A Few from the Minolta 50mm
Hot spots from the pop-up
Frank ... just a question ... "pop-up" flash?
Hey ... it's all in technique and practice
Oh, we are just a picky bunch, Frank. Everyone is looking to avoid the nefarious "hotspots"
and other trade mark pop-up drawbacks, that tend to really reduce the quality of the
image. Let's face it, that's the whole reason "movable head" elex flashes were developed ...
height and bounce-ability
You are trying to get a whole lot out of a "pop-up" and unfortunately ... it just won't give it.
You are floating in a sea of people who all struggle with this very same issue ... and they
instantly see the problems. If you were to show these images to your "average Joe" ... that
person would not give it a passing thought. It's a real catch-22 posting on a photoboard.
The wolves are out there and they are howling ...
I used a pop-up and a kit lens, on Christmas, when I first got my Canon and just look at
what happened! :eek:
Just kidding ... you can see the subjects are holding a wirelessly triggered elex flash each, at
their waist. With that drag-shutter technique, I was able to merge the tree, with a
2-second exposure, as they stepped away. Call it a "double-exposure in a single shot."
A mixed lighting marvel ... :o I suppose shooting this through a blue filter would have reduced
the mixed effect, but I was just screwing around with the idea. Frank ... I know what you are
thinking ... "I can see-through what you're doing."
Shooting w/o flash, indoors with the 50mm f/1.7
The 50mm f/1.7 takes a little practice to make work for you, of that there is no doubt. It is not a magic bullet ... but a good bullet. You still need to practice just shooting something "non-living" (because, this takes some patience between snapping and inspecting each shot) for a couple hundred shots ... adjusting, finding out and just getting a "feel" for what works in low-light ... and remembering it (write it down and then go get the cutie!).
Some of my best practice sessions took place with three candles and the 50mm f/1.4. I photographed a shiny sphere ... because you can easily determine depth of field using a reflective curved or angled surface. Also, it easier to focus on (in the dark). Talk about thrilling ... for the first few shots ... I couldn't see ****, uh, I mean squat! I thought the camera was broke or something. :eek: Then as I adjusted down ... I began to see the image and the fun really began ... ;) I also got out the tripod! Somethings never change. :rolleyes:
Unfortunately, the α100 exacerbates the problem because of its inherent high-ISO/noise limitiations. It is a nicer ride on a less noisy sensor, to be sure. So, bearing that in mind, how do we compensate for limited ISO? That's right ... longer shutter speed and hence, the tripod. So, you set for your best "noise-free" ISO setting -> 400 and begin there.
BTW: I got my Minolta 24mm f/2.8 and 28mm f/2.8 PRIMES back from repair, today. I have to say the 24mm has had a massive improvement in its focus, but the 28mm ... not so much. It is still a little "iffy" but within acceptable limits. I have had that lens since 1985. I shot it against the TAMRON 28-75mm (which had also been recently adjust by TAMRON), at the wide-end and they are returning very close results. So, there it is. :p
Unfortunately, the KM AF 24-105mm f/3.5-4.5 "D" is looking to be a bit more serious than I hoped. They are shipping it back to SONY(Konica/Minolta) for deeper evaluation and correction. So, who knows how long that could take? To be honest, I have to say that you don't miss a lens if you cannot get a good result with it. The SONY (18-70) kit lens has been "on the shelf" for almost as long as I have had the α100. Besides, I have the 24-105mm range well covered with the TAMRONs.