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Considerations in Selecting a Tripod

Shooting in a studio or near a vehicle places few limitations on the size or weight of equipment that can be used. With that convenience, it is advisable to choose a sturdy tripod and appropriately-matched head that you really enjoy using.

By comparison, shooting in the back-country with everything carried up 1000 meters vertically places strict limitations on the choice of gear. A light tripod with a remote release will do just fine if mirror lockup is available, and there are no disturbing factors such as wind. Carbon-fiber tripods are an excellent choice in this case for their lighter weight, and also their greater skin-friendliness in cold temperatures

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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.

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