Comparing STM and USM Lenses | Banku Photography

Stm and Usm lens

 Comparing STM and USM Lenses

If you’re wondering about differences between STM vs USM Lenses, the following table shows a quick summary:

AF Motor	Speed	Sound	Focus type
USM	Faster	Louder	Full time manual*
STM	Slower	Quiter	Focus by wire
Nano USM	Faster	Quieter	Focus by wire

*Note: This table should not regarded as an exhaustive summary. For example, see this list of known (mostly discontinued) USM lenses that are focus-by-wire

Canon USM Technology

The first USM lenses appeared in 1987 with the introduction of Canon’s EF mount and is the main autofocus motor type for Canon’s professional L series lenses today. USM (UltraSonic Motor) technology utilises either ring-type, micromotor or nano USM. They are known for having fast autofocus, but emit some noise in the process. As a result, this makes them suited for photographers who need to take many photos in quick succession, but not for people using autofocus in video. Ring-type USM motors allow full-time manual focus, permitting the lens focus to be changed without power.

Canon STM Technology

STM (stepping motor) lenses were developed by Canon as an alternative to their existing USM lenses. The first STM lenses arrived on the market in 2012 to allow smooth and silent autofocus. Therefore, this makes them a great choice for videographers but not necessarily for those taking stills in quick succession. STM can be divided into two categories; lead-screw type and gear type. The former is regarded as better for videography, whilst the latter type is used to minimise lens size.

STM technology differs from USM in its focus mechanism, using focus-by-wire and thus not allowing the focus to be changed without power to the lens. The motors tend to be used in Canon’s less expensive lenses, including most EF-S mount lenses and all EF-M mount lenses.

Canon Nano USM Technology
Nano USM, whilst technically still a USM technology, differs from STM and USM lenses by combining best of both motor types – the speed of USM and the silence of STM. Canon’s first Nano USM lens was the EF-S 18-135mm IS USM, one of the kit lenses available for Canon’s APS-C DSLR cameras. Nano USM lenses differ from USM ones in that they use focus-by-wire, like STM lenses do. Nano USM is still relatively new – see this post for a list of Nano USM lenses




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The 5 Best Canon Lenses for Portrait Photography | Banku Photography

The 5 Best Canon Lenses for Portrait Photography

1. Canon EF 85mm f/1.2L II USM

($83 for 7 day rental / $1,900 retail)

Canon’s “L” series lenses are some of the best in the industry. This 85mm f/1.2 prime lens is perfect for photographers who like using longer focal length primes for portrait photography. This lens produces beautiful bokeh, sharp images, and flattering compression. 

2. Canon 70-200mm f/2.8L IS II USM

($83 for 7 day rental / $2,100 retail)

The 70-200 focal length is a staple in the kits of professional photographers of all stripes. This is one of Canon’s most popular L series lenses and an excellent option for portraits, especially for photographers who like to shoot their subjects from farther away. It is also a fantastic ceremony lens for those who shoot weddings in larger venues. This lens will let you isolate your subject with beautiful, blurry bokeh. Built-in image stabilization allows you to capture sharp handheld images even at 200mm. Discover what longer lenses do for portraits in Use Wildlife Style Super-Telephoto Lenses on Children for Beautiful and Unique Portraits.

3. Canon EF 50mm f/1.4 USM

($26 7 day rental / $350 retail)

The 50mm f/1.4 is the best Canon portrait lens for those who want to give prime lenses a try without breaking the bank. Many photographers consider 50mm to be the perfect focal length for portrait photography. Canon also makes a 50mm f/1.2L, which is slightly faster and has a better build quality but also costs around a thousand dollars more. This 50mm f/1.4 lens strikes a good balance between price and quality.

4. Canon EF 35mm f/1.4L II USM

($80 for 7 day rental / $1,800 retail)

35mm is a very popular focal length for portrait photography and the 35mm f/1.4L II lens is one of the best options for Canon shooters. This lens is ideal for environmental portraits, for detail shots at weddings, and as a walk around lens at events. On a crop sensor camera, this is effectively a 50mm lens, making it the perfect portrait lens for crop sensor cameras. If you love the idea of a professional level 35mm prime but don’t want to spend quite this much money, consider checking out Sigma’s top-of-the-line and excellently priced 35mm f/1.4 Art.

5. Canon EF 24-70mm f/2.8L II USM

($76 for 7 day rental / $1,800 retail)

This may be the best Canon portrait lens for photographers who shoot in a variety of settings and lighting situations. The 24-70mm focal length is extremely versatile—wide enough for environmental portraits but long enough to get a decent amount of zoom. For many portrait photographers, this is the lens that lives on their camera the majority of the time. This 24-70mm features Canon’s legendary L glass, sharp optics, and fast autofocus.

Lens	Canon EF 85mm f/1.2L II USM	Canon 70-200mm f/2.8L IS II USM	Canon EF 50mm f/1.4 USM	Canon EF 35mm f/1.4L II USM	Canon EF 24-70mm f/2.8L II USM
Aperture range	f/1.2-16	f/2.8-32	f/1.4-22	f/1.4-22	f/2.8-22
Weight	2.3 lbs	3.3 lbs	10 ounces	1.7 lbs	1.8 lbs
Weather Sealed	Yes	Yes	No	Yes	No
Image Stabilization	No	Yes	No	No	No
Bokeh	Good	Exceptional	Fair	Fair	Fair to good
Distortion	Very minimal	Very minimal	Very minimal	Very minimal	Very little distortion at 24mm, gets worse near 50mm
Sharpness	Very sharp	Very sharp	Sharp in the middle at f/1.4, gets sharper when stopped down	Very sharp	Very sharp
Falloff (on DSLR)	Visible at f/1.2	Somewhat visible at f/2.8 and gone by f/4 at 70mm, not visible at 200mm	Strong at f/1.4, gone at f/2.8	Never visible	Never visible
MSRP	$1,900	$2,100	$350	$1,800	$1,800

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Top 10 Perfect Rules For Photography For beginner | Banku Photography

Top 10 Perfect Rules For Photography For beginner

{1} The Rule of third

The king of compositional rules. Any photographer who does more than just take snapshot know something about the rule of third. The basic theory goes like this the human eye tends to be more interested in images that are divided into thirds, with the subject falling at or along one of those divisions. Many DSLR will actually give you a visual grid in your viewfinder that you can use to practice this rule. If yours does not just use your eyes to roughly divide your image with four lines into nine equal-sized parts, then place your subject at the intersection of those lines.

{2} The Golden Ratio Rule 

And now to confuse you even more, enter "the golden ratio" While the rule of third divide your scene into equal third, the golden ratio divide your scene a little bit different, into sections that are roughly 1:1.618. you'll probably need to see this visually

{3} Golden triangles and spirals rule

But wait, there's more. So far we've just talked about the perfect rectangle, which at 5:8 roughly corresponds to the size of a 35mm image. But if your image has diagonals, try composing it using "golden triangles." To do this, divide your image diagonally from corner to corner, then draw a line from one of the other corners until it meets the first line at a 90 degree angle. Now place your photograph's elements so that they fall within the resulting triangles.

The golden spiral, as you might guess, is a compositional tool for use with objects that have curving lines rather than straight ones. This spiral is drawn based on that complicated series of rectangles we saw above, but you can actually visualize this based on nature's nautilus shell, which matches the golden spiral shape almost exactly. If that seems a little too convoluted to you, just look for compositions where there is a spiral that leads the eye to a particular point in the image.

{4} Fill the Frame

The rule of space may seem to contradict this next rule, which is the idea that you should fill the frame with your subject. Filling the frame, of course, is different than crowding the frame. Crowding the frame means that you're breaking that rule of space and putting your subject in a constricting box. The "fill the frame" rule, on the other hand, simply means that you're looking for distracting background elements and cropping them out whenever you can. Or put another way, decide how important your subject is and then give him/her a ratio of the frame that is directly related to his/her importance.

For example, an image of an old woman with interesting facial lines and features who is standing on a busy street corner will probably warrant filling the frame. But if you want to capture context - say that old woman is standing in the quirky second-hand shop she's owned for 50 years - you may not want to use that "fill the frame" rule, because you'll want to capture her with her environment instead.

{5} Lines

If you've read my series on the six classic elements of visual design, these next rules will be familiar. The first one is the rule of leading lines, which says that the human eye is drawn into a photo along lines--whether they are curved, straight, diagonal or otherwise. A line - whether geometric or implied - can bring your viewer's eye into an image and take it wherever you want it to go. If your image doesn't have clear lines you will need something else to let the viewer know where to look, otherwise her eye might just drift around the image without ever landing on any one spot.

Diagonal lines in particular can be useful in creating drama in your Photography They can also add a sense of depth, or a feeling of infinity.

{6} Texture

Texture is another way of creating dimension in a photograph. By zooming in on a textured surface - even a flat one - you can make it seem as if your photograph lives in three dimensions. Even a long shot of an object can benefit from texture - what's more visually interesting, a shot of a brand new boat sitting at a squeaky-clean doc, or a shot of an old fishing boat with peeling paint sitting in the port of a century-old fishing village?

{7} Symmetry

A symmetrical image is one that looks the same on one side as it does on the other. Symmetrical designs are an excellent excuse for you to break the rule of thirds. There are a couple of ways you can take advantage of symmetry, which can be found in nature as well as in man-made elements. First, look for symmetrical patterns that are in unexpected places. For example, you probably won't expect to find symmetry in a mountain range. If you do, it's worth capturing with your camera. Second, look for symmetrical patterns with strong lines, curves and patterns. The more visually beautiful your subject is the more appealing it will be as a symmetrical image.

{8} Background

This is one of those rules that almost all beginning photographers break. Sometimes we get so wrapped up in our subject that we don't pay any attention to what's going on behind them. If the background is busy and doesn't add anything to your composition, try using a wider aperture so those distracting elements will become a non-descript blur. Or you can just try changing your angle. Instead of shooting the subject with all those beach-goers right behind her, angle her so that she's in front of the water instead.

Not all backgrounds need to be excluded, of course. Just make sure you pay attention to them and ask yourself whether they will contribute to or detract from your final image. Your answer will let you know whether you should get rid of them or include them.

{9} Depth

Depth is closely related to background, and is also dependent on the type of image you're trying to capture. In a landscape, for example, you typically want everything to remain in focus. In a portrait, you may want that background to be out of focus. To isolate your subject from his or her background, use a wide aperture. To include the background, use a smaller one.

Depth can also be shown through other means. Including something in the foreground, for example, can add dimension to an otherwise two-dimensional appearing image. You can also overlap certain elements - since the human eye is used to seeing closer objects appear to overlap objects that are at a distance, your viewer will automatically interpret this information as depth.

{10} Viewpoint

Viewpoint can dramatically change the mood of a photograph. Let's take an image of a child as an example. Shot from above, a photograph of a child makes her appear diminutive, or less than equal to the viewer. Shot from her level, the viewer is more easily able to see things from her point of view. In this case the viewer becomes her equal rather than her superior. But shoot that same child from below and suddenly there's a sense of dominance about the child. Think of those woeful parents who can't keep their rowdy child from picking the neighbor's award-winning roses.

Perspective can also change the viewer's perception of an object's size. To emphasize the height of a tree, for example, shoot it from below, looking up. To make something seem smaller, shoot it from above, looking down. Viewpoint isn't just limited to high, low and eye-level of course - you can also radically change the perception of an object by shooting it from a distance or from close up.

RULE OF THIRDS In Photography | Banku Photography

RULE OF THIRDS

The rule of thirds is an essential photography technique. It can be applied to any subject to improve the composition and balance of your images.

The rule of thirds is one of the most useful composition techniques in photography. It's an important concept to learn as it can be used in all types of photography to produce images which are more engaging and better balanced.

Of course, rules should never be applied blindly, particularly in art, so you should think of it more as a handy "rule of thumb" rather than one that's set in stone. However, it will produce a pleasing photo more often than not, and is an excellent starting point for any composition.

WHAT IS THE RULE OF THIRDS?

The rule of thirds involves mentally dividing up your image using 2 horizontal lines and 2 vertical lines, as shown below. You then position the important elements in your scene along those lines, or at the points where they meet.

The idea is that an off-centre composition is more pleasing to the eye and looks more natural than one where the subject is placed right in the middle of the frame. It also encourages you to make creative use of negative space, the empty areas around your subject.

HOW TO USE THE RULE OF THIRDS

When framing a photo, imagine the scene divided up as above. Think about what elements of the photo are most important, and try to position them at or near the lines and intersections of the grid. They don't have to be perfectly lined up as long as they're close.

You may need to move around to get the best composition. This forces you to think more carefully about the shot, and is a good habit to get into whether you're using the rule of thirds or not.

To help you out, some cameras have a setting which overlays a rule of thirds grid onto your photo. This removes all guesswork and helps you get your positioning even more accurate.

EXAMPLES

The rule of thirds is very versatile and can be used on any subject. Below are some example of it being used effectively in different types of shots.

In landscape shots, it's common to position the horizon along the centre of the frame, but this can give the photo a "split in two" feel. Instead, place it along one of the horizontal lines.

Try to include another interesting object, such as the tree in the photo above, and position it according to the rule of thirds. This provides an "anchor", a natural focal point for the scene.

It's a good idea to position people off to one side of the frame. This provides some "breathing space", shows the subject's environment, and stops the photo from looking like a mugshot.

We are naturally drawn to people's eyes. Place them at one of the intersections on the rule of thirds grid to give the shot a clear focal point.

Here the main subject has been placed at one of the intersections, and also along one a vertical line. The twig roughly follows the top horizontal line. The empty space at the bottom left provides balance and prevents the picture from feeling overcrowded.

Vertical subjects such as this lighthouse can split a photo in two, in much the same way as a horizon can do horizontally. To avoid this, position them off-centre in your composition.

When photographing moving subjects, position them as normal, but also pay attention to the direction they're moving. As a general rule you should leave more space in front of them than behind, to show where they're going.

USING EDITING SOFTWARE

You can easily apply the rule of thirds to existing photos by cropping them. This allows you to reposition the important subjects in your image, moving them into more pleasing positions.

To help you, software like Photoshop and Lightroom have built-in "crop guide overlays" which include a rule of thirds option. This places a rule of thirds grid on top of your image as you crop it, allowing you to get your positioning spot on.

BREAKING THE RULE

As with all rules (at least in photography), the rule of thirds doesn't apply in every situation, and sometimes breaking it can result in a much more eye-catching, interesting photo. Experiment and test out different compositions even if they go against any "rules" you've learned.

However, learn to use the rule of thirds effectively before you try to break it - that way you can be sure you're doing so in order to get a better composition, rather than just for the sake of it.