The value of image stabilization

Probably one of the greatest improvements in camera technology of late is image stabilization. Some camera companies have their system in the camera, some place it in the lens itself. Either way, the concept works really well.

In the past, the rule of thumb was that the lowest shutter speed you could handhold a camera at and not have movement was the inverse of the focal length of the lens you were working with. For example, if you were shooting with a 50 mm lens, you could shoot at 1/50 second. And if you were shooting with a 100 mm lens, you would have to shoot at 1/100 or higher. The problem with that is you might have or go to a faster film (or raise the ISO setting if shooting digitally). The sacrifice you made was increased grain with film, or noise with digital.

Well, with image stabilization a little gyro inside a lens, or mechanism inside the camera figures out how much shake you are introducing into the situation and compensates. The results are impressive, sometimes allowing you to shoot at shutter speeds four stops lower than without image stabilization.

Here are some examples I shot with a Canon 24-105 ƒ4L IS USM lens. If I were shooting this handheld without image stabilization, I would probably use 1/100 or 1/125 as my shutter speed. It’s a bit hard to see online, but when I look at the example at 1/30 there is definitely some softness from camera shake. At 1/15 and 1/8, it is quite noticeable. But with image stabilization turned on, even the exposure at 1/8 sec. is tack sharp. I’ve gained full four stops! Again, the advantage here is that you would not have to raise your ISO to capture an image where the light levels are low, or you need more depth of field. That means less noise in a digital file, or grain if you are shooting film and have to go to a faster one. And that translates into better photographs.













So if you have the option in purchasing cameras or lenses with this technology, I highly recommend looking into it.

Analysis of a shoot part II-The shoot day

Having done the scout, I called the actor and asked him to meet me at the location at 7:30 AM, a little bit before the time when I think the light will be the most dramatic. When he arrives, we look at wardrobe, and we select something that feels casual, but elegant. Once he changes, we are in the window for light, and ready to go.

I start the shoot with him standing next to the edge of the building. Giving him a solid physical reference point is an easy way to get him warmed up since he has something he can lean against, and work off of.



The beginning of the session is, in my opinion, the most interesting part of the whole shoot because it’s when you establish the way you will work together. Not unlike meeting someone socially for the first time, it takes a little bit of time to get comfortable with each other, and understand how you will communicate. To get great images, it’s important to create a positive, encouraging environment where the subject is willing to relax, open up to the camera, and be creative.



I’ll generally start with things that don’t require a lot of the person, but are more about light and form. As we progress, I’ll encourage the subject, and compliment them on how they are performing. This invariably makes them more responsive, and as they soften, I’ll ask a bit more of them. “Smile. Make the expression more tender. Grit your teeth and make me feel like you are looking right through me.”



Giving good direction makes your subject feel confident that they are good hands, so even if you are not sure of what you want, make a suggestion with confidence. And if it doesn’t work, go on to the next idea. The key is to keep moving, and create a rhythm that propels you forward. All the while, look for the lighting, expressions and camera angles that will fulfill the concept you started with.



In the end, we worked for about two hours, feeling like we had explored all the possibilities the locations provided, and had a lot of fun along the way.