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Use Supplementary Light

For situations in which the light is dim (dawn, dusk, etc), use supplementary light, for focusing, and possibly for exposure as well, as seen in the example below.

In the image below, neither autofocus nor manual focus was possible in the dark. I aimed my 1400 lumen Lupine Betty at the tree, focused, then “painted” the tree to make the image. A very powerful light is needed to make an image like this. And while a flash could do it, it’s not selective (it blasts everything, especially the foreground), and it doesn’t provide sustained light for focusing, certainly not at this distance (about 50 feet away).

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Diglloyd Making Sharp Images articulates years of best practices and how-to, painstakingly learned over a decade of camera and lens evaluation.

Save yourself those years of trial and error by jump-starting your photographic technical execution when making the image. The best lens or camera is handicapped if the photographer fails to master perfect shot discipline. High-resolution digital cameras are unforgiving of errors, at least if one wants the best possible results.

  • Eases into photographic challenges with an introductory section.
  • Covers aspects of digital sensor technology that relate to getting the best image quality.
  • Technique section discusses every aspect of making a sharp image handheld or on a tripod.
  • Depth of field and how to bypass depth of field limitations via focus stacking.
  • Optical aberrations: what they are, what they look like, and what to do about them.
  • MTF, field curvature, focus shift: insight into the limitations of lab tests and why imaging performance is far more complex than it appears.
  • Optical aberrations: what they are, what they look like, and what to do about them.
  • How to test a lens for a “bad sample”.

Intrigued? See Focusing Zeiss DSLR Lenses For Peak Performance, PART ONE: The Challenges, or (one topic of many) field curvature.

Defunct bristlecone pine, “painted” with light

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