Nick, I do agree with you about image quality improving with aperture choice.

My comment about this kind of photo being accessible by any photographer, even if they can’t afford the more expensive optics, is that there has been some criticism about the material on this site. The criticism is that the techniques are outside of the scope of the everyday photographer.

So what I wanted to show here, is that this kind of image is totally within the range of anyone that can afford f1.8 prime lenses.

Neil vN

I hesitate to disagree with one of my heroes, but in this instance I’m afraid I must. Most lenses are NOT at their best when fully open. By using the f/1.4 lens at f/1.8 you are FAR closer to the sweet spot for that lens (my guess is around f/2?). However, should you have used the f/1.8 lens, you would be using it absolutely wide open, with all the CA and other issues inherent in doing this.

I know it sounds a little as if I’m being a pedant, but this is why we pros spend such a fortune on fast glass. Not so we can always use them wide open, but so that when we DO use it close to wide open we are getting the best from that lens.

I always tell my students, an f/2.8 lens used at f/4 will give you a better image than an f/4 lens at f/4.

Adi … I nearly invariably do when I shoot indoors where there is Tungsten lighting. My default is 1/2 CTS.

Neil vN

Hannibal .. The reasons for quite often using a relatively high ISO when using flash, is a combination of those reasons:
– I want the available light to register and give some mood and context,
– to have a fast enough shutter speed to help eliminate camera shake,
– I am often bouncing in extreme ways to get some soft light from my flash,
– my flash works less hard, and recycles faster.
– because using a high-ISO capable camera allows me to do this.

As for the doubling of ISO in-camera, or via post-production, and whether this has an effect or not, and at which ISO level this might kick in .. there is some debate about this. I haven’t investigated this at all, working on the assumption that getting (close to) correct exposure is a good thing anyway.

Neil vN

I also wonder (if you have the time :)) whether or not a doubling of the ISO in-camera would result in exactly the same image as a +1 stop exposure compensation in the RAW editing, in terms of noise?

This post was mentioned on Twitter by diyphotography: I find mysef in love with Neil’s control over flash and ambient http://bit.ly/5CfoeO (via @Neil_vN)…

I have just added a new article on when NOT to use rear-curtain flash sync. : )

Neil vN