Yes, like anything, if you scratch a bit below the surface, there's much more to see. It's an iceberg. If you have any questions, ask away. I'm happy to answer them.
Great video very helpful! Maybe you could help with a question I've been struggling to answer. I'm trying to get a crisp sessile drop image from a distance of 500mm. In order to get good magnification, would I need to have a lens with a focal length of 500 mm or more?? Unfortunately moving the lens closer to the object is not an option.
Thanks for tuning in. There’s a bit of information missing so it’s difficult to answer fully/correctly. I don’t know what you’re shooting specifically, what the focal plane is of what you’re shooting and also, if your distance is correct. You say it’s 500mm away, but that’s under 20” so it doesn’t seem like much of an issue. Do you mean 500 meters away? That would make a huge difference. Also, how realistic a size of the image are you trying to reproduce? Actual size or does it even matter? Oh, & what camera body are you using?
@@MrSethmo64 Hmm...this is an interesting problem; one I've not encountered before. You are correct, I'm no expert in this type of photo work, but maybe I can help some. First off, You won’t need a 500mm lens for this. 300mm max will do. Maybe 200mm as the distance isn’t very far. However, I see a few other issues. The image you sent (an interesting look, BTW) seems to be back lit. I don’t see how you’ll be able to back light inside a pipe assuming the back end isn’t open in some way. You’ll need to front light it most likely. That means you’ll need to back away from the pipe to let light in or put a light source into it to light up the water area. This, in turn might interfere with the image you’re trying to capture. If you back away from the pipe & zoom in, you’ll want to stabilize the camera on a tripod, but it might not let enough natural light in anyway or the light that enters won’t reach inside far enough to light the water. A long exposure might do the job, but it’ll likely be pretty grainy. A dark pipe is a dark pipe no matter how you cut it. Call me crazy, but the solution seems to me to be a question of the right tool for the right job. Maybe the way to capture this image correctly is to do it the way the pros do. By pros, I mean the city workers who deal with underground pipes. I Googled “Sewer Cameras” on your behalf to get some insight on how to shoot this and it seems like one of those devices are what you need to do the job. Instead of learning how to shoot this as I expected, I found the following: Check this link out: www.google.com/search?q=sewer+camera&sxsrf=ALeKk03nPqjZasYH_Q8wANahkcSsy_zWyA%3A1625859613558&ei=HaboYKG7IdKl-wTArIiACA&oq=sewer+camera&gs_lcp=Cgdnd3Mtd2l6EAMyBQgAELEDMgUIABDJAzICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAOgQIIxAnOgUIABCRAjoICC4QsQMQgwE6CAgAELEDEIMBOggILhDHARCjAjoECAAQQzoICC4QxwEQrwE6CggAELEDEMkDEEM6BQgAEJIDOgcIABCxAxBDOgsILhCxAxDHARCvAToCCC46BwgAEIcCEBRKBAhBGABQ_6ABWJu3AWCovAFoAHACeACAAWqIAfgHkgEEMTIuMZgBAKABAaoBB2d3cy13aXrAAQE&sclient=gws-wiz&ved=0ahUKEwjhveGF39bxAhXS0p4KHUAWAoAQ4dUDCA4&uact=5 You’ll see that prices vary from a few tens of US dollars to tens of thousands of US dollars. I doubt you would need to buy one as you might never need to use it again. So I then Googled renting those cameras and the prices are reasonable. See here: www.fiberscope.net/borescope-rental-videoscope-sewer-pipe-inspection-snake-camera-rental?Rent%20US%20(Canada%20i%20took%20out)&Sewer%20Camera&gclid=CjwKCAjw55-HBhAHEiwARMCszmwVIddVmXhUh7zD-i36_92aaxS6ac7NFob86DGHt2DO83ydo3IJyBoCl-MQAvD_BwE What do you think? Worth a look?
Could you explain what the practical difference would be between two lenses with the same focal lengths but different magnification ratios? They would be have the same field of view, but would the subject appear differently from lens to lens? People say higher magnification ratios are better, but I’m struggling to understand how it makes a difference outside of macro photography
Well, what you’re describing isn’t exactly wrong. I’ll get into different magnification ratios below. Yes, subjects would appear differently between lenses with different magnification rations. I explain why below as well, but first, I need to explain how image size is affected by the lens and the sensor. This will, hopefully, clear up your confusion. For the most part, you are correct, magnification ratios are most important for macro lenses, but it does affect other lenses as well, but not in a way most people even think about. Why will also be explained in detail below. A larger lens, for example, with the same focal length, allows more light to be focused, and the resulting image would appear brighter than the image from a lens with a smaller focal length, but not bigger. It seems logical that if you double the diameter of a lens, you’ll double the size of the image it makes, but that’s not true. Doubling the diameter of the lens halves the f-ratio and collects more light but does not change the size of the image, which is a function of focal length. Doubling the diameter actually more than doubles the brightness of the image, as the light collecting surface of the lens increases rapidly as the radius increases. In photography there’s a handy number used to describe the relationship between lens diameter and focal length: the “f-ratio.” Simply put the f-ratio is the focal length divided by the diameter. As an example, if you have a lens with a focal length of 50mm and a diameter of 10mm. 50/10=5 which gives us an f-ratio of 1/5 or f5. If the lens was still 50mm focal length with a 20mm diameter, it would be f2.5. The f-ratio for an SLR lens should always be written on the lens somewhere. Most compact cameras also describe the f-ratio somewhere on the body. The “shorter” the f-ratio, that it, the closer it is to 1, the brighter the image the lens will produce. The term “speed” is also used to describe a lens. The word speed in this case refers to how fast the lens will allow the camera to capture an image, given the amount of light available. If the lens produces a bright image, then the shutter can be open for a shorter time to capture enough light to make an image. Thus a short f-ratio lens like f1.8 is considered a very “fast” lens, while a longer lens such as an f8 or f11 is a “slow” lens. That’s why faster lenses have a narrower “depth of field,” or the area which is in focus. The amount of magnification depends on the focal length. The “longer” the lens, the more it magnifies the image. Short focal lengths have the opposite effect, reducing the size of the image. All other things being equal, as the focal length of the lens increases, the relative size of the image also increases. With greater magnification, you increase the focal length. The more you magnify the image, the dimmer it becomes. Most telephoto (long focal length) lenses have large f-ratios, and are therefore slow lenses. The exception of course are the hugely expensive and very heavy, giant lenses used by sports photographers. These use long focal lengths, and big diameter lenses. These telephotos are not for the casual photographer! Most objects are distant, and the sensor is small, so the vast majority of lenses produce an image which is smaller than the object itself. There are some specialist lenses, however, which do make an image larger than the subject. For this to be possible, the focal length needs to be long and the subject close. These are, of course, macro lenses. Macro lenses will often be described by their “magnification factor”. A lens with a 1:1 magnification factor produces a projected image on the sensor which is the same as the subject. So the image of a 20mm diameter coin will span 20mm of the physical sensor, resulting in an image which will nearly fill the entire frame of a typical DSLR. A 1:1 magnification factor is usually considered the minimum for a lens to be described as a “macro” lens. Specialist macro lenses are often 1:3 or even 1:10 magnification factors, meaning that 1mm across the subject becomes 3mm or 10mm when projected onto the sensor, thus 3 or 10 times magnification respectively. The final variable in this initially confusing balancing act of optics is the field of view. This refers to how much of the world the camera can see. A lens’ field of view depends on the focal length of the lens and the size of whatever the image is projected onto. In the case of digital cameras, this is the sensor chip As the focal length increases, the field of view narrows and the image enlarges. At the wide-angle end, a slight difference in focal length translates to a large difference in field of view. The difference in field of view between a 10mm and 20mm lens is far greater than the difference between 210mm and 220mm. Some lenses can have exceptionally short focal lengths and wide fields of view, such as 12 or 8mm. These are fisheye lenses, so-called, because the front of the lens bulges so much it looks like a fish’s eye. These lenses can have a 180 degree field of view, or even greater. The size of the sensor also contributes to the field of view of a particular lens. Obviously, if the sensor is smaller, it can see less of the image presented by the lens, thus the field of view is reduced and magnification is increased. This is the case for “cropped sensor” DSLRs, and compact cameras. The “standard” frame size is 35mm, the size of a single picture on a roll of film. Cameras with this sized sensor are known as a “full frame” cameras. Large format film cameras exist with much larger film sizes, such as 150mm x 100mm. Less expensive, or earlier model DSLRs use sensors smaller than a 35mm film frame, and are referred to as cropped sensors. A typical cropped sensor may be described as a 1.6x, meaning that the apparent focal length of a particular lens is 1.6 times longer. Compact cameras use the smallest frame sizes of all, and as such require very short focal length lenses to get wide angle views. Hope this helps.
The company I used to use to get you the cheat sheet went out of business. I use a different US based company now. The new link for it is: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/ As to the message you got, I don't know what's up with that. You're the first person to mention it. I have been working to remove the now dead links form all my blogs, but I have hundreds so it's taking some time. I'm up to March 2020, currently and working backwards. This video I haven't gotten back to yet.
if a zoom lens says it has 0.23x magnification, and another zoom lens (but with same zoom) says 0.34x, what do these numbers mean? is one better than the other? will the image on one be larger on screen than the other although they're at the same zoom level? do i get more reach at zooming at maximum with the 0.34x, although zoom range is same on both?
You did not provide me enough information to answer your questions. I need the focal length of the lens to answer your question, but it’s easy to find out on your own. To get the magnification value of a lens, divide the focal length by 50. A formula that is easier (for me at least) to calculate in my head is to divide the focal length by 100 and multiply by 2. Just move the decimal point two places to the left and multiply by 2. Here is an example: For a 300mm lens, divide 300 by 50 to get 6x magnification. Or divide 300 by 100 to get 3, then multiply 3 x 2 to get 6x. Another example: For a 100mm lens, divide 100mm by 100 to get 1. Multiply 1 x 2 to get 2x magnification. So, what’s considered a good lens magnification? It depends on how you want to reproduce your subject int he image. Do you want it larger, smaller or actual size? The magnification of a lens means how large (or small) a subject can be reproduced on the image plane (e.g., film and image sensor). The definition of magnification is very simple. If a subject of length X forms an image of length Y in the image, the magnification of the lens is defined to be Y/X. This is the lateral magnification of a lens, which is commonly used for close-up and macro photography, because it only measures in one dimension. For example, if a subject of length 10mm has a length of 2mm on the image, the magnification of the lens is 2/10=0.2. If a lens can produce a magnification equal to 1, we will say it can deliver a life-size image; and if the magnification is larger than 1, we will say it delivers a larger than life-size image. Note that magnification does not depend on the film frame size and sensor size since it is a lens characteristic. For example, the Nikon AF 60mm F2.8D Micro is capable of life-size magnification on a Nikon film camera. If this lens is used with an APS size Nikon DSLR body such as D2H, D100 and D70, it still delivers a life-size magnification. Normally, the magnification of a lens is written in a slightly different form rather than as a single number. If the magnification is Y/X, where Y and X are image length and subject length, respectively, the commonly used form is first written as Y:X. Thus, the example discussed in the previous paragraph has a magnification of 2:10. Sometimes, we also divide both X and Y by either X or Y to obtain a form like 1:Y/X or a form like X/Y:1. Thus, 2:10 may also be rewritten as 1:5 or 0.2:1. The life-size magnification is rewritten as 1:1, and 2:1 and 1:2 are larger than and smaller than life-size, respectively. Conversely, when we see a magnification value like 3:4, we know that it is equal to 3/4=0.75X, which is smaller than life-size. Similarly, a magnification of 5:2 is equal to 5/2=2.5X, which is larger than life-size.
@@jimcostafilms thanx for the detailed answer. the lenses i was asking for are the "m.zuiko 14-42 ez 3.5-5.6 pancake (0.23)" vs "panasonic lumix g x vario 14-42 pz 3.5-5.6 pancake (0.34)". on comparison sites, the 0.34 comes as an advantage, but since they're both pancake at 3.5-5.6 and both 14-42, i asked the question..
@@skepsys With that information we can make the following assumptions: M.Zuiko 14-42 ez 3.5-5.6 pancake (0.23) vs. Panasonic Lumix G X Vario 14-42 pz 3.5-5.6 pancake (0.34) It’s generally considered that the closer the magnification is to 1:1 (or actual size to the subject), the better. Thus, the Panasonic is “better” because of the better magnification of the lens. The term “pancake” is colloquial term for a flat, thin lens (short barrel). Panasonic, being a brand name tends to produce better lenses than off brands for a variety of reasons. If you want to know why, watch this video: th-cam.com/video/egqLg58uOnM/w-d-xo.html
I think that your thinking of magnification ratios incorrectly based on the question (or how it’s phrased). Generally magnification ratios are associated with macro photography as apposed to portrait photography. Magnification - or more precisely, the magnification ratio - is simply the relationship between of the size of the (in-focus) subject's projection on the imaging sensor and the subject's size in reality. Perplexed? Here are some examples. Suppose that we're photographing a small child, 1 meter in height. Imagine that the height of the child's projection onto the sensor is 1cm. The magnification ratio is 1cm/100cm, or 1/100. Magnification is typically notated using a colon, so we write it as 1:100, and pronounce it, 'one to one hundred', meaning the child is 100 times larger in real life than its image as projected on the sensor. Similarly, if the subject is a 10cm long lizard, and its projection on the sensor is 2cm long, the magnification ratio is 2cm/10cm or 1:5. The lizard is five times larger in real life than its projection on the sensor. When your subject(s) fills the frame with no cropping involved, it is easy to determine the magnification ratio from a captured image provided you know the size of your subject and the dimensions of your camera's sensor, which can be found in the specifications section of the user manual. The degree of magnification itself depends on focal length and subject distance exclusively (assuming that the lens is not used with any extenders or magnifying filters). Sensor size does not alter magnification. With a fixed focal length and subject distance, an APS-C sensor, for example would just crop the frame compared to a full-frame sensor, not enlarge it. Magnification is a property of the projection, regardless of the size of sensor (or film format) you are using. With a full frame sensor you'd just make calculations using 35mm as the sensor width instead of 22mm, but the subject would then be proportionally larger, cancelling out the sensor size difference. What happens if the subject is the same size in real life as its projection? If we shoot a 1cm fly and its projection on the sensor measures 1cm as well, the magnification is 1:1. The 1:1 ratio has an important meaning for macro enthusiasts. Technically speaking, macro photography means shooting at a magnification ratio of at least 1:1. Therefore, a 'true' macro lens has the ability to produce a magnification ratio of 1:1, or higher. Therefore, a 1:1 magnification ratio for portraits would we life sized or actual sized to a 6’ person (2 meters) would be a 6’ (2 meter) sized portrait. I guessing you don’t want to print an image that large. Did you mean to ask something else?
Thanks for the informative video Jim. I am curious to understand how macro lenses are different than normal zoom lenses. As I understood from the video and some comments, macro lenses are special because they can have higher magnification and this can be achieved either by longer focal length / smaller subject distance. Now I don't understand how macro lenses have smaller focusing distance than normal zoom lenses. What additional steps does a manufacturer do to achieve smaller focusing distance? It surely should be THE factor which make the macro lenses expensive, otherwise a kit lens would do just fine for macro too! Coming to think of it, manufacturer might also have to work hard to correct chromatic aberration, coma as at higher magnification ratios, every defect would be enhanced. Interested to know your comments! 🙂 Thanks again for sparking curuosity!
A macro lens is a specialist lens that allows you to get very close to your subject and record its details. Unlike other types of lenses, macro lenses tend to have short minimum focusing distances, usually less than 30 cm, which means that you can get very close to your subject. And they have a magnification ratio of 1:1, which means the image projected onto the sensor will be the same size as the object in real life. When a full-frame camera’s sensor measures 36 by 24mm, it means you’re focusing on something quite small and picking up a lot of detail. Images captured with a macro lens appear larger than life-size on a film or sensor when compared to those captured without a macro lens. This enables objects that the human eye can easily see, such as the veins and patterns in leaves, or water droplets on a flower petal, to be photographed in high detail for a better understanding of their form and structure. A macro lens has an increased focal range, so the photographer can get close to the subject without having to move physically closer. t also has an increased depth of field (DOF), which means that more of the subject will be in focus. The depth of field increases because it moves farther out from the film plane and therefore can accommodate a larger area in front of and behind the desired point of focus. By moving farther out from the film plane, there is also less magnification than with other lenses with similar focal lengths. Macro lens and normal lens are the two categories of digital camera lenses used in digital photography. Macro lenses are also referred to as “close up” or “macro” lenses because they allow you to take pictures of very small subjects from a distance. Normal lenses, on the other hand, are used for taking pictures at a normal distance from the subject. Here’s how macro and normal lenses differ from each other: Sensor Size: The sensor size of a macro lens is larger than that of a normal lens. This is necessary because the former is used for taking close-up pictures, which require focusing on a smaller object. Normal Lenses: Normal lenses are known for having a narrow depth of field which allows you to focus on your subject using only part of the frame. This makes them ideal for portrait shooting as well as taking pictures in which you want to separate the subject from its background. Macro Lenses: A macro lens has a depth of field that is much greater than normal lenses. This means you can shoot with your subject entirely in focus even when it’s not in the center of the frame. A macro lens is a lens that is designed to focus on a specific object at a very close distance. For example, you can use a macro lens to take pictures of small insects and flowers. The focal length of a macro lens is generally between 50mm and 100mm. This means that the camera will be able to capture an image up to 1:1 ratio. In other words, if you get really close to your subject with the macro lens, it will fill up the whole frame of your camera’s viewfinder. The greatest advantage of using a macro lens is the ability to capture extreme details of your subject. For example, if you are taking pictures of flowers, you will be able to get up-close and personal with all of the tiny details on their petals, which makes for some breath-taking photos! Now let’s talk about zoom lenses. Zoom lenses can be further divided into two categories: wide angle zoom lenses and telephoto zoom lenses. The main difference between these two types of zoom lenses is their focal length range and how they are used. Wide angle zoom lenses, as the name suggests, have a wider focal length range than telephoto zoom lenses. The macro lens is an optic that is designed to have a very short minimum focus distance to facilitate close-up photographs. The mission of the macro lens is to reproduce objects at, or slightly smaller than, life-size. What does this mean? We have all seen large images of small things-a poster-sized image of a flower, for instance. The reproduced flower is obviously larger than life-size. In fact, if you make a big enough print of anything, it can be larger than life-size. The reproduction goal of the macro lens is the life-size reproduction of the object on the sensor or film. For example: If you photograph a small coin with a macro lens capable of life-size reproduction, the image framed on the digital sensor will be identical in size to the coin. The reproduction dimensions of which a macro lens is capable is labeled with a ratio. A macro lens that can reproduce objects at life-size is said to be a 1:1 macro lens. A 1:2 macro lens can reproduce objects at half-size. A lens that can reproduce objects at double life-size will be a 2:1 macro lens. Many macro lenses feature the 1:1 or 1:2 ratios. Beware! There are a lot of lenses on the market, especially some longer zooms that promote their "macro" capabilities. If your goal is close-up photography, keep an eye on the magnification ratio of these lenses, because they might not get you as close to the 1:1 or 1:2 ratios as you want for your images. Macro lenses have other tricks up their sleeves beyond the close-focusing capabilities. Many macro lenses are designed with a flat focus field instead of a curved field, common in other lenses. The curved field means that the image is sharper in the center than at the edges. This is often not extremely noticeable due to the lens's depth of field. With a dedicated macro lens, the flat-field focus is designed to allow the image to be in focus from edge to edge in the frame. Focal Length, the distance between the optical center of the lens and the image plane, is one important factor when considering a macro lens. You might think that the longer the focal length-the more telephoto the macro lens-the more magnification you can get from the lens. This is not necessarily true, since certain macro lenses of all different focal lengths obtain a 1:1 ratio. The difference you experience when using a normal or wide-angle macro lens versus a telephoto macro lens is a different minimum focus distance. In the macro photo world, this is known as the "working distance." A longer focal length lens will have a greater working distance than a shorter focal length lens. The advantage of the larger working distance is the ability to stay farther from your subject. That may not matter for shooting a still life, but if you are photographing a small animal, the extra distance might be just what you need to keep from startling the critter. A longer focal length lens will also have shallower depth of field. This may or may not be advantageous to the photograph you are trying to achieve. Lastly, the extra working distance may also help keep your gear from casting an unwanted shadow on your subject. It sounds like a longer focal length is better for macro photography, right? Are there advantages to a shorter focal length macro lens? Yes. The shorter focal length macro lenses are generally smaller, lighter, and less expensive than their longer counterparts and they can achieve the same level of magnification. If you are a casual macro shooter, having a small and light macro lens in your bag might be a better option than carrying around a heavier, bulkier telephoto macro lens that might rival your largest optics for size and weight.
Media Mentoring Program by Christina Nicholson: Information pdsp.us/mediamentoringprogram Order the Training: courses.mediamavenandmore.com/?affcode=59787_dskooana This a training course I'm affiliated with known as the Media Mentoring Program created by Christina Nicholson. She helps entrepreneurs reach tons of their ideal customers or clients through the power of media without spending big bucks on advertising. Some of the topics covered include building your personal brand by positioning you as an expert in your field, how to pitch the media, how to look and sound your best when your featured, how to create a one sheet, how to land paid speaking gigs, how to use social media to convert prospects, influencer marketing and more; Everything you need to get media exposure in the first two weeks. If you know how to take advantage of mainstream media, you can stand out from the competition because it’s not something everyone has access too. Best of all, unlike paid ads and sponsorships, you can gain lots of exposure and credibility to become the go to brand everyone talks about and wants to do business with without spending a fortune of advertising. When you’re featured on TV, radio, podcasts, websites and more, your actually being endorsed by those media outlets. This, in turn, gives you and your business the attention of the public and that can set you on the road to financial freedom. By getting the Media Mentoring Program, you’ll learn exactly what to do to so you will learn publicity and become an authority in you’re industry that will land you more traffic and visibility. When you earn publicity, people will know, like and trust you before they ever contact you. Boost your authority with he Media Mentoring Program now. ___________________________________________________ Love Editing? Want to get started using Adobe Premiere Pro CC but not certain how? I'm here to help. I've been a professional video producer and editor for over 3 decades & I've created a F-R-E-E shortcut guide for Premiere Pro listing hundreds of Keyboard, Panel & Application shortcuts. Click below to get your free copy! pdsp.us/adobepremiereprokeyboardshortcuts If you're ready to start editing in Adobe Premiere Pro CC, I have a quick start training course to get you up and running in a couple of hours. Get your video editing training course here: pdsp.us/adobepremiereprotrainingbyjimcostafilms Get your F-R-E-E DSLR & Mirrorless Camera Video Cheat Sheet here: pdsp.us/dslrvideocheatsheet Want to see more videos like this? Follow my TH-cam channel, Jim Costa Films, for more! Think what you saw was great? Like it! Have an opinion? Comment below! Know someone who could benefit from the info I provided? Share the video. Do you want to learn even more? Connect with Jim Costa Films on social media and online! ________________________________________________________ For more information on my video services, check out my website: jamesvcosta.com. Are you looking for help creating video for your business? Do you need a commercial for television, social media or radio? How about a corporate video for your web site or for training? I can help! I specialize in creating video and audio content for businesses and individuals! Contact Jim Costa Films for a consultation. Follow, Like, Subscribe & Connect for more video content, tips and tricks for using technology and the information you need to take your photos and videos and your business to the next level.
I feel like watching a science video straight from Discovery channel. This is great Jim and thanks for the new learning! :)
Wow, Thanks! that's high praise. I've actually done work for them over the years; Science channel & the History channel, too.
I learn something new every week! I had no idea there were so many details in photography and video.
Yes, like anything, if you scratch a bit below the surface, there's much more to see. It's an iceberg. If you have any questions, ask away. I'm happy to answer them.
Thanks for sharing, Jim!
Thanks for watching and for your support.
Great Very informative session
Thank you. I appreciate you tuning in. Let me know if you have any questions. I'm happy to answer them for you.
Great video very helpful! Maybe you could help with a question I've been struggling to answer. I'm trying to get a crisp sessile drop image from a distance of 500mm. In order to get good magnification, would I need to have a lens with a focal length of 500 mm or more?? Unfortunately moving the lens closer to the object is not an option.
Thanks for tuning in. There’s a bit of information missing so it’s difficult to answer fully/correctly. I don’t know what you’re shooting specifically, what the focal plane is of what you’re shooting and also, if your distance is correct. You say it’s 500mm away, but that’s under 20” so it doesn’t seem like much of an issue. Do you mean 500 meters away? That would make a huge difference. Also, how realistic a size of the image are you trying to reproduce? Actual size or does it even matter? Oh, & what camera body are you using?
@@MrSethmo64 Ok this helps. One more thing. Is it actually 500mm (20 inches) into the pipe from where you're shooting?
@@MrSethmo64 Hmm...this is an interesting problem; one I've not encountered before. You are correct, I'm no expert in this type of photo work, but maybe I can help some.
First off, You won’t need a 500mm lens for this. 300mm max will do. Maybe 200mm as the distance isn’t very far.
However, I see a few other issues. The image you sent (an interesting look, BTW) seems to be back lit. I don’t see how you’ll be able to back light inside a pipe assuming the back end isn’t open in some way. You’ll need to front light it most likely. That means you’ll need to back away from the pipe to let light in or put a light source into it to light up the water area. This, in turn might interfere with the image you’re trying to capture.
If you back away from the pipe & zoom in, you’ll want to stabilize the camera on a tripod, but it might not let enough natural light in anyway or the light that enters won’t reach inside far enough to light the water.
A long exposure might do the job, but it’ll likely be pretty grainy. A dark pipe is a dark pipe no matter how you cut it.
Call me crazy, but the solution seems to me to be a question of the right tool for the right job. Maybe the way to capture this image correctly is to do it the way the pros do. By pros, I mean the city workers who deal with underground pipes.
I Googled “Sewer Cameras” on your behalf to get some insight on how to shoot this and it seems like one of those devices are what you need to do the job. Instead of learning how to shoot this as I expected, I found the following: Check this link out:
www.google.com/search?q=sewer+camera&sxsrf=ALeKk03nPqjZasYH_Q8wANahkcSsy_zWyA%3A1625859613558&ei=HaboYKG7IdKl-wTArIiACA&oq=sewer+camera&gs_lcp=Cgdnd3Mtd2l6EAMyBQgAELEDMgUIABDJAzICCAAyAggAMgIIADICCAAyAggAMgIIADICCAAyAggAOgQIIxAnOgUIABCRAjoICC4QsQMQgwE6CAgAELEDEIMBOggILhDHARCjAjoECAAQQzoICC4QxwEQrwE6CggAELEDEMkDEEM6BQgAEJIDOgcIABCxAxBDOgsILhCxAxDHARCvAToCCC46BwgAEIcCEBRKBAhBGABQ_6ABWJu3AWCovAFoAHACeACAAWqIAfgHkgEEMTIuMZgBAKABAaoBB2d3cy13aXrAAQE&sclient=gws-wiz&ved=0ahUKEwjhveGF39bxAhXS0p4KHUAWAoAQ4dUDCA4&uact=5
You’ll see that prices vary from a few tens of US dollars to tens of thousands of US dollars. I doubt you would need to buy one as you might never need to use it again. So I then Googled renting those cameras and the prices are reasonable. See here:
www.fiberscope.net/borescope-rental-videoscope-sewer-pipe-inspection-snake-camera-rental?Rent%20US%20(Canada%20i%20took%20out)&Sewer%20Camera&gclid=CjwKCAjw55-HBhAHEiwARMCszmwVIddVmXhUh7zD-i36_92aaxS6ac7NFob86DGHt2DO83ydo3IJyBoCl-MQAvD_BwE
What do you think? Worth a look?
@@MrSethmo64 Let me know how it goes.
Could you explain what the practical difference would be between two lenses with the same focal lengths but different magnification ratios? They would be have the same field of view, but would the subject appear differently from lens to lens? People say higher magnification ratios are better, but I’m struggling to understand how it makes a difference outside of macro photography
Well, what you’re describing isn’t exactly wrong. I’ll get into different magnification ratios below.
Yes, subjects would appear differently between lenses with different magnification rations. I explain why below as well, but first, I need to explain how image size is affected by the lens and the sensor. This will, hopefully, clear up your confusion.
For the most part, you are correct, magnification ratios are most important for macro lenses, but it does affect other lenses as well, but not in a way most people even think about. Why will also be explained in detail below.
A larger lens, for example, with the same focal length, allows more light to be focused, and the resulting image would appear brighter than the image from a lens with a smaller focal length, but not bigger.
It seems logical that if you double the diameter of a lens, you’ll double the size of the image it makes, but that’s not true.
Doubling the diameter of the lens halves the f-ratio and collects more light but does not change the size of the image, which is a function of focal length. Doubling the diameter actually more than doubles the brightness of the image, as the light collecting surface of the lens increases rapidly as the radius increases.
In photography there’s a handy number used to describe the relationship between lens diameter and focal length: the “f-ratio.” Simply put the f-ratio is the focal length divided by the diameter.
As an example, if you have a lens with a focal length of 50mm and a diameter of 10mm. 50/10=5 which gives us an f-ratio of 1/5 or f5. If the lens was still 50mm focal length with a 20mm diameter, it would be f2.5.
The f-ratio for an SLR lens should always be written on the lens somewhere. Most compact cameras also describe the f-ratio somewhere on the body. The “shorter” the f-ratio, that it, the closer it is to 1, the brighter the image the lens will produce.
The term “speed” is also used to describe a lens. The word speed in this case refers to how fast the lens will allow the camera to capture an image, given the amount of light available. If the lens produces a bright image, then the shutter can be open for a shorter time to capture enough light to make an image. Thus a short f-ratio lens like f1.8 is considered a very “fast” lens, while a longer lens such as an f8 or f11 is a “slow” lens. That’s why faster lenses have a narrower “depth of field,” or the area which is in focus.
The amount of magnification depends on the focal length. The “longer” the lens, the more it magnifies the image. Short focal lengths have the opposite effect, reducing the size of the image.
All other things being equal, as the focal length of the lens increases, the relative size of the image also increases.
With greater magnification, you increase the focal length. The more you magnify the image, the dimmer it becomes. Most telephoto (long focal length) lenses have large f-ratios, and are therefore slow lenses. The exception of course are the hugely expensive and very heavy, giant lenses used by sports photographers. These use long focal lengths, and big diameter lenses. These telephotos are not for the casual photographer!
Most objects are distant, and the sensor is small, so the vast majority of lenses produce an image which is smaller than the object itself. There are some specialist lenses, however, which do make an image larger than the subject. For this to be possible, the focal length needs to be long and the subject close. These are, of course, macro lenses.
Macro lenses will often be described by their “magnification factor”. A lens with a 1:1 magnification factor produces a projected image on the sensor which is the same as the subject. So the image of a 20mm diameter coin will span 20mm of the physical sensor, resulting in an image which will nearly fill the entire frame of a typical DSLR. A 1:1 magnification factor is usually considered the minimum for a lens to be described as a “macro” lens. Specialist macro lenses are often 1:3 or even 1:10 magnification factors, meaning that 1mm across the subject becomes 3mm or 10mm when projected onto the sensor, thus 3 or 10 times magnification respectively.
The final variable in this initially confusing balancing act of optics is the field of view. This refers to how much of the world the camera can see. A lens’ field of view depends on the focal length of the lens and the size of whatever the image is projected onto. In the case of digital cameras, this is the sensor chip
As the focal length increases, the field of view narrows and the image enlarges.
At the wide-angle end, a slight difference in focal length translates to a large difference in field of view. The difference in field of view between a 10mm and 20mm lens is far greater than the difference between 210mm and 220mm. Some lenses can have exceptionally short focal lengths and wide fields of view, such as 12 or 8mm. These are fisheye lenses, so-called, because the front of the lens bulges so much it looks like a fish’s eye. These lenses can have a 180 degree field of view, or even greater.
The size of the sensor also contributes to the field of view of a particular lens. Obviously, if the sensor is smaller, it can see less of the image presented by the lens, thus the field of view is reduced and magnification is increased. This is the case for “cropped sensor” DSLRs, and compact cameras.
The “standard” frame size is 35mm, the size of a single picture on a roll of film. Cameras with this sized sensor are known as a “full frame” cameras. Large format film cameras exist with much larger film sizes, such as 150mm x 100mm. Less expensive, or earlier model DSLRs use sensors smaller than a 35mm film frame, and are referred to as cropped sensors. A typical cropped sensor may be described as a 1.6x, meaning that the apparent focal length of a particular lens is 1.6 times longer. Compact cameras use the smallest frame sizes of all, and as such require very short focal length lenses to get wide angle views.
Hope this helps.
Hello! I have clicked on the link to get the free camera settings sheet and a message appears saying that my phone has been hacked! What’s going on?
The company I used to use to get you the cheat sheet went out of business. I use a different US based company now. The new link for it is: jimcostafilms.lpages.co/dslr-mirrorless-camera-video-cheat-sheet/ As to the message you got, I don't know what's up with that. You're the first person to mention it. I have been working to remove the now dead links form all my blogs, but I have hundreds so it's taking some time. I'm up to March 2020, currently and working backwards. This video I haven't gotten back to yet.
@@jimcostafilms Hello again Jim and thanks for your clarification! have a good day!
@@edycafe No problem. Thanks for letting me know about it. I'll work harder to remove the old links.
if a zoom lens says it has 0.23x magnification, and another zoom lens (but with same zoom) says 0.34x, what do these numbers mean? is one better than the other? will the image on one be larger on screen than the other although they're at the same zoom level? do i get more reach at zooming at maximum with the 0.34x, although zoom range is same on both?
You did not provide me enough information to answer your questions. I need the focal length of the lens to answer your question, but it’s easy to find out on your own.
To get the magnification value of a lens, divide the focal length by 50.
A formula that is easier (for me at least) to calculate in my head is to divide the focal length by 100 and multiply by 2. Just move the decimal point two places to the left and multiply by 2.
Here is an example: For a 300mm lens, divide 300 by 50 to get 6x magnification.
Or divide 300 by 100 to get 3, then multiply 3 x 2 to get 6x.
Another example: For a 100mm lens, divide 100mm by 100 to get 1. Multiply 1 x 2 to get 2x magnification.
So, what’s considered a good lens magnification? It depends on how you want to reproduce your subject int he image. Do you want it larger, smaller or actual size?
The magnification of a lens means how large (or small) a subject can be reproduced on the image plane (e.g., film and image sensor). The definition of magnification is very simple. If a subject of length X forms an image of length Y in the image, the magnification of the lens is defined to be Y/X. This is the lateral magnification of a lens, which is commonly used for close-up and macro photography, because it only measures in one dimension. For example, if a subject of length 10mm has a length of 2mm on the image, the magnification of the lens is 2/10=0.2. If a lens can produce a magnification equal to 1, we will say it can deliver a life-size image; and if the magnification is larger than 1, we will say it delivers a larger than life-size image. Note that magnification does not depend on the film frame size and sensor size since it is a lens characteristic. For example, the Nikon AF 60mm F2.8D Micro is capable of life-size magnification on a Nikon film camera. If this lens is used with an APS size Nikon DSLR body such as D2H, D100 and D70, it still delivers a life-size magnification.
Normally, the magnification of a lens is written in a slightly different form rather than as a single number. If the magnification is Y/X, where Y and X are image length and subject length, respectively, the commonly used form is first written as Y:X. Thus, the example discussed in the previous paragraph has a magnification of 2:10. Sometimes, we also divide both X and Y by either X or Y to obtain a form like 1:Y/X or a form like X/Y:1. Thus, 2:10 may also be rewritten as 1:5 or 0.2:1. The life-size magnification is rewritten as 1:1, and 2:1 and 1:2 are larger than and smaller than life-size, respectively. Conversely, when we see a magnification value like 3:4, we know that it is equal to 3/4=0.75X, which is smaller than life-size. Similarly, a magnification of 5:2 is equal to 5/2=2.5X, which is larger than life-size.
@@jimcostafilms thanx for the detailed answer. the lenses i was asking for are the "m.zuiko 14-42 ez 3.5-5.6 pancake (0.23)" vs "panasonic lumix g x vario 14-42 pz 3.5-5.6 pancake (0.34)". on comparison sites, the 0.34 comes as an advantage, but since they're both pancake at 3.5-5.6 and both 14-42, i asked the question..
@@skepsys With that information we can make the following assumptions:
M.Zuiko 14-42 ez 3.5-5.6 pancake (0.23)
vs.
Panasonic Lumix G X Vario 14-42 pz 3.5-5.6 pancake (0.34)
It’s generally considered that the closer the magnification is to 1:1 (or actual size to the subject), the better. Thus, the Panasonic is “better” because of the better magnification of the lens.
The term “pancake” is colloquial term for a flat, thin lens (short barrel).
Panasonic, being a brand name tends to produce better lenses than off brands for a variety of reasons. If you want to know why, watch this video:
th-cam.com/video/egqLg58uOnM/w-d-xo.html
thank you sir. really loved the way you explain
I appreciate you tuning in. Let me know if you have any questions. I'm happy to answer them for you.
What is the magnification ratio to cover human portraits as “life like”?
I think that your thinking of magnification ratios incorrectly based on the question (or how it’s phrased). Generally magnification ratios are associated with macro photography as apposed to portrait photography.
Magnification - or more precisely, the magnification ratio - is simply the relationship between of the size of the (in-focus) subject's projection on the imaging sensor and the subject's size in reality. Perplexed? Here are some examples. Suppose that we're photographing a small child, 1 meter in height. Imagine that the height of the child's projection onto the sensor is 1cm. The magnification ratio is 1cm/100cm, or 1/100. Magnification is typically notated using a colon, so we write it as 1:100, and pronounce it, 'one to one hundred', meaning the child is 100 times larger in real life than its image as projected on the sensor. Similarly, if the subject is a 10cm long lizard, and its projection on the sensor is 2cm long, the magnification ratio is 2cm/10cm or 1:5. The lizard is five times larger in real life than its projection on the sensor.
When your subject(s) fills the frame with no cropping involved, it is easy to determine the magnification ratio from a captured image provided you know the size of your subject and the dimensions of your camera's sensor, which can be found in the specifications section of the user manual.
The degree of magnification itself depends on focal length and subject distance exclusively (assuming that the lens is not used with any extenders or magnifying filters). Sensor size does not alter magnification. With a fixed focal length and subject distance, an APS-C sensor, for example would just crop the frame compared to a full-frame sensor, not enlarge it. Magnification is a property of the projection, regardless of the size of sensor (or film format) you are using. With a full frame sensor you'd just make calculations using 35mm as the sensor width instead of 22mm, but the subject would then be proportionally larger, cancelling out the sensor size difference.
What happens if the subject is the same size in real life as its projection? If we shoot a 1cm fly and its projection on the sensor measures 1cm as well, the magnification is 1:1. The 1:1 ratio has an important meaning for macro enthusiasts. Technically speaking, macro photography means shooting at a magnification ratio of at least 1:1. Therefore, a 'true' macro lens has the ability to produce a magnification ratio of 1:1, or higher. Therefore, a 1:1 magnification ratio for portraits would we life sized or actual sized to a 6’ person (2 meters) would be a 6’ (2 meter) sized portrait. I guessing you don’t want to print an image that large.
Did you mean to ask something else?
Thanks for the informative video Jim. I am curious to understand how macro lenses are different than normal zoom lenses. As I understood from the video and some comments, macro lenses are special because they can have higher magnification and this can be achieved either by longer focal length / smaller subject distance. Now I don't understand how macro lenses have smaller focusing distance than normal zoom lenses. What additional steps does a manufacturer do to achieve smaller focusing distance? It surely should be THE factor which make the macro lenses expensive, otherwise a kit lens would do just fine for macro too!
Coming to think of it, manufacturer might also have to work hard to correct chromatic aberration, coma as at higher magnification ratios, every defect would be enhanced.
Interested to know your comments! 🙂
Thanks again for sparking curuosity!
A macro lens is a specialist lens that allows you to get very close to your subject and record its details. Unlike other types of lenses, macro lenses tend to have short minimum focusing distances, usually less than 30 cm, which means that you can get very close to your subject. And they have a magnification ratio of 1:1, which means the image projected onto the sensor will be the same size as the object in real life. When a full-frame camera’s sensor measures 36 by 24mm, it means you’re focusing on something quite small and picking up a lot of detail.
Images captured with a macro lens appear larger than life-size on a film or sensor when compared to those captured without a macro lens.
This enables objects that the human eye can easily see, such as the veins and patterns in leaves, or water droplets on a flower petal, to be photographed in high detail for a better understanding of their form and structure.
A macro lens has an increased focal range, so the photographer can get close to the subject without having to move physically closer.
t also has an increased depth of field (DOF), which means that more of the subject will be in focus.
The depth of field increases because it moves farther out from the film plane and therefore can accommodate a larger area in front of and behind the desired point of focus.
By moving farther out from the film plane, there is also less magnification than with other lenses with similar focal lengths.
Macro lens and normal lens are the two categories of digital camera lenses used in digital photography. Macro lenses are also referred to as “close up” or “macro” lenses because they allow you to take pictures of very small subjects from a distance.
Normal lenses, on the other hand, are used for taking pictures at a normal distance from the subject. Here’s how macro and normal lenses differ from each other:
Sensor Size: The sensor size of a macro lens is larger than that of a normal lens.
This is necessary because the former is used for taking close-up pictures, which require focusing on a smaller object.
Normal Lenses: Normal lenses are known for having a narrow depth of field which allows you to focus on your subject using only part of the frame.
This makes them ideal for portrait shooting as well as taking pictures in which you want to separate the subject from its background.
Macro Lenses: A macro lens has a depth of field that is much greater than normal lenses.
This means you can shoot with your subject entirely in focus even when it’s not in the center of the frame.
A macro lens is a lens that is designed to focus on a specific object at a very close distance. For example, you can use a macro lens to take pictures of small insects and flowers.
The focal length of a macro lens is generally between 50mm and 100mm. This means that the camera will be able to capture an image up to 1:1 ratio.
In other words, if you get really close to your subject with the macro lens, it will fill up the whole frame of your camera’s viewfinder. The greatest advantage of using a macro lens is the ability to capture extreme details of your subject.
For example, if you are taking pictures of flowers, you will be able to get up-close and personal with all of the tiny details on their petals, which makes for some breath-taking photos! Now let’s talk about zoom lenses.
Zoom lenses can be further divided into two categories: wide angle zoom lenses and telephoto zoom lenses.
The main difference between these two types of zoom lenses is their focal length range and how they are used. Wide angle zoom lenses, as the name suggests, have a wider focal length range than telephoto zoom lenses.
The macro lens is an optic that is designed to have a very short minimum focus distance to facilitate close-up photographs. The mission of the macro lens is to reproduce objects at, or slightly smaller than, life-size. What does this mean? We have all seen large images of small things-a poster-sized image of a flower, for instance. The reproduced flower is obviously larger than life-size. In fact, if you make a big enough print of anything, it can be larger than life-size. The reproduction goal of the macro lens is the life-size reproduction of the object on the sensor or film. For example: If you photograph a small coin with a macro lens capable of life-size reproduction, the image framed on the digital sensor will be identical in size to the coin.
The reproduction dimensions of which a macro lens is capable is labeled with a ratio. A macro lens that can reproduce objects at life-size is said to be a 1:1 macro lens. A 1:2 macro lens can reproduce objects at half-size. A lens that can reproduce objects at double life-size will be a 2:1 macro lens. Many macro lenses feature the 1:1 or 1:2 ratios.
Beware! There are a lot of lenses on the market, especially some longer zooms that promote their "macro" capabilities. If your goal is close-up photography, keep an eye on the magnification ratio of these lenses, because they might not get you as close to the 1:1 or 1:2 ratios as you want for your images.
Macro lenses have other tricks up their sleeves beyond the close-focusing capabilities. Many macro lenses are designed with a flat focus field instead of a curved field, common in other lenses. The curved field means that the image is sharper in the center than at the edges. This is often not extremely noticeable due to the lens's depth of field. With a dedicated macro lens, the flat-field focus is designed to allow the image to be in focus from edge to edge in the frame.
Focal Length, the distance between the optical center of the lens and the image plane, is one important factor when considering a macro lens. You might think that the longer the focal length-the more telephoto the macro lens-the more magnification you can get from the lens. This is not necessarily true, since certain macro lenses of all different focal lengths obtain a 1:1 ratio.
The difference you experience when using a normal or wide-angle macro lens versus a telephoto macro lens is a different minimum focus distance. In the macro photo world, this is known as the "working distance." A longer focal length lens will have a greater working distance than a shorter focal length lens. The advantage of the larger working distance is the ability to stay farther from your subject. That may not matter for shooting a still life, but if you are photographing a small animal, the extra distance might be just what you need to keep from startling the critter. A longer focal length lens will also have shallower depth of field. This may or may not be advantageous to the photograph you are trying to achieve. Lastly, the extra working distance may also help keep your gear from casting an unwanted shadow on your subject.
It sounds like a longer focal length is better for macro photography, right? Are there advantages to a shorter focal length macro lens? Yes. The shorter focal length macro lenses are generally smaller, lighter, and less expensive than their longer counterparts and they can achieve the same level of magnification. If you are a casual macro shooter, having a small and light macro lens in your bag might be a better option than carrying around a heavier, bulkier telephoto macro lens that might rival your largest optics for size and weight.
Great video, I always used to wonder what those ratios mean but now i don't. Thanks
I happy to hear that you were able to learn something new. Do you have any photo or video related questions I can answer?
@@jimcostafilms There is a lot i dont know about, so when i stumble upon something i will hit you up.
@@NPKTM OK
Hi, Thank you for great info! I may be out of line. - see Frank’s Sign.
Thanks for tuning in!
Media Mentoring Program by Christina Nicholson: Information
pdsp.us/mediamentoringprogram
Order the Training:
courses.mediamavenandmore.com/?affcode=59787_dskooana
This a training course I'm affiliated with known as the Media Mentoring Program created by Christina Nicholson. She helps entrepreneurs reach tons of their ideal customers or clients through the power of media without spending big bucks on advertising.
Some of the topics covered include building your personal brand by positioning you as an expert in your field, how to pitch the media, how to look and sound your best when your featured, how to create a one sheet, how to land paid speaking gigs, how to use social media to convert prospects, influencer marketing and more; Everything you need to get media exposure in the first two weeks.
If you know how to take advantage of mainstream media, you can stand out from the competition because it’s not something everyone has access too. Best of all, unlike paid ads and sponsorships, you can gain lots of exposure and credibility to become the go to brand everyone talks about and wants to do business with without spending a fortune of advertising.
When you’re featured on TV, radio, podcasts, websites and more, your actually being endorsed by those media outlets. This, in turn, gives you and your business the attention of the public and that can set you on the road to financial freedom.
By getting the Media Mentoring Program, you’ll learn exactly what to do to so you will learn publicity and become an authority in you’re industry that will land you more traffic and visibility.
When you earn publicity, people will know, like and trust you before they ever contact you. Boost your authority with he Media Mentoring Program now.
___________________________________________________
Love Editing? Want to get started using Adobe Premiere Pro CC but not certain how? I'm here to help. I've been a professional video producer and editor for over 3 decades & I've created a F-R-E-E shortcut guide for Premiere Pro listing hundreds of Keyboard, Panel & Application shortcuts. Click below to get your free copy!
pdsp.us/adobepremiereprokeyboardshortcuts
If you're ready to start editing in Adobe Premiere Pro CC, I have a quick start training course to get you up and running in a couple of hours. Get your video editing training course here:
pdsp.us/adobepremiereprotrainingbyjimcostafilms
Get your F-R-E-E DSLR & Mirrorless Camera Video Cheat Sheet here:
pdsp.us/dslrvideocheatsheet
Want to see more videos like this? Follow my TH-cam channel, Jim Costa Films, for more! Think what you saw was great? Like it! Have an opinion? Comment below! Know someone who could benefit from the info I provided? Share the video. Do you want to learn even more? Connect with Jim Costa Films on social media and online!
________________________________________________________
For more information on my video services, check out my website: jamesvcosta.com. Are you looking for help creating video for your business? Do you need a commercial for television, social media or radio? How about a corporate video for your web site or for training? I can help! I specialize in creating video and audio content for businesses and individuals! Contact Jim Costa Films for a consultation. Follow, Like, Subscribe & Connect for more video content, tips and tricks for using technology and the information you need to take your photos and videos and your business to the next level.
no way this video is not from the 80's
Nope. 2019.
@@jimcostafilms 🤣🤣🤣🤣🤷🏻♀️🤷🏻♀️🤷🏻♀️🤷🏻♀️
@@evonnelai6758 Thanks for tuning in!
@@jimcostafilms how can I miss a informative content like that! 😏 Stay safe Jim!
@@evonnelai6758 New tutorials every Wednesday.