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Walt Kuhn

Roberts Education Photography Classes


Listed below are the upcoming photography classes for February and March:

Go to robertscamera.com/education to sign up.

 

What other classes would you like to see as well???

2014 CLASS AND EVENT SCHEDULE

Upcoming Advanced Classes:

February 12th

SPORTS WORKSHOP @ The FieldHouse in Fishers

Learn how to shoot indoor basketball. Stop getting blurry sports photos.

$59, 6:00 – 9:00pm

 

February 19th & February 26th (2 week Course)

COMPOSITION @ The Jewish Community Center
Learn the rules of creating a well composed photograph, and when to break them. $49, 6:00 – 8:00pm

 

February 20th & February 27th (2 week Course)

LOW-LIGHT PHOTOGRAPHY @ The Arts Garden in Downtown Indy
Shoot after the sun goes down. Learn the techniques and equipment that you should utilize when shooting with very little light.
$69, 6:00 – 8:00pm

 

February 22nd

INDIANA ICE HOCKEY GAME @ Pan Am Plaza (vs. Under 18 USA Team)
Learn how a pro shoots a sporting event! This workshop will help you shoot ALL sports better and will give you behind the scenes experience in shooting pro events. Use arena strobes. Rental camera equipment available.
$139, Noon – 10:00pm

 

February 27th

THE BUSINESS OF PHOTOGRAPHY @ The JCC
Learn the ins and outs of starting your or running your own photo business. We will cover everything from taxes and insurance to marketing, licensing and billing!
$39, 6:00 – 8:00pm

 

MARCH 6th, 13th, 20th, and 27th (4 week Course)

STUDIO LIGHTING @ The JCC
This four week class will cover the basics of utilizing studio lighting to enhance your studio portraits. This class is perfect for the beginner!
$99, 6:00pm – 8:00pmpage1image15208 page1image15368 page1image15528 page1image15688 page1image15848 page1image16008Upcoming FREE* Classes:

*Class is free with camera DSLR purchase and $30 without purchase

NIKON D3000/D3100/D5000/D5100/D5200

Learn how to operate your new Nikon camera! This introductory class will help you better understand the controls and capabilities of your new camera.

February 12th: The JCC, 6:00pm – 8:00pm March 3rd: The JCC, 6:00pm – 8:00pm

CANON EOS REBEL SERIES

Learn how to operate your new Canon camera! This introductory class will help you better understand the controls and capabilities of your new camera.

MARCH 10: The JCC, 6:00pm – 8:00pm
Upcoming ‘Fundamentals of Photography’ Classes (4 Week Course):

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February:

Carmel – Wednesdays Feb 5,12,19,26

Brownsburg –  Thursdays Feb 6,13,20,27

March
Broad Ripple – Mondays March 3,10,24,31

Brownsburg - TuesdaysMarch 4,11,18,25

Carmel - Wednesdays March 5,12,19,26

Downtown - Saturdays (Day classes) March 1,15,22,29

$125/each 4 week session

 

Upcoming Hands-On Workshop:

MARCH 8th or 9th

GOOSE POND WORKSHOP

Photograph over 10,000 Sand-Hill cranes in Linton, IN with Sigma professional photographer and leading birding experts. Loaner equipment will be available as well as lots of door prizes! One day workshop (lunch is included). $149

REGISTRATION REQUIRED for ALL CLASSES/EVENTS

VISIT THE WEBSITE: ROBERTSCAMERA.COM/EDUCATION FOR FULL CLASS DESCRIPTIONS AND TO ENROLL.
2-Hour Private lessons also available
12 Instructors to choose from!



John

Hot! Deals!


Shooting Small with a BIG Impact.

If you’re selling something on Ebay or Craigslist, the pictures can be the difference between someone passing through or stopping for a longer look.

The normal process for shooting these types of pictures is to setup a white or black sweep on a table, add some lighting on the sides, dial in your exposure and Bingo Bango you have a salable item in queue.  It works.  And if your shooting pictures of baby grand pianos or a Honda CB750 this is still an appropriate method.  However, most items posted for sale online are smaller than the family dog.  For those items you will want to use a light tent.  And the best news is that it is the EASIEST shooting scenario you have ever seen.  A light tent will drastically increase the quality of your product images.

If you have a bright, sunny day, a light tent on its own can be a powerful aid to making better pictures.  Unfortunately, I don’t live in a tropical climate with eternal sunshine so adding lighting is a must for me.  In its simplest form, a light tent kit with constant lights is a valuable tool.  This kit is excellent for small subjects but generally requires the use of a tripod.

Look for these items to be our Hot Deals in the coming week!

We’re always looking for those little extras in our shopping experience.  Want to hear the icing on the cake?  When you shop at Roberts, you learn at Roberts.  How’s that for value?!

Hit the link to subscribe to our newsletter.  (Hint: It’s how you’re going to see our “Hot Deals”)

 

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John

Its Back to (Photography) School Time!


Now that kids are back in school and the semester is in full swing,  its time to schedule a class or two for yourselves.  Along with our regular event schedule of camera operational classes we offer beginner and advanced courses and fun photo walks!  The “City at Night” event w/ Jarrid Spicer is an opportunity to try your hand at night photography in downtown Indianapolis.   We have an introductory course to help you refine and improve the quality of your pictures.  If you’re ready to take your lighting to the next level, take look at our Advanced Speedlight class with John Scott.   And last but not least, the always tough situation of “Low light and Fast Action” will be covered in an upcoming class.

Roberts is committed to an excellence in education.  Let us help you make your next great image.

Happy shooting and happy learning!



John

How To: Fireworks Pictures


It’s been said that fireworks are beautiful in that they have to disappear.  I’m paraphrasing, of course, and, respectfully, I disagree.  I think it would be grand if they would stay for a little while.  Oh, wait….let’s just take a picture and keep that memory forever.  What?! You don’t know how to take pictures of fireworks?  Never fear.  I’ll tell you.  It’s actually quite a lot easier than you might imagine.

read more



John

Everything but the Kitchen Sink Lighting Class


We have locked in the dates for a new class.  A Guide to Understanding Light is a comprehensive and fundamental instruction in all things lighting.  This means everything from better understanding light that exists in a scene so you know how to make the most of it to breaking out the big studio strobes to completely engineering your own creative vision. 

Whether you are family shooter, hobbyist, amateur or pro, everyone will benefit from this course.  We will be using a variety of products in the second and third sessions including some of my favorite Westcott products from the Apollo line and the uLite series from the Photo Basics line.  The latter are some of the best entry level constant light kits currently available.  I just purchased the Apollo Orb with the Orb Grid for a lightweight on location portrait lighting system and absolutely love it.  

Come join us for three great evenings in April.

robertscamera.com/classes



Jarrid Spicer

MINE IS BIGGER THAN YOURS! The myth of sensor size.


SensorSizes

 

Hi friends! Today I want to address sensor sizes. With the new crop of inexpensive full frame cameras out like the Nikon D600 and the Canon 6d everyone wants to talk about sensors sizes. I want to attempt to clarify some miss conceptions about “bigger is always better”. Does a bigger sensor give you better picture quality? The simple answer is sometimes. What I mean by that is in photography we almost never get anything without giving up something. So if we are going to have a bigger sensor we are going to have to have a bigger more expensive camera and bigger and more expensive lenses. We are probably going to gain better low light and better shadow and highlight detail. I say probably because a 6 year old full frame sensor might not be able to match image quality with a newer smaller sensor because the technology of sensor making changes constantly. On top of that what if your a bird photographer? If I am using a smaller sensor camera like the Nikon D7000 vs the full frame sensor like the Nikon D600 because the sensor is smaller in the D7000 I gain more magnification from my lenses. So if the 70-200mm f2.8 lenses is what I like to use, in order to get the same magnification with a D600 I would need a 300mm f2.8 lens, which will not zoom, is twice the size, and over twice the price. So now lets turn this debate around and argue for the full frame. What if I am shooting some extreme low light like weddings, or indoor sports like basketball, now a camera like a Canon 6d would shine. At higher ISO like 3200 the new full frame camera’s are better than anything any of us have ever had before. In the old days of film (or with old timers like Jonathan) 800 ISO was considered fast, now on a regular basis I shoot well past 4000 ISO and have much better results. This allows me to hand hold in much more conditions than ever before. The full frame also excels in landscape photography. A landscape photographer usually wants as much detail as possible. The full frame has more dynamic range which means there will be less blown out highlights and less blocked up shadows. So we get much more natural looking pictures. As you can tell there is no perfect sensor size or perfect camera. As any good carpenter has multiple hammers, any good photographer will have multiple cameras. The only way to know for sure which cameras are perfect for you is to come on in to the store and try some out. The best thing going for us photographers today is all of the new cameras are amazing, it just depends on what you shoot and what you need.



Derek

Mythbusting Part 3: Faster SD Cards Give You Photos With Less Blur


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Continuing our series of posts dispelling myths commonly repeated in some corners of the internet (or by less scrupulous retailers), we come up to the last of our entries based on a misunderstanding of the digital world and how it works, as opposed to the analog film world. Today’s myth:

A faster SD card will let your camera take faster photos, resulting in shots with less blur.

While a lot of you may be rolling your eyes at this, we have heard it come up before. So, for those of you who don’t know, there’s only one aspect of any camera that ultimately controls all blur in a photograph: shutter speed. A faster shutter will stop both blur from your own shaky hands, as well as from moving subject. Other things can help you get faster shutter speeds, like bigger apertures, or higher ISOs. Image stabilization can help reduce blur cause by you holding the camera, but not for moving subjects. But, your memory card never plays a part in this.

In film, a faster film really would have helped images have less blur. That’s because in the film days, film was both the determiner of your ISO as well as your storage medium. While memory cards are your storage medium in digital, they no longer play any role in determining ISO. That’s all down to the sensor. When you take a digital photo, your camera records some data into a temporary buffer that’s built into the camera. Then, to be saved, that data has to be written to a memory card. This is where the speed of a memory card really comes into play. The faster the memory card can write data, the faster the camera can empty its buffer. The faster it empties the buffer, the faster it can add new photos to it. So, a faster card can help, but it helps you take more photos in a continuous burst.

But it can’t make your photos have less blur. There’s a lot of stuff that can help you there, including faster lenses, flashes, or a camera with a sensor that can use faster ISOs. But not your SD card. So, be wary of anyone trying to tell you differently. Because we have heard of it happening.



Derek

Mythbusting Part 2: The Quality of My Digital Image is Dependent on the Quality of My Card


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Show of hands– who reading this remembers film? You know, film, that plasticky stuff you used to load into cameras that let you take pictures? Yeah, that stuff. In general, it was easy to know where you stood with film. The more it cost, the better it probably was. Sure, you could get a $5 roll from Wal-Mart, but the $8 roll from a camera shop like, say, us was probably going to be better stuff. Better colors, better detail. You could have the best lens going, but if you were using cheap film you’d have a softer, grainier photo than with the good stuff.

And then digital came along and messed everything up. In digital, the “film” is essentially baked in as a function of the sensor, and the image isn’t comfrotingly recorded as corrosion of silver particles, but instead as a series of 1s and 0s called binary. Which eventually leads us to this being a thing:

The Myth: Image Quality is Correlated to the Quality Of My Memory Card

Better film yielded better photos, and the memory card (be it SD or CF) serves a similar purpose in digital, so, it should also dictate quality too, right? Wrong. Film was an anlalog medium. The images was made up of corroded silver grains. The better the emulsion, the finer the silver grains, the better the color packs, the better the image got. The digital equivalents of all of that are in the camera’s sensor, and the maximum quality you can achieve with those is decided the moment you buy the camera. All the memory card lets you do is write those 1s and 0s somewhere else, but a 1 is a 1 no matter how much you paid for the memory card. There aren’t better 1s and better 0s to be had.

So then, why do some memory cards cost a lot, and some not? If it’s not about image quality, what’s it actually about? Well, it comes down to a few things. One is stability. More expensive cards are often more “stable,” or less likely to become corrupt or damaged over repeated use or the occasional drop. If a card becomes damaged or corrupted, then images will be unrecoverable, so, more stable is good. Another factor is speed. A good memory card can write the image from the camera much faster, and a computer can read it back off the card much faster. This lets you take more pictures in a burst, record longer video clips, and spend less time importing photos. A third factor that sometimes comes up is actual build quality. Some high-end cards like Hoodman’s Raw Steel line are made from metal instead of plastic, and are ruggedized and water-sealed to keep them safe from harm through trying situations.

But, what a good card can’t do is give you a higher quality image. In digital, that’s down simply to your lens and sensor combination (and, you know, your skill, but we’re focusig on the gear end here). If anyone tries to tell you different, trust us, you’re getting taken.



Derek

Mythbusting Part 1: Opening JPGs Causes Them To Degrade


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Hello everyone, and welcome back to Roberts Raw! It’s a bright and shiny new year out there, and we’re in the dark, cold land between major shows and product announcements. As such, we thought we’d take some time while we can to do a short series of posts covering some common myths and misconceptions about the modern (ie, mostly digital) photo world. And, since everything in digital comes down to the file, we thought we’d start with this doozy:

The Myth: Opening and closing a JPG repeatedly degrades the file and causes data loss.

Often seen as a explanation for why JPGs are called “lossy” compressions, this is one of those assertions that betrays a poor grasp of the underlying technologies that make digital photo possible. The simple truth is, a JPG to your camera and computer is just a series of 1s and 0s that make a file. When you open it they get read off the disk into memory. But, they don’t wear out. They’re still just ones and zeroes. There are some things that can cause a JPG to lose data (or, as it’s called, become “corrupted”), but those are usually things like bad memory cards or hard drives, things that cause bits of the data sequence to be forgotten. But, while that’s a good argument for keeping backups of all your photos, it doesn’t lend any weight to the idea that opening your JPGs will slowly make them look worse. Open and close and move them around as much as you want to, they’ll be exactly the same each time.

So, what does lossy mean then? And why are TIFF and other raw formats that are “lossless” better? Well, lossy means that some information is being thrown away while that series of ones and zeros is being calculated. This is done in various ways, but always for the same reason: to save file size. JPGs do it by looking at small chunks of your photo and merging very, very similar spots of color into one bigger field of the same color. This means there’s less data to write, and that means smaller pictures. Plus, as a bonus, if done well most people in most situations won’t see the difference anyway. Lossless files don’t do this. They keep everything about the original photo. Every color at every pixel is recorded. This means that you have a lot more to work with in post-processing, truer colors, and smoother gradients. But, depending on how it’s done, you will have larger to much, much larger files than with a lossy format like JPG.

But, they’ll all still open as many times as you want without any loss of quality that wasn’t decided when they were written*.

 

*Again, if the disk the file is on gets damaged during reading or writing the file, the corruption can occur, but that’s unrelated to actually reading the file, it’s just because where the data used to be went away. Also, if you edit a file in an editor like Photoshop and then save it over the original, you can make changes that will reduce quality. But only if you choose to save them. Simply having opened the file will not alter the original data in any way.

 



Derek

You Asked Us: What’s The Weight Difference Between the D600 and D800?


Recently, I was asked by a customer via our nifty contact button on the right-hand side of the blog (you might have to scroll down a bit) what the weight difference between the D600 and the D800 was. While I’d normally dismiss this for the blog purposes, since it’s just a spec sheet matter, I’m actually glad it was asked this time. Because, it turns out while Nikon can make them some cameras, they’re not quite as good with a unit converter. At least initially, they had the weight of the D600 in ounces much more than it should have been, given the grams it weighed, resulting in a camera that weighed more than the larger D800. Luckily, both our site and theirs has that fixed now, but, just for everyone curious, here’s the skinny:

The D600 weighs 26.8 ounces, or 760 grams if you like. The D800 is heavier, weighing in at 31.7 ounces, or 900 grams. That makes the D600 almost 3 ounces lighter than it’s big bro. The legendary D700, for comparison, weighed 35 ounces, or 995 grams. That makes the D600 fully 8 ounces lighter than the out-going champ. That’s an adequate sized cheeseburger’s difference in weight. The D800 is only about 3 ounces and change lighter than its predecessor, but considering it moved up to 100% viewfinder coverage–and should have therefore been heavier–that’s no small feat.

And now you know. If you have any other questions, feel free to ask us. That’s what we’re here for.