Alphatracks

Jan 6, 2009: Two great announcements for Mac using photographers today. Apple announced iPhoto 9, with a host of new features. At the same time, Google released the long awaited beta of Picasa for Macintosh.

I was really excited with the chance to use Picasa for the Mac. I’ve used the Windows version of Picasa and was very happy with it. The fact that Picasa can seek out and index all the images on your hard drives without being told is a “killer feature”. It works quietly in the background indexing every image it can find, while you concentrate on other stuff.

For a long time, I’ve hoped Google would develop a Mac version. Early last year, rumors surfaced that “Big G” was working on Picasa for the Mac. Today those rumors have proven true.

My excitement was short lived however. My Mac met the system requirements — but I don’t have the minimum hardware. Turns out Picasa for Mac (or least the initial beta) only runs on Intel processors. PPC Macs, such as my lowly dual processor G5, need not apply.

I’m disappointed, but not completely surprised. Intel Macs are the way forward, while the G5 machines are rooted in the past. Why should Google devote resources to developing for an out of production machine? In fact, the next OS X operating system to be released, “Snow Leopard,” is rumored to run only on Intel processors.

I don’t blame Google, but it is a shame. Even though the G5 towers are outclassed by the newer Mac Pro machines, they still offer solid, powerful performance. If they can run Lightroom and Aperture (they can), I can’t see any performance problems with running Picasa. I’m guessing it was simply a business decision on Google’s part. Developing for architecture that even Apple may soon stop supporting probably didn’t make too much sense..

Of course this is just the initial beta. There is a chance that at some point Google will invite PPC Mac users to the Picasa party. After all, most thinly staffed open source Mac projects manage to support both Intel and PPC chip sets. For the time being, however, if you use a PPC Mac, Google’s stance is “no Picasa for you.”

I was hoping to report on how well the beta ran on my G5. I also wanted to see if Google had included any support for Sony Alpha ARW files. The last time I tired Picasa for Windows, it offered support for certain RAW formats. The Alpha wasn’t one of them. I was hoping that with the influx of new Sony dSLRs (A200, A300, A350 and A900), Google would include Sony Alpha RAW support.

I guess that my testing will have to wait until I upgrade to a Mac Pro or Big G offers a PPC version of Picasa. Meanwhile, if anyone with a Intel Mac tries the beta, please let everyone know what you think in the comments.

Update:

Should post the beta download link here. You can download Picasa for Macintosh at http://picasa.google.com/mac/

System Requirements:

• Mac OS X 10.4+
• Intel CPU
• 256MB RAM
• 100MB available hard disk space

Picasa also runs on Windows XP and Linix.

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Jan 1, 2009: Observant Alphatracks readers might have noticed a new Photography Basics section listed on the sidebar. The Basics area is still in development; in fact there is currently only a single article: a treatise on Depth of Field.

The idea behind Basics came about because I’ve noticed that Alphatracks readers are comprised of all experience and skill levels. Some have been shooting as long or longer than I have, while others have just acquired their first Sony Alpha. Some haven’t even bought that shiny new dSLR, but they frequent the site because they are looking for advise on which model will fit their needs.

I’m happy to have such as a diverse readership, but when I’m writing a technical post, I struggle with how much background information to include. I don’t want to turn off experienced photographers by spending too much time on introductory topics. At the same time, I worry that new Alpha shooters may find some posts too difficult, unless I delve into the fundamentals. So I am torn between offering too much or too little peripheral information.

For 2009, I have plans to look more deeply at Sony and Minolta lenses, flash units and accessories. For obvious reasons, some of these posts will be somewhat technical. It occurred to me that if I had a section on the site that was dedicated to photographic principals, I could eliminate the need to include much of the raw detail of a technical piece. If I think a particular post might require additional info, I can simply link to the relevant text in the Basics area. In that way, experienced photographers won’t feel bogged down by elementary material, but I can direct those requiring more clarification to a thorough explanation.

It seemed like a good idea, so I created Basics.

I think it might become a popular addition to Alphatracks. I added the Depth of Field piece just to get everything organized. I did none of the usual promotion I typically do to encourage readership of a new post. With only a single, small link on the sidebar, the depth of field article attracted dozens of viewers in the first hour. I seems that many readers were looking for that information.

I will be adding to the Basics section as time permits. Just simple, bite-size discussions of basic photographic theory. Of course the usual posts won’t change. I think I have lined-up material that will appeal to all levels of Sony Alpha users. If I can just find the time, I have ideas for product reviews, interviews, more “Alphatracks Visits” pieces and the technical lens and accessory discussions I alluded to earlier. I’m sure that Sony will have some interesting news in the coming year as well. And now that the holidays are over, I will resume posting weekly tips. So if you liked Alphatracks in the past, I think you’ll enjoy the 2009 edition.

Here’s wishing everyone a great 2009, filled with great images.

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Is that antique sailing canoe levitating in thin air? Find out in the image gallery.

Dec. 17, 2008 A few weeks ago, we dropped in at the Bob Timberlake art gallery in Lexington, North Carolina. My wife fostered my original interest in Timberlake’s art. Then, while we were living in Wilmington, the St. John s Museum of Art (since replaced by the Cameron Art Museum) had a wonderful exhibit featuring the works of Timberlake and Andrew Wyeth. Timberlake’s subject matter dovetailed closely with many of my own interests; snow covered barns, historical scenes, seascapes and mountain ranges. Most importantly, I love wooden boats, and many of Timberlake’s subjects are wood boats.

I wasn’t sure whether my Sony A350 would be welcome at the gallery, since many similar establishments have a “no cameras” policy. Thankfully, the staff at the Lexington gallery gave me permission to shoot, as long as I didn’t photograph the artwork directly. The huge hexagonal building is filled to the rafters (literally!) with interesting stuff…artwork, antiques and memorabilia. It would be a wonderful place to play “I Spy,” because there is a jumble of things everywhere you look.

That doesn’t mean the gallery is unattractive. The interior is light and airy and the items on display are attractively arranged. There is a whole lot of stuff, but the gallery is not cluttered by any means. The modern building itself is lovely, with a large well-lit atrium, dominated by a huge stone chimney.

The highlight, other than the artwork, is the fully rigged, antique sailing canoe suspended in the main gallery. It has gorgeous lines, and it was the main reason I wanted to tote the A350 into the gallery. Although the sailing canoe is the centerpiece, there are several other wooden boats and canoes inside.

Although there are many fascinating antiques, these aren’t offered for sale. The old guns, farm equipment, fishing gear and beach flotsam are simply backdrops for the artwork, furniture and clothing.

Yes furniture and clothing. While Timberlake is best known for his art (with good reason) he has branched into designing furniture, luggage and clothing. Naturally, almost everything in the Timberlake catalog is on display at the gallery.

Because I didn’t want to use flash inside the gallery, I shot everything with existing light. Thankfully, the large overhead windows and skylights provided bright, even natural light. The upper gallery was very well lit. In the lower area the light was dimmer, but Super Steady Shot made it possible to get decent hand-held images.

The Lexington location is one of two Timberlake galleries. The other one is located in Blowing Rock, in the western North Carolina mountains. I haven’t made it to the Blowing Rock gallery, yet…maybe next summer.

View the Bob Timberlake image gallery

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Tom Bonner
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Steady as you go! The amazing strap trick in action.

Tip of the Week This week’s trick concerns a new way to hold your dSLR. It should work with any dSLR or SLR and the best thing is it doesn’t require any extra equipment or expense.

A few weeks back, I was on an outdoor shoot on a large piece of property. I had finished my photography and I passed up the offer of a ride back to my truck, preferring to hike through the woods. Before I set out, someone offered me a glass of Gatorade.

So I started down the trail with the drink in my left hand and carrying my Sony dSLR in my right. I had a strap on the camera, but I let it dangle free and just carried the camera by the grip.

I spotted a squirrel next to the trail and decided it was worth grabbing an image. I had left the A350 on, so I was ready to shoot. Well, almost. My problem was the sports drink.

I figured if I put the drink down on the ground, the squirrel might scamper off. I considered simply dropping the plastic cup, but I feared I would end up with liquid all over my jeans and the impact would scare my quarry away.

The third option would be to steady the lens while still holding the cup with my left hand. But I’ve made enough bone-head mistakes in my life to realize that holding several ounces of sticky red liquid that close to all that pricey electronics was a disaster waiting to happen.

So I concluded the only course of action was to shoot one handed, holding the camera in my right hand and trusting Super Steady Shot to keep the camera and lens from shaking.

As I raised the camera to shoot, the loose strap brushed against my left hand. Without thinking, I wrapped my fingers around the strap and carefully pulled downward. At the same time I kept a steady upward pressure on the camera. I was amazed how steady the camera felt.

Long story short, the squirrel dashed away before I could shoot. But I took several landscape images using the strap trick. I couldn’t believe how steady the the rig made the camera.

Not long after that, I was shooting the the image series inside the Apple Hill general store. When I found I needed to shoot with shutter speeds around 1/10 second, I remembered the strap trick.

This time there was no squirrel or sports drink, but pulling upward against the strap allowed me to shoot at long shutter speeds without shaking.

You can see a sample image taken with this technique at 1/10 second. Super Steady Shot may have been a factor in the image sharpness, but I’m convinced the strap trick contributed to keeping the image sharp.

Some of you may recognize a strong similarity to the ever popular “poor man’s tripod.” I first heard about the poor man’s tripod decades ago. It is apparently still arround, as just this year, I have read about it on at least three blogs and heard it described on two different podcasts.

Basically the idea behind the PMT involves tying a string to a screw inserted into the camera’s tripod mount. You step on the string and pull up on the camera, and the resulting tension keeps the camera steady even at long shutter speeds.

Obviously this strap trick has a lot in common with the PMT. The PMT may offer greater steadiness, since the ground can’t move when you step on the string.

But the strap trick offers some real advantages. The most important thing is that you don’t have to make anything to use the trick. If the strap is already on your camera, you are ready to use it to steady your images. Even if I took the time to make a PMT, (I never have) chances are I wouldn’t have it with me when I needed it. But the strap is usually with me whenever I haul out my cameras.

I haven’t tried this with any really long lenses as yet. I know it works very well with lenses in the 18-85mm range. I intend to try it out with my beercan in the near future, to see how well it works at 210mm.

Why not try it yourself and let me know what you think. As I said in the opener, it won’t cost you anything.

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Tom Bonner
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Dec. 10, 2008 This time around, I have a question for you. We all know Christmas is coming, with all that entails. Christmas is considered a wonderful time for photographers, with good reason. True photo opportunities abound. What photographer could ignore the lights, decorations and family scenes?

Still, there is something I would like your opinion about. When you are invited to a family get together, do you bring your camera? If so, does the camera interfere with your ability to interact with friends and family?

Can you make top-quality photos and still interact with the family?

Don’t get me wrong. I always bring a camera to parties and family events. Everyone seems to appreciate receiving photos afterward, so I assume my dSLR is as welcome as I am.

There is a problem, however. When I shoot for a client, I try very hard to create the best images I can. If I feel an image could be improved with a different lens or accessory, I actually feel guilty if I don’t make the effort to change lenses or do whatever it takes to produce a better photo.

But what happens at a family event? You aren’t there as a professional, you are there to interact with family and friends. The question is, do you kick back and grab some snapshots, or do you stay in the full-tilt, uber-photographer mode?

Naturally you can do a little of both, but I find the more I strive to take excellent photos in my professional life, the more difficult it is to simply take personal snapshots. Shooting images without thinking through how those images could be improved is completely foreign to me. Habits are hard to break, so when I pick up my camera, it is difficult to switch into a casual shooting mode.

This sometimes puts me at odds with the other members at the party:

“Stop fiddling with that camera and get over here.”

“Hurry up and take that photo…the food is getting cold.”

“Everyone is ready, just take the picture. It doesn’t have to be perfect.”

In addition, there is a tendency for a photographer to be somewhat aloof from the rest of the gathering. While everyone else is gathered around the piano singing carols, you’re up on the staircase trying to capture an image of the entire group. When others are seated around the fire telling stories, you are trying to figure out if placing your camera on an end table will allow you to take a long time exposure of the scene. You are there, but you’re somewhat apart from the rest of the party.

A question of reputation

Then there is the reputation factor. Most professional photographers live and die by their reputation. Sometimes basic snapshots can turn out to be amazing, but most of the time that’s exactly what they are: basic snapshots. What does it say about your reputation if Uncle Albert’s snaps from his point and shoot look about as good as yours?

The party might include people you haven’t seen for some time, people that may have traveled great distances to connect with family members. Can you take time to visit with them and still capture the type of images you want to be known for?

What’s your take? Are you willing to dial down your photo efforts a bit when you attend Christmas parties this year? Or would you rather be a grinch and create professional quality photos — even if it interferes with quality time with family and friends? Or are you able to handle both? Maybe you are able to reel off wonderful photos in between sips of eggnog while catching up with the sister you haven’t seen for three years.

Let me know your opinion on this

I really would like to hear from other photographers on this. I haven’t made up my mind if I will be grinch or a snapshooter this Christmas.

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Note: This is the first of a series of photography tips that will be appearing weekly in Alphatracks. Watch for the a new tip each week.

Practice this technique and you will know at a glance which Compact Flash cards are free to use and which need to be uploaded to your computer.

Dec 5, 2008: If you are like me, you have a collection of memory cards. It’s great to have extra Compact Flash cards available, because you never know when an exciting photo situation may fall into your lap. If you have several cards on hand, however, it easy to loose track of which cards need to be transferred to more permanent storage and which can be erased and used for a new shoot.

To be honest, I actually learned about this trick a long time ago, and I cannot remember who I heard it from. So while I can’t credit the original author of this tip, I can tell you it has become my standard operating procedure for handling memory cards.

A case for every card, and every card in it’s case

Like many photographers, I keep my spare Compact Flash cards in their own carrying case. My choice is a Case Logic faux-leather case
that holds six memory cards zipped inside. By carrying cards inside a case, all my cards stay together and are easy to find. I don’t have to search through my camera bag to locate the relatively small Compact Flash cards; all I have to do is locate the zipper case and select the card I want.

Initially I simply stuck the cards face up in the case. Then I heard someone suggest that you could determine which cards were already filled, by inserting them face down in their storage pockets. Cards that are empty or which can be erased are inserted face up.

It may sound fairly simplistic, but you would be surprised how much time and aggravation this can save. It is especially helpful when you have more of one card of the same brand and type. I recently got a great deal on three identical 4GB Compact Flash cards. I already had a couple cards of the same brand, which means that I now have five cards that look similar. Had I not adapted this trick, it would more than a little difficult figuring which cards needed to be uploaded and which were available for use.

My procedure, which I adhere to without fail, is this. When I upload and backup my images from a CF card to my computer, the card is ready for reuse. I never erase or format the card on the computer, because I believe the camera is better at formatting a card for its own use. So when I determine a card can be reused, I simply insert it face up in any of the pockets inside the zipper case.

Available memory cards are stored face up

When I want to load a fresh card into one of my cameras, I can open the zipper case and select any card whose label is face up. As soon as the card is in the camera I either delete all images stored on it or format the card. This only takes a few seconds, and leaves the card empty and ready to store fresh images.

When I fill a card, or swap it out for a fresh card, I place the used card face down in the case. By following this procedure, I can tell at a glance which cards are available for use. When I return to my computer, I remove all the face down cards and start uploading them with my card reader. When I am certain that all the images are backed up, I return the cards to the case face up and the process starts all over again.

Did you or did you not archive the contents of that memory card?

There are other benefits to this procedure beyond knowing instantly which cards can be reused. Recently, I had several assignments back to back. About the third day, I grabbed a card from the case and noticed that it contained images from day 1. For a few anxious moments I tried to recall if I had already uploaded the files from that card. I couldn’t remember. I thought I had, but I was not sure. Then it occurred to me the card had been face up in its pocket. Because I never deviate from the practice of only placing cards that can be safely erased face up in the case, I knew the pictures had been backed up. I went ahead and formatted the card, secure that the existing images had been backed up, even though I couldn’t remember doing it.

Note that this only works if you are a fanatic about following this practice. I knew my files were backed up, because I never put a memory card face up into the zipper case unless it is free for reuse.

Don’t overlook orphan files on your Compact Flash cards

One other advantage to this trick is it prevents you from leaving orphan files on your memory cards. Many times I have filled up a memory card with a hundred photos or more, then shot a handful of images on a second card. If you shoot a lot, it is easy to overlook the small collection of images stored on the additional card, especially if you are traveling or working on a tight deadline.

Because my procedure is to remove all face down cards from the case and upload everything to my standard folder structure, nothing is overlooked. Even if there is a card with only 1 or 2 images on it, these images will be added to my library because I force myself to upload all the images from all the cards before putting them back in the case.

How about you? Do you have a procedure that helps keep things straight when you are in the field?

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Tom Bonner
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DSLRs are technological wonders, but they don’t have to wreck your budget.

Dec 3, 2008: Christmas is the time of the year when digital SLR sales typically ramp up. Of course this year is anything but typical. The state of economy, at least in the US, is on most people’s minds. Many prospective dSLR owners are tightening their belts and holding off buying that new camera, lens or flash unit. I would never suggest spending money you don’t have on photo gear, unless you earn most or all of your income from photography. If you are a hobbyist, you may need to retrench and put off major purchases until the economy improves.

DSLR photography will always involve a substantial outlay of cash; that is the nature of the beast. You can’t eliminate that cost, but with a little creative planning, you can reduce it. If budget constraints are forcing you to postpone that new dSLR or lens purchase, these suggestions might help you stretch your photography dollars.

Choose a lower-price camera body

There is a famous old saying: “…if wishes were cameras, then we would all be shooting with the A900..” Or something like that.

If you have A900 tastes, but your budget is more along the lines of the A200, there is nothing to be ashamed of. The Sony Alpha A200 or A300 can produce excellent images, and both cameras offer a wealth of features. Don’t be afraid to start out with one of the less expensive models. Most professional photographers, if they are on a budget, will opt to cut corners on the camera so they have money to spend on what really matters: high quality lenses. A great lens on a inexpensive camera can create wonderful images, but even the best camera cannot overcome an unsharp lens.

If you are one of those people who only buy the best so it will last, remember the digital SLR market is still evolving. Only a few years ago, most professional dSLRs were 6 megapixel, APS-C sensor models. Today, full frame, 20+ megapixel dSLRs like the A900 are blurring the distinction between portable single lens reflex cameras and medium-format studio units. Live-view and video capabilities will soon be considered mandatory on any dSLR.

Today’s full-featured camera will undoubtedly fall short of the cameras of the near future. Don’t put off purchasing a camera while you save for a top-of-the-line model. Buy a dSLR that you can afford now and work hard to create great images.

Consider buying used equipment

Buying a used dSLR is an iffy proposition. I have bought two used high-end digital cameras that have worked flawlessly. That said, dSLRs are packed with miniaturized electronics and are sensitive to moisture, dirt, cold and heat. Problems can hide unseen inside the camera for weeks or months before they show up. Unless you know the seller and the history of the camera, I would be leery of buying a used dSLR unless it came with an ironclad warranty.

You can still save money with used equipment, however. Second-hand lenses, flash units and accessories offer a much safer opportunity to save cash. Do your homework and make sure you know what to look for in a used item. You can often save more than 50% by buying used.

Try your local pawn shop

Online auctions and used camera stores are popular places to seek pre-owned camera gear, but don’t overlook your neighborhood pawn shop. You can often find great deals, especially if you know what to look for. Pawn shops are no longer shady enterprises hiding out on the outskirts of town. Pawn shops have moved into the mainstream and now serve a respectable clientele. Pawn shops offer several advantages when buying used equipment. Unlike an online auction, you can actually see and handle the item before you buy. Even better, many reputable pawn shops will offer you a 24-48 hour trial. These shops will allow you to use and return an item within a certain period of time if it doesn’t perform correctly.

Rent camera equipment that won’t be used often

You might be surprised to discover that many pro photographers rent most or all of their equipment. A pro needs to consider the ROI (return on investment) of every piece of gear. If an item will be used infrequently, it is much better to rent it when needed, rather than drop a bundle of cash on something that will sit on the shelf most of the time.

You can use the same technique, even if you are just starting out. Short term (daily or weekly) rental prices can be quite affordable, even for high-quality lenses and flash units. Some rental operations rent camera bodies, so you don’t even need to actually own a dSLR to start taking great images. In addition to saving money, renting is a great way to preview a piece of equipment you are thinking of buying. Spend a week with an expensive lens or camera before you buy. You could save yourself from making an expensive purchase you later regret.

Until recently, it was difficult to find places prepared to rent Sony/Minolta dSLR gear. Alpha Lens Rental in Minnesota offers a very good selection of A-mount lens and equipment. They even have the Sony Alpha A900 (Yes the one with 24.5 mega-pixels) available for rental. They will Fed-Ex to your location within the USA. Hopefully, we will see more A-Mount lens rental operations in the near future.

Skimp on accessories, not the camera and lens

There are some things you shouldn’t compromise on, such as lenses. There are many other items that could offer temporary savings. It is nice to own a top-of-the-line camera bag, but the type of bag you use will not have any effect on your images. Make do with a padded cooler or gym bag until you can afford the real thing. You can shoot wonderful images with inexpensive “clamp-on” lights from the hardware. You can find free plans online for DIY light modifiers and camera stands.

Use your creativity and you will find many household items that can be pressed into service in place of higher priced photo gear.

Save money with manual lenses and flash units

While I don’t recommend wasting money on cheap lenses, my concern is with lenses that cannot produce sharp images. Don’t overlook the wide variety of manual aperture, manual focus lenses on the market. Some of these lenses have wonderful optics, but they sell for far less than a fully automatic lens of similar length and aperture.

You can find millions of very good M42 and T-mount lenses on the used market, some selling for only a few dollars. You will need an inexpensive adapter to mount them on your Sony Alpha dSLR, but if you choose wisely you can find some razor sharp bargains. They will require additional work on your part, but they will force you to develop your photography skills. You won’t be able to rely on your camera’s automatic settings with this equipment. Still, a few weeks of shooting with a manual lens will develop skills and techniques it would take years to learn shooting in the program mode.

How about it? Anyone else have suggestions for reducing the high cost of entering the dSLR market?

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Tom Bonner
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I spotted a great image over in the SONY ALPHA DSLR-A200 Flickr group. It wasn’t taken with an A200. In fact the creator Sam Knox says he was shooting with a “pocket-sized point ‘n shoot” at the time he created this Photoshop masterpiece.

What is so great about the shot is he turned Big Ben into… well you have to see it to understand. Check it out at the Sony A200 discussion group.

If you shoot with an A200, you might want to join the group as well. You can sign up at Sony Alpha DSLR-A200 main page It appears to be a very active Flickr group open to all A200 shooters.

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Tom Bonner
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F/9 at 28mm and extremely shallow depth of field? Only from the mind of Minolta

Nov. 25, 2008 A couple weeks ago my wife suggested we go apple picking. It has been a while since I last picked apples and as the last of the fall colors were still decorating the trees, I agreed immediately.

We chose the Apple Hill Orchard in Morganton, NC, about a hour and half drive.

Naturally I brought along a camera; the Sony Alpha A350 equipped with my trusty Minolta 28-85mm f3.5-4.5 zoom. Because this was an apple picking excursion, I didn’t want haul along a lot of extra equipment, and I wasn’t interested in changing lenses while traipsing around the groves. So I went with the 28-85mm because I expected it would provide sufficient versatility for the day’s shooting.

The aperture was a little slow for shooting inside the Apple Hill general store, but with a little care I got some excellent shots. Outside in the actual orchard, the 28-85 proved to be an excellent choice. On the A350’s APSC size sensor, the focal length is the equivalent to a 42 to 127.5mm zoom. I would have liked a little wider angle of view inside the cider mill, but otherwise the lens was perfect for my purposes.

The biggest surprise for me was how much I enjoyed using the macro mode of the 28-85mm. For reasons I don’t fully understand, Minolta designed the 28-85mm lens so that the macro mode can only be engaged at the 28mm focal length. This is directly opposite of most macro zoom lenses, which either provide their macro effect at the maximum telephoto focal length or else offer macro throughout the entire zoom range of the lens.

I have heard some photographers harshly criticize the lens because of its wide-angle only macro design.

It is a somewhat odd configuration, but I found it was great for creating the effect of very shallow depth of field. I could shift into the macro setting, focus on an apple or other subject and watch everything outside of my main subject turn soft and dreamy. I was shooting at f/9, which would normally cause nearly everything to be in focus with a 28mm focal length. Shooting in macro however, gave me a razor sharp subject against a soft background.

So maybe Minolta knew what they were doing when they created the 28-85 with a wide-angle macro. I guarantee you I will be shooting with this setting much more often in the future.

You can view the image gallery at Alphatracks visits the Apple Hill Orchard.

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“UGH!” (Smacks hand against forehead) “I should have used a lens hood!.”

Nov. 12, 2008 Spend time at any event where photography enthusiasts congregate and you will notice plenty of naked lenses…lenses without lens hoods. That’s rather strange, when you consider that nearly every quality lens ships with a custom designed lens shade made expressly for that lens. It isn’t a matter of being able to afford a hood; it is nearly impossible to buy a Sony Alpha lens without a matched shade. Most quality glass from other makers also include a hood with their lenses. So all those photographers already own lens shades; they simply don’t bother to use them. Too many photographers treat lens hoods as part of the lens packaging — something to be dropped back into the box and packed away into the closet.

There are certain situations where a lens shade is unnecessary, or even detrimental to making good images. I’ll discuss the specific conditions when you shouldn’t use a lens shade in a moment. First, however, I want to look at why you should attach a hood almost every time you take a lens out of your bag.

Kill the glare, stick a shade on it

Most photographers know that lens shades are intended to exclude glare and reduce hot spots. In addition, lens shades increase contrast, improve sharpness and retain color fidelity. Consider the fact that many photographers spend large sums on top-quality lenses because they know that excellent glass will produce better images. Yet many of these same photographers can’t be bothered to attach a hood, even though that hood is essential to getting the most from that expensive lens.

Lens shades come in a wide variety of shades and designs. The best hoods are designed expressly for the lens they are being used on.

Flare comes in two varieties

There are two kinds of lens flare. The first is obvious flare. It is often referred as ghosting because the appearance is akin to the images the paranormal investigators get excited about. It is characterized by distinct ghostly areas caused by light reflected off the interior of the lens. These reflections are usually visible in the viewfinder, although sometimes you won’t notice the flare until you process images on your computer. Most of the time this type of flare is deadly to your images, because it is nearly impossible to repair the effects of obvious flare.

The other type of flare is more subtle. Instead of a prominent ghostly area, the reflection occurs across all or most of the surface of the lens’ front element. The result is a subtle loss of contrast and color fidelity. You might not even realize that flare has affected your image, because the difference is so delicate. Yet, the difference exists. If you could eliminate the flare, the image would look sharper and richer.

Suppose a respected lab announced that a specific lens had five percent better contrast and sharpness than any other lens in it’s class. That lens would immediately become a highly lusted-after optic. Photographers would speak of it in hushed tones and be willing to spend huge sums of cash for the privilege of saying they shoot with that lens.

Yet, although we know that use of a lens shade can dramatically improve our photos, many photographers can’t be bothered to use one. Spend hundreds of dollars on a lens that provides sharper images with better color? Of course. Spend ten seconds to attach a lens hood to improve sharpness and color? Sorry, just can’t spare the time.

Hopefully, you already use a hood whenever applicable. What if your original hood is lost or broken? You have several options. If the lens is still in production, you can always order a new one from the manufacturer. This is often the best route, because you know the hood will be matched to the lens. Unfortunately, original replacement hoods don’t come cheap. In some cases, the list price of an original equipment hood might be twenty percent as much as a complete new lens — a fairly high sticker for a plastic cylinder or stamped piece of aluminum.

I lost my hood, now what?

You could look for a used hood on one of the online auction websites, but if the hood is for a popular lens, you may find it difficult to secure a second hand lens shade. That narrows your choice to one of the many aftermarket hoods available. Unfortunately, one size of hood definitely doesn’t fit all focal lengths. A longer shade will be more effective, but long hoods cannot be used with wide angle lenses because the hood will cause vignetting. Zoom lenses can be even more problematic, since it may be difficult to find a generic hood that offers sufficient sun protection without vignetting at all focal lengths.

Aftermarket hoods are available in metal, plastic and flexible rubber. A generic hood may not be as fully effective as one specially tailored to a specific lens, but the aftermarket shades are much more affordable.

One final source of replacement hoods are printable hoods that can be downloaded from the internet. Type “printable lens hoods” into your favorite search engine and you will find dozens of paper hoods designed expressly for a wide variety of lenses. Print them on stiff card stock, cut them out and attach them to your lens.

So when should you forgo a lens hood? There are times you might want to introduce lens flare as a creative element. Hollywood movies often go out of the way to show flare effects in establishing shots. You may want to include this technique in your own portfolio.

When shooting flash, use a hood with care

Finally, use care when using a lens shade with electronic flash. Lens hoods can block the light from a hot-shoe mounted flash unit or a built in popup flash. Generally this isn’t a problem with longer focal length lenses, but with a wide angle lenses, there is a real possibility that the shade will cause a dark shadow at the bottom of the frame. It is a good idea to check how your wide angle lens hoods perform with hot-shoe mounted flash units.

So do use your lens shade? Why or why not?

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Tom Bonner

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