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Employ Camera Lens Approach for "Final Freedom"

Victor Frankl, author of Man's Search for Meaning, called our ability to choose how we respond to circumstances our "final freedom."

Think about this for a moment. We can respond to the events in our lives in one of three ways: positively, negatively or neutrally. Even in difficult times, when we do not seem to have many or any choices, we still posses this final freedom that allows us to choose how we respond to our circumstances.

That's a good thing to know, and it's a good idea in theory. However, how can we implement this idea in the real world? One way is to get your brain to function like a camera, especially when facing difficult circumstances. Instead of thinking "what do I see?," think in terms of "what would the lens of a camera see if a picture could be taken of this event or these circumstances?"

The camera lens captures only the facts. However, unlike a camera, your brain provides all types of emotional input. When you "see" something, light waves bounce off objects in your environment and are instantaneously converted by your visual sensory organs into the only language the human brain understands, electrical impulses.

These impulses race around the neural pathways in your brain and trigger responses from many different areas, including the parts of your brain associated with memory. This process builds a mental image of what you have observed. Therefore, what you "see" is heavily influenced by your memories, what you want to see, what you fear, other emotions and so forth and so on. That's why three people can see the same thing and respond in three totally different ways: positively, negatively or neutrally.

OK, I've brought up this positive, negative, neutral thing twice now. This is the key to exercising your final freedom. If you accept the premise that you have these three choices, you can pre-decide which choice will help you get the best results in life. My vote is to get in the habit of consistently choosing a positive response, occasionally choosing the neutral response and eliminate or minimize negative responses.

Think of this as a two-step process. When you encounter difficult circumstances, ask yourself:

What would a camera lens see?

Is there any possible way to respond positively to this event or these circumstances? If all else fails, you can always default to the "what can I learn from this and what will I do differently next time?" response. Enjoy your final freedom. Develop it and it will serve you well.

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Review of the Canon Wide Angle Lens - The EF-S 10-22mm F 3.5-4.5 USM

I have just received my new Canon EF-S 10-22 ultra-wide angle lens. This is one of Canon's most popular lens and is designed for the "crop sensor" series of DSLR. More on what a crop sensor is later. My first thought after a couple of frames is "Wow, this is really wide, it wraps around my block."

The question of the day is why do I need a 10-22mm wide angle lens. I already have a EF-S 18-55 zoom that came with Canon X1i camera. So what am I going to do with that extra 8mm of width for a wide angle shot. That 8mm is like a football field when I am shooting a landscape in the distance (well maybe not quite a football field, but close).

There is a great need for those of us that shoot landscapes for a wide angle lens. As you might notice in my landscapes I tend to shoot very wide shots with mountains or red rocks in the foreground and the horizon in the distance. I have been shooting most of my landscapes at 18mm with my kit lens on the T1i. That means that I am shooting at 28.8mm in film 35mm size. This is because the T1i is a crop sensor camera with a factor 1.6x.

Now I have to explain the crop sensor stuff. Suffice to say that there are three ratios of crop sensors in the Canon line of cameras; full sensor, 1.3x, and 1.6x. This refers to the ratio of the sensor (the computer chip that sees the image and translates it to digital). The full sensor is the same size as the 35mm camera of years past. The two other ratios are, in effect, a subset of the full sensor and the 35mm film size. For practical purposes this means that the full sensor would see the entire football field, the 1.3x sensor would see inside the 20 yard lines and the 1.6 factor would capture inside the 30 yard lines. Now, you math majors out there do not hold me to the exact proportions, I am just trying to illustrate the concept.

Here is a list showing what Canon cameras have which sensor:

Canon EOS 1Ds, Mark II and II (Full Frame)
Canon EOS 5D and 5D, Mark II (Full Frame)
Canon EOS 1D, Mark III,IV (1.3x Crop Frame)
Canon Digital Rebel, T1i,XSi,XS (1.6x Crop Frame)
Canon EOS 20D,30D,40D,50D,7D (1.6x Crop Frame)

Now what does all this have to do with me wanting, needing, lusting after a 10-22mm wide angle? Now you know that this lens will fit on my camera (whew, that took a long time). You will also know that the 10mm, the widest of the wide angle, is really a 16mm on my camera compared to how it looks on a full frame camera. That is still very good and will capture really ranging views of those red rocks that I am so fond of.

What about the other characteristics of the lens? All the reviews I have read show it to be a very high quality "glass." Canon designates their top-of-the-line lenses with the letter "L" in the description. Although the EF-S 10-22 f/3.5-4.5 does not carry the "L" designation, the use of three aspheric elements and one SD element is a common characteristic of a quality lens. My first first shots with the lens left me with the impression of how clear and sharp it is.

This has quality optical parts and is not a "low-end, consumer type lens". Some pundits have suggested that if it had not been an EF-S type lens, it might have received the "L" designation, but since it will not fit on a pro level DSLR (EOS 5D,1Ds series), Canon did not give it a "professional" L designation. In fact, no EF-S lenses have the "L" designation to date.

EF-S lenses, of course, are designed for use only with APS-C (1.6x) sensor Canon DSLRs and will currently only physically mount on the Digital Rebel series, and EOS 20D,30D,40D,50D 7D. The EF-S design allows the rear element to be closer to the sensor then with EF lenses, improving image quality, especially at the shortest focal lengths. The "S" in EF-S means "short back focus" and now you know why.

There are many technical reasons that this lens is good for wide shots and landscapes. The reviews have shown that it is very sharp and very fast when auto focusing. On the negative side I will note that, if you use this lens when looking at a person up close it will make them look like they are standing in the circus exhibit with the distorted mirrors. It is clearly designed for those shots that are as wide as all outdoors.

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Basic Digital Camera Accessories - Filters Made For Digital Cameras

As any one who owns a digital single lens reflex camera will attest lenses can be quite an investment. Lenses that are optimized for digital project an image onto the camera sensor with high contrast, good color and sharp focus. As photographers we really do get a lot for our money when we purchase a lens. So why do we then install a regular old filter instead of one made to match the lenses optical quality?

I mentioned digitally optimized lenses before, but just what does that mean? While these lenses have several features that make them especially well suited to digital photography one of the main benefits lies in the coatings applied to the glass of the lens. Standard lenses have coating applied to almost every internal and external surface yet they tend to only have an anti-reflective coating on the exterior surface of the front element only. Digital lenses have the anti-reflective coating applied to all surfaces of the glass and this is a key component.

The image sensors used inside digital cameras is highly polished and reflective. This isn't a design flaw, it's the only way they can be made in order to achieve sharp and focused images. Unfortunately it's the very reflectivity of the sensor that causes imaging problems.

As light from our subject passes through the camera lens it focuses on the image sensor. But because the sensor is so reflective some of that light bounces back up through the lens. Older lenses or those not digitally optimized lack the anti-reflective coatings on the back sides of the glass elements. The light that has bounced off of the image sensor strikes these uncoated elements and reflects once again back down to the image sensor. This twice reflected light is now out of focus and causes ghosting and loss of contrast in our image.

We can see that if the lens is made with anti-reflective coatings on the backsides of the elements that we can eliminate a significant source of image ruining stray light. The same principle applies to lens filters. It's difficult to find a filter without coatings; all of them in fact are coated in one way or another. However like the lenses just discussed standard filters lack the coatings on the backside of their glass.

Filters optimized for digital cameras have anti-reflective coatings on the back side of the glass element. Our digital lenses do a great job of not bouncing back reflected light to our camera's sensor, filters made for digital complete the job and allow the camera to capture the very best image.

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