DIFFRACTION WITH 10-22mm F/3.5-4.5 LENS

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• I need help with a purchase of Canon EF/EF-S lens...

  Hi all...

  I don't know where else to post this question since this isn't really a photography forum but rather a forum Lr4.  But I'm still very new to DSLRs and need help.

  I currently have a Canon T3 w / 18-55 Kit lens.  I would like to take pictures of landscapes, mountains and waterfalls, etc...  At the same time I need the ability to take pictures up or about 6 "of objects.  All the different numbers on lenses are confused the heck out of me and I was wondering if there was any advice - could someone give me a good Canon lens or two that will get me where I want to be.  I want to take close-ups and shots of distant/large.  Lenses certainly are not cheap, so I want to make the right decision.

  I recently bought a book by David Busch on the T3 and its capabilities, but I still have a way to go before finishing the book.

  Can anyone offer some advice or an overview of the importance of using the right lens or even a recommendation of a Canon lens?

  Thank you!

  To see 'detail' of small objects like flowers, you have to shoot a lot closer (less than inches) for higher magnification. I have the same 18-55mm IS lens kit you have and checked the maximum possible magnification, which is with the longest value of 55mm zoom. I was able to focus down to a 1.5 "x 2.25" image size, which is about .63x magnification for full frame 35 mm 24 x 36 mm (95 "x 1.4"). Canon EF 50mm F2.5 on your T3 a one.5 x 1.6 = magnification of .8x, so you are pretty close to this already with the ability of the 18-55 mm. The main difference is that the EF 50 mm macro lens is designed to achieve a superior at close distances sharpness and produce images of superior quality of small objects like flowers. That said, that you can be very happy with the results of your 18-55mm, once you get the hang of using it for macro work.

  Regardless of the lens used the biggest difficulty with macro photography is framing, focus on your subject and keeping the camera "yet". Even slight movement will cause the focus to distances of these relatives, because of the very shallow depth of field (i.e. terms of sharpness). Here are a few things you can do that will help:

  (1) a tripod to help you compose the object in your picture.

  (2) set the mode "Av" and F stop of at least 8. You can go as high as F16 to increase depth of field. This will cause the camera to use a very slow shutter speed, which also requires the use of a tripod. In a pinch, you can use your Canon T3 up to ISO 3200 with some post processing in Lightroom noise reduction to shoot 'at hand '.  Use nag screen image from the camera to the full magnification setting to check the sharpness ' in the field '.

  (3) set your lens to manual focus (M) and use the ' Live view ' on your T3 with the x 10 magnification setting (read the manual of your T3).

  (4) focus on the Central "area of interest." You can use "Depth of field Preview button" of your T3 to get an idea of what is inside the "depth of field".

  And remember that Lightroom can do wonders on cleaning and improvement 'less than pefect' images to give them a stellar appearance! Happy shooting and LRing!

• Should I spend an EFS 18-55mm on a Canon EF 17-40mm f / 4L USM for landscapes? With the help of a Rebel T3i

  Only done photography for about a year. Wife bought me a Rebel T3i Kit with two Lenes. I'm really into photography outdoor. I installed myEFS 55-250 in a series of 100-400mm L I was going to buy a better lens for landscape and try to keep less than $1000. I think EF 17-40mm f / 4L USM. Better landscapes or is there a better choce range of price thanks

  I would not recommend the EF 17-40mm for your T3i. The EF 17-40mm is really designed to be used as a goal of the ultra wide angle on Full Frame cameras. One of the major is the lack of IS. (Image stabilization)

  For a camera of culture as the T3i, I recommend:

  Lens EF - S 18-55mm IS STM (very good upgrade to the 18-55 kit lens)

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  EF-S 17-55mm 2.8 IS lens

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• Help with a Fujinon Cabrio 19-90 on an F5

  Hello!

  Usually, I'm able to find what I need in these conversations, but I'm having a particularly delicate delivers the two Sony, and support of Fujinon were unable to help me with. I just brought our Cabrio Fujinon lens to get a firmware update, version S, and the F5 has just updated to Firmware 4.0. I tried all combinations of dip switches and the camera settings and I always get a message "No Support" on the file of the lens and the VTR button still does not work. All the pins in the frame are in excellent condition.

  Any help would be greatly appreciated!

  On the objective of Cabrio, there are two sets of dip, the upper being 8way switch and the lower a 4way.

  The dip-switch lower 4way...

  Bit 1 camera Serial Communication on / off - this must be turned on.

  Bit 2 is LDS / I select Switch. WE are Arri LDS, OFF is Cook / i - suggest a value of OFF for Cook / I.

  Bit 3 is application of analog Zoom

  Bit 4 is switch to the.

  Now on the side of the camera in the camera menu, select Interface lens > TypeC (assuming as above defined Bit2 for Cook / I).

  Good luck

  Clive - Sony ANZ.

• Better protection for Canon 200 with f2.0 lens

  Hello guys! I have a Canon 200 f2 lens and I'm looking for a better protection of the front element in addition to the range hood. So far, I saw people recommending the lens of Don Zeck and LensCoat Hoodie Cap. Does anyone have any experience with one and 200 f2? Or are there better alternatives?

  Also, would you recommend the LensCoat coverage for complete protection of the lens? Alternatives?

  Thanks a lot for your suggestions. Have a good!

  Karren

  I recently bought a 300 f2.8 L IS used and it came with the Don Zeck lens cap & I learned since it is a very well respected Cape. On another forum, I belong to the Hoodies were also highly recommended & so were coats of lens & considering I bought the objective value, I bought both. On what style of lens coat ruled on the most difficult part for me but finally I went for the camo style. It protects the majority of the lens, but not all of it, but as someone who respects his material, but who uses it also as expected that I am satisfied with the additional protection for a dollar. A recommendation on the hood was to remove the drive which makes forward rigid IF you think that you would take your goal (& maybe with your camera) on the front of the lens hood. In this way there is no risk that it is not sitting on the floor.

  

• Lens Sigma works well with my T5

  I just bought a canon T5 and my sigma 28-200 lens than communicates quite well with the camera. I've used this lens with my rebel X.  This is a common problem and there at - it a solushion or I don't hafe to buy a new lens?

  Kinda what I thought.  Thank you

• Interpretation of focal lengths specified

  Are specified for the real EFS lenses focal focal lengths or have they been adjusted to be equivalent 35mm?  For example, if an EF lens with a range of specified the 18-55mm lens is mounted on an EOS 70 d which has a 22.5 x 15mm sensor, angle of somewhat wide to telephoto, or makes the angle range very wide barely more standard.

  I had assumed that the listed focal lengths are true, but then I noticed Cannon describing a marked 50mm as a 'standard' lens, which would be the case for 35mm film, but not for a 22mm sensor.

  (Sorry to ask such a basic question.  I'm new to DSLR).

  -Ehz

  The focal length of the lens are real focal lengths.  They are the same regardless of the EF or EF - S.  Put on a crop sensor will reduce the field of VISION.  The 18-55 on a 70 d will include so something like would make him a 24-70 on a 35mm camera (technically, it would be like 28-88).

• Possibilities of macro?

  Thanks for reading this.
  I like to take pictures of things like insects and small lizards. I found a really cool Mantis yesterday in the garden and took some pictures of it. I used my 70-200 with the 1.4 tc which was pretty good, but I could of course not very close because the limits of depth of focus. I am considering getting the barrel extension tubes: EF 12 II and EF 25 II. What is a good way to go? Here's something that you would use as well as a tc on a 70-200? Or is the wrong type of lens for this kind of work? I also had an initial investigation of the flash macro circular rings. But I am assuming that they would work with my 70-200 cause of large diameter of the front element. He seems to have a lot of options for macro set ups. What kind if the installer should be to make the pretty decent macro shots? I was a big fan of Igor Siwanowicz' work for a very long time.

  See you soon,.
  CG.

  Hello

  As ebiggs says, there are several ways to make macro shots.

  Personally, I use a number of extension tubes (a set of Kenko of 3-36, 20 & 12 mm - more a 25mm cannon and two Canon 12 mm). These are always useful to have, and I wouldn't be without a few in my camera bag, all the time. They are inexpensive and can allow you to get this macro or close-up when you do not have a lens macro with you, or can be used to increase the capabilities of a true macro lens beyond magnification is 1:1 (general) potential, or simply used to get the nearest minimum focus distance with a telephoto lens.

  For example, this was shot with EF 70-200/2.8 IS, Canon 25 mm extension tube and 550EX flash (filling)...

  

  I have been hunting of birds and did not have a macro with my lens.

  For sub image to frame the small Bush * i * (replace the astericks with "t"... the cyber censorship allow me to use the actual name of this bird) as tight as I wanted, I needed to add a 36mm extension tube to an EF 500/4 IS lens, so that the lens to focus more closely...

  

  While they are not necessarily designed for the macro or almost macro work teleconverters (Canon calls Extenders) change the effective focal length of a lens, but leave its closest distance focal length quantity... so will increase the potential of magnification. In order to get the slot kick a little fence lizard, I have had to use time - Canon EF 1. 4 X II and an extension of 25 mm - 300/2.8 IS lens...

  

  More the focal length of your lens, the effect less any given amount of expansion will give. An extension of 25mm changes slightly the magnification and the closest focusing distance of a 300mm lens... But the same amount of extension on a 50mm lens would have dramatic effect.  Next image was shot with 12mm on the EF 50/1.4 lens extension...

  

  Even more extreme, the following was shot with 12mm on an EF 20/2.8 lens extension (I wanted an extra depth of field to keep more detailed background)...

  

  During the filming of the foregoing, the petals of flowers were actually touch the front element of the lens! Can't get much closer than that!

  The macro above or near macro shots were made using lenses "non-macro" that have been made to concentrate more than normally possible, using extension tubes. Those who can work, but there are some advantages to true macro lenses, too. I personally use four in my Canon Kit: Tamron SP AF 60mm f2.0, Canon MP-E 65mm f2.8, Canon 100/2.8 USM (not the L / IS) and Canon 180 / 3.5 L. I also use a Canon TS - E 45/2.8 for big jobs and occasionally a target macro Tamron SP 90/2.5 1:2 vintage, adapted.

  When you force non-macro lens to focus closer than expected, there may be side effects. For example, the shot of the rose bud above has a pretty strong vignetting and softer edges. It's characterisic of the EF 50/1.4 lens when it is done to focus very narrow and more openness is used... It is not necessarily a bad thing. I used the lens with extension deliberately for this one, because I wanted so much vignetting and soften the effects.

  One thing, you don't need to worry with 'real' macro lenses is image quality. In general, they are all very able to make beautiful pictures. It is lower for other features of macro lenses that set apart them from each other.

  Focal length is probably the main consideration. Too short a macro lens can get awfully close to your subjects, which could scare the living creatures, or do you throw an unwanted shadow on the subject or not even you bit or stung! A longer lens gives you more space to work, but a long lens is hard to get a stable shot and makes very very shallow depth of field.

  If I could have only one, I would choose my USM Canon EF 100/2.8 macro lens. It's the best all around for my purposes, on both devices of cultures (like yours, although I use 7Ds) and full frame (5 d MkII). 90 to 105mm gives the reasonable working distance, but it is quite easily portable for quick shots. DOF is still shallow, but manageable enough without resorting to ridiculously small openings where lighting is a problem and optical diffraction robs fine detal of images.

  Here's an example shot with my 180 / 3.5 L, which demonstrates how depth of field thin razor can get with such a long focal length...

  

  Even if it's a fairly large bee, the plan of sharpness is only of a few mm of depth. This was shot near 1:1 on full frame (with a film camera, actually). The lens and the camera are resting on the ground to help keep their constant. Something close to 100mm is much more easily portable, not too big and makes a bit more depth of field.

  There are other features of the Canon EF 100/2.8 USM which make a great macro lens, IMO.

  It's 'internal focus' (IF), which means that it does not grow in length when you focus it close, so don't cut your work remotely (note: 100L, Tamron 60/2 and 180 / 3.5 L are also IF lenses). However, there is no such thing as a free lunch, with optics. In order for the 100/2.8 if it starts raining that some other lenses of similar focal length. And the focus distance actually changes somewhat because it brought closer. I heard max with 1:1 magnification, it is closer to the 70mm lens... but it is not particularly notable in the field of work with the goal.

  100/2.8 USM macro lens on a crop sensor camera, with 550EX flash, pocket...

  

  Version 100/2.8 that I use has player development USM, which gives it an autofocus fast enough for a macro lens. Macro lenses tend to be slower to focus for a few reasons. One is that they must move their items focusing a long, long way to go all the way from infinity to 1:1 magnification. Another is that most precision signals more speed, so use what is called a mechanism of the development of "throw long". In the old days of manual focus, you have to turn the focus ring a lot more away with a target at long range. Short-range lenses were built for speed and could be used for sports photography. By car from the 100mm USM (who are also the EF - S 60 / 2.8, 100 and 180 / 3.5 L) makes more than one lens dual use, more usable for purposes of non-macro. Despite USM, the 180/3.5 L is significantly more slow development and not as useful for the non-macro works.

  I make the distinction between macro and non-macro focus because often the macro shooting focuses more easily manually. I use AF sometimes, but just as often or more often use the development manual method or the other.  But if you want to use as a non-macro, also, moderate telephoto lens it can be enjoyable if it is reasonably fast to the point. Another advantage of USM, it's that you haven't disable AF before substitution manually. (Note: there was a version prior to EF 100/2.8, abandoned years ago, that has no USM).

  For me, one of the most important features of the Canon 100 mm macro lenses is that they may fit with a Ruff of the tripod mounting. The 100/2.8 USM uses tripod ring B (b) and 100L tripod D ring. I'm not aware of any other macro lenses less than 150mm than a being mounted with a ring of tripod and for me, this is a very important feature. A lot of macro photography is made of a tripod or monopod. That is one of the reasons I really don't think that he had to upgrade to the new version IS..., the more it costs much more. In addition, the stabilization is of limited effectiveness when shooting macro... If this can be nice when you use the goal for non-macro purposes (except that I have several other lenses, so do not rely on the macro for dual use that much). The 180 / 3.5 L and most other 150 mm and more macro lenses equipped with a tripod ring.

  Speaking of stabilization, the Canon 100 L uses a hybrid form developed especially for macro, which obviously is one of the most effective. However, the 1:1 mag, it could only be good for one or two stops of assistance. For non-macro photos, the IS could give three or four stops assistance.

  I had the Tamron SP 60/2.0 recently because it is quite small and light, easy to store in my camera bag, when I don't know if I'll take any macro shots or not, have other gear to carry around. The same is true for the Canon EF - S 60/2.8 USM, it is just as compact. I opted for the Tamron for its opening of f2, mainly in order to use the lens for portraits, as well. Both the Canon and the Tamron 60 mm lenses are "cultures only" (all other macros mentioned are capable of FF).  I don't have the images uploaded of him online yet, but have found the quality to be good enough. It is a bit slow focusing... no problem for the macro or portraits, but not a goal I would use for sport and shooting action. I imagine that the Canon with its USM is developed faster.

  

  I used to use the vintage (25-30 years) Tamron 90 mm as my macro "compact" (shown on one of my 7Ds, above)... and he is used to this end but was less useful for portraits. Yet, for a goal which cost me about 60 US $. It's $20 for the lens - like new with hood, 1:1 adapter, caps and a Nikon Adaptall mount - plus $40 for a China Adaptall-EOS mount.  It is slower to work with. Set to manual focus, as well as manual control of the opening, but did a good job (here with the extension tube of 36mm to increase the magnification).

  

  The other lenses I mentioned use are more specialized. The Canon MP-E 65mm macro is a very high magnification, the manual focus lens. The magnification less he can give is 1:1, where most other macro lenses are at their maximum (unless you add extension for them tubes). It goes back to 5 / 1 or 5 X life size, so, essentially, can fill the frame on one of my 7Ds with a grain of rice.  Image made with the MP - E 65mm here is a tiny snail, newly hatched which was smaller than the nail on my pinky, at 2 X magnification...

  

  I must say, I would not recommend the MP-E 65mm as a first macro lens. It will especially be a lens only tripod. Depth of field is incredibly deep. Due to the extension of the objective, it's more small aperture of f16 becomes something like an effective f96 at higher magnification. I'll have to work on the development of techniques of stacking with this lens (and will need something much slower moving than a snail, shoot those!).

  I use the lens 'Tilt Shift' TS - E 45mm especially for close-ups of small product... Shoots of studio on table, like this that was one of hundreds of fact for the customer's Web site...

  

  Magnification with the 45mm alone isn't really the territory of the macro, but it allows a single control in terms of development with the tilt movements, as well as ways to dodge the reflections with the movements of travel. It is the manual focus lens, too. For higher magnfication work, the TS-E 90mm might be a better choice and magnification of two lenses can be increased by using extension tubes.

  As for flash, there are choices with those, too. There are specialized macro flashes or ways to use standard flashes for macro photos.

  I used a Canon MR - 14EX Ringlite for turned snail, above. I mainly only use a ring light with very high magnificatioin shots... to the low mags just light seems flat and 'clinical' for me. As far as I know, the MR-14EX is pretty much dedicated to Canon lenses, since it clips directly on the lens, locking silver that is on the Canon lenses.

  MR-14EX on MP-E 65mm, on 7 d...

  

  More often, especially for 1:1 magnification and more low blows, I use Canon MT - 24EX Twin Lite or a unique and standard flash with some minor changes. The Twin Lite is great, but a package large enough and not very useful for non macro. Also, it is designed to attach on the front of the Canon lenses, but is more flexible because it can be used with a more generic double flash support, too.

  Image of LH: MT-24EX normally mounted. Center: Double Lepp/Stroboframe flash support. Image of HR: MT-24EX on support Lepp.

     

  But do not use a dedicated, macro flash either. Often I will just use a flash unique and standard cord shoes off camera so that I can stand to the side of or above the object...

  

  Note that I put two coats of white qauze bandage on the flash head, maintained by a rubber band. This reduces and diffuse the power of the flash so that it can be used near a small subject. A single flash works surprisingly well, because compared to a small topic, it's like a giant light box in the sky. This Mantis was shot using something similar to the above setup (and EF 100/2.8 USM macro lens)...

  

  Enjoy you shopping!

  Macro is lots of fun... and a lot easier today than it was back in the good/bad old days of film! One of my old rigging...

  

  ***********
  Alan Myers

  San Jose, California, USA.
  «Market softly and carry a great lens.»
  MATERIAL: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
  FLICKR & REPROGRAPHY

• All the benefits of trading on a full frame Canon 6 d to the top of a 60 d for horse photography?

  Hello, I am considering upgrading my Canon 60 d to a full frame (6 d), I usually shoot horses in action, and not profiles of head using a Canon 70-200 L IS lens. I would be interested in your comments about whether if the cost would benefit me with this type of photography. Also extra lens suggestions would be appreciated.

  I do a ton of equestrian photography.

  I use a pair of 7 d for the vast majority (90% or more). Those who have essentially the same sensor and high ISO capability as your 60 d, just a slightly more sophisticated (but more sensitive) autofocus system and superior pace. I also have a 5 d Mark II that is proven sometimes useful in low-light situations, but I use it much less than cameras of the harvest. The 5DII can do a higher than the 7 d ISO stop (a 6 d ISO offer slightly higher than the 5DII, as well as the light focusing very low ability).

  Mainly, I'd rather have the 'additional' scope of the cameras of culture as the ISO capabilities of full frame. My most used lenses are the 70 - 200/2.8, 70 - 200/4 IS, IS 300/2.8 and 300/4 IS. I also wear and sometimes use 28-135 IS, 10-22mm, 24-70/2.8 and a number of shorter premium (portrait, macro, tilt-shift).

  In order to have the "scope" of a 300 mm lens on crop camera, with a device full photo frame, I'd have to lug around a 500 mm. No thanks!

  But in general it is more down to the camera lenses, on what they are used...

  What lenses and cameras I use depends on the type of event, I'm shooting, I can be or want to be mobile, an arena covered, or not, if I don't work out.

  For the dressing, I often have to work in covered arenas. But I'm not mobile at dressage events, so I can implement a 300/2.8 on a tripod to reach the other end of the arena and use a 70-200/2.8 for closer shots. I prefer to stop a bit to a depth of field when I can, but like f2.8 available if necessary to get the shots in the darker areas of the arena. As a general rule, except at a very high level, training cannot and must not be photographed with flash. Most of the horses and riders of dressage junior and amateur is not accustomed to Flash. Dressage is progressing more slowly than some other events, so I can shoot with a slow shutter speed in many cases... 1/250 and 1/320 is sometimes possible.

  Hunter/jumper, stock, gymkhana, and English/Western contests are types of events where I need to be more mobile and tend to use the 300/4 IS and 70-200/4 IS for shooting especially pocket. These types of events are sometimes covered arenas, but are often in locations open, not covered. Even if the scene is covered, it is likely be well lit.  It is possible to use the fill flash, but I try to avoid as much as possible and do not use it too close.

  Hunter/jumper, jumping arena, gymkhana and all kinds of competition stock tend to move around, so I need to use 1/640 or speeds, faster shutter so I want to freeze the action.

  For path testing I try to wear minimal gear because I walk the track with the horses and the riders (not all 6 to 10 miles of most of the formations of TT), but it is completely outdoors in a good light. I use especially 28-135 on a camera and 300/4 IS on the other. I had trouble with the noise of the 5DII in settings quiet test track, but not with the 7 d or even using the 5DII in arenas noiser (I know the 6 d and 5DIII have "calm" modes, but did not use them, what isn't sure how effective they are, or if there are any other questions their use.)

  Cross-country skiing is a type of event where I always struggle to know what to do. If I work close to the House or take a walk outside on the course, I could take more lenses and tripods. But if I'm hiking, I'll opt for the lighter things.

  I sometimes use the 5DII full frame planned, portraits stationary (after the test to see if the horse responds to the sound of the shutter). I also sometimes will use it in particularly dark locations. But usually even those I can find bright spots and those with my 7 d work instead. Then I might be only limited shooting in particular parts of the arena.

  If I could wear only one, it would probably be a device to harvest... on a budget of 60 D-70 D sensor, 7Ds work well for me for more than 4 years and more than 100,000 clicks and will probably get replaced with 7 d Mark II when those who are available. (In the past I have widely used 50 d, 30 d, and 10 d, too.) A unit of harvest gives the most versatility and flexibility, IMO. It offers the "extra scope" which allows the smaller, lighter to, cheaper to serve, as well as all the goals both lenses EF and EF-S can be used (a full frame camera is a bit limited, EF only).

  But, of course, of 6 d low light capabilities could be nice sometimes. It's probably a good two ISO stops rain able your 60 d or my 7Ds... and it's AF is able to concentrate in the lower light about two stops, too (-3 EV, compared to 1 EV). Note that the 6 d is limited to a large extent to the Center AF point only, for any AI Servo/shooting action and low light. (It would be good for me... same thing is true of my 5DII and even with 7Ds and 50Ds, who have much more capable peripheral focus, I still use as the center of a large part of the time.)

  I hope this helps!

  ***********
  Alan Myers

  San Jose, California, USA.
  «Market softly and carry a great lens.»
  MATERIAL: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
  FLICKR & REPROGRAPHY

• MacBook Pro 2009 CD/DVD drive

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  Johnbjuan wrote:

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  Download disk cleaner of appropriate type - pretty much a disk with brushes on what will clean the laser lens.

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  On the last iOS 9.3, I don't see a way to remove wallpaper completely, so that I can get a clean black background behind all applications on the home screen. The best solution I can think of is to try to take a picture with as much light as possible blocked the lens and then use it as background. Surely, there must be a better and pure way simply define a solid, black or white, especially that the background color?

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  Thank you people.

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• which one to buy, a55 or a65?

  these cameras are the only ones that I can afford, and since im new to this type of cameras any help or suggestion or whatever it is will be appreciated...

  Now what I need is:

  Click here: I mean I want the one with the soft click so I don't have to press hard take the picture (and therefore it will not be as shakey or something when I press)

  Extreme for landscape, Portrait, close-up, people (or these will vary on the lens?) (if you know what I mean by the "extreme")

  and can someone explain to me or at least a summary version of which is f / x and mm because I do not really understand their but based on me, more the highest number?

  Finally, if you were me, what would you get a55 or a65?

  I didn't know the A55 was yet available his almost three years now and has been replaced by the A57 & more recently, the A58 motorway, then I'd go with the A65.

  The shutter does not have a lot of pressure to activate, and the camera has built in stabilization to help traffic.

  I'm not sure what you mean by "extreme" and Yes, the type of photography you want to do depends on the type of lens used as and yet there is not all available objective.

  Lets start with MM it means just a used special lens zoom range so a 10-24mm zoom Zen is considered a wide angle because you can adapt many of the subject in a shot that would be good for a landscape vs. a 200-500mm zoom which allows you closer to your subject with to actually do near them It's a good goal for pictures of wild life.

  F stop refers to the size of the opening, the opening is the opening in a lens which controls the amount of light is the sensor of the camera lowest number as F1.8 is a very large opening to let a lot of light in vs a F22 which is a very small opening and leaves not a lot of light in. The advantage of a large opening is a good fast shutter for fast moving subjects, but having the largest opening is very expensive usaully. The F stop also controls the depth of field. the link will explain that one.

  http://www.Cambridgeincolour.com/tutorials/depth-of-field.htm

• random auto focus problem Canon EF-S 18-55

  Hello

  I have worked with Canon EF-S 18-55 IS NO Lenes and have found a problem that I just can't seen to solve. The problem is I get autofocus, but at times it will not focus. I changed the card with a known good, engine Assembly, contacts with good looking for work units but not the contact Strip because they seem good.

  The Assembly moves freely with little resistance. I've also seen this problem on the IS versions too but especially on versions IS.

  I'm looking for any other suggestions that could solve the problem.

  Well I finally found out what the problem was and fixed 3 Lenes.

• Need a camera that will take excellent shots of ROOM so I can sell them on eBay. Suggestions?

  Camera shots should show plan big detail on currencies of copper and silver.  In addition, the room must be far enough away from the camera to allow enough light in the room.  Can be a HS done SX510 or a HS SX50?  SX50 to $430 is more that I want to spend.  Help!

  Donnie, here are some examples (and if please exuse the bad lighting and color - balance they were thrown together quickly for demo purposes)

  Here are a couple of sterling pieces to show what is happening with the lens.

  This image was taken with a Canon 5 d IS of III using a Canon EF 100 mm f/2.8 L Macro USM lens.  The target was set to f/8 for this exhibition.

  f/8 would normally provide a decent depth of field... but look what is happening with this image:

  

  Note that the central area of the room on the right focus, but but the front and the rear edge are blurred... and this is at f/8 - keep that in mind.

  I wrapped a piece of tape around the ring on the lens.  I have worn to the front edge of the room closely and used a marker to mark this position.  I've then adjusted to the rear edge of the piece of far and who scored as well.

  Then I took a series of exhibitions of the brand front focus up to the mark of development back tweaking the lens very slightly between each exposure.   A total of 10 exhibitions have been taken.

  I then used the software stack of development (in this case, I used ability to 'Merge photos' of Photoshop) by merging pictures of 10, the result is this picture:

  

  Look closely and you will see the office near foreground and distant background are still unclear, but coins are sharp from front to back.  Actually I need more images.  This can be done very gently tweaking focus between each exosure or using a "rail"focus"(a track - like device that you put on a tripod and then mount the camera on the rail and move it toward the front of the camera, any backward or forward for an amount you can control for macro focus pictures with focus stacking).

  It's a lens 100mm macro on a full body frame (and frankly I could have been much closer with this goal), but with a body of cultures-APS - C frame (as any '' rebels '' or mid-range model) the EF-S 60 mm macro would have provided a very similar angle of view.

  The SX50 HS and SX510 seem to be good in the point minimum distances... so that they are able to achieve the desired results, but regardless of the camera, I suspect you will need to emphasis of stacking for good results (I used Photoshop, but there are many applications that can do including applications that are designed specifically for the update macro photo stacking.)

  These images are reduced for display on the web, but the originals are absolutely sharpness and you can look at every surface texture.