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This is just a simple test using the Opteka HD condenser, along with the lens adapter built by twoneil. This was filmed in 24p on the Canon HV20. The lenses used: Nikon 50mm f/1.4 and the Nikon 35mm f/2.0



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When should you use hyperfocal focusing? Well, sometimes when shooting a landscape, you want everything sharp from the front to the back of the scene. Setting a small aperture such as f/16, f/22 or even f/32 can help, but if you really want to maximize depth of field, hyperfocal focusing is the technique you need to use.

To do this, you need a camera where you can switch to manual focusing and a lens inscribed with a depth of field scale (not all modern lenses have these markings, especially zoom lenses). If you're not familiar with these kinds of lens markings, here's a quick explanation:

Lens Markings Primer

A typical lens shows four sets of markings. At top (looking from behind the camera) is the distance scale (on the lens' focus barrel) showing figures in feet and meters (this also shows the infinity position).

Below that are a set of lines beneath which the f-stops of the lens are marked. This is the depth of field scale. For each f-stop, there are two equidistant marks, one to the left and one to the right of the central mark on the scale.

The last set of figures shows the selected f-stop for the lens. These are on the lens aperture ring and, as you change the aperture, the selected f-stop under the central line on the depth of field scale will tell you what aperture you've selected.

To find out what part of a scene is in focus is simply a matter of reading the distance scale for the two marks for your selected f-stop on the depth of field scale. For example, let's say you've focused on something that's 3 feet away. If your lens is set at f/2.8, then reading the distance values at the two "2.8" marks on the lens shows that everything just shy of 3 feet to about 3.5 feet will be in focus (a little guesstimation is required in reading the distances). This is fine for isolating your subject from everything else.

If you close the lens down to f/11, then reading the distances for the two "11" marks shows that everything between just over 2 feet and 5 feet will be in focus.

If the lens is set to focus in infinity (the infinity mark is over the central mark on the depth of field scale), then you only need to read off the distance value for the f-stop mark to the left of the central depth of field scale as everything between it and infinity will be in focus. If you'd set your f-stop to f/5.6 on the 28mm lens, everything from just over 10 feet to infinity would be in focus. If you'd selected f/16, it would be everything from 5 feet to infinity.

Hyperfocal Focusing

Hyperfocal focusing is based on the fact that depth of field typically extends 2/3 behind the point focused on and 1/3 in front, but if you focus on infinity, the depth of field behind is completely wasted. You can make use of it if you refocus, putting the infinity mark (an "8" on its side) on the focusing ring against the aperture set on the depth of field scale (this is known as the hyperfocal point). If, for example, you set a 28mm lens to f/11 and focus on infinity, everything from about 9 feet (2.5m) to infinity will be sharp. Align the infinity mark against the "11" position to give hyperfocal focusing and the depth of field now extends from 4 feet (1.2m) to infinity, which is essential if you want foreground interest to be pin-sharp. If you set your lens to f/16 and rotate the focus barrel to place the infinity mark over the "16" position, then reading the scales shows that everything between just under 3 feet to infinity will be sharp.

The Hyperfocal distance is the that point above the central mark on the depth of field scale when the infinity mark has been put over the required f-stop mark on the depth of field scale. In the case of the 28mm lens at f/11, that's 9 feet / 2.5m. At f/16, the hyperfocal distance would be 5 feet. Remember that the hyperfocal distance will be different for lenses of different focal length and different f-stops.

There's a table on the webpage mentioned at the end of this article that shows the hyperfocal distance for different lens and f-stop combinations. The figures have been calculated mathematically. If your lens has a distance scale but lacks a depth of field scale, you can use this table to set your lens to the hyperfocal distance required.

Don't forget that the wider the angle of a lens, the shorter its focal length and the deeper its depth of field. So, as an example, an 18mm lens will have deeper (longer) depth of field than a 105mm. Also, the smaller the aperture you use the greater the depth of field; i.e. for a lens of any given focal length, there's more depth of field with it at f/16 than at f/4, for example.

Seeing the Difference

A subject like this benefits from a few pictures to illustrate the principles and show the results. Explanatory images showing the various lens markings and how to use them along with pictures to illustrate the results of using hyperfocal focusing can be found at: http://www.great-landscape-photography.com/hyperfocal.html

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Camera: Canon T1i (500D) Lenses: Canon 18-55 IS, 50mm 1.8 II Edit: Pinnacle Studio Ultimate Music: Arnej - They always come back (intro mix)



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simple lens cleaning procedure performed on minolta's 50/1.7, 17-35/2.8-4 and sigma 105/2.8 macro. if you shoot concerts, lenses become dirty almost every show. here's how i deal with that. 105mm is the most difficult because of the front element being located deep in the barrel



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With the modern man becoming more and more tech savvy with the passage of each day, it is absolutely known that each one intends to have a high end gadget. These days get-togethers are incomplete without shootings. Each and every move is clicked and saved for eternity. Amateur photographers are hunting stores to get the right camcorders that will satiate their passion of clicking snaps.

One of the companies that is at the forefront to satisfy this need of these interested but amateur photographers is Canon. Its Powershot series is very famous day

Canon Powershot S3 IS camera is one such production of the lot. It has features that will really steal your heart away.

Design
Sleekly designed, it weighs only 410 grams. It is compact camera.

Key features
Canon Powershot S3 IS digital camera has a 6.0 megapixel resolution. It comes with a low temperature polycrystalline silicon TFT color LCD that measures 2.0 inches. It has a real-image optical zoom viewfinder. It has a 4x digital zoom and a 12x optical zoom lens. It comes with different shooting modes. It has other features like audio video interface, direct print. Some of the enticing features of Canon Powershot S3 IS are built in flash, auto flash, red eye reduction, self timer and image stabilizer.

User friendly aspects
Canon Powershot S3 IS camera has a six megapixel CCD and a 12x zoom that ensures a good picture quality. The images display good color precision and saturation. They also have accurate edges. This is because Canon Powershot S3 IS camera has different color modes. These include Sepia, Vivid, Neutral, Vivid Red, Vivid Blue, Vivid Green, black and white and the custom effect. The start up time for Canon Powershot S3 IS camera is 1.5 seconds which is a welcome feature since in case of most other digital cameras; the situation is the other way round. This helps you click anything and everything in the nick of time. The Autofocus feature fastens the pace of your shooting. The image quality discerned is very good. However, it is doubted whether the same quality is maintained in print or on screen. But, Canon Powershot S3 IS camera actually gives you some special features which are immensely tempting. For those who love to click images to their full value, Canon Powershot S3 IS camera comes with the Macro mode. Other than this, it comes with other modes like Night Snapshot, Indoor, Foliage, Snow, Beach and Fireworks. Canon Powershot S3 IS camera can shoot approximately 2.3 shots per second. In the movie mode, it can shoot 30 frames per second. Canon Powershot S3 IS camera comes with user friendly software for self editing.

Know More
Canon Powershot S3 IS camera supports software like Microsoft Windows and Mac Operating System. As a result, transferring, sharing and editing photos and footage becomes an easy task.

Conclusion
Canon Powershot S3 IS Digital Camera can be suggested for advanced amateur photographers since it needs experience to use such a complicated device that comprises so many technically advanced features. This Canon digital camera needs to be accompanied by 4 AA Alkaline batteries or 4 AA rechargeable NiMH batteries. However, just like every coin has flip sides, Canon Powershot S3 IS Digital camera has some limitations. But they can definitely be overlooked. It is basically a good gadget with very less cons.

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The A720IS seems to generate a lot of debate regarding it's quality. If your really considering buying a Canon PowerShot A720IS digital camera, you need to consider both sides of the debate. With a plethora of digital camera salesman flooding the net, it's not hard to find someone to tell you how great the A720IS is. What you need is someone to point out it's faults. I'm more than happy to oblige.

The A720IS, can't seem to handle children, or other fast moving objects without manual intervention. Most of the time, you'll just end up with blurry pictures. Of all the auto settings this PowerShot offers, none seem to have a fast shutter speed. There is no "sports mode", and even the "kids mode" has a slower than expected shutter speed. You can of course select manual, but then you have to do all the settings manual, not just the shutter speed. This behaviour sort of defeats the whole purpose of being a simple to use point and shoot camera.

Compounding the original problem, is a slow flash recharge time. So, after you've taken your first blurry picture, you can expect to wait several seconds while the flash recharges. So much for taking a quick second photo to try and make up for the messed up one. The Canon A720IS (and several other Canons) only uses 2 double A batteries. Canon and others seem to have a tendency to overload the camera with large LCD screens, and power sucking flashes, and then cheap out in the battery power department. Even pro photographers rarely get the photo they want on the first shutter button squeeze.

If you need a little more coaxing to consider other cameras, here's a quick summary of other PowerShot A720IS problems:

- ISO settings above 400 produce very noisy images

- image stabilization produces questionable benefits

- wireless file transfer is absent

- windows software has less features then previous versions

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