I have recently had the opportunity to borrow a 600mm lens. I am using the Winberly II on a sturdy Gitzo tripod, just wondering what long lens technique many of you use to ensure sharp images. I thank you for your suggestions.
Cyn
What Long Lens shooting technique?
I have recently had the opportunity to borrow a 600mm lens. I am using the Winberly II on a sturdy Gitzo tripod, just wondering what long lens technique many of you use to ensure sharp images. I thank you for your suggestions.
Cyn
Hello Cynthia,
I hope the following helps. It is taken from one of my workshop presentations. My way is not the only way of course. You have the tripod and head part covered with your set-up and that's half the battle. I don't have an image readily available to post showing these methods.
·USE A TRIPOD
Chose a tripod that will handle the weight of the equipment you are using. Also, think ahead and step-up to a tripod now that may exceed your immediate needs but will allow you to use a 500mm or 600mm if you purchase one in the future.
Carbon fiber tripods are sturdy and lightweight but carry a premium price when compared to an equivalent aluminum tripod. However, they are easier to carry and will last longer when used in water.
·USE A TRIPOD HEAD THAT MEETS YOUR NEEDS
Wimberley Tripod heads, which I use, are Gimbal mount heads that allow you to balance a camera with a long lens effortlessly and don’t have to be “locked-down” when you’re not holding it (you do have to balance the lens when you first attach it – not a big deal).
Ball heads include the Arca Swiss B1 and the Really Right Stuff BH-55 Ballhead to name two popular models. I now use the RRS BH-55, which has received many great reviews.
A ball head may meet the weight requirements, but if you don’t lock it down, the lens will flop over. That’s why most nature photographers, especially those shooting birds use some type of gimbal design such as the Wimberley.
I DO NOT recommend using a ball-head or other contraptions that attached to the ballhead to make it act like a gimbal design. Wimberley and Mongoose are both good options here.
·IMAGE STABILIZATION (IS)
If the lens you are using is a Canon and it has Image Stabilization (IS) [Vibration Reduction (VR) for Nikon] - use it! Be warned that not all IS/VR lenses are tripod compatible. Check to be sure first. For Canon lenses, the following lenses CAN be used on a tripod. Set the IS Mode to “2” when them on a tripod.oEF 300 mm f/2.8 USM L IS
oEF 400 mm f/2.8 USM L IS
oEF 400 mm f/4 USM DO IS
oEF 500 mm f/4 USM L IS
oEF 600 mm f/4 USM L IS
oEF 70-200 mm f/2.8 USM L IS
oEF 28-300/3.5-5.6 L IS
oEF 70-300/4.5-5.6 DO IS
·TIGHTEN DOWN
Unless you are photographing flight, tighten down the knobs. The added tension will help to dampen movement and will help you to “cinch-up” the rig as discussed below.
·CINCH-IT-UP
Use you your body to dampen the movement of the camera and lenses. Though you might think the mirror lock-up and a remote trigger would be better, it is not.
First, place you left arm over the top of the lens. When I am using the Wimberley Head, I will lock the crook of my arm into the vertical portion of the head. I then apply some downward pressure. Grasping the camera in the right hand, press down on the camera body to balance the downwards load on the front of the camera. Place your eye snugly up against the eyecup, hold your breath and release the shutter gently.
Be careful not to manually change the focus with that left hand on top of the lens. When I have students in the field, I advise them to orient the Wimberley so that the controls are on the left side of the camera. This places the vertical column of the head to the left allowing you to cinch in the crook of your arm around that column. This also keeps your right hand free to manipulate the camera controls and shutter.
Another option that some photographers use is to support the lens from underneath while placing a part of the hand between the lens and the lens foot pushing up with the palm thereby placing force between the lens and the tripod head. When doing this I push up on the camera body too. The counter-force helps to dampen vibration. The idea here is to dampen the lens to the tripod by prying the lens against the head using your head.
When shooting flight or action you need to have the knobs lose. In most instances I use the arm over the lens method and switch to the hand under the lens method when needed due to my position.
Cynthia the main thing is taking play out of the lens/camera. Most people hold camera with two hands and make the exposure.
Set the Wimberley on the left side of tripod and if your reach is enough have your arm go over then hand under while pushing with cheek in to back of camera. If you can't reach place your little finger and the one next to it at the lens plate then the other three pushing up on the lens.
Its not complicated and will become second nature.
Note: it doesn't take a lot of pressure. Too much and you introduce vibrations.
Mike
I've noticed this Mike, especially when you are excited because of the very photo op that you are trying to capture!Originally Posted by mikeojohnson
As well, I believe that just as there are folks out there who can shoot accurately at a target with a riffle after just having skied in the Olympics (biathlon?), so too are there photographers that are just naturally less jittery than others. Not sure you can do much about jitteriness, but being relaxed and calm and reducing tension in your hands and arms goes a long way.
Good point Mike ... but the pressure should be enough to eliminate all play !!!
Good advice from Robert and Al. I have a somewhat different viewpoint, although I'm not discounting their advice. I hand hold big lenses for flight photos, including the 600 f/4 with extenders. I don't have a problem getting sharp images for the most part. The keys are to make sure you're focused on the bird and that you've got a fast shutter speed. If those two criteria are met, you should get sharp images. When the light gets low, that's when technique becomes very important; Robert's and Al's advice should serve you well in that circumstance.
As an example, here's a photo of a friend shot hand held using the 1D Mark III and a 600mm lens with a 2x TC. The shutter speed was 1/1000. I can assure you that my arms tremble just a little when I hand hold big lenses, but I can still get plenty of keepers.
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I'd like to clarify my post from yesterday because I don't want any misunderstandings. I'm not suggesting that you try hand holding Cynthia. Tripods provide a very stable platform for bird photography; I own and use a Gitzo tripod and a Wimberley II also.
I was trying to say that fast shutter speeds tend to negate the effects of technique. The image I posted was designed to illustrate that point. In spite of the extreme focal length of 1200mm and the fact that my whole body was trembling, I was able to get an acceptably sharp image because of the shutter speed and the fact that I had locked focus on the subject.
When there's less light and slower shutter speeds are involved, good technique is an absolute must; I agree wholeheartedly with Robert and Al's tips. And you'll never go wrong with a tripod. :)
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Robert, my longest lens (currently) is the Canon 100-400 IS. Since it does not appear on your list, this is not tripod compatible. Does that mean if I use a tripod, I should turn of the IS?
Thanks,
Beth
Are you saying Robert that you don't recommend the Wimberley Sidekick? Which I find extremely useful with my 200-400VR.
Cheers
Marc
All good advice here. And I'll second Doug's comments about shutter speed and focus. I turn off all VR when tripod mounted and have shutter speeds over 1/1000. Not sure if the same would apply to Canon, but VR actually introduces shake when it first kicks in. However it is quite helpful for lower shutter speeds.
My bakers 10 suggestions for long lens technique.There are of course more and different approaches.
1)Stable tripod.
2)You can use a ball head but for action or birds in flight I much prefer a Gimbal Head. My first choice is the Mongoose 3.5a my second choice is a Wimberley type I or II.
3)When using slower shutter speeds or in critical non-action situations, I also lock the tripod collar and the ball head / Gimbal head adjustments. Otherwise I do not.
4) I press my face against the back of the camera body (cheek or eyebrow) and rest my left hand on the lens above the tripod head. Think of it this way. If you have a tuning fork and tap it on something, while only holding the end, vibration will travel through the fork causing sound. Do the same thing but this time put your fingers in the middle of the tuning fork. No sound! You effectively absorbed the vibration causing the sound.
With a long lens vibrations are magnified. So with your face and hand are doing the same thing, reducing the vibration that causes image softness. I called this Nikon's HF(hand / face)vibration reduction system before VR
5)I always level my tripod, helps with the horizon and the Gimbel head will work more smoothly.
6) I extend the lower legs as little as possible, they are the smallest, least rigid.
7)Rather than extending each leg fully out, when possible I try to leave about 6" of each leg in the tube above.The legs will be more rigid, much less wiggle.
8)I will "load" the tripod up, making sure the I have the legs pulled apart to their widest diameter.
9)Wiggle down. If I am in grass I wiggle the tripod to get through the grass into the soil.
10)I take my left foot(just more comfortable to me) and place it on the inside bottom of the tripod leg to my left. I then place my shin/knee on the outside of the same tripod leg.
11)I prefer spiked legs for grassy locations. For boardwalks I will put cane caps on the bottom of the legs, they help in preventing vibrations from traveling up the tripod legs from the boardwalk. I do the same for mud, a little wider foot that's all.
Beth,
Yes, it you us it on a tripod, turn the IS off. Just remember to turn it back on. The problem is the 100-400mm using the first generation IS system from Canon that is not "Tripod aware" so the IS has a tendancy to jump around and this can cause blurred images.
Same goes for any Canon lens not listed. I believe the list may not be 100% complete so if someone knows anything that needs to be added, let me know.
Marc,
I do not prefer this combination. I have used it and did not like it. Is it workable, yes but not preferable. Mileage varies for everyone and if you have a good ballhead, this may be a good cost-to-benefit ratio for someone to get the sidekick.
If it works for you and your making sharp images and are happy with it, that is what matters.
Doug is 100% correct, I higher shutter speed makes a big difference.
Beth you will be doing better if you hand hold the 100-400, that is one of the advantages of using a shorter lens (for bif). Same would go for 400 5.6 and all the other shorter lenses. Will be easier to acquire the bird, place the focus point and make a sharp image. Suggesting to sue a tripod is not very good advice, only my opinion. Best thing to do is try it both ways. Try some each way, will be convinced after the firs session.
For those that have and use a sidekick it is a fine unit and will perform well. If you were looking to purchase a unit (don't own anything) I would go with Mongoose... but again the sidekick is functional and will work just fine.
I will add a shotr bit of advise: focus, focus, focus.
Don't press that shutter unless you are sure your target is in focus. Coupled with fast shutter speed, you will have no problem.
If you have not used a 600mm before, it may take you a while to find the target, I suggest you use the knob on the hood for quick reference.
Thanks, Robert. I'd heard that before about using a tripod with that lens.
Thanks, too, Al, regarding the handholding. I prefer to do this with 100-400 and I'm good when I have enough light and a nice, high shutter speed. I run into problems handheld in low light as I'm not the steadiest. The 400 f5.6 is a great lens but I do find my images can get soft if I don't have a relatively high shutter speed (the IS on the other lens definitely helps!). Hopefully I'll have a longer lens later this year and then I'll see how things go! :D
Thanks to everyone for suggestions on your technique. I will be again borrowing this lens for a trip to Alaska mid summer, chances are cloudy weather rain likely, so don't think I will have the opportunity to use high shutter speeds. Likely shooting moving wildlife, so not much chance of locking everything down. Have seen a lot of shooters rest their arm over the top of the lens, so will try this, and practice locally or in my backyard before the trip.
Cyn
[IMG]http://www.********.org/bpn/2009/40D/_MG_0677_2A.jpg[/IMG]
This is the way I hold my 500mm. Pre-focus and take your time!
This rail system takes the vibration out of long lenses and eliminates the need to apply pressure to the lens with the off camera hand.
Alfred,
What play are you referring to? Camera to lens, lens to tripod collar, lens to tripod head or...?
Roger
I'll give my own long lens wildlife tracking method, which is a little different than others. I have tried the arm on top of the lens and find it awkward for me. For fast moving action, I use a full Wimberly with the axes loose. I hold the camera with both hands, IS on, single point AF. As I pan, I move the AF point to keep the composition that I want and an AF point on the eye of the subject. I use servo mode and half press the shutter so the camera+lens tracks the focus point. That way I can image at any moment with no delays, e.g. due to focus not locked on, nor having to recompose. I have my face up against the back of the camera. Thus, my hands and face, holding one end of the camera system, dampens vibration. I also keep the lens loose in the collar so I can switch to vertical or horizontal quickly.
An article on how I do it:
http://www.clarkvision.com/photoinfo...with.autofocus
Not discussed on the site is another method: When I'm tracking slow moving action, e.g. a bird moving around on a branch, especially when at longer focal lengths, e.g. with 2x or even stacked TCs, I hold the camera in my right hand and my right hand is around the wimberly vertical axis with my fingers fine tuning elevation of the lens by pushing on the base of the wimberly lens foot. My left hand can both rotate in azimuth (coarsely) and finely in elevation while I'm changing AF points with my right hand.
Roger
Al, extrapolating/interpreting, currently I have the 100-400 - still trying to decide whether to sell the 100 - 400 and buy the 400 f/5.6 (can't carry both) - and I have a Manfrotto tripod with their ball head.
I do not have any other head. From what you are saying I should save the money and not buy the Mongoose 2.3, and get used to HH either lens. Right?
Roger, your article on Autofocus was great; thanks.
Jay
Hi, can we add burst speed to the discussion about BIF shooting techniques?
Are you shooting single shots or continuous, and if continuous how fast and how many frames for a given "image in time"?
Is the difference from 3.9 for the 5DII compared to 6.5 for the 50D significant?
Thanks,
I shoot as fast as I can (10fps on a 1dm3) to maximize the probability of a pleasing wing position.
Mike
Hi, all of a sudden certain words in my post and others have gone "red" - did the system do that for a reason?
Doug, Robert and Al know their stuff Cindy. Follow their advice and you win everytime. I might also add a lot of practice will help too. BPN is a great site for learning and asking. Keep at it!
Last edited by Grady Weed; 03-31-2009 at 07:24 PM. Reason: spelling
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