’t get more than one mail per week from us at the maximum; that’s our promise. We don’t sell your mail id as we respect you and your privacy as ours. 


What is Focal length, Sensor size in photography and why is it matters?

The intention of this article is to dig out the relationships between focal length of the lens and the camera’s sensor sizes and how does the both affects the framing independently.

I have made a simple illustration diagram below, which depicts how does the light enters from the scene to the sensor/film.

Focal Length-Photography-Sensor-Light entryImage a. – Light travelling path inside a lens and camera body from the scene. x is the height of the sensor(part of the camera), b is the focal plane(principal)- this always happens inside the lens, z is height of the frame (photograph’s vertical measurement in landscape mode), y is the focal length which is usually mentioned on the lens.

Focal length(y) is the distance between the sensor (a) and the focal plane (b) where the light rays converge to form a sharp image of an object to the digital sensor.

Now, the frame you see via the viewfinder will change, if you adjust the Focal length which is possible in zoom lenses. The same is not possible in prime lenses since the focal length has been set in the factory itself while manufacturing, in such a way that it cannot be changed. The prime lenses are made purposely for high quality at a lesser price comparatively with a zoom lens in that focal length.

Conversely, it is also possible to change the frame by changing the size of the sensor. But the sensor has been fit inside the camera while manufacturing in the factory itself and it cannot be changed by wish on the field. But you can use two different cameras having different sensor sizes as one may wish.

Now we have understood that, if we change the size of the sensor (x) or the focal length (y), in both the ways the frame will get changed.

The ranges of available lenses in the market with different focal lengths are beyond listing thus I am not getting into that.

Sensor sizesImage b – Scale of the other smaller sensors with respect to the Full frame sensor. The FF sensor size is 36mm × 24 mm. For the sake of understanding, we here discuss about the vertical  measurement(x).

The smaller the sensor sizes, the field of view gets narrower. That is, if “x” gets smaller, “z” also becomes smaller Assuming that the “y” is same in both the cases. Conversely, if “x” gets bigger the field of view (z) also gets wider.

The advantages and disadvantages of choosing which sensors (cameras) have been briefly explained here in my earlier article.

The crop ratio has been established in the industry with reference to the 35mm film sensors. 35mm width sensors are the reference one and the crop factor for those sensors is 1.00. Other sensors are classified by the crop factor with respect to 35mm sensors (1.00).

Crop factor is the ratio of the dimensions of a given sensor’s imaging area compared to the 35mm sensor’s imaging area (full frame sensors in common). If a sensor’s crop factor is more than 1(APS-C sensors), the image area will be less by that ratio. Conversely, if the crop factor of the camera is less than 1(medium format cameras), the image area will be more by that ratio.

For instance, if a camera’s crop ratio is 1.60 and you have mounted 85mm prime lens, what the camera sees is the view of 136mm (85mm × 1.60) not what is written on the lens. If the same 85mm lens been mounted on a medium format camera with 0.50 crop factor, what you will be seeing is 42.5 mm (85mm × 0.50) focal length view.

Sensor sizesImage c – Dimensions of the different sensors fixed in different cameras and the respective crop ratios.

The focal length written on the lens is true, only if it is mounted on 1.00 X crop factor sensors (full frame cameras). If you are mounting it on non-full frame cameras, you should multiply the crop factor of that camera to get the actual focal length.

I hope, I have covered all the necessary topics which are required to understand the focal length, sensor sizes and how does both affects what you see in the viewfinder. Have I missed something? or the article been helpful to you, do drop a comment and let me know.

Cheers & Happy Photographing.

Colour spaces

Colour spaces in photography – An Introduction

In a simpler definition – A very defined space where exactly this many colours can be displayed/shown, by the device. In other words it is to determine one device’s ability to display the no. of the unique colours (sometimes a part of the device). Be it a computer screen, a mobile phone’s screen, or a tablet’s screen, most of the times it is hardware but in few cases, it is software (for instance – a browser).

sRGB – a colour space jointly created by HP and Microsoft. This profile is the most widely used one for browsers and most of the screens including tablet screens and mobile phone screens. As the below diagram depicts, the largest colour profile next to visually perceivable is ProPhoto RGB, the next smaller one is Adobe RGB and the smallest one is sRGB.

Since sRGB is the most used colour space in the browsers and alike in displays, you are expected to export your images in this colour space, so that the colour you have seen while editing are better displayed by the same file in the other mediums or displays.

Note: Not all the monitors available in the market possess the ability to display all the colours in sRGB. They usually measure it in percentage, for example – 75% of sRGB, 90% of sRGB. If you are a professional you might consider buying a monitor which covers a higher percentage of sRGB, mostly 90% + or even 90% + of Adobe RGB colour space. Dell ultra sharp series monitors have a positive feedback  in general.

A monk at Bylakuppe

Adobe RGB – as the name suggests created by Adobe systems and is smaller than ProPhoto RGB but larger than sRGB. Widely printers are using this profile, but it is advisable to check with the printing service provider before sending the files, in which colour space they need. Adobe RGB includes 50% of the colours specified by Lab Colour space.

Many printers and almost all commercial places most likely need the files in this colour space.

ProPhoto RGB – made by Apple, the largest colour profile available, but no devices support this profile yet. Hence if you export your file in this profile, the display medium will convert the file’s colour space into the device’s colour space in a best possible way! and it may show drastic colour differences. ProPhoto RGB includes 90% of all perceivable colours specified by Lab colour space. Currently there are no devices which support this profile. In future, there may.

Note: When you photograph, if you are shooting in RAW mode, you don’t have to worry about which color space to be selected in your camera, because RAW files are only interpreted by the softwares, basically the RAW files contains the data – it is not even a image format. But if you are shooting in jpeg, your color space selection does play an important role. Set Adobe RGB, if the purpose is to send photographs for print. If it is only for web services and display purposes, sRGB is sufficient.

Colorspaces explained

Colour spaces visually explained.  Image source – Wikipedia.

All the colour spaces are displayed over the visible colour space to have a better understanding.

If you are using Lightroom to edit your photographs, you do not have to worry about color space as Lightroom is working on the largest colour space ProPhoto RGB. The only place where you have to decide is when you are exporting your file from Lightroom.

Note: When exporting you can apply any of the above colour spaces to your photograph, the thing matters is the purpose of the photograph.


Hope I have made the basic understandings of the colour spaces currently being used. If you have got to say something about colours, comment it. Will be looking forward to it.


Cheers & Happy Photographing.


photo blog blog
photo blog blog

Digital Exposure – Redefined

If you are a person like me who expose based on in-camera exposure meter reading and in-camera histogram than this article is for you. Time to rethink the way we were interpreting in-camera tools. Thanks to Bob DiNatale for his insightful article in The Luminous Landscape. The Exposure To The Right(ETTR) concept was first brought to us by Michael Reichmann in 2003. Even earlier, the correct exposure was meant to be a bell curve on the Histogram.!

The reason to expose towards right is, the in-camera light meter designed to expose for the mid tones, whereas maximum datas are lying on the rightmost area of the histogram. Have a look at the below diagrams for a better understanding. In general, we might think that camera records the light as it looks in the top portion of the image a. But in reality, the camera records as depicted in the bottom portion of the image a.

ETTRImage – a. The top portion of the image is equally divided stop levels as one may think and bottom portion is how the actual data lies on the histogram.(the image depicts the tonal distribution for a 12 bit RAW image)

Tonal distribution

Image – b. The gray colour highlighted cells are total tonal levels, the respective file can hold. Look at the percentage columns to see the amount of data been hold by the respective stops (the 1st stop is starts from the right most side on the histogram). With relevant to the post, this table is supposed to be the final output from the computer not from the camera. Everything else in the table means the last stops, possibly the 6th & 7th stops together.

Here is the link for the above google spreadsheet with commenting privilege, where one can check the calculations behind the tonal levels and if you wish to share some, do comment there. In few model of Nikon cameras, the user can select whether they want their data to be recorded in 12 bits or 14 bits. Many prosumer and even some professional cameras claim that they record data in 14 bits but they actually deliver 12 bit files only. I wonder if any full frame camera is recording data in 16 bits, but needless to say many medium format cameras do deliver 16 bit images.

Coming back to the objective of the article, Bob meant to say the metering should be done for the brightest area in the scene plus one stop, since the camera meter’s perfect exposure is one stop underexposed than the raw processing softwares.

“An important thing to understand about highlight warnings is that they occur in two places: 1) on the back of your camera – the “Blinkies” and 2) in your software – highlight “Clipping”.

These 2 warnings ARE NOT the same. Although the camera’s High-Alert “blinkies” provide some information, you can only use them as an indication of optimum exposure. The “Blinkies” on the back of your camera occur about 1 stop before the highlight warning in your software – highlight “Clipping”!”

“If the brightest part of your scene has a 90% brightness in your software… Your scene is underexposed by two stops!  Yes, 90% software brightness equals 2-stops under the “Optimum” exposure. If your brightest software value is around 97%, then you have still underexposed your scene by one stop and therefore lost 50% of the available scene data!”

My latest understandings about the digital exposure are below

  1. If you underexpose knowingly or unknowingly even by one stop, you simply lose a staggering amount of 50% of the scene data. You may able to work on it later but you will be bringing in noise and loss of detail as if you have increased ISO while shooting. If you underexpose one stop according to the camera meter than you lose more than 2 stops which is 75% of the scene data.!
  2. Your camera’s light meter is one stop less than your raw processing software. Which means what is perfect exposure for the camera is -1 EV for the raw process software.
  3. If some portion of your photograph is not blinked on the camera’s LCD, you have already lost one stop at least, that is 50% of the data.!
  4. The optimum exposure is not the one which camera delivers, it is your final output from the computer.
  5. As earlier you can use any metering while shooting, but you have to understand how the respective metering gives the output and apply necessary compensations while shooting to get the most data out of the scene.
  6. The blinkie portions shown by the camera has details needs to be recovered by the raw converting softwares.

If you feel there are too much of maths involved here, yes there are, but I thought of learning it. I did had problem with maths when I was studying. It was a nightmare for me when it comes to Maths, I scored as college first in the subject called technical drawing but when it comes to Maths, I was the person who got marks in single digit out of 100!(Laughs…) But here in histogram and exposure, I could easily learn the maths behind it. So you too can learn it easily.

After reading all the refereed articles and if you find something unnatural or doubtful do let me know in comments. Will be happy to dig in further. 🙂

Cheers and Happy Photographing.

Ansel Adams

The most favourite quotes of mine about Photography.

“…how you build a picture, what a picture consists of,

how shapes are related to each other, how spaces are

filled, how the whole thing must have a kind of unity.” – Paul strand.

“There are no rules for good photographs, there are only good photographs”. – Ansel Adams

“The pictures are there, and you just take them.” – Robert capa

Universal language

“It takes a lot of imagination to be a good photographer. You need less imagination to be a painter because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the extraordinary.” – David Bailey

“Always seeing something, never seeing nothing, being photographer.” – Walter de mulder

“Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.” – George Eastman.


“Every viewer is going to get a different thing. That’s the thing about painting, photography, cinema.” – David Lynch.


“Once photography enters your bloodstream, it is like a disease.” – Anonymous

When I photograph, what I’m really doing is seeking answers to things.” – Wynn Bullock


“I went into photography because it seemed like the perfect vehicle for commenting on the madness of today’s existence.” – Robert Mapplethorpe


“Great photography is about depth of feeling, not depth of field.” – Peter Adams


“My life is shaped by the urgent need to wander and observe, and my camera is my passport.” – Steve McCurry

“When I say I want to photograph someone, what it really means is that I’d like to know them. Anyone I know I photograph.” – Annie Leibovitz


“I never have taken a picture I’ve intended. They’re always better or worse.” – Diane Arbus


“The whole point of taking pictures is so that you don’t have to explain things with words.” – Elliott Erwitt


“Essentially what photography is is life lit up.”- Sam Abell

Quotes about Photography

“In photography there is a reality so subtle that it becomes more real than reality.” – Alfred Stieglitz


“Photography is the story I fail to put into words.”- Destin Sparks


“To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.” – Edward Weston


“The painter constructs, the photographer discloses.” – Susan Sontag


“In the context of photography , there was a luck.But the luck will come, when the photographer is ready.” – Adithya Zen


“Would you hang it on your wall? Then it’s a good photograph.” ― Leslie Dean Brown


What’s your favourite quote? Post it as comments.

Flight, Greens,

Histogram is Nothing

There are many articles out in the web which explains Histogram in detail and technically as well. But this article is intended to demonstrate histogram in a simple way without going into in-depth technical details.

I have chosen a simple Black & White image to demonstrate it, because that is what the Histogram is fundamentally. Yes – “the graphical representation of luminescence level of each pixel in an any given image”.

Mountain and a waterfalls engulfed by mist.

Mountain and a waterfalls engulfed by mist.

Have a detailed look at the image, the top right portion of the image is covered by fog and it is bright. The bottom left of the image is covered by rocks and it is dark. Draw an imaginary diagonal line across the image from top left to bottom right. Now look again, it would be easy now to understand. The fog portion comes under whites and the rock portion comes under Blacks. Look at the respective Histogram below.


Histogram of the above photograph.

If you look at the photograph – almost the dark & light pixels are equal(quantity wise). Isn’t it.? Now look at the Histogram, isn’t the same data displayed here in the histogram clearly? The light pixels are on the right side of the histogram and the dark pixels are on the left side. That’s it. In between, the connecting pixels are mid tones, which you can again see it on the image as well. Across the diagonal line, the tones on both sides of the line will fall on mid tones except the top left of the image, where it will fall under blacks.

HistogramOne more thing we have to understand is, any white area on the image will fall on the right side of the histogram, whereas blacks will always fall on the left side. For example, turn the image 180° horizontally. Now the fog will appear on your left side and rock on the right side but the histogram would remain the same.

The same photograph but flipped.

The same photograph but flipped.

Hope this article clear your initial blocks towards understanding the histogram. For a detailed understanding of Histogram and why should one push the histogram towards right, I would recommend reading this article in dPS. In another article will discuss about types of Histogram.

Cheers and Happy photographing. 🙂

© Copyright

Plagiarism has been common throughout the world since time immemorial, and more so in today’s digital era and even more so in the field of photography. There have been instances of image theft and usage of images without credit to the photographer. The magnanimity of this issue is the reason for my writing about this in detail. Though I’m no expert in the field of copyright etc, have spent some quality time researching about this before writing this.

Best coffee

Watermarking is the first step towards owning a piece of art you have created. In visual terms, how effectively you place the watermark is what matters most of the times. Having said that putting a standard watermark is not advisable, since one colour, size & position may not fit all of your images. Customizing the watermarks to match a particular image is the solution to this and this can be done using Lightroom quite easily. I’ll talk about the “how’s” in a later topic.

Watermarking & copyrighting ensures certain minimum safeguards of the rights of authors over their creations, thereby protecting and rewarding creativity. A detailed article from dPs on how to handle image theft can be read here.

The definition of Copyright is a right given by the law to creators of literary, dramatic, musical and artistic works and producers of films and sound recordings. In fact, it is a bundle of rights including, inter alia, rights of reproduction, communication to the public, adaptation and translation of the work. There could be slight variations in the composition of the rights depending on the work.

Shringeri, Divinity

a. The primary thing in watermarking your image with copyright symbol is that you do not have to register for putting the copyright symbol.  If the work is created by you, you have the full rights (automatically) to put your watermark with the Copyright symbol on your work. The work here refers to any form of art viz., a piece of music you have created, a small video you have took, a painting that you made or a photograph.

b. Copyright protects the rights of the author i.e., creator.

c. Copyright can be assigned to anyone by the author.

d. Registering your copyrights has some advantage. Check with your country’s copyright law to get some clarity. In general, however, certificate of registration of copyright and the entries made therein serve as prima facie evidence in a court of law with reference to dispute relating to ownership of copyright.

e. If you want to register your work, each and every work needs to be registered separately.

f. Copyright generally has time limits.

g. There is no such thing as “International copyright” that can protect the author’s work throughout the world. However most countries do offer protection to foreign works under certain conditions, and these conditions have been greatly simplified by international copyright treaties and conventions.

The above points are generalized, check with your country’s copyright law for specific details. The bottom-line is to watermark all your images. A good story for you to read here.

If you have a story to share about copyright issues or you have a good idea about copyrights do share in the comments section.

Cheers and happy photographing.

Ultraaaa wide

Recently I have been commissioned for to shoot for a dental hospital. It has surgical facility and all the associated laboratory facilities. Any person coming to the hospital with a dental problem can get all his needs attended to under a single roof.

To get on to the theme of this topic, this type of indoor shoot sessions need to be preplanned and made execution-ready with a certain thoroughness and seriousness. This would apply to all shoots that need to backed by a weighty commitment. I fixed an appointment with the client a week ahead, to firm up on the schedule and locations of the shoot. I also had a long discussion with the client about how they want the photographs, and for what purpose they want, in an attempt to understand what are their intentions/ideas are and the use the photographs are going to be put to. I came to know during the conversation that they are putting up a website to show to the world the facilities/competencies they have. It was, at this point of time, important to understand the level of lighting that needs to be maintained at the time of the shoot session. The choice/trade-off was between using auxiliary/sophisticated lighting at extra cost or use existing lighting/minimal equipment and bring out the best possible pictures under the circumstances. Needless to say, the customer wants pictures that would be used in a marketing showcase, be it in digital form or print form(web, brochures etc.).

I surmised that the shoot can be done only by ultra-ultra wide lenses and I selected Canon 16-35mm f2.8 L II as my boy along with Canon EOS 5D M III as my recorder and Canon 50mm prime f1.8 for few portraits of the staffs. This shoot is not really an artistic portrait, you don’t have to look out for exotic views or angles as the photographs are meant for the general public (patients too). Simplicity and neatness are the key elements.


During the shoot I stick with one rule “Either keep the room’s vertical lines parallel with the vertical lines in the frame or horizontal lines in the room parallel with horizontal lines in the frame, if possible keep both. But definitely not without either, which will make something extraordinary or ugly. Even when you shoot this cautiously you will end up with a  noticeable amount of both barrel and pincushion distortions .

Lightroom comes in to rid the pictures of all the distortions and it does automatically if you select Auto for most of the lenses. Manual intervention is required for all the ultra-ultra wide lenses for manual correction might be necessary because automatic correction based on lens profiles are not very accurate when distortion levels are too high.  It is necessary to be careful while making corrections for distortions. You have to careful while correcting though.

Both of the photographs here have been corrected in Lightroom. Here is a quick peek into Lr Lens Corrections. The Lens correction panel has been further divided in to Profile, colour and Manual. The first sub panel “Basic” is the front control of the next two panels. If you check the check box all the auto correction will be applied by Lr. Even after the auto corrections, if you feel to fine tune it you have to click the respective panels. When shooting jpeg some older cameras might not provide lens information in the image file and in such cases we have to remember the lens used and later choose it in Lightroom’s Profile subpanel,  if it is present there and then Lightroom will apply the relevant corrections to the image.


If you are not satisfied with the Lr’s Chromatic Aberration correction, you can do it manually by clicking the eye dropper directly on the image where the CA appears. You can easily find it out by viewing the image on 1:1 and for further fine tuning there are sliders. Finally the manual adjustments for lens distortion correction. The distortion slider fixes the pincushion distortion if you move the slider towards left, it fixes the barrel distortion if you move towards the right side. The vertical and horizontal slider fixes or adjusts any vertical/horizontal perspective correction if any, you wish. Rotate slider is to use it for any level correction or slight distortion too. Scale slider is to either stretch out or to squeeze in the image for any reason which may be because of the distortion correction you have applied or too much of perspective correction applied. Aspect slider is to enlarge or squeeze the image in one axis for some creative purposes and can be useful to fix images from certain heavily distorting lenses that stretches the image along one axis causing it to look skewed. Finally Constrain crop, I keep it checked all the time, so you don’t need to see the portion which is not going to be part of the photograph due to the corrections being applied. On a lighter note once the “Constrain crop” is checked here, the “Constrain to Warp” in crop tool is also being checked automatically.

It is not advisable to use the vignette here and I don’t use for the following reasons – a. The controls here are minimal – only Amount & Midpoint, these controls are  required to eliminate only the vignetting produced by the lens,  and so it is not very flexible when we want to create artistic vignetting effects b. If you have cropped the photograph and you have applied some vignette, you are not going to get the full result rather you might get some unimaginable result, because the vignette you apply here is for the full image, it won’t consider the crop you have made via crop tool.  I suggest you to use the Effects panel and use post crop vignette where you have more controls.

Heading back to Lens corrections in the Basic sub-panel at the lower level there are Level, Vertical, Full, Auto and off options. They are to correct the perspective corrections which I am not using because of following reason – I do my crop as my first correction in the develop module, while I crop I have to do the level corrections and if any perspective issue I switch to the Manual section in Lens correction panel as for the above photographs. So I am in no need to use the auto function, but I have heard from my friends that Auto does a neat job in most cases.

If you are interested in reading more about CA click here and have you heard about mustache / complex distortion or if you want to read more about distortion click here and write your thoughts in the comments section.

Cheers, Happy photographing.

Y Photography.

Have you wondered why there is a sudden spurt of cameras and equipments with almost everyone! And there is nothing harm in that, rather it is a good sign at large.

Digital revolution is though reason behind it, but there is another side which is lack of creative drainage exists in the society for most. Now it is being filled by photography.

In digital photography you can take a picture and show it to the world almost instantly, you can get critics instantly, appreciations instantly – Instant gratification. Is this the only reason? – Yes, No, partially Yes, Whatever. On the other side photography makes you a better person; makes sense towards the societal complexes. Makes sense towards the inner of you. It makes you connect with nature, connect with more no. of different people, connect with the other creatures on this planet, makes sense of your being.

Stay Amateur

Why? The moment you turn in to a professional you are not a photographer alone you are a business man too, ultimately you have to compromise on your uniqueness, which might be the only thing you possess which is directly related to your own creative mind.  Compromising includes bringing down the price you quoted, comparison of your work, forced to do something which you may not wish to etc.,

Being amateur you have the liberty to shoot what you want and wish, you never going to be in a pressure to run a business and its sustainability. You are at your liberty to do which genre you want to choose, what you want to shoot, where you want to travel and whom with you want to travel etc.,

Being amateur is being happy all the times when there is a camera in your hand. It is a lovely thing to have a camera with you, learn about its functionalities, how it functions in a given situation, how you can make a photograph interestingly. Learning is fun, learn it from a senior makes you spend less time on learning, which means you think of making a good photograph alone.

When professional ?

When you cannot afford to go the routine 9 – 5 jobs, the job is not satisfying enough; the job is not stretching your learning curve. The one reason which cannot be is to earn money; rather money can be the side effect of your photography enthusiasm. And most importantly prepare yourself to play a business man role (and I mean it 100%) and a handful of investment for your gears, travel & studio equipment at the initial stage.

Three things

  1. Remember “Composition is the one thing which you will learn till your last photograph” it is a never-ending learning.
  2. Keep on raising your bar, Look at the master’s works. It is beautiful.

         Steve Mc Curry, Henri cartier, Saleh mann, Michael freeman, Ho fan, Nathan wirth,

3.Once the photography bites you, there is less possibility that you can go away from it. So learn, talk with related people. Have fun.  Make meaningful photographs, stay amateur.


Why histogram is inevitable?

Before that what is Histogram?

“The horizontal axis of the graph represents the tonal variations, while the vertical axis represents the number of pixels in that particular tone. The left side of the horizontal axis represents the black and dark areas, the middle represents medium grey and the right hand side represents light and pure white areas. The vertical axis represents the size of the area that is captured in each one of these zones. Thus, the histogram for a very dark image will have the majority of its data points on the left side and centre of the graph. Conversely, the histogram for a very bright image with few dark areas and/or shadows will have most of its data points on the right side and centre of the graph.”

Histogram is the one and only tool to show the image’s exposure details, after you do all your composition, lights, metering, shutter speed, aperture, optics etc., you have only histogram to get checked. Even if you lack one stop of light in your image, assuming you going to fix it later in processing you are going to boost noise by pushing the histogram towards the right. Do it on field not via screens (Real good photographers do not want to process their image, they want to fix it in fewer clicks,and that too because of digital, if that cannot be done in few clicks they will throw the image, get out and get a another satisfying shot). And that one stop of light has the most details, more than the details than the rest of the 4 stops (A digital camera’s dynamic range is 5 stops and some more, but for better understanding I have taken 5 stops).

Here you go, divide your histogram in to 5 equal vertical parts (one stop each); the right most one got 50 % of the data in the image, and the next one got 25%, and the further next one got some 13% (middle one), and the next one 6 % and the last one stop at the left most got 3%. Next time when you check your histograms in field, if you are one stop down than you have lost already 50% of the data. When you push your histogram towards right, possibilities are there to clip the highlights, never do it as there are no software can recover those details and there cannot be one. It is not possible to bring back the detail where there is nothing; yes that is what will happen when you push right much.  Next time look at your camera’s LCD to check the histogram not the shot you just took, though looking at the image is helpful to check your composition and composition only.

For aesthetic purpose one might want to bring down the exposure sometimes even up to 2 stops selectively while processing, but no worry you are not going to bring noise by bringing down the exposure slider and that is why you have to push your histogram towards right when you are at field. There is no guarantee that you will be having a stunning photograph or even a moderate one, if you have exposed your image towards the right without clipping. A perfect exposure does mean that the image is well exposed, nothing more and nothing less. Photography is not about technical expertise, it is about your sensibility on the things in this universe.

There are two types of histograms, one is luminosity histogram and the other one is RGB histogram. I have talked about luminosity histogram; I will talk about the RGB histogram at a later point in time.

For further reading about Histograms and pushing towards the right here. Read about photography here.

RAW image capturing in 12 bit mode is assumed here.