CameraTalk » Dimi Krkaliev

Nikon 28mm F2.8D — Cheap Thrill

Dimi Krkaliev — Tue, 08 Dec 2009 00:38:00 +0000

PRIME LENSES… fast primes, in particular, have become increasingly relevant to my photography.

Shooting with my 50mm f/1.8, I very soon discovered that my life could be improved with something wider, something more in tune with what my ‘eye’ sees. A 50mm on my D300 body is 75mm… for what I’m looking for, far too tight a frame.

Pay day finally came around and it was time to satisfy my craving…

Nikon’s 28mm F/2.8D seemed like the perfect candidate.

On a crop-frame sensor, 28mm simulates 42mm, which appealed to me more than going for the 35mm 1.8G at around the same price.

So I made the purchase… and, frankly, I’ve been suprised by the performance of the lens! Focus is quick, sharp. Great quality in low light and more versatile than I had expected.

Around AUD$380 including a Hoya PRO-1D filter — I’m very pleased.

I’m Kelvin, I’m Here to Help

Dimi Krkaliev — Tue, 01 Dec 2009 01:12:52 +0000

Kelvin temperature… photographer’s best friend, beginner’s bugbear…

In photography, Kelvin is simply a measure of colour temperature indicating to a shooter what white balance (colour balance) settings they should be looking to use.

Lower Kelvin ratings are “warmer” making the light more yellow. Higher Kelvin numbers represent “cooler” light which is makes images more blue.

Most DSLR cameras allow you to select Kelvin-rated white balance settings. Refer to your camera manual for instructions if you are unsure how to access the white balance settings. The idea is to match the appropriate Kelvin setting to the lighting conditions that apply to your shoot.

The list below gives the Kelvin temperatures for a range of light sources:

Match flame 1700K
Candle flame 1850K
Sunrise, sunset 2000-2500K
Incandescent light bulb, tungsten 2700–3300K
Studio CP (Controlled Plasma) light 3350K
Studio lamps, photofloods, halogens, etc. 3400K
Indoor Fluorescent 4000K
Moonlight, xenon arc lamp 4100K
Horizon daylight 5000K
Typical midday sunlight, electronic flash 5500–6000K
Daylight, overcast 6500K
Outdoor, shade 7500K
CRT screen 9300K

Get It In Writing!

Dimi Krkaliev — Fri, 13 Nov 2009 05:10:23 +0000

As photographers starting off, many of us have a goal to get our work published. Magazines, newspapers, books etc. all get our name and work out there for the world too see. But beware…

In the murky waters of business, publishers, editors and agents circle like predators, and we photographers need sharkproof netting.

I cannot stress how important it is to get everything in writing! Although sometimes clients do not see the necessity, contracts are vital in order to protect not only your interests but theirs as well.

Okay, time to talk about some of the common terms and conditions you’ll see.

In most instances, the first section of a photography contract covers what is known as unusual circumstances. A hurricane, bushfire, lightning strike, or disasters of that nature are classified as Acts of God and out of the photographer’s control. This section insures the photographer is covered and, in most instances, say for a wedding shoot, means you would be expected to give a full refund.

The second section usually covers payment methods. This is the most important section of a contract – payment amount and payment methods need to be clearly defined and agreed upon.

Photographers can generally expect to be paid in full once the photographs have been finished. Wedding photographers are an exception. They require payment in full at an agreed date before the wedding or on the day of the wedding. Where an an album is included in the photography package, a deposit is required.

Finally is the section where copyright terms and conditions are explained. It’s important to not release full copyright of your images. The most common method is to retain the rights over duplication of your photographs. This stops anyone from presenting your images as their own, or editing them.

Carefully examine all the terms and conditions applying to your contracts and, when talking to potential clients, be cautious about changing anything. Make sure the contract serves its purpose in protecting your interests now and into the future.

I hope this article has been a help, especially if you’re inclined to feel a bit skeptical at the mention of the word ‘contract‘. Know your terms, know your conditions, and don’t let the sharks take a chunk out of you.

And, although it’s US-centric, you’ll find some excellent information here.

Ringside Photography – How I Do It

Dimi Krkaliev — Sun, 01 Nov 2009 22:45:59 +0000

SHOOTING COMBAT SPORTS has been a passion of mine for a while now, ever since training and fighting in Thai Boxing myself.

But after gaining a real appreciation for Australia’s most loved beverage, I put on a few kilos too many. So I figured if I can’t get in the ring myself, I may as well take pictures of others beating on each other!

Nikon D300 with optional MB-D10 Battery Grip

When I pack my bag for a fight, these days it’s filled with camera gear ─ a Nikon D300 with MB-D10 Battery Grip (pictured at left), Nikon SB-600 Flash, Nikkor 50mm F1.8 and Tamron 17-50mm F2.8.

It’s important when considering a camera to suit this type of photography that it has good ISO sensitivity, as you’ll find, in most cases, the lighting in the arenas is shocking.

I bring the flash along just in case I need it for locker room shots. When it comes to the actual action, I prefer available light. More atmosphere = better action shots.

With any specific type of photography, there will be a specific lens that gets raved about. I’ve found, with cropped frame sensors, that a range between 15-55mm is suitable. For full frames, 24-75mm will do a good job. F2.8 and faster is a MUST.

Tamron 17-50mm f2.8 lens

I shoot with a Tamron 17-50mm F2.8 (pictured at right). If I had the choice of forking out some more dollars, I would opt for the Nikon 17-55mm F2.8G.

Technique:

1. If you can get your ass into a chair – DO IT! I can’t stress how important this is. Most shows start around 6:30pm and carry on until midnight. Spending the entire evening on your knees is a real hassle.

2. Shutter speeds starting at around 1/200 (have a play) are suitable, depending on the rounds and the fighters. Early in the night, usually when the amateur bouts are on, is probably the only opportunity for slower shutter speeds. As the night progresses to the main event, fights tend to be faster paced and require faster shutter speeds. Experiment for the effects you’re after.

3. ISO 1000 and up is good… seeing how poor the lighting is at fight shows. Again, as the lighting is rarely the same night to night, experimentation is advised. If you are lucky enough to shoot a televised event, you’ll appreciate the extra lighting involved.

4. Keep your camera on continuous shooting mode, continuous auto-focus and fire in bursts. This is vital. You’ll chew through your memory cards but you can always revise and filter later. Watch the fighters’ feet for a good indicator as to when the action is about to kick off.

5.With the shocking lighting at some of the events, using flash is often the best option, however, flash can often create an unpleasant photo (combat sports are pleasant?) throwing shadows over the fighters’ faces.

6. Bring a cleaning cloth for your camera and lens… unless you’re keen to add blood, sweat and Deep Heat linament to your camera kit!

Above left: movement blur with a slower shutter speed. Above right: faster shutter speeds freeze the action.

DIM Photo blog