Tag Archives: lens

Moment Lens for the iPhone

Moment Lenses for the your iPhone!! The kickstarter project delivered my set just the other day and man am I excited about it.

Moment Lenses

These new Moment iPhone lenses really do work as advertised. One lens is a 18mm wide angle that is wide and shoots pretty flat rather than normal bubbled or fisheye look. And there is a 60mm telephoto lens that really works well and is sharp. The 60mm even provides decent blurred background when you use it as a portrait lens. In the following image, I used the 60mm telephoto lens as a portrait lens with nice results including a pleasant softening of the background.

60mm telephoto portrait

You really need to use a camera app like ProCamera 7 to keep the focus point where it needs to be. With the telephoto, the iPhone will hunt a bit for focus so you need to be able to lock it down for the best results.

The wide-angle lens is a thing of beauty to use. It has nice heft to it and it does not have very much distortion at the edges or the “bubble” effect of many “wide-angle” iPhone lenses. It does have a bit of fringing when you shoot into high contrast light.
18mm Wide angle

With the telephoto, you can now get the “zoom” you want and still have the ability to crop it down 50% without destroying the image which is what I did with this image. This beats “pinch zooming” which just ruins your images due to the heavy cropping that the “zoom” really does.

This is a 60mm telephoto shot that is uncropped width wise.
60mm Telephoto uncropped

And this image is the same framing but cut down 50%

50% crop of same framing

These wonders come from Moment Lens which was a Kickstarter project that I bought into several months ago. The lens we’re designed from the ground up to be a top multi element lens design to work with the iPhone lens as an element. They are big and heavy due to real glass and a lot of it in front of the iPhone lens. They use a twist lock mount that is pretty solid.

Moment certainly understands their market with a very sexy black box and high quality packaging. The feel of the lens itself is one of heft and solidness. The mounting ring is a stick-on plate and I was a bit concerned as to the weight of the lens pulling the mounting plate away from the camera body but with two full days of leaving one of the two lenses on the camera while going around Disneyland has not loosened it up that I can tell.

The downside to all this metal goodness is that the lenses are not cheap. But then these lenses are not for the casual iPhone photographer. These are for the enthusiast iPhoneographer who loves to push the limit of what the iPhone can do with photography. Even as heavy as they are, the lenses are considerably lighter than a DSLR lens and they still fit into a shirt pocket though it is a bit chunky. When I shoot with them, I naturally cup the lens with a finger to help keep all the weight from pulling down on the mounting plate.

Here is the 18mm mounted on an iPhone 5S with the olloclip case. The case still works with the mounting plate and provides a way to keep from bashing the Moment mount and still swing out-of-the-way when you go to use it.

18mm Moment Lens mounted on iPhone

Posted in equipment, iPhone, lenses Also tagged , , |

Distoration and the Canon G11

When I read the reviews on the Canon G11, nobody and I mean NOBODY mentioned the horrible lens distortion that the 6mm setting puts into the image. Worse, nobody mentioned that even in mid setting, there is a pin cushion effect, subtle but there regardless. Why did I see all this and not anyone else? Do I have the all seeing eye? Not so much but I AM shooting exclusively RAW which was one of the prime reasons I bought the camera. It turns out that in JPEG mode or in Automatic, the camera applies filters and corrections to fix all this but in RAW, you are pretty much on your own.

What I found out recently is that Lightroom under Camera Profiles Lens Corrections, you can fix alot of this type of problem for many cameras. If I were Adobe, I would be shooting this from the mountain tops and not keep it hidden. In the case of the G11, I can pick Canon G10 (pretty much the same camera) and LR will fix virtually all the distortion cleanly and fast.

See the image below for a side by side of before and after.

lightroom camera profile before and after

Lightroom Camera Profile before and after

This is image is not retouched in any way other than the camera profile and whatever sharpening was applied in the conversion to JPEG from RAW in Lightroom.

lightroom camera profile lens corrections panel

lightroom camera profile lens corrections panel

But that is not all folks, you can have access to transforms from within Lightroom!! No more having to leave LR to go into Photoshop to use transforms. Check out this second panel in the Camera Profile panel.

lightroom camera profile lens corrections panel 2

lightroom camera profile lens corrections panel 2

And there is one more feature. Take a look at the next picture and you will see a grey background where I have transformed the image onto an angle which leaves a blank area. Instead of having to manually crop this, you have the option of clicking on the tick box to constrain the image as you go. This keeps the image cropped while you work. You can always go back and adjust to taste just like any other crop setting.

Camera Profile Lens Correction Auto Constrain Crop

Camera Profile Lens Correction Auto Constrain Crop

I hope this tip helps you as much as it did me. Even my good glass from Nikon benefited at times from the automatic corrections. Not nearly to the degree of the Canon but then the glass cost fours times as much as the Canon cost 🙂 You expect better from something that costly.

Posted in editing, editing software, Hardware, lenses, photography, technique, training, workflow Also tagged , , , , , , , , , , , |

Stabilize me

It used to be in the old days, you needed a shutter speed roughly the same as the focal length of your lens. So if you were shooting with a 200mm lens, you need to use about 1/250 to have a chance at a reasonable sharp lens. And telephones were the worst since their length amplifies the wiggles of unsteady hands, age, too much caffine and so on. If you were active, it was worse. You learned to pan very carefully, you learned to cradle the camera right up against your body like a gun. And you still ended up with fuzzy images.

Move up 20 years and now we have IS (Image Stabilization), VR (Vibration reduction) and other names for the same thing. Some work in the lens and some work in the body of the camera. It has become cheap enough that most new point and shoots have a form of it available. I can hand hold the lens at 1/80 and get a sharp image at a wedding without a tripod or monopod. In other words, I can get difficult shots much easier.

VR will not save the world in spite of the marketing propaganda. Sure, you can shoot at 1/10 F5.6 and get a sharp picture but whats the point if the subject is moving? Like kids at a party? So you get a sharp wall and a blur that was the kid running past.

But what does it DO? In simple terms, with the Nikon, there is a package of electronics that move the front element of the lens set actively to get the sharpest image when the shutter is triggered. On many Nikon DLSRs, you can hear a “clunk” as the system engages. I know alot of professional photographers who sneer at VR (I shoot Nikon, so I know this system) as a crutch and that “real” photographers do not use VR. To be honest, I did too for a while and then I thought VR would save the world but finally I understand that VR is just another tool that an help or hinder depending on how I use it.

For example, I spent quite a bit of money on a 70-200mm F.8 lens that is also VR. Why VR on a “fast” piece of glass you ask? Well, the lens can take amazinly sharp images but with the VR engaged, I expand my working range of settings. Instead of having to be still at 1/250 shutter, I can be in a car at 80 MPH and shooting 1/360 at F8 with the lens racked out at 200 mm and still get sharp images inspite of the car and the camera bouncing around on the roadway.

Lets take a look at VR (IS) and see when it’s useful. A typical arrangement for Nikon shooters is to use something like a D80/D90 with a 18-200mm F4.5 VR zoom. So the typical shooting would be something like ISO 1000 to 1600 to keep the noise manageable. So shooting at F4 which is wide open for this lens means in a semi-dark event, that you are shooting something like 1/20 of second shutter. It will be bad enough that the subjects will be moving but at 1/10-1/20 hand holding a zoom lens at something like 100mm on average means alot of blurry pictures. On the other hand, VR will at least give a clear image of what is not moving while you shoot. VR normally is like 3 stops.. so the 1/20 is really shooting at about 1/60 to 1/100 “apparent” shutter speed. It wont stop the action but the background, tables etc will be sharp. Where VR really shines is shooting something like a stage show with enough light that you will be shooting about 1/60 ish and you are shooting long like 100 to 200mm. The shutter is just fast enough to catch people standing still and the VR will give a good focus even at 200mm since the “apparent” shutter is around 1/200.

Here is a family shot taken at 200mm with a 18-200mm zoom shooting wide open at F5.6 and 1/100 shutter. Normally, this would have blurred unless taken with a tripod or supported some how. In this case the camera was held by hand and resting on my forearm. The VR gave a clear image with the low shutter speed relative to the smallish aperture.

Little Angels

VR is not a cure all and it does cost you some in clairity at least in the cheaper lenses like the NIkon 18-55mm VR and 18-200 VR. I always seem to see a bit of softness instead of a really sharp focus with these lenses. This even holds true for the expensive F2.8 VR but on that lens it is very dependent on how bright the image is. Shooting VR in good conditions gives a razor sharp image that you can count nose hairs with. In low light, it’s a bit fuzzy on the edges. But I got the image and it’s usable unlike shooting with it and not getting a usable image. I find that a high pass sharpening works wonders at cleaning up the edges.

Here is another shot where VR really makes a difference. I shot several pictures together by hand at night with the F4 aperture and about 1/30 shutter. Then I stitched them all together. With the VR, all of the images were sharp in spite of hand holding and the low shutter speed.

Christmas Block

VR works in the daytime also. One of my favorite lenses to shoot with for daily stuff is a Nikon lens that costs about 150 USD and looks like it might blow away in a stiff breeze. It’s scary light when you pick it up but it can really take some nice pictures when given a chance.

These images were taken with the 18-55mm VR and both images have sold. It is not always about the equipment.

This image of the Disney California Adventure Zephyr was taken by hand with a shutter of 1/2 second


This image was taken using a shutter of 1/40 and panning with the zoom at 18mm. Look how sharp the people and rocket is. Hard to believe it was a 150 dollar lens huh?

Rocket Ride

So the bottom line is that stabilization is your friend and even in a cheap lens, it can really make a world of difference. You just need to know the limits of VR (IS) and remember that some basic rules apply even with VR. Shutter speed is shutter speed, a slow shutter will give blurred motion to moving objects without or with VR enabled. Stationary objects work best with VR. VR is not perfect but it will certainly help.

Posted in equipment, event photography, Hardware, lenses, photography, technique, wedding photography Also tagged , , , , , , , , , , , |