![]() ![]() ![]() ![]() Taking economics into consideration, TONE receives plenty of email from readers with turntables in this range or considering a similar level of purchase. We get substantially fewer communiqu. Typically, $3. 0k doesn’t constitute an entry- level price point for many vinyl aficionados; something is often sold or traded (maybe a jet ski or motorcycle) for the down payment, so the sting isn’t quite as severe. While it’s easy to get carried away with any number of six- figure turntables, $2. AVID Acutus Reference SP lies. The subchassis on comes pre- drilled for an SME tonearm, but adaptors for Rega, Triplanar, and a few others can be purchased from $1. Current Acutus owners can easily upgrade to the Reference SP—which incorporates AVID’s latest- generation digital- speed control, larger power supply, and two- drive belt system—for $6,4. Save for a sold- out 1. Anniversary Model ($4. Ref SP stands for all practical purposes as AVID’s top- of- the- line turntable. In case you’re wondering, AVID stands for “A very interesting design.” And since the Acutus served as AVID’s original turntable design, the SP Reference takes advantage of everything the manufacturer has learned during the past decade. We’ve taken this approach all the way to the packaging, with excellent results.”Everything is Jelly. While the Ref SP is AVID’s premier turntable, the entire line benefits from Mas’ design philosophies. He feels that it is essential for a turntable to get rid of the vibrational energy in the environment as well as that in the vinyl record itself. As he likes to say, “Everything is jelly at a certain frequency; you just can’t see it. The goal is to move the all of the vibration away from the cartridge.”The subchassis is cast from a variable density, highly granular aluminum, which damps the mid and low frequencies most effectively while even the coating on the subchassis is specifically designed to reduce the skin tension of the aluminum casting, effectively dissipating the HF resonance. It is the purpose of this document to outline the buildup of these 21 st century 350 Bighorns. We decided to develop four different levels of modification that can. Rather than cast from a solid shape the area between the bearing and the tonearm mount looks as if it is folded, giving the shape more rigidity than a solid piece, yet having lighter weight. Mas comments, “This is the most important part of the subchassis, where rigidity is most critical.”The platter takes the same approach. Mas adds: “The chrome plating on the SP Ref isn’t for the bling factor, it’s functional. It does an excellent job at killing HF resonance. We’ve tried a number of different coatings, but when we did the measurements, nothing worked as well as the chrome plating. When we listened to the different finish options, the chrome sounded best by far.”Interestingly, Mas feels that the recent trend of 1. LPs is counterproductive. A 2. 00- gram platter stores more energy that the stylus will read and adds a veil to the sound.”Most turntables concentrate the majority of the mass in the chassis/subchassis assembly. AVID takes a different approach with its units by making the platter the most massive component. This is the main reason that the Reference SP has such a low noise floor. ![]() ![]() In addition, a polymer disc is bonded to the 1. This differs from plastic platters that store vibration or felt mats that allow the records to vibrate causing mistracking. Mas feels that a suspended . By comparison, a seismograph, tuned to measure the vibration of the Earth, is at . ![]() ![]() ![]() Stuff I Use - Part II: Lenses & Teleconverters. Lenses and teleconverters I use - and why. And lenses and teleconverters I've recently jettisoned - and why. Discover Deli with a Difference! Established in 1932, Deli Brands of America has a tradition of quality and value that is unsurpassed.Your customers will taste the. FindChips Electronic Components Search Engine. Find price, availability, and datasheets for manufacturer part numbers from top distributors worldwide. Google is compensated by these merchants. Payment is one of several factors used to rank these results. Tax and shipping costs are estimates. Welcome to Babylon Floral Design, Denver's most unique flower boutique, specializing in cutting edge floral design and unique gift items. We strive to provide the. The English version offers selected articles from. 2016 WORLD CHESS CHAMPIONSHIP ? The majority of chess fans think Within those designations, Dassault. Initial Rafale F1s are limited to air. Hz. The Opposite Approach. The main advantage of direct- drive turntables relates to the amount of on- hand torque; by comparison, to minimize the motor’s control on the platter, belt- drive . Flying in the face of convention, AVID utilizes a powerful motor to drive the platter, thus offering more control. Belt- drive owners also likely notice the fairly pokey start- up. It starts quickly, just like a direct- drive broadcast table! AVID hand- builds the motors in its factory, where they are then hand- tuned to the individual power supply that will be shipped along with the turntable. In the case of the Ref SP, the power supply alone weighs 4. KV power transformer. As I unpacked the box, I honestly thought the company made a mistake and shipped me one of its new power amplifiers instead. Tradition aside, the approach works flawlessly. A cursory check of the speed with the Acoustic Sounds test record and digital multimeter revealed perfect accuracy: 1. Hz on the nose. Setup. The Ref SP requires some assembly, but thanks to the concise manual, you should be up and running within about 3. As much as you will want to spin records as quickly as possible, a more metered set- up pace will give you an even greater appreciation for the care that went into the component parts. Once the bearing ball is inserted and the main bearing gently slid into place, you can mount the 3. This streamlines the set- up process, because you aren’t fighting the turntable suspension when trying to set VTA and such. It allows closer access to the area where the stylus meets the alignment gauge and, again, a higher degree of accuracy. AVID supplies an alignment protractor to help with the overhang alignment. Mas mentions that this step is “absolutely critical.” Which is exactly why the company spent the time and trouble to create its own alignment jig for the SME tonearms. Once the subchassis is leveled with the supplied tool, the suspension is perfectly tuned to the proper frequency. The final act involves fitting the three O- rings to the suspension towers and attaching the two drive belts, the only tough part of the entire process. First, pause in order to focus your concentration. Fortunately, my chi was in perfect order. I slipped the belts on just right on my first attempt. An $8. 0 syringe of silicone damping fluid that usually comes with the SME V is one lone thing missing from the Ref SP box. The subchassis’ unique design moves the vibration straight away from the base of the tonearm mount, effectively into the subchassis. External damping is usually required when using a cartridge with too much compliance in an arm with too much mass, but the AVID’s low suspension frequency and clamping system eliminates the need for its use. Reflected vibration boosts bass and colors the midrange. It’s not the arm at all. And the non- linear damping in the vibration path, making up for the compliance mismatch, kills the high frequencies. Though I’ve always found SME arms slightly heavy- sounding,their consistency and ease of setup has always made them a favorite. Mas is definitely on to something. Listening and Comparisons. While it is always difficult to actually describe the sound of any component without putting it into context, the Ref SP reminds me of a combination of my two favorite turntables: the Rega P9 and the SME 3. If you can imagine a . After a few days of comparisons, it was obvious that I could not live without it. It also meant that a couple of other turntables had to go. Its performance with grade A+ pressings was nothing short of amazing. But even with average pressings, like Emerson, Lake and Palmer’s Trilogy—a record I’ve heard hundreds of times since the 7. Listening to “Abaddon’s Bolero” revealed another layer of very quiet synthesizer playing at the beginning of the track. And as Greg Lake’s bass line entered, there was more texture—and the bass actually had a firm placement in the left channel. Playing the same track with the same tonearm and cartridge combination on my Oracle Delphi V spread the bass out almost evenly between the channels, with a significant loss of pace. Staying in the classic rock vein and moving to the Classic Records pressing of Alan Parson’s I Robot also yielded a completely new experience. The background chanting in the title track possessed a chilling realism I’d never heard before, as it simply rose up and crept in and out of the forefront. Experiencing acoustic material proved equally great. Listening to Analogue Productions’ recently remastered Bill Evans The Riverside Recordings box set approximated sonic nirvana. The ultra- low noise floor of the Ref SP brought the music up out of what seemed like nowhere; the tonality of the piano epitomized perfection. At the beginning of Rachmaninoff’s Piano Concerto No. F sharp minor, Op. Thanks to the additional dynamic range, the overall presentation felt louder since quiet passages were now significantly quieter. Having performed a number of listening experiments with many turntable/cartridge combinations, I’ve arrived at the firm conclusion that a top- notch turntable with a modest cartridge will deliver more sound than a big- bucks cartridge on an inexpensive turntable. Even when using the Ref SP with the inexpensive Denon DL1. R, I was consistently impressed at how much further I could hear into the cartridge’s capabilities. Hence, a device I considered somewhat lackluster in budget turntables turned in a stellar performance with the Ref SP. Moreover, all of the $5,0. I had at my disposal came across as relatively ho- hum (even when aligned to perfection) when mounted to a budget turntable—again confirming Mas’ analysis of how important every aspect of a turntable design is to playback. The Ref SP does a better job of extracting the music out of vinyl grooves than anything I’ve encountered—a job that is deceptively simple yet incredibly tough. When listening to familiar records with the same cartridge (in this case, a Lyra Skala) mounted to both the Ref SP and my current reference, the Spiral Groove SG- 2, the Ref SP’s additional dynamic punch became instantly apparent on heavy rock music, large- scale symphonic music, and everything in between. What’s more, the rock- solid pitch stability and ultra- low noise floor offer up more than pinpoint imaging, painting tonal images in true three- dimensional space. Who needs multichannel when two- channel is rendered so clearly? The Rabbit is in Hand. I’ve been chasing the analog rabbit for more than 3. I’d come awfully close to catching it in the past, but with the AVID, I finally got the rabbit by the ears. Death of Ayrton Senna - Wikipedia. Death of Ayrton Senna. Senna's fatal accident just after the moment of impact at the Tamburello corner of the Imola circuit. Date. 1 May 1. 99. Location. Imola, Emilia- Romagna, Italy. Three- time Formula One World Champion Ayrton Senna died on 1 May 1. San Marino Grand Prix at the Autodromo Enzo e Dino Ferrari in Italy. The previous day, Roland Ratzenberger had died when his car crashed during qualification for the race. His and Senna's accidents were the worst of several accidents that took place that weekend and were the first fatal accidents to occur during a Formula One race meeting in twelve years. They became a turning point in the safety of Formula One, prompting the implementation of new safety measures and the Grand Prix Drivers' Association to be re- established. Background. Williams was expected to again contend for the F1 world championship, as they had in the previous two seasons with Prost and Nigel Mansell, albeit with cars that had electronic aids no longer allowed in the new season. On debut for his new team during the traditional pre- season testing at Estoril, Senna said of the Williams FW1. I have a very negative feeling about driving the car and driving it on the limit and so on. Therefore I didn't have a single run or a single lap that I felt comfortable or reasonably confident. I am uncomfortable in the car. We changed the seat and the wheel, but even so I was already asking for more room. Going back to when we raced at Estoril last September (on testing the passive Williams at the same track 4 months later), it feels much more difficult. Some of that is down to the lack of electronic change. Also, the car has its own characteristics which I'm not fully confident in yet. It makes you a lot more tense and that stresses you. Senna had his worst ever start to a Formula One season, failing to finish or score points in the first two races (the Brazilian and Pacific Grands Prix), despite having taken pole in both. Benetton's Michael Schumacher was the championship leader entering the third race at Imola, with Senna trailing by twenty points. Senna got out of his Williams car and went to the Medical Centre. Minutes after the accident, Barrichello regained consciousness and found Senna looking over him. After learning Barrichello had survived, Senna returned to his car and continued his practice session. Following the interviews, Senna continued his work with Brown for another two hours. Once he arrived back to his hotel in Castel San Pietro, Senna reportedly telephoned his girlfriend Adriane Galisteu and broke down into tears while recounting Barrichello's accident earlier that day. Having been released from the Medical Centre, Barrichello told Senna he was flying back to England to watch the race on television. Ratzenberger's car had just earlier become airborne, causing damage to the now partially detached wing, which prevented the driver from steering. After the impact with a concrete barrier, the car bounced off and rested in the middle of that section of the track. Senna saw the replays of the accident and rushed into the pitlane to get inside a course car. When he arrived, with Ratzenberger taken into an ambulance, Senna inspected the damaged Simtek. When the two left the centre together, Watkins told the inconsolable multiple- time world champion that he did not have to race ever again and suggested to Senna that he withdraw from the race and go fishing with him. Senna responded by telling Watkins he could not stop racing and then went back to the Williams garage, where he summoned Patrick Head and Frank Williams, telling them of the situation and deciding to withdraw for the remainder of the Qualifying session. This had concerned Williams, who asked Betise Assump. Senna decided not to attend the post- qualifying press conference, leading the FIA to discuss but decide not to take disciplinary action against him. On the following day, however, Race Stewards called Senna out of his motor home to discuss his having commandeered a course car to visit Ratzenberger's crash site. A row ensued and Senna stormed off in disgust. The Stewards decided to take no action. Afterwards he spotted former Mc. Laren rival Alain Prost sitting at a table. They talked together for 3. Senna lobbying for Prost's help to improve the sport's safety, both agreeing to meet before the Monaco Grand Prix. We all miss you, Alain. Since he was unwilling to speak out due to the earlier row with race officials that had left him still fraught with emotions. At the San Marino Grand Prix, this pace car was thus made to leave the grid in advance of the Formula One cars, instead of together. Senna then met with fellow drivers to discuss the re- establishment of a drivers' group (the Grand Prix Drivers' Association) in an attempt to increase safety in Formula One. As the most senior driver, Senna offered to take the role of leader, starting with the next race event in Monaco. Niki Lauda suggested that Senna lead the group because of his strong personality, relative to the other drivers. Track officials deployed the Opel Vectrasafety car, driven by Max Angelelli, to slow down the field and allow the removal of debris. The competitors proceeded behind the safety car for five laps. As the Vectra was based on a family sedan and not relatively fast, Senna had pulled alongside the Vectra to gesture to its driver to speed up; this car was subsequently regarded as inadequate for the role and a cause of the alleged drop in tyre pressures of the following Formula One cars. Telemetry shows he left the track at 3. The car hit the wall at a shallow angle, tearing off the right front wheel and nose cone and spinning to a halt. After Senna's car stopped he was initially motionless in the cockpit. After about ten seconds, as recorded by the close- up aerial footage, his head was seen to lift to the left before returning to its original position. Thereafter he did not move again. What appeared to have happened was that the right front wheel shot up upon impact and entered the cockpit, striking the right frontal area of his helmet. The violence of the wheel's impact pushed his head back against the headrest, causing fatal skull fractures. Any one of the three injuries would probably have killed him. The subtle movement of his head in the seconds that followed raised false hopes. Moments after the crash, Angelo Orsi, a photographer and a friend of Senna, took photographs of Senna in the car after his helmet was removed and Senna being treated before marshals blocked his view. Despite receiving numerous offers, the photographs have only been seen by Orsi and the Senna family who insisted that Orsi not publish the photographs. Senna was pulled out of the car minutes after the accident. Close inspection of the area in which the medical staff treated Senna revealed a considerable amount of blood on the ground. From visible injuries to Senna's head it was evident to attending medical professionals that he had sustained a grave head trauma. An emergency tracheotomy was conducted trackside to establish a secure airway through which the medical personnel could artificially maintain his breathing. The race was stopped one minute and nine seconds after Senna's crash. Williams team manager Ian Harrison went up to race control, finding a scene where many race officials were sensing that Senna's crash had been serious. Bernie Ecclestone later arrived in race control to calm the situation. I raised his eyelids and it was clear from his pupils that he had a massive brain injury. We lifted him from the cockpit and laid him on the ground. As we did, he sighed and, although I am not religious, I felt his spirit depart at that moment. Watkins radioed for a medical helicopter and asked the intensive care anaesthetist, Giovanni Gordini, to escort Senna to Maggiore Hospital. That incident with Comas was spotted by Eurosport commentator John Watson as the . However, an unidentified person insisted that the black- box data carried on the car should be removed. Doctors rushed Senna into intensive care; a brain scan confirmed the diagnosis made on the track. At 3: 1. 0pm, Senna's heart stopped beating, doctors restarted his heart, and he was placed on a life- support machine. Senna's brother Leonardo arranged for a priest to perform the last rites which occurred at 6: 1. Senna's heart stopped beating at 6: 3. Doctor Maria Teresa Fiandri, the emergency department head physician at the hospital who was off- duty and had been watching the race live from home with her sons, immediately left for the hospital and arrived at the same time as Senna's helicopter landed some 2. In her interview after 2. Senna was due to a damaged superficial temporal artery and that, apart from his head injuries, Senna appeared serene and the rest of the body was intact. Dr Fiandri became responsible for providing medical updates to the media and public that had amassed at the hospital and, at 6: 4. Senna was dead. Early in the morning of 2 May, Harrison was called by another lawyer who took him to a mortuary. Harrison decided not to see Senna's body upon being asked. Contrary to airline policy, Senna's coffin was allowed to be flown back to his home country not as cargo but in the passenger cabin of Varig's Mc. Donnell Douglas MD- 1. PP- VOQ (cn 4. 84. Leonardo, and close friends. Senna's coffin was covered with a large Brazilian flag. The funeral was broadcast live on Brazilian television. Many prominent motor racing figures attended Senna's state funeral, notably Alain Prost, Gerhard Berger, Jackie Stewart, Damon Hill, Thierry Boutsen, Rubens Barrichello (Ayrton's new prot. However, Senna's family did not allow FOM president Bernie Ecclestone to attend. I thought it was important that somebody went to his. His grave bears the epitaph . Upon his death, so many floral tributes were received that they overwhelmed the large exhibit lobby. Senna had a special relationship with company founder Soichiro Honda. How to Photograph Birds. Bird photography, especially wild bird photography can be quite challenging. There are many articles on the Internet that cover everything from “bird photography tips” to “the art of bird photography”, but I found that many of them are not detailed enough and do not contain as much information for an amateur bird photographer. After several years of photographing birds, I decided to write this “How to photograph birds” guide and include everything I know about taking good pictures of birds. Since most of the bird photography nowadays is done on digital, the instructions below would work great for digital cameras. If you are still shooting film, just skip the parts that do not apply to film (such as RAW format, etc). Parts of this article also apply to birding or bird watching, so if you like birds and just want to be able to approach and watch them closely, read the Locating Birds and Approaching Birds sections only. Note: This guide will work for any DSLR camera, but since I am a Nikonian, I will only cover settings for Nikon DSLRs and provide detailed information on Nikon lenses that are best for bird photography. This guide could be used for any type of wildlife photography, but I will be concentrating on fast- moving birds and birds in flight, so if you are taking a picture of a fast- moving animal, feel free to use the same camera settings. How to photograph birds or. A photographer’s step- by- step guide to bird photography. NIKON D3. 00 @ 2. ISO 2. 00, 1/2. 50, f/5. First things first – Your camera equipment. Unfortunately, camera gear is the most important part of wild bird photography. Forget about taking pictures of birds with a point and shoot or a DSLR with a wide angle lens, unless you are standing close and photographing ducks and geese that are not afraid of people. If you want to shoot wild birds, prepare yourself to invest in a fast DSLR camera and one or more telephoto lenses. So, what DSLR is good for fast- action photography? I would recommend a fast camera that can handle at least 1/2. Any modern DSLR is capable of shooting at 1/2. Fast frames per second and good autofocus mean professional cameras such as the Nikon D3. D7. 00/D3 or Canon 5. D/1. D/1. Ds that are suited best for fast- action and wildlife photography. But if you already have an entry- level DSLR, it doesn’t mean that you cannot capture birds – it just means that you might miss a good shot, just because your camera is not fast enough. The most important thing to keep in mind – the speed of focus acquisition both on camera and on lenses are far more important than DSLR’s frames per second. NIKON D3. 00 @ 3. ISO 4. 50, 1/2. 50, f/8. Which brings us to the next question: What lenses are good for bird photography? It is tough to answer this question, because it all depends on how much money you are willing to put into a lens. The best bird photographers in the world will tell you that they cannot live without their 5. The Nikon 5. 00mm f/4 VR currently sells for approximately $8,5. USD, while the 6. VR is about $1. 0,3. USD. That’s very pricey and only professionals who make money by selling their images and people with large wallets can buy those lenses. If you are one of those, the best combination for bird photography would be Nikon D3s + 6. VR + 1. 4/1. 7 TC (Tele. Converter), which will altogether cost you about $1. K and give you the best performance and reach. In addition, you will have to buy a good heavy duty tripod + accessories (batteries, memory cards, etc), which will cost another $2- $3. K. The “not- so- bulky” and somewhat hand- holdable Nikon 3. TC or Nikon 2. 00- 4. TC will also yield excellent results and run at about $5- 6. K USD, but at the cost of the extra reach. On the Canon professional side, the choice is similar to Nikon’s, except for the excellent Canon 8. L IS (Image Stabilization), which is actually lighter than the 6. L IS and gives more reach. On the flip side, Canon also does not have anything similar to the versatile Nikon 2. NIKON D3. 00 @ 4. ISO 2. 00, 1/1. 60. For everyone else on tight budgets, the choice is limited to shorter focal lengths, plus teleconverters. As of today, the best affordable Nikon lenses for bird photography are either the 3. AF- S or the 8. 0- 4. D VR. I tried both the 3. AF- S and the 8. 0- 4. D and ended up getting the 3. AF- S with a teleconverter. Equipped with a fast AF- S autofocus system, the Nikon 3. TC is essentially a 4. The only big negative on the Nikon 3. VR, which I hope Nikon will add into the future versions of this excellent lens. I have tried the 3. Although autofocus still works, the camera starts to haunt, trying and failing to acquire accurate focus. At 5. 10mm f/7. 1, you would need good stabilization and plenty of light to have acceptable images. Just remember that whenever you go beyond f/5. Nikon will not guarantee autofocus to work. In fact, if you read the Nikon lens manuals, they state that autofocus does not function beyond f/5. I said earlier, it does work, but not very well. I have also tried the Nikon 7. VR II + 1. 4x/1. 7x TC and I can tell you that the 3. IQ, focal length, sharpness and bokeh. If you are a Canon shooter, the best bird photography lenses are the Canon 3. IS + 1. 4x TC, the Canon 4. L (but no IS) or the Canon 1. L IS. Some birders report good results with the Sigma “Bigma” (Sigma 5. I have not tried this lens and therefore cannot compare it with others. NIKON D3. 00 @ 4. ISO 2. 80, 1/2. 50, f/5. So far, everything that I have mentioned above in terms of focal length was for lenses alone. Once mounted on a DSLR body, the camera sensor type will also impact the field of view, meaning what you actually see in the frame and in the image. Compared to full- frame sensors, crop factor sensors will generally provide a better reach, due to the smaller size of the sensor. If this sounds confusing, see my DX and FX and Equivalent Focal Length and Field of View articles. All Nikon DX sensors have a crop factor of 1. Canons are 1. 6x. So, the actual field of view, which some photographers call “equivalent focal length” (meaning equivalent compared to 3. For example, the Nikon 3. DX camera would have an equivalent field of view as a 6. FX) sensor. Meaning, if you were photographing a bird from say 1. Nikon 3. 00mm f/4 lens with a 1. DX camera, you would need a 6. FX camera to fill the frame the same way. Being able to reach birds from a distance without distracting them is a major part of bird photography and this combination of a long telephoto lens with a DX sensor camera definitely provide more opportunities for successful birding. The downside of a crop- factor sensor, however, is the amount of noise on images at high ISO levels – so better reach does not necessarily mean better quality. As I have pointed out in my DX vs FX article, full- frame sensors control noise much better than crop- factor sensors, especially in challenging light. So both have advantages and disadvantages – DX gives you better reach, while FX gives you better quality. I prefer the latter, but I know many bird photographers prefer better reach instead. Keeping a fast shutter speed and retaining low ISO requires lots of light, especially on a lens combination with a maximum aperture of f/5. Therefore, in low- light situations, I would recommend to shoot on a tripod at slower shutter speeds rather than cranking up the ISO and having images with less detail. Birding is all about retaining the detail and having sharp images – nobody likes bird pictures that are soft or out of focus. The maximum ISO I typically use on my DX body is 8. FX body, which produce images with enough detail for my bird photography needs. Noise can be dealt with during post- processing, but lost detail cannot never be recovered. What about tripods? If you use heavy 5. The best tripods are made by a company called “Gitzo” and they manufacture carbon- fiber tripods that are extremely stable and lightweight. The best and the most expensive heavy- duty tripod heads for bird photography are “Gimbal” type heads by Wimberley or Kirk Enterprises with Arca- swiss quick- release systems. They handle heavy lenses very well and provide enough flexibility to shoot birds in flight. If you are looking for something more affordable, check out some of the cheaper Gitzo or Bogen tripods and RRS or Kirk ballheads. I prefer the Arca- swiss quick- release systems because they provide the most stability and are very easy to use. I do not recommend mounting lighter lenses on a tripod for bird photography, unless, you are standing in one spot and shooting a particular area or, as I’ve said above, there is not enough light to shoot hand- held. Camera settings. Maintaining fast shutter speeds, especially for birds in flight and small birds that move very quickly is extremely important – you cannot fix motion blur in post production. In some cases, photographers shoot at slightly slower shutter speeds just to get the bird’s wings slightly blurred, to create a feeling of motion. But in all other cases, you want to freeze the bird completely, to fully freeze the action. To achieve this, I typically set my shutter speed to a minimum of 1/8. Most digital SLR cameras have the following camera modes: “Manual“, “Shutter Priority“, “Aperture Priority” and “Program“. The camera mode I use the most for my photography, including birding is “Aperture Priority”. Many cameras today come with Auto ISO feature that automatically adjusts the ISO based on light conditions. You can set a minimum shutter speed, which can be set to a high number for bird photography and maximum ISO to retain the detail. This feature is very useful and I use it all the time, setting the Auto- ISO to on, maximum ISO to 8. DX sensor and 1. 60. FX sensor and minimum shutter speed to 1/8. The latest generation of Canon DSLRs also have the Auto- ISO capability, but it is not as versatile as Nikon’s. When shooting in “Aperture Priority” mode, which I use the most, I set the Auto- ISO minimum shutter speed to 1/8.
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