Road to sharp clear pictures (Page 3): The first rule of photography is lighting. Making sure that the lighting is correct and good is a must... such as having the sun to you're...

Ranwell

The first rule of photography is lighting. Making sure that the lighting is correct and good is a must... such as having the sun to you're back... unless you want a siloette. Next rule is POST-PROCESSING is a MUST for digital puctures.... But, you should go into you're camera's "set-up" and adjust the "contrast" and "color vividness" this will give you sharper pictures. But be aware that some pictures could have a little too much contrast depending on which shot you are taking. Also, I have found that (especially if you are NOT going to "Post-process", you usually have to turn up the exposure on the camera to a +1 or +2.. or the picture will usually come out too dark. But the best teacher is to experiment with your camera. Take a lot of pictures with different settings. "Practice makes perfect" as the saying goes. Also, no matter what anyone tells you, lens quality DOES make a huge difference. If you are trying to use the "KIT lenses" such as the 18-55, and such. You will never get good, sharp pictures like the Pros. Until you can invest in the "L" series lenses that the Pros use, you cannot get Pro results..... but keep experimenting and adjust for additional contrast and vividness of color. ALSO, try shooting some "Black and white" photos. Your camera should be able to be set for that. "Post processing" can do that for you as well. Something else you might try... find a good used Canon 60D or 70D camera. They can be bought fairly reasonably on Ebay or a good used camera store... an 80D would be even better, but it is a little more expensive. These are the closest cameras to the PRO...FULL FRAME cameras that you can get. Good luck and keep shooting.

dsmeltz Loc: Philadelphia

The upshot of everything here so far is, if you want to get the results of professionals, you need to put in the same level of effort. Good equipment, good technique and good post processing. You can't skip steps and expect the same results.

MountainDave

If all you want is better images straight out of the camera, then yes, a newer camera will help. This is mainly due to more advanced in camera processing and extra mega pixels. Newer cameras also have improved AF systems which help maximize whatever your lenses are capable of. You can save a lot buying used. Look at Rebel 6Ti, 6Tsi, 7Ti, or 77D. At most you'd spend 500. I have a 77D as a backup myself. With good glass and in most situations, it produces images that rival any camera. As for lenses, there are several inexpensive primes that are a lot sharper than your 18-55. Start with the 50 1.8 STM @ 125 and/or the 85 1.8 @ 419. list. Both are very sharp and the large aperture will allow you to experiment with shallow depth of field effects. Finally, if you are using auto mode, it would really help to learn the manual modes.

CHG_CANON Loc: the Windy City

Success is the photographer. Failure is the equipment.

burkphoto Loc: High Point, NC

Gary57 wrote:

I like all outdoor photography, whether wildlife, ... (show quote)

Your camera is reasonably capable, considering it was introduced in 2010 if it is the T2i model. You didn't say what lens you have, but how you USE that lens is probably more important than the lens itself. Any camera and lens can be used best under certain conditions. Here are a few tips:

Use a tripod and a remote release or a self timer... These tools steady the camera. The best lens on a shaky camera still yields blurry images.

CLEAN the front and rear elements of your lens... ANY film, dust, or dirt on a lens can reduce contrast, add flare, change colors... and reduce apparent sharpness.

Use a lens hood/lens shade... This will help avoid flare from direct light hitting the lens from sources just outside the frame. Flare reduces contrast (and apparent sharpness).

Use a moderate aperture... The smallest apertures on your lens should be considered "for emergency use only." Yes, they give you greater depth of field. But they also contribute diffraction, which gradually reduces sharpness as you stop down. Every sensor size and density has a slightly different "diffraction limiting aperture," or the point at which theoretical diffraction begins. As you stop down further from that, diffraction presents itself visually. On my 16MP Micro 4/3 camera, diffraction limiting starts to reduce sharpness about f/6.3. On my old APS-C 15MP Canon EOS 50D, it became visible at f/9. On my old full frame 21MP Canon 5D II, it became visible at f/13. Stopping down one stop from those points put each camera in the "annoying" reduction of sharpness category. Stopping down two stops from those points reduced sharpness to unacceptable levels for subjects with fine details (group photos of 200 people, for example).

Get a depth-of-field calculator application for your smartphone or computer... Used correctly, it will help you choose an aperture that records required depth-of-field without diffraction limiting of sharpness.

For JPEGs created in the camera, adjust the menu settings... You do have some control over how sharp your camera-processed JPEGs are. The Sharpness setting is the most obvious. But Picture Styles and Contrast also play roles. Play with them all to see what you like!

Be sure you are saving the largest size files at the highest quality setting (i.e.; the lowest compression ratio)... In 2021, there is absolutely no reason to save anything smaller! Memory cards, hard drives, and SSD storage are all quite affordable now.

Consider learning post-processing techniques... Recording raw data files and processing them on a computer to create precisely the JPEGs you wish to create can greatly improve overall image quality, not just sharpness!

Provided you calibrate and profile your computer monitor, I would not be afraid of post-processing software. It may look intimidating, with all the controls it provides, but you learn by opening a raw file and just trying each control. You can't hurt a raw file! All changes can be undone or redone. Canon Digital Photo Professional (usually a free download from Canon's site, with your serial number) is a good place to start.

anotherview Loc: California

That's right.

I repeat: Photography functions as a craft. It requires learning by doing over time. It involves learning from both mistakes and successes.

The photographer Minor White said learning photography takes ten years. Maybe we can take shortcuts due to the instant feedback from digital photography. Yet, going at photography with diligence remans a must for improvement.

An insight: Use the gear you own to learn photography. Skill matters way more than the quality of gear. Replace gear only when you sense you have outgrown it. Even then, you may wish to rent to try before you buy.

Good luck.

dsmeltz wrote:

The upshot of everything here so far is, if you want to get the results of professionals, you need to put in the same level of effort. Good equipment, good technique and good post processing. You can't skip steps and expect the same results.

SuperflyTNT Loc: Manassas VA

Thomas902 wrote:

Thanks for your post Gene... Concur entirely...

btw, when AF Fine Tuning my Nikkors (and third party glass) I always achieve critical focus in Live View FIRST to insure that I've got a valid comparison to gauge against. Remember Nikon's Live View on their DSLR's is identical to shooting "Mirror-less" virtually no difference... it's just about contrast detect verse phase detect...

Then I Af Fine Tune to the distance at which I'll be shooting commercially with the glass in question... As FL changes focus can (and sometimes does) shift slightly.

Now the bad news... you are SOL with zoom optics... unless they are third party glass and you're using their "Docking" applications i.e. Sigma Dock, Tamron Tap In console... I believe Tamron allows focus adjustment for 18 combinations of focus... While Nikon only does one... Caveat: the Newest Nikon Cameras now allow for both Tele & Wide for find tune... Same as Canon...

Bottom Line? You need to assure your optic is able to focus on each and every camera body you place it on! That is a MAJOR flaw with the Sigma Dock and the Tamron Top In... You bake the focus adjustments into the Len's firmware which means it's only good for that single camera body you labored to tune it on... Nikon's AF Fine Tune is independent of the glass... although you have to AF Fine tune for each body...

Strangely both versions of my one touch AF 80-200mm f/2.8's are recognized in AF Fine Tune on my D3x and D810... They both have individual values... and those Nikon bodies actually recognize each variant of those one touch pro zooms... how cool is that!

Ok, I realize that the aforementioned is maybe a tad advanced... That said the OP wants to achieve Commercial Quality imagery... There are compelling reasons why so many have to remain on the proverbial porch and not run with the big dogs... It takes years of constant dedication and failure to struggle up to reach the pinnacle of perfection which may and often does lead to excellence... Causal shooters are highly unlikely to break into the highly competitive field of commercial photography... Sadly they instead cling steadfast to the myth that photographic excellence is a consumer commodity... while nothing could be further from the brutal reality of what it actually takes...

Thank you Gene and Bill for your excellent enumeration of workflow to ensure stellar results... Good to see such knowledgeable and concise summations of superb technique!

Thanks for your post Gene... Concur entirely... b... (show quote)

One thing you can do if you use a Tamron with different bodies is do a calibration for each body and save it on your computer. When planning a shoot you just load the calibration for the body you’re planning to use with that lens. It’s no help if you’re going to use that lens on different bodies during a shoot but most people don’t do that.

wdross Loc: Castle Rock, Colorado

Gary57 wrote:

I like all outdoor photography, whether wildlife, ... (show quote)

Without major IBIS and ILIS, a good tripod and cable release is a must. Cameras and lenses without image stabilization cannot easily be handheld at some of the required "slower" shutter speeds. Slower cheaper long telephoto lenses can be successfully used for great shots using a tripod. I own an Olympus system and rarely carry a tripod. But I do have two tripods, one heavier and one lighter for travel, for the times that I know I am going into a situation that my IS will not be enough. Yes, rarely needed but still can be needed. Your choices are to invest in good IS lenses and bodies, no matter what format, or invest in a good tripod and shutter release.

dsmeltz Loc: Philadelphia

The bottom line is; if you want professional results, do what the professionals do.
There are no shortcuts.
There is just no way to get out of the camera results that will compare to what a pro can do with carefully considered in camera choices knowing they will adjust them in post to pull up the most that can be had.
IT
JUST
CANNOT
BE
DONE.

PERIOD.

So stop blowing smoke.

SteveHmeyer Loc: Cincinnati OH USA

Focus
Exposure
Composition

The third one often separates an adequate photo from a great photo.

There are several speciality niches that almost require expensive equipment for great results like birds-in-flight, astronomical shots and others.

Concentrate on the three factors above and take your time when composing and you can achieve great results in most situations.

Hip Coyote

I am parsing out your questions with my answers. My answers are in BOLD for readability. (I am not yelling.) Without buying a camera and lens that cost me 8-10 grand or more, is ther a better way to get professional results? YOUR CAMERA, WHAT EVER THE MAKE, IS CAPABLE OF SHARP PICTURES. THERE COULD BE SOME SORT OF MIS-ADJUSTMENT, DAMAGE, ETC...BUT IF IT IS OPERATING PROPERLY, THE SENSOR IS CAPABLE OF SHARP IMAGES.

I don't photo shop or any of the fancy stuff. Kinda of old school I guess. THIS IS YOUR CHOICE. BUT HAVING A SMALL AMOUNT OF KNOWLEDGE ON LIGHTROOM CAN DRAMATICALLY ENHANCE THE QUALITY OF YOUR PHOTOGRAPHS. IF YOU ARE TAKING "THOUSANDS" OF PICTURES, THEN YOU WANT TO MAKE THE BEST PHOTOS POSSIBLE. CONSIDER LIGHTROOM OR SIMILAR. IN MY OPINION, YOU ARE WASTING A LOT OF TIME AND ENERGY BY NOT POST PROCESSING A LITTLE BIT. NOT DOING SO IS LIKE HAVING A RACE CAR WITH TIRES MADE FOR THE STREET...IT WILL STILL WORK, BUT NOT REACH ITS POTENTIAL.

Could it be an f2.8 lense, tripod, filters, etc. needed or just some training or classes from someone. THERE ARE SEVERAL ISSUES HERE....COULD BE THE LENS, A CHEAP TRIPOD, FAULTY FILTERS, ETC. I SUGGEST THAT YOU STOP DOWN YOUR LENS TO A SMALLER APERTURE. TRY TESTING YOUR LENS AS SUGGESTED ON THIS FORUM. IF IT IS A CHEAP TRIPOD, TRY A NEW ONE. TO ISOLATE EACH ISSUE, YOU CAN DO A FEW THINGS...STOP DOWN THE LENS, TRY THE LENS ON SOMEONE ELSE'S CAMERA, SET THE CAMERA ON A STATIONARY OBJECT AND TAKE PHOTOS, ETC. TAKING A CLASS IS PERHAPS THE BEST THING YOU CAN DO...OR JOIN A CAMERA CLUB. WHEN I HAVE PROBLEMS WITH SOMETHING, I HAVE A HOST OF PEOPLE WHO ARE MORE THAN WILLING TO HELP ME THANKS TO MY CLUB!

UPLOADING A FEW SAMPLE SHOTS SO PEOPLE CAN SEE WHAT IS HAPPENING WILL HELP. YOU COULD HAVE A VARIETY OF ISSUES GOING ON AND I AM SURE THAT THE GOOD UHH FOLKS WILL BE GLAD TO HELP.

imagemeister Loc: mid east Florida

Gary57 wrote:

I like all outdoor photography, whether wildlife, ... (show quote)

You need a focus adjustable body and adjust each lens to the body
You need to post process - even if you ONLY shoot JPEGS
GOOD lenses also help
Appropriate shutter speeds and camera support will also help.
Lower ISO's help
Frame filling subject will help.
A current sensor will help.
.

wdross Loc: Castle Rock, Colorado

Gene51 wrote:

Nice rules of thumbs but not completely accurate i... (show quote)

Great list. It is interesting about your #1. The very reason that Olympus's next macro lens will be IS is because of the difficulties in handholding a lens at close to 1:1 and their new lens will be 2:1. I have used the Olympus 60mm (120 in 35mm terms) and it becomes nearly impossible at 1:2 to 1:1 (the normal magnification level for connector photos) in indoor low light levels. We now use the TG-6 for macro and macro stacking along with the TG-6 ring light that gets the shutter speed up to help with the internal IS. Just another example where the macro requires some of the same techniques as long lenses while the magnification starts reducing the light hitting the sensor.

SuperflyTNT Loc: Manassas VA

RWebb76 wrote:

I am parsing out your questions with my answers. ... (show quote)

ALL CAPS DID NOTHING TO IMPROVE READABILITY

Hip Coyote

SuperflyTNT wrote:

ALL CAPS DID NOTHING TO IMPROVE READABILITY

It was an attempt to not confuse the OP's questions with my answers, but also be helpful to directly answer his questions in the order they were presented. This method has worked successfully for me in my career when we were working on very big written projects. One can look very quickly and determine who wrote what in a document. Of course, in modern word processing, we can do things a bit differently. If it did not work for you, I apologize. At least you had no concerns about the content of my posting, which is really what is important.

Maybe the OP can tell us if my post helped in anyway?