Percentage of sharp images by shutter speed
Introduction
I use equipment from Canon and Nikon. Their stabilizers are named IS and VR. IS (Image Stabilization) is Canon's abbreviation, VR (Vibration Reduction) is Nikon's. The Image Stabilizer helps me get a much sharper image with long lenses and also in low light.
IS and VR are so important to getting great shots that I wouldn't buy a lens without them if I had the choice.
VR vs IS
VR (Nikon) and IS (Canon) are one and the same. I will use both terms interchangeably. Each manufacturer uses their own abbreviations.
Both of these systems stabilize the image to avoid hand-shake blur. This helps in many cases to do without a tripod and get sharp photos. VR and IS allow me to shoot in low light without using a tripod, except in the darkest part of the day (twilight or night).
VR and IS work great for still subjects, and I shoot most of those shots. Of course, for shooting moving objects, sports or children, stabilization systems are useless.
Some people like to use VR and IS for panning, in which case the stabilizer works in one direction, while in others the picture is blurry.
To get a sharp frame of a fast moving subject, you will still have to use either a fast lens, more light, or raise the ISO.
The stabilizer only helps to compensate for camera shake, but cannot do anything with moving objects.
Other manufacturers
Minolta, Panasonic, Olympus and Sony
Minolta (now Sony) makes DSLRs that have an image stabilizer built into the camera. I have not tried these systems. Their advantage, according to the manufacturer, is that they work with any lens, since the stabilizer is in the camera, not in the lens.
Anti Shake
Beware of such names. Most manufacturers using this term are fooling the consumer and simply raising the ISO to get a faster shutter speed. You can increase the ISO yourself. Typically, such cameras do not compensate for hand shake, as the VR and IS system does.
How Stabilizers Work
I'll skip the details, the basic principle is that the motion sensors predict its direction and speed in the initial phase when the photographer presses the shutter button and takes the picture.
They then use various lens or sensor shift devices out of phase with a detectable error signal to counteract this movement.
Due to this, the image is stabilized during exposure.
You can see the operation of the stabilizer through the viewfinder of SLR cameras or on the screen of compact ones by pressing the shutter button halfway.
Graph and reality
Hand tremors, which doctors call tremors, are random.
Take enough photos in any conditions. Some will be sharper, some more blurry. The percentage of hits depends on the conditions, shutter speed, focal length.
The graph shows how the percentage of your shots that are sharp varies with shutter speed. At very slow shutter speeds, such as 30 seconds, you will almost never get a sharp shot, regardless of the presence of the stabilizer. But the probability of this is not zero, since there is a lucky chance.
At fast shutter speeds like 1/1000 you'll get sharp shots almost 100% of the time, again regardless of stabilizer. But almost 100% is not pure 100%. There are also exceptions to the rules.
It all comes down to the methods of probability theory and statistical analysis. Mathematicians will be able to explain it better.
Old man's tales that shutter speeds should be no slower than 1/30 or 1/(focal length) come from the observation that most people get about 50% sharp shots under these conditions. This just corresponds to the middle section of the black curve on the graph. Being a random feature, a faster shutter speed produces a higher percentage of sharp shots, and vice versa.
Trick
Since shooting is a game, I try to increase my chances of success with continuous shooting. I increase the shutter speed and take several frames in a row in this mode. Later I choose the sharpest ones. The longer the shutter speed, the longer the burst should be. To get at least one sharp shot. For example, if the probability of getting a sharp shot is 10%, then I take 10 or 20 shots in a series and choose the best one. It works!
In the same way, we can get a blurry frame with a normal lens at a shutter speed of 1/250 second. But this should not happen often, otherwise learn how to handle the camera.
The stabilizer in this case always increases the chances of success. I don't know of cases where this was not the case.
When is a stabilizer effective?
VR and IS give a significant improvement where the graphics curves are separated. Try shooting at a shutter speed of about 1/2 - 1/15 with a normal lens and you will see the difference between night and day. With shorter shutter speeds, the shots will be sharp anyway, with longer shutter speeds, the stabilizer will no longer help.
Examples
Image of the room where the shots were taken
I took pictures with a Nikon D200 camera with an 18-135 lens without a stabilizer and a Nikon D70 camera with an 18-200 mm VR lens. I'll show the photo from the D70 at 100% scale, and from the D200 a little smaller so that they match.
Hover to see the difference
Now you understand why I think that it is better to buy the camera itself (carcass) cheaper, and buy the lens more expensive? Remember that lenses can last for many years, and carcasses change almost every year. The cheaper D70 with an 18-200 lens with a VR system shoots much better at slower shutter speeds than the much more expensive D200 without a VR lens.
Of course, they were compared at a focal length of 28mm and a shutter speed of 1/4 second, where the stabilizer makes a big difference. At faster shutter speeds, the difference will not be as significant, but it will show up at longer focal lengths, even on a sunny day.
Hover over image to compare shot taken with D200 without VR lens and Canon SD700 compact camera with IS system.
Image Stabilizer is the key to getting sharp shots in typical indoor lighting conditions. Even a small pocket camera with a stabilizer can easily beat a DSLR if a non-stabilized lens is used in low-light shooting without a tripod.
For each of the pictures, I took six shots. With the stabilizer, five or six were sharp. Without a stabilizer, five or six came out blurry. I took enough pictures to make the sample representative.
Sorry that the size of the pictures and the exposure do not exactly match, since I shot with different types of cameras. Oddly enough, pocket camera shots look sharper, probably due to the fact that in-camera processing uses a stronger sharpening compared to a DSLR.
Tripods
I usually turn off the stabilizer on my tripod as I don't need it. But even if I forget, I do not see a problem in this.
Many stabilization systems are smart enough to detect that the camera is on a tripod and turn off. But if you're shooting in strong winds or your tripod isn't very stable, a stabilizer will also help.
Long exposure photography
If you're shooting handheld at slow shutter speeds, on the order of a few seconds, stabilizer will usually improve the result somewhat.
Frequency bands
Vibration has amplitude and frequency. Stabilization systems are able to process vibrations only in a certain frequency band.
The range of interest to us lies in the range from 0.3 Hz to 30 Hz.
VR and IS ignore very low frequencies, otherwise their operation will make it difficult to pan or track.
Frequencies above 30 Hz are also not particularly important. Our muscles do not contract faster than 30 times per second, and external high-frequency vibrations are filtered by the mass of our body and the mass of the camera.
Never place the camera on something that vibrates at a high frequency. Hold it in your hands so that your body dampens the vibrations.
Above a certain range of amplitude (strength of vibration), the mechanics of the stabilization system can no longer compensate for it in order to counteract a large displacement, for example, if you shoot from a car that is driving off-road.
Active or Normal Mode (Nikon)
If you have a switch for these parameters on your lens, then it optimizes the system for various frequencies and amplitudes.
Active mode is suitable for large displacement amplitudes, which are ignored in normal mode, assuming you are wiring.
I have never seen a difference in their performance, I usually shoot in normal mode. I guess if I'm filming something moving, the VR system won't be able to handle it anyway. Sometimes I use active mode, but not often.
Airplane
Stabilization systems are designed to compensate for hand tremors, not shooting from moving cars or helicopters. These are much stronger vibrations that require external stabilizers such as gyroscopes.
When shooting from an aircraft, never lean the camera against a door or any other part of the aircraft. Instead, hold the camera in your hands and sit up straight with your shoulders back from the seat so your body absorbs as much vibration as possible.
As always, you have to proceed by trial and error. When I was shooting from the open windows of a small aircraft, Nikon's VR system couldn't handle it, which, in general, is logical, since it is not designed for this.
Very short exposure
VR and IS work very well at fast shutter speeds too, especially with long lenses where you can really feel the difference.
Thanks to modern digital technology, we can immediately evaluate the result, which was impossible when shooting on film. If the image is even slightly blurry, it is easy to see on the camera screen.
Thus, shots even at 1/1000th of a second with 300mm lenses can be better with stabilizer. I use it all the time.
Although the stabilization system does not respond to high frequencies of vibration, these vibrations have never been a problem for fast shutter speeds.
The problem when shooting with a short shutter speed is the same - vibration at a frequency of 0.3 Hz - 30 Hz. Fast shutter speeds reduce the effects of vibration, so VR is not as effective at fast shutter speeds, however, with long lenses that are very sensitive to vibration, VR and IS are quite useful.
With short throw lenses at short shutter speeds, vibration is generally not a problem, however, a stabilizer can improve things here as much as possible.
Although high frequency vibrations are not a problem, they can produce sub-harmonics in the 0.3 Hz - 30 Hz range, which are amplified by long lenses. It is precisely with such vibrations that the stabilization system effectively copes.
Failures
VR and IS systems can sometimes crash and misbehave. If this happens, turn them off until you can return the lens for repair.
My first Canon 28-135mm IS had an interesting stabilizer defect. It worked well at slow shutter speeds, but in daylight and short shutter speeds, the pictures turned out worse!
I sent it back to Canon under warranty and Canon quickly replaced the system and the lens worked flawlessly.
That's why I always check newly bought lenses. I shoot with and without stabilization, at different shutter speeds and focal lengths, to see where I get the best results. This way you can even catch a rare factory defect.
The use of IS and VR goes a long way in getting a sharp image down to about 1/60th of a second with normal lenses and up to about 1/500th of a second with telephoto lenses.
At shutter speeds longer than a few seconds, the effectiveness of stabilization decreases, but it's still better than nothing if you don't have a tripod or it's impossible to put the camera on something hard.
Stabilizer can help even at very fast shutter speeds with telephoto lenses
My best shots are taken outdoors at dusk. That's why I love VR and IS
I always keep the stabilization system on, except when the camera is on a very strong tripod. I also use a stabilizer when shooting with monopods.
Image stabilization is a technology used in photography and videography that mechanically compensates for the camera's own angular movements to prevent image blur at slow shutter speeds ("shake").
The stabilization system is not designed to compensate for the movement of the subject and, in fact, serves as a replacement for a tripod in a certain range of shooting conditions.
The capabilities of image stabilization systems are limited. According to the most optimistic data, the gain in the amount of allowable shutter speed is 8-16 times (3-4 exposure steps).
Nevertheless, in a number of cases, automatic stabilization can be extremely useful, allowing you to increase shutter speed by these same 3-4 steps and calmly shoot handheld in such lighting conditions and at such focal lengths of the lens, when a tripod would be needed without a stabilizer. In addition, sometimes stabilization makes it possible to avoid a “forced” increase in the sensitivity of the matrix, which leads to an increase in the noise level.
Digital Image Stabilization- an image processing technology in video filming equipment that allows (in addition to compensating for camera movement) to fully or partially compensate for the movement of one of the objects in the frame and improve image quality due to less blurring of important plot details.
Image stabilizer- the general name of all parts of the camera that perform image stabilization.
Encyclopedic YouTube
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Video Basics for Photographers 6. Image Stabilization.
optical stabilizer. Fundamentals of photography. Lesson 18
SONY VEGAS PRO 13 VIDEO STABILIZATION | TUTORIAL
Subtitles
Technologies have found application in photography, video filming, in the design of astronomical telescopes, binoculars. Stabilization is of the greatest importance in case of danger of camera movement when shooting, at a slow shutter speed and a significant focal length of the lens. In camcorders, camera movement causes a visible frame-to-frame wobble. In astronomy, equipment shocks cause lens oscillations, which cause problems with registering the position of objects due to image displacements from the nominal position on the focal plane.
"Shake" and "pulling the frame"
Operation of the stabilization system
Image stabilizers are optical, with a movable matrix and electronic (digital).
Image stabilizer sensor
The camera has built-in special sensors that work on the principle of gyroscopes or accelerometers. These sensors constantly determine the angles of rotation and speed of movement of the camera in space and issue commands to electric actuators that deflect the stabilizing element of the lens or matrix. With electronic (digital) image stabilization, the angles and speeds of movement of the camera are recalculated by the processor, which eliminates the shift.
Optical Image Stabilizer
Optical stabilization technology has been picked up by other manufacturers and has proven itself well in a number of telephoto lenses and cameras (Canon, Nikon, Panasonic). Different manufacturers call their implementation of optical stabilization differently:
- Canon and Kodak - Image Stabilization (IS)
- Nikon - Vibration Reduction (VR)
- Panasonic - MEGA O.I.S.(Optical Image Stabilizer)
- Sony Optical Steady Shot
- Tamron - Vibration Compensation (VC)
- Sigma - Optical Stabilization (OS)
For film cameras, optical stabilization is the only technology to combat "shake", since the film itself cannot be moved like a digital camera matrix.
Moving sensor image stabilizer
Especially for digital cameras, Konica Minolta has developed stabilization technology (English Anti-Shake - anti-shake), first used in 2003 in the Dimage A1 camera. In this system, the movement of the camera is compensated not by the optical element inside the lens, but by its matrix, fixed on a movable platform.
Lenses are getting cheaper, simpler and more reliable, image stabilization works with any optic. This is important for SLR cameras with interchangeable lenses. Matrix-shift stabilization, unlike optical stabilization, does not introduce distortions into the picture (perhaps, except for those caused by uneven lens sharpness) and does not affect the lens aperture. At the same time, matrix-shift stabilization is considered to be less effective than optical stabilization.
With an increase in the focal length of the lens, the effectiveness of Anti-Shake decreases: at long focuses, the matrix has to move too fast with too large an amplitude, and it simply ceases to keep up with the "elusive" projection.
In addition, for high accuracy, the system must know the exact value of the focal length of the lens, which limits the use of old zoom lenses, and the focusing distance at close range, which limits its work in macro photography.
Motion Matrix Stabilization Systems:
- Konica Minolta - Anti-Shake (AS);
- Sony - Super Steady Shot (SSS) - is a borrowing and development of Minolta's Anti-Shake;
- Pentax - Shake Reduction (SR) - developed by Pentax, found use in Pentax K100D, K10D and subsequent SLR cameras;
- Olympus - Image Stabilizer (IS) - is used in some models of SLR, "ultrasound" and in all Olympus mirrorless cameras.
Electronic (digital) image stabilizer
In panning mode, the stabilization system compensates only for vertical oscillations.
In September 2012, a smartphone became the world's first optical image stabilization (OIS) mobile phone.
© 2014 site
An optical image stabilizer is a device designed to mechanically compensate for camera shake that occurs when shooting handheld, and thereby reduce the effect of shake.
The benefits of optical stabilization are obvious: the stabilizer allows you to shoot handheld in low light conditions, using relatively low shutter speeds, and, despite this, get sharp pictures. In other words, in certain borderline situations, the stabilizer is quite capable of replacing a tripod for the photographer.
However, optical stabilization has its own dark side, the existence of which, as a rule, manufacturers of photographic equipment prefer to remain silent. But the fact remains: if used ineptly, an optical stabilizer can, depending on the circumstances, either improve or degrade the technical quality of your shots. And if the advantages of optical image stabilization are well known to everyone thanks to advertising, then photographers have to learn about its not so obvious shortcomings from their own experience, which often leads to disappointment in their own photographic capabilities.
To save you from both disappointment and dangerous optimism when using a stabilizer, I will try to talk about how it works, when a stabilizer is really useful, and, most importantly, when it is better to refuse to use it.
Everything that will be said below primarily concerns the Nikon VR optical stabilization system - simply because I myself shoot mainly with Nikon and my experience with other systems is not enough to make any authoritative judgments. However, I will take it upon myself to say that almost everything about Nikon VR applies to Canon IS. Both Nikon and Canon use in-lens optical stabilization modules that are very similar in design, and, by and large, the Nikon VR (Vibration Reduction) and Canon IS (Image Stabilizer) systems function in much the same way, differing only in name. Other similar systems are not far away: Sony OSS (Optical Steady Shot), Fujifilm OIS (Optical Image Stabilizer), Panasonic OIS (Optical Image Stabilizer), Tokina VCM (Vibration Compensation Module), Sigma OS (Optical Stabilization), Tamron VC (Vibration Compensation).
The stabilizer, which is not built into the lens, but into the camera, as implemented in the Sony SSS (Super Steady Shot), Olympus IS (Image Stabilizer) and Pentax SR (Shake Reduction) systems, works a little differently, but most of my comments remain in strength and for intracameral stabilization.
Before proceeding directly to practical recommendations, let me at least briefly describe the internal structure and principle of operation of the optical stabilizer, so that you have a better idea of what it is capable of and why it behaves this way and not otherwise.
How does a stabilizer work?
The optical stabilization module in Nikon VR and Canon IS systems is built into the camera lens and consists of the following components: a movable optical element (lens), which is part of the optical scheme of the lens; angular rate sensors (ARS) that measure camera vibrations; electromagnets that move the optical element in accordance with the readings of the TRS and a microcircuit that ensures the smooth interaction of all system components.
The VR and IS systems have two angular velocity sensors with piezoelectric gyroscopes. One of them is used to determine the deviations of the camera relative to the transverse axis, and the other monitors the deviations relative to the vertical axis. If you use aviation terms, then the first sensor is responsible for pitch camera, and the second - for yaw.
When the stabilizer is active, information about the direction, speed and amplitude of camera movements is read at a frequency of 1000 Hz, i.e. 1000 times per second. This data is processed by a microprocessor, which in turn forces the electromagnets to move the optical element of the stabilizer, thereby changing the trajectory of the light rays inside the lens. As a result, the projection of the image remains more or less fixed relative to the camera's matrix, and the photographer is able to take a clear picture, despite the vibration.
Please note that the two-sensor system described above is not able to deal with camera vibrations relative to the longitudinal axis, i.e. roll, which in particular occurs when the shutter button is pressed too hard.
Also, classical VR and IS do not take into account the camera shift vertically or horizontally parallel to the focal plane, since the angular velocity sensors are able to register only rotations. This is not a big problem, since the contribution of parallel oscillations to image blur is negligible, except for shooting from very close distances. In this regard, some Canon lenses are equipped with the Hybrid IS system, which was developed specifically for macro photography and also responds to parallel camera shift.
As for the optical stabilization systems built into the camera, they generally work according to a similar principle, with the only fundamental difference being that the camera matrix itself acts as a moving element, and not the lens of the lens. Modern in-camera stabilization systems are able to take into account roll, pitch, yaw, as well as vertical and horizontal camera shift.
The main advantage of systems with a moving matrix is that the stabilizer works with any optics. This saves you the hassle of overpaying every time you buy a new IS lens, as you would with a Nikon or Canon lens. Moreover, Nikon and Canon have only the latest generation telephoto lenses stabilized, and a significant part of normal and wide-angle lenses, in principle, do not have versions with a stabilizer.
A significant drawback of in-camera stabilization is its relatively low efficiency when working with long-focus lenses. But it is when using telephoto lenses that the movement is most noticeable and increased requirements are imposed on the stabilizer. The longer the focal length of the lens, the greater the speed and amplitude of the photosensor must move to compensate for vibration, and the degree of its mobility inside the camera is very limited. At the same time, the stabilizer built into the lens only needs to move its optical element slightly so that the image projection on the matrix moves to a sufficient distance to eliminate vibration. As a result, such systems can operate faster and more efficiently.
Main Rule
The most important rule for operating VR and IS is this: the stabilizer should always be turned off, except in cases where its use is justified. In a word, the default position of the switch should be "OFF".
This may seem strange, given the fact that both advertising and official instructions advise to keep the stabilizer on all the time and turn it off except when shooting from a tripod. Photo equipment manufacturers insist that the stabilizer cannot harm your pictures, while experienced photographers prefer to adhere to a completely opposite opinion: yes, the stabilizer is useful, and sometimes completely indispensable, but if used illiterately, it is more likely to lead to image degradation . Optical stabilization is primarily a solution to a problem, and if there is no problem, then the stabilizer used inappropriately can itself become a problem.
By using the word "degradation", I may have got a little excited. In fact, even an incorrectly used stabilizer rarely brings the image to complete unusability. It's just that on modern high-resolution cameras, it does not allow you to get what is called "ringing sharpness". Yes, the pictures come out more or less sharp, but this is not the sharpness that can be achieved when shooting in calm weather with a tripod with the mirror up and the stabilizer off.
Thus, if you do not suffer from perfectionism or reduce all your pictures by fifty times for publication on social networks, then, of course, you do not need a crystal-clear multi-megapixel picture, and you may well keep the stabilizer on all the time, as manufacturers recommend. - the pictures will be sharp enough. If you expect the highest possible technical image quality from your equipment, then you should take a more conservative approach.
It is the fact that the stabilizer is turned on at the wrong time degrades the image very slightly (but still worsens) that makes me stick to the strategy described above: keep the stabilizer mostly off and turn it on when it is really necessary.
Don't misunderstand me: sharpness drops both when the stabilizer is on when it should be off, and when the stabilizer is off when it should be on. Moreover, in the second case, sharpness can suffer even more than in the first. But learning to recognize situations when the stabilizer should be turned on is much easier than situations when it should be turned off. And if I forget to turn on VR, I will quickly notice the consequences of this and turn it on, and if I forget to turn off VR, I can only notice my mistake when I return home and look at the pictures on the big screen, i.e. when it's too late to fix anything.
When the stabilizer is useless
The optical image stabilizer is absolutely useless in two situations: when the lack of sharpness is not related to camera movement, and when shooting at objectively slow shutter speeds.
Regarding the first question, it should be understood that the optical stabilizer compensates only and exclusively for the vibration of the camera. It has nothing to do with the movement of the subject. If you want to freeze motion, you'll need a fairly fast shutter speed anyway, whether you're using stabilizer or not. VR and IS allow you to increase the shutter speed with impunity only when shooting static scenes. If the subject is moving and moving fast, the stabilizer will not help you.
In the same way, the stabilizer is not able to correct focus misses, lack of depth of field and other technical errors that steal sharpness - it only eliminates vibration.
As for long exposures, a tripod will be more useful than VR or IS. With the help of a wide-angle lens with a stabilizer, I managed to get more or less sharp shots, shooting handheld at a shutter speed of 1/8 s, but this is already a toss game. At shutter speeds in the region of 1 s and longer, no stabilizer will provide you with acceptable sharpness. Those. Of course, there will be an effect from stabilization: instead of disgusting quality, you will get just bad quality. But is this what you are aiming for? It's better to take a tripod and enjoy uncompromising sharpness at arbitrarily slow shutter speeds.
When is stabilization most effective?
VR and IS are most effective in the shutter speed range of 1/30-1/60 s. This does not mean that all your shots will be sharp - just that the percentage of sharp shots, all other things being equal, will be the largest in this range. Again, this does not mean that stabilization will not work at other shutter speeds - it will, however, its effectiveness will be somewhat lower. In general, you can expect a positive effect on sharpness from the stabilizer at shutter speeds from 1/4 to 1/500 s. It’s just that at slow shutter speeds (1/4-1/15 s) there will be little sense from the stabilizer and the sharpness of the shots will be very lame in any case, and at short shutter speeds (1/125-1/500 s) the stir without stabilization is not very it is noticeable. After 1/500 s (and sometimes even earlier), the rules of the game change somewhat, as will be discussed below.
The stabilizer does not guarantee sharpness, but rather increases the likelihood of getting a sharp frame. Sometimes even with a stabilizer, the picture turns out to be blurry, and sometimes you are lucky, and the picture comes out sharp without any stabilization and even with a relatively slow shutter speed. The difference is that with a stabilizer, the percentage of rejects will be significantly less, and the greatest difference here is noticeable precisely at moderate shutter speeds, i.e. 1/30-1/60 s. The 4-stop gain promised by marketers () belongs exactly to this range. However, according to my observations, a gain of 2-3 stops is the realistic maximum that can really be expected from a stabilizer operating under optimal conditions.
The need for stabilization increases dramatically as the focal length of the lens increases. An optical stabilizer in a telephoto lens is not just a fashionable option, but a really necessary and useful device. The longer the focal length, the more difficult it is to get a sharp shot without a tripod, and the more noticeable the contribution of optical stabilization, even at relatively fast and safe shutter speeds. However, not everything is as simple as it might seem at first glance.
Short excerpts
At shutter speeds over 1/500 s, it is advisable to turn off the stabilizer. There will be no benefit from it. The fact is that if Nikon is not lying and the stabilizer sampling rate is really 1000 Hz, then the Nyquist frequency (half the sampling rate) will be only 500 Hz. In other words, the microprocessor of the stabilizer is capable of processing information about oscillations with a frequency not exceeding 500 Hz or 1/500 s without errors. Even with 500 Hz vibration, the system will perform at its best. Higher frequency vibrations may not only not be suppressed, but even exacerbated due to sampling errors. When vibrating with a frequency of more than 1000 Hz, it is simply naive to expect any positive effect from the system.
Thus, at high shutter speeds, the optical stabilizer is useless for the reason that we are insured against low-frequency vibrations by a short shutter speed, and it still cannot cope with high-frequency vibrations.
In this case, the angular velocity sensors continue to work, and the movable optical element continues to move frantically. Those. the stabilizer itself is a source of high frequency vibration - you can hear it buzzing. At normal shutter speeds we're willing to put up with this as we're preoccupied with dealing with more intense low-frequency vibrations, but when shutter speeds get so fast that they can easily cut off rough vibration, sacrificing potential pixel-by-pixel sharpness just because we're too lazy to turn off the stabilizer is unwise.
Shooting with a tripod
If you are using a tripod, it is again best to turn off the stabilizer. On this issue, even manufacturers of photographic equipment agree with me. Compared to a stabilizer, a tripod provides a more benign, and, most importantly, more predictable result.
When the camera is mounted on a tripod, the gimbal, forgotten when turned on, may well be the main source of vibration. Trying to catch non-existent vibrations, the stabilizer itself generates vibration. This vibration, amplified by the resonance in the legs of the tripod, is perceived by the stabilizer as something external, and provokes it to an even more active fight against vibrations, the cause of which it is itself. It is somewhat reminiscent of guitar feedback.
My advice to turn off the stabilizer when shooting from a tripod also applies to more advanced optical stabilization systems (like Nikon VR II), which allegedly can automatically detect that the camera is on a tripod and turn itself off by the absence of jitter. In my opinion, the ability of these systems to distinguish true from phantom vibrations is not reliable enough to be safely relied upon. Forced manual shutdown of the stabilizer insures me against any whims and errors of overly smart electronics.
Despite all of the above, there are circumstances that justify using a stabilizer even on a tripod. We are talking about those cases when the camera, even when mounted on a tripod, still remains unstable, i.e. firstly, when the very surface on which the tripod stands is subject to vibration, secondly, when you shoot while holding the camera with your hands and not firmly fixing the tripod head, and thirdly, when using a monopod. However, in these cases, the use of optical stabilization is not necessary, although sometimes it can have a positive effect on sharpness.
Shooting from an unstable position
In some situations, camera shake may be particularly intense. Whenever you take a photo on the go, or on a weight, or holding the camera at outstretched arms, or even in one hand, you thereby kindly invite the shake into the frame. In general, I advise you to avoid such situations, but when they are unavoidable, optical stabilization will come in handy. For example, some non-standard angles are simply unattainable if you hold the camera strictly according to the charter. And from a climber who hangs over a cliff and wants to photograph an alpine landscape in passing, it is difficult to demand that he take a somewhat stable position or use a tripod. In a word, if circumstances require, feel free to turn on the stabilizer - at least it will save you from coarse blur and allow you to get an interesting shot.
Special mention deserves photography from vehicles in motion: cars, boats, helicopters, funiculars, etc. Here, a rather intense external vibration is added to the tremor of the photographer's hands, and therefore the use of a stabilizer is very, very desirable. You still don’t have to wait for ringing sharpness in such conditions, so let the stabilizer make your life a little easier.
Never lean on the side of a motorboat or press the camera against the window glass. Try to sit or stand so that, if possible, do not lean against any structures that conduct vibration. Hold the camera in your hands and let your body itself dampen most of the high frequency vibrations.
Some Nikon lenses have a VR operation mode switch: Normal and Active. So, the Active mode is designed specifically for such extreme situations, when not only the camera is shaking, but everything around is shaking. When shooting from a stable position, you should select the Normal mode. It is designed for a smaller amplitude of vibrations and works more accurately under standard conditions.
Shooting with wire
When shooting with wiring, it is appropriate to leave the stabilizer on.
On Canon lenses equipped with an IS mode switch, select mode 2, which is specifically for panning. In this mode, the stabilizer compensates only for vibrations that are perpendicular to the direction of wiring.
Nikon VR does not have a special mode for panning, as panning is automatically recognized. The system itself notices when you move the camera smoothly in a certain direction, and does not try to compensate for this movement. Perpendicular vibrations are worked out in the usual way.
The key here is the smoothness and continuity of panning. Stopping or slowing down the wiring at the moment the shutter is released is not only a rather gross error in itself, but also confuses the stabilization system, forcing it to perform unnecessary actions.
Stabilizer and back button focus
If you use the AF-ON or AE-L / AF-L button to focus, then you should remember that this button activates only autofocus, not stabilizer. The activation of the stabilizer is still controlled by the shutter button, and it is desirable to press it in two steps. Having focused with the AF-ON button, press the shutter button to the first stop, and only when the stabilizer elements begin to move (usually it takes a split second), press the shutter all the way. You can not wait for the stabilizer to wake up and immediately press the trigger to the second stop - the stabilizer will still turn on and do everything in its power to eliminate the stir. It's just that if you still give him half a second to spin up the gyroscopes and analyze the nature of the vibration, he will be able to act more efficiently. In addition, when you press the shutter button in two steps, the camera experiences significantly less camera shake than if you put your finger on the shutter in one fell swoop. Do not forget that neither VR nor IS can compensate for the roll that occurs with this approach.
Stabilizer and Flash
If you use the camera's built-in flash at least from time to time (and only professional cameras do not have a built-in flash), then perhaps another unpleasant surprise awaits you: while the flash is recharging, the stabilizer does not work. Due to the fact that both the flash and the stabilizer are quite active consumers of electricity, the camera is forced to restrain their competition for access to the battery, and it does this by turning off the power to the stabilizer until the flash capacitor is fully charged. The camera rightly assumes that since you have the flash on, you are most likely interested in recharging it as quickly as possible, even at the cost of giving up stabilization. If the flash is at maximum power, it may take up to a few seconds to fully recharge. The only radical solution to this problem is to install an additional independently powered flash in the hot shoe.
Effect on bokeh
One of the unpleasant features of optical stabilization systems built into the lens (like Canon IS and Nikon VR) is their negative effect on out-of-focus areas of the image, i.e. bokeh. The stabilizer is designed to maintain the sharpness of objects in focus, and, when activated, moves its optical element in accordance with this task. This changes the optical path of all rays, and not just those that converge in the focal plane. This is fraught with an unpredictable change in the degree of correction of spherical aberrations of the lens, which in turn can lead to a change in the nature of the bokeh. Usually, when the stabilizer is on, the circles of blur become a little more pronounced, and the bokeh becomes a little harsh in appearance. However, this effect is so insignificant and hardly noticeable that I personally do not consider it necessary to attach great importance to it.
Obviously, the stabilizer built into the camera has no effect on the bokeh, since the light rays pass all their way through the lens, without additional deviations from the path given by the lens design.
Isn't it all too complicated?
Perhaps too difficult. But what to do? Since you have taken to reading this article and mastered it almost to the end, it means that you are very serious about the quality of your photos, and you will not be scared by a capricious stabilizer.
Frankly, I myself do not always follow my own recommendations, and sometimes I leave the stabilizer on even at short shutter speeds, when I could easily do without it. I become especially liberal during hikes and long walks over rough terrain, when the hand tremor noticeably increases due to fatigue, and there is no time to get a tripod or laziness. But at the most crucial moments, when the quality of images becomes of fundamental importance for me, I try to be extremely conservative and not turn on the stabilizer without a good reason.
This brings us to another interesting question: is it even worth buying a lens with a stabilizer if there is a similar model on the market without it? Very often, conditionally outdated lenses without VR and IS can have excellent optics and at the same time cost significantly less than more modern stabilized models. As for budget zooms, here the premium for the stabilizer is usually small, and therefore buying the latest models is almost always economically justified. In the end, ceteris paribus, a lens with a stabilizer is better, if only because it is more versatile. You look, and stabilization will come in handy. But when it comes to buying expensive professional glass, the price difference between stabilized and unstabilized versions of the same lens can be quite significant. For example, the Canon EF 70-200mm f/2.8L IS USM, popular among photographers, costs $2400, while the inferior Canon EF 70-200mm f/2.8L USM costs only $1400. And this difference is not the limit.
Analyze your needs. If you are shooting sports, and, therefore, work mainly at short shutter speeds, then the stabilizer will not help you out much. If you mainly photograph landscapes and architecture, and even from a tripod, then the stabilizer is even more useless for you. As well as when working with studio flashes. And only if you regularly shoot handheld in low light conditions, and the subjects are not too nimble, the stabilizer will be a good help for you.
Thanks for attention!
Vasily A.
post scriptum
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Image stabilizers are used in all digital cameras. They are necessary, because the cameras in the hands of users at the time of the picture are often in a movable position: slight hand trembling or other possible factors affecting the unstable position of the camera. Without stabilization, pictures would always come out blurry, and image stabilizers were invented to solve this problem. Some companies call them vibration dampers.
The simplest and most understandable image stabilizer is tripod, but its use is often impossible. It is large and uncomfortable, it is unthinkable to carry it with you always and everywhere. It is often used by professional photographers to take long exposure shots.
There are also software image stabilization techniques: reducing shutter speed and increasing ISO (iso), however, graininess may appear on such a frame. But these are not the best tricks, given the fact that it is often impossible to reduce shutter speed due to poor lighting.
There are 2 stabilization systems: digital, optical. Let's start in order.
Optical image stabilization system
By the name, you can guess that we are talking about the operation of the lens unit (optics). The principle is simple: the lens block is shifted by the desired distance in the opposite direction of the camera movement.
By itself, this system is good, it is more expensive and technically more complex. However, it has advantages: the stabilized image that enters the viewfinder is transmitted to both the matrix and the autofocus system.
There is also a stabilization system based on moving the camera's matrix. Those. the principle is the same, only instead of the lens block of the lens, the matrix will shift by a certain distance when the camera is shifted. The system has advantages and disadvantages. The advantage is that a camera with such a stabilization system involves the use of cheaper interchangeable lenses (without an optical stabilization system). Minus - the image is transmitted to the viewfinder and to the focusing system unstabilized, although the matrix "sees" it stabilized (which is important). However, at large focal lengths, such a system becomes almost useless, because. the matrix has to move very quickly to the sides, and it does not have time to do it.
Important: the optical stabilizer does not affect the image quality and works well even when zoomed in. However, it requires quite a lot of energy and is technically complex, so the dimensions of the chamber increase.
Digital stabilization in the camera
Digital stabilization does not involve the use of additional devices in the case. In this case, the camera's processor and pre-recorded programs are used. However, part of the information (along the edges of the matrix) disappears.
In fact, the image is initially taken larger in size (larger than we see in the photograph) and when the camera is shifted, the visible area of the picture can shift on the matrix in the opposite direction, but not further than the actually captured image.
It sounds complicated, but it's actually much simpler. It's just hard to explain. The main thing to take away is that digital stabilization involves the use of program and processor resources. In fact, the camera already has algorithms - they recognize the image shift and compensate for it. At the same time, the algorithms are smart, and they easily determine the shift of the picture and the movement of objects in the frame. That is, moving elements do not affect image stabilization in any way.
There is a drawback of such a system - this is a poor collaboration with digital zoom. If you zoom in on the camera, noise will appear in the image. However, there is also an advantage. Firstly, this is a reduction in the cost of the camera. Secondly, the absence of additional devices inside the camera itself, which makes it possible to make it more compact.
Something else about stabilization
The operation of the stabilizer is impossible without sensors. These sensors are sensitive and capture the slightest movement of the camera and even the speed of movement. When fixing the offset, they give signals to the processor or drives to move the stabilization element.
The very first stabilizer (optical) was used by Canon in 1994. It was called Image Stabilization (IS).
Other companies a little later also began to use this technology, they just called it differently:
- Optical Steady Shot (Sony);
- Vibration Reduction (Nikon);
- MEGA O.I.S (Panasonic).
A moving matrix stabilizer was used in 2003 by Konica Minolta called Anti-Shake technology.
Competitors picked up the technology and also began to apply it, naming it differently:
- Super Steady Shot (Sony);
- Image Stabilizer (Olympus);
- Shake Reduction (Pentax).
Optical or digital stabilizer - which is better?
There can't be two different options here. Definitely, optical image stabilizer is always better. According to tests (we don’t know which ones, we just say so), it shows the best results. And in general, it is easy to verify this on your own. You just need 2 cameras with different stabilization systems. Take pictures on each of them, but at the same time shaking the camera itself a little in your hands. The result will be obvious.
Cameras with an optical stabilization system are more expensive, and the price difference is fully justified. If there is a choice between a camera with digital or optical stabilization, it is always better to choose the latter option.
Your mark:Optical Image Stabilization is a technology used to mechanically compensate for the camera's own angular movements in order to prevent image blur when shooting at slow shutter speeds. The optical stabilization system built into the lens serves as a kind of replacement for the lens in a certain range of shutter speeds. The gain from using optical stabilization is usually around 3-4 exposure stops. Thanks to the optical stabilization mechanism, in some shooting situations, the photographer can increase the shutter speed and calmly shoot handheld.
Optical Image Stabilizer technology was introduced in 1994 when Canon introduced a new system to the mass market called OIS (Optical Image Stabilizer). The scheme of this optical stabilizer consisted of special lenses that corrected the direction of the light flux inside the lens and electromagnetic drives responsible for the deviations of these same lenses.
The stabilizing element built into the lens was characterized by mobility along the vertical and horizontal axes. On command from the sensor, it was deflected by an electric drive in such a way that the projection of the image on the photosensitive film (or matrix) completely compensated for the camera's vibrations during the exposure. Thanks to this solution, at small amplitudes of camera oscillations, the projection always remains stationary relative to the matrix, which provides the image with the necessary clarity.
The main difficulty in creating such optical stabilization was the exact synchronization of the trembling of the photographer's hands and the amount of deflection of the corrective lenses. However, Canon has successfully dealt with this problem. True, it was not without some shortcomings. In particular, the presence of an additional optical element in the design of the lens reduces its aperture ratio.
The principles of operation of the optical stabilization system, laid down in the early 90s, by and large have remained unchanged up to the present day. The Japanese company was followed by other leading manufacturers of photographic equipment, who presented their optical image stabilization systems, which received brand names:
Canon - Image Stabilization (IS)
Nikon - Vibration Reduction (VR)
Panasonic - MEGA O.I.S. (Optical Image Stabilizer)
Sony-Super Steady Shot
Sony Cyber-shot - Optical SteadyShot
Sigma-Optical Stabilization (OS)
Tamron - Vibration Compensation (VC)
Pentax-Shake Reduction (SR)
Despite different names and descriptions for these systems, they are based on the same approach, but may differ in the degree of effectiveness of camera shake compensation. Let's briefly go through the various options for optical stabilization from well-known manufacturers of photographic equipment.
Canon
As something of a pioneer in optical image stabilization, Canon has traditionally placed great emphasis on implementing this system in its lenses for SLR and compact cameras. Branded lenses with a built-in optical stabilization system are marked IS (Image Stabilizer). The IS system provides for an additional group of lenses placed in the middle of the lens structure. The electromagnetic drive allows you to instantly shift one of the lenses of this group relative to the optical axis. Camera vibration is detected by two piezoelectric sensors, often referred to as gyroscopic sensors. One of the sensors detects the horizontal displacement of the camera, while the other, respectively, is responsible for the vertical plane.
Signals from gyroscopic sensors are processed by a microprocessor, which determines the amount and direction of image displacement relative to the optical axis of the lens. Next, the microprocessor drives the electromagnetic drive of the stabilization unit to correct the image position by shifting the movable lens along two axes in a plane perpendicular to the optical axis of the lens. As a result, the image can be stabilized and the degree of "smearing" of the image is reduced. Tests show that the IS system can be effective at shutter speeds up to 2 to 3 stops. You can force it to turn off if needed.
For high-quality macro photography, Canon offers lenses with a built-in Hybrid IS optical stabilization system. Vibration and camera shake significantly affect the quality and clarity of the picture when photographing small objects. And the standard optical stabilization system is not so effective here. The new Hybrid IS optical stabilization technology adds another yaw rate sensor to detect the amount of angle deviation due to hand-shake, and a new acceleration sensor that detects the amount of lens movement in a linear plane.
It should be noted that the displacement of the camera in the linear plane has a very strong effect on the quality of macro photography. The IS block now includes four sensors, rather than two, to more effectively compensate for the slightest vibrations of a digital camera. The microprocessor analyzes the signals coming from the sensors and, according to a special algorithm, generates control signals for shifting the stabilizer lens by means of an electromagnetic drive. The Hybrid IS system reduces the effect of both types of "shake", that is, both a sharp change in the angle of the lens direction in a circular plane, and camera shift in a linear plane.
The Japanese company also uses Dynamic IS optical stabilization technology, which has migrated to cameras from video shooting. It is used in telephoto and wide-angle lenses when shooting movies. The Dynamic Optical Image Stabilizer is designed to provide a more stable picture when shooting movies by compensating for low-frequency vibrations such as camera shake or handheld shooting.
Nikon
Other manufacturers are implementing similar technological solutions. In particular, Nikon uses the Vibration Reduction (VR) optical stabilization system in its lenses. An additional group of lenses with a movable element is also used here, and the amount and direction of camera movement during the exposure of the image are calculated by the microprocessor. It processes data from two gyro sensors at a rate of approximately 1000 values per second. If necessary, the microprocessor, by means of two electric drives, controls the displacement of the movable lens relative to its central position.
The VR system is activated automatically when the photographer presses the shutter button halfway. When the shutter button is pressed halfway, the Image Stabilizer works less effectively and only suppresses small vibrations for comfortable framing in the viewfinder or LCD monitor. At the moment of fully pressing the shutter button, the movable lens is instantly set to the central position, which allows you to compensate for camera vibrations as efficiently as possible.
Thus, in the process of exposing the image, the most accurate vibration compensation mode is activated, which provides a clearer picture. Using the VR system allows you to increase the exposure time by several times. Various modifications of this optical stabilization mechanism (VR and VR II) are used in a wide range of lenses produced for Nikon SLR cameras.
Panasonic
Panasonic uses an optical stabilization system called MEGA O.I.S, which was originally developed by the company's specialists for branded camcorders, but then was adapted to photographic equipment. In particular, for use in digital cameras of the Lumix line with interchangeable lenses. To compensate for the displacement of the image projected through the lens relative to the photosensitive matrix, the optical system is supplemented by a group of lenses with a moving element. Having fixed the vibration of the camera, the built-in gyro sensor sends a signal to the microprocessor to calculate the correction. Then, based on the received data, the microprocessor shifts the stabilizer lens so that the light is directed exactly to the matrix. This whole process takes a matter of fractions of a second.
Owners of Lumix cameras equipped with the MEGAO.I.S. system can switch the stabilizer operation modes. The first mode provides for the constant operation of the optical stabilizer, and the second one assumes that the stabilization system turns on only at the moment the shutter release button is pressed. Naturally, the possibility of completely disabling the stabilization system is supported in cases where this is dictated by the shooting conditions or the desire of the photographer.
Pentax has its own proprietary stabilization system called Shake Reduction (SR). For the first time for commercial use, it was introduced in 2006, when the company launched a compact 8-megapixel digital camera Optio A10. Later, Pentax began to use this stabilization system not only in their compact, but also in SLR digital cameras.
Shake Reduction technology is based on the shift of the camera's matrix. In this case, it is no longer the movable lens of the stabilizer that moves vertically and horizontally, but the photosensitive matrix of the camera.
Such a stabilization system does not affect the aperture ratio of the lens or the cost of optics, the stabilizer is alone and is located in the camera body, consumes less energy than focusing systems built into the lens.