Photography Camera

What Camera Should I Buy? (Organized by Camera Type)

2011-04-21T01:28:00.000+07:00

View Cameras
Not too many photographers start with a 4x5" view camera, but that is rather a shame. View cameras are the most flexible cameras, usually made from a basic design that has not changed for over 100 years. You know the guy in the old time photo studio who photographs with his head under a cloth? He's using a view camera. Ansel Adams? He took most of his best photos with a huge 8x10" view camera. All those luscious ads for food in magazines? Taken with view cameras.
A view camera is fundamentally a light-tight box with a slot at one end for a lens and a slot at the other for the film. You compose and focus your image on a groundglass, then displace the glass with a sheet of film four by five inches in size. That's right, the negative from a view camera is about the same size as a proof print that you get back from a 1-Hour lab.
I tried several times to teach a very intelligent friend how to use my Nikon 8008. Despite the camera's marvelous user interface and available automation, she simply couldn't remember what all the different controls were for. However, she had no trouble understanding my SINAR monorail view camera, an enormous contraption that intimidates 99% of experienced amateurs. That's because a view camera's controls are simple, direct, and physical.

Another advantage of having used a view camera is that it gives you an understanding of perspective. With a view camera, the lens and film aren't fixed parallel to each other. This opens up a huge range of creative opportunities that are unavailable to most users of 35mm and medium format gear. For example, if you want to take a photo of a building with a Nikon, you have to point the camera up towards the sky. You will then be projecting the vertical exterior of the building onto the angled film surface. The lines of the building will converge towards the top of the frame. With a view camera, you shift the lens up and/or the film down. The film is now "looking up" at the building through the lens, but the film is still parallel to the building exterior so lines don't converge.
A used view camera outfit will cost you about $500. I prefer metal cameras such as Calumet, Cambo, Linhof, and Sinar. All view cameras work the same way. What you pay for in a more expensive camera is the assurance that when the controls are zeroed, everything is in fact parallel and you'll get a sharp picture. My friend Elsa has a beautiful Deardorff wooden view camera that we tried to use to copy her 20x24" Polaroid originals. In theory this should yield high-quality images. In practice, it does not. I measured the camera with the indispensable Zig-Align mirrors (available from zigalign@compuserve.com for about $50) and discovered that the lensboard and film back were not anywhere near parallel. Nor could they be reliably kept parallel so we scrapped the idea and substituted an old metal camera instead.
If you're ready to buy a view camera, read "Choosing a Large Format Camera" and then View Camera Technique.
At right: the very first image that I made with a view camera, back in 1981. I was a 17-year-old undergraduate at MIT taking an intro photography course (the only one I've ever taken). We had old cheap metal view cameras, loaded Tri-X, and developed the film and prints ourselves.

35mm SLRs
The 35mm single lens reflex (SLR) is most folks' idea of a serious camera. SLR means that the same lens is used for viewing and taking pictures. A mirror in the body directs the light from the lens up into a prism for viewing, then flips up out of the way just before an exposure is made. These are extremely versatile instruments in the right hands and can take beautiful pictures if used with care.
Unfortunately, the vast majority of SLRs are bought with cheap zoom lenses and then used with an on-camera flash as the primary light. There is nothing especially wrong with taking snapshots this way, but don't expect an SLR with a 35-80 zoom and an on-camera flash to take a better picture than a point and shoot camera. Furthermore, the point and shoot will fit into your pocket so you're more likely to have it with you when Fate sends the makings of a great image your way. The camera that is too expensive, too heavy, or too bulky to carry isn't of much use.
If you are serious about photographing people, animals, or travel, then an investment in an SLR may be wise. A good budget system would include a cheap body, a 50/1.8 lens, and a tripod. Add a portrait lens, a big telephoto, or a wide angle depending upon your needs. If you have relatively big bucks, consider really wide angle lenses (20mm or wider), high quality telephotos (300/4, around $1000), or professional zooms ($1000 and up). If you are tempted by the consumer zooms (apertures of f/4 or f/5.6 and prices of $300 or less), then you should ask yourself whether a point and shoot wouldn't be better.

"Minolta makes the best bodies, Nikon makes the best lenses, Canon makes the best compromise" -- My rich friend Bob who has all three systems.

You're probably not as rich as Bob, so you'll have to decide on a camera system. Canon and Nikon enjoy an overwhelming dominance of the professional 35mm SLR market. There are good reasons for this and the dominance tends to be self-perpetuating because off-brand manufacturers don't have much incentive to invest in R&D. One can rent exotic Canon and Nikon lenses (e.g., a $4000 300mm f/2.8 telephoto) in most major cities but rentals for other brands are virtually non-existent. Finally, Nikon and Canon are probably the lowest cost systems for serious photographers because they have high resale value and economies of scale on the big lenses (e.g., a Nikon 80-200/2.8 costs less than a Pentax 80-200/2.8 because the Nikon is mass-produced for photojournalists whereas only a handful of Pentax's customers are in the market for lenses that cost over $1000).
One of the delights of reading Internet newsgroups such as rec.photo.equipment.35mm is the recurring flame war that erupts over whether prestige brands such as Leica are better than plain old brands such as Nikon. What it boils down to is that Leica makes some fairly nice, very expensive lenses. These handily outperform the low quality, cheap lenses that Canon and Nikon were forced to make to compete with Sigma, Tamron, and (shudder) Tokina. The $3150 Leica 180/2.8 does indeed outperform a $120 Nikon 70-210 zoom set to 180. That doesn't mean it outperforms the $700 Nikon 180/2.8, which is what a professional Nikon photographer would be using.
In the good old days, introductory photography instructors recommended the Pentax K1000, an all-mechanical metered-manual body. Instructors liked the K1000 because it forced students to make decisions about aperture, shutter speed, and focus. Another good feature of the K1000 was its lack of features. There are only three controls that affect the final image: aperture, shutter speed, and focus. A whiz-bang body with 25 buttons and dials, a few of which might help the professional attacking a specialized problem, is likely to confuse the beginner. Hand-in-glove with the K1000 went the 50mm prime lens. This was fast enough to permit available-light photography and freed the student to think about composition rather than where to set the zoom on a zoom lens.
Pentax discontinued the K1000. The only production camera that is similar is the Nikon FM2. This is a great body and any lenses that you buy to go with it will never be obsolete. However, the FM2 costs $450 plus $90 for a 50/1.8, which is more than some students want to invest.
If you're willing to flip a few switches, you can disable the automation on a Pentax ZX-M to function like the old K1000. With a 50/2 lens, this is only about $200. If you're willing to read an owner's manual and flip yet more switches, a modern plastic wonder body will work fine for the learner. And the automated features may prove useful later in the student's photographic career.
Whatever you do, don't spend too much on the body. It is much better to have a good lens on a cheap body than vice versa. The body is ultimately just a light-tight box; the lens forms the image. Also, remember that if you get more serious, you'll almost surely want a second body.
Obsessing over the Great Canon v. Nikon Dilemma isn't very productive. The 35mm SLR is a 50-year-old technology, the market is quite competitive, and the systems have become rather similar. If you have a tripod and patience, you'll get a great photo with either system. It really isn't worth buying into the Canon EOS system unless you can afford at least an Elan 7 and one good USM lens, e.g., the 50/1.4. See our review of the Canon Rebel for the most basic Canon stuff is frustrating. Thus if your budget is limited to under $400 what you want is a Nikon N65 + 50/1.8. Amateur Photographer, an English magazine, tested every 50mm lens on the market in May 1991. All performed very well, since the 50 is the easiest lens to make, but their expert rated the Nikon 50/1.8 AF lens as the best out of the 25 lenses tested, including snob brands such as Zeiss and Leitz and more expensive faster lenses such as the Nikon 50/1.4. Anyway, the Nikon 50/1.8 costs around $90 and has a reasonably nice manual focus ring, unlike its Canon counterpart. Finally, you'll want to budget enough for a tripod.
[Note: After a year of having this advice on the Web, I've noticed that most people are ignoring it and filling the photo.net Q&A forum with questions like "which (cheap) Minolta zoom lens should I get for this latest (whizzy) Minolta body?". So I guess I am going to have to have some kind of bottom line recommendation for men whose penises are too small for the Yashica T4 and whose wallets are too thin for a set of lenses that would take a better picture than the $150 Yashica T4. Here it is... If you must have an electronic wonder body and a cheapish wide/tele zoom lens, get the Canon Elan 7 and 24-85 lens. The Elan 7 offers the best features of the Canon system: dual control wheels and the ability to move AF to the exposure lock button. The 24-85 is reasonably good quality, the wide setting is truly wide, and it has the delicious ring USM AF motor. Do not buy a third-party (and therefore non-USM lens) for a Canon EOS. Do not waste your money on a slow 70-210 zoom.
If you want to do something similar in the Nikon world, the N80 plus the 24-120 zoom would not be a bad toy.
If after reading this, you are still tempted to buy an expensive Nikon F100 body and cheap Tamron 28-200 zoom lens, keep in mind that you could make exactly the same public statement at a $1200 savings. Just buy a white T-shirt and a black laundry marker. Use the marker to write "I'm a dickless yuppie" on the front.]
Should you decide to go the 35mm SLR system route, you might find my "Building a 35mm SLR System" article helpful.

Medium Format Cameras
Medium format cameras use 120 and 220 film ("rollfilm") and produce a negative approximately four times the size of a 35mm negative. Unfortunately, this makes them four times the size and 4-16 times the price of 35mm equipment. A Hasselblad or Rollei won't fundamentally do anything that a Nikon can't, so I'm afraid that I can't recommend any medium format camera as a good beginner's tool.
An exception to this rule is if you are doing your own darkroom work, in which case handling 35mm negatives is a chore. Medium format negatives are much easier to handle and a dust spot on a 6x6 negative is enlarged much less than one on a 35mm negative so that dust control is not such a problem.
A Yashica twin lens reflex ($100-200 used) or a Fuji rangefinder camera ($700-1000 new) would be a reasonable place to start experimenting. Another approach would be to thoroughly read The Hasselblad Manual by Ernst Wildi. Now you'll know more about how to use the Hasselblad system than many owners. Then rent a 'Blad for a weekend.
More: see "Choosing a Medium Format Camera".
Photo: Tower Falls, Yellowstone National Park, from Travels with Samantha

Point & Shoot
If you are serious about photography, you should have a camera with you at all times. No matter what else you buy, then, you'll probably also want a point and shoot camera, the smaller the better. Most of the knowledge that one uses to make images with a real camera can be applied to point and shoot photography. Most people don't realize that their P&S cameras have exposure and focus lock (press halfway down), the same reliable flash exposure control system as a new Nikon (and therefore better than a $1500 Canon EOS-1n), and can give great results on a tripod.
You can't get really extreme perspectives with a P&S, i.e., none come with 20mm or 200mm lenses, but if you were going to buy one of those crummy medium-range zooms for your SLR, then you didn't really need the SLR to begin with.
Specific brands of P&S change all the time, but I've written a fairly detailed guide to helping you choose.

APS
I've written a guide to the Advanced Photo System (APS) that links to reviews of Minolta and Canon APS SLRs as well as a friend's review of the Canon ELPH. I'm not a fan of the APS system.

Digital
At the dawn of the new millennium, does it really make sense to buy a 35mm film camera? The best digital cameras offer comparable image quality, instant previewing, and near-instant sharing via the Internet. There are some obvious problems with digital cameras. Those under $1000 are aimed at point-and-shooters and people accustomed to SLRs will be disappointed in the lack the creative freedom and tiny viewfinders. The $2500-4000 single-lens reflex digital cameras, e.g., Canon D30, Nikon D1, Fuji S1, are built to accomodate legacy interchangeable lenses from 35mm systems. It is nice to be able to use your old Canon EOS or Nikon F lenses, but the small image sensor inside the digital SLR changes the effective focal length. A 50mm normal lens becomes an 80mm portrait lens. A 20mm extreme wide angle lens becomes a 32mm slightly wide angle lens. What's worse is the knowledge that you're lugging around lenses that are twice as large and heavy as they need to be. A lens for a Canon EOS film camera must project a large enough image to cover the 24mmx36mm frame of 35mm film. But the sensor on a D30 is only 15mmx23mm in size. Attaching a 35mm film camera lens to the D30 is sort of like using a medium format Hasselblad lens on a Nikon. It will work, but why would you want to pay extra money, carry extra weight, and use a camera bag that is twice as large? Maybe it would be better to wait for 2002 when there ought to be complete digital camera systems on the market with an array of specifically designed lenses.
The less obvious problem with digital cameras is that they force the photographer into a world of computer pain. With film, you only have to learn how to work your camera, remove the film and take it to a lab. For long-term archival storage, a metal file cabinet serves nicely. After you've filled up the flash card on your digital camera, you need to make sure that you've got a working computer nearby with appropriate hardware to effect a transfer. To produce a physical image you could buy and learn how to use a high-quality ink-jet or Fujix printer. Alternatively, you could figure out how to hook your computer to the Internet, upload the image to a lab, and get a finished print in the mail. For long-term storage and retrieval you could rely on an Internet photo storage service. But with dotcoms going belly-up every month, do you really believe that any of these services will be around for your great-grandchildren? If not, you'll need to come up with a strategy for organizing your images on your own hard disk. You'll have to purchase a tape drive or some other backup device and learn how to use software to ensure that your data are properly backed up. You'll have to discipline yourself to actually perform the backups and change the tapes periodically. You'll have to discipline yourself to verify the tapes occasionally.
The more that you think about computers, the better the shoebox looks!
More (with suggestions): see "Choosing a Digital Camera".

If you're going on a trip
Then read my guide to buying a camera for a trip.

If you still can't decide
Then read Photographic Materials and Processes. If that book frightens you, try the excellent Photography by Barbara London and John Upton.

If you've got your credit card ready
Check out my guide to reputable (and not so reputable) camera merchants

Insurance
Check out photo.net's guide to all-risk insurance

Why Bother?
For inspiration, here are a few of my photos that aren't in my personal favorites gallery:

SOURCE : Philip Greenspunhttp://philip.greenspun.com/

Making Being Blur Background

2011-02-13T16:11:00.002+07:00

Here I will tell you a little about making the background a blur, and for friends who are still confused beginner who wants to make the background into blur can simply see here and maybe for friends who have advanced about sebaganiya arrange photos andthese are things trivial but for the beginner this might be useful.

Step One: Set your zoom to the maximum point

For example, if you have a lens 18-55m, then set your lens to 55mm zoom. If you have any telephoto zoom lens, such as 55-250mm, it's even better. Use of this lens andzoom lens set to 85mm to 135mm you. Focal Range is ideal for portrait photos.

Step Two: Put your model as far as possible from the background

The farther the distance between the background with the model than the distance tothe camera model, the more blur the background of the camera.

Step Three: Set the aperture / aperture your lens as big as possible

The bigger the aperture the more blurry the background, if you have 18-55mm f/3.5-5.6lens. So, set your aperture to f/5.6 (this is the maximum aperture at 55mm focal range.

If you are not satisfied with the results of 18-55mm lens, I recommend to buy a 50mm lens 85mm f/1.8 or f/1.8. Although the lens can not zoom, but very large maximumaperture, making it more suitable for portrait photos.

Understanding Learning Mode Nikon Speedlite - TTL and TTL - BL

2011-02-13T15:11:00.001+07:00

After identifying a few lenses that have been in their posts and use a camera that fits in now learn to understand the mode Nikon Speedlite - TTL and TTL-BL and the popularity of studying these differences are also very important because everything relating to working way you who want to become a photography, it never hurts read a little article is to add your insights about the world jour photography.

TTL (Through the lens) the way it works is the camera measures the quantity of light required to illuminate the subject of the picture automatically through the lens. That necessitated by this mode is the main subject (which is in focus) light. This mode does not take into account the background lighting.

TTL-BL (Through the lens - Balance) take into account all parts of the picture, both the main subject, as well as background from side to side, top bottom. After measuringeverything, the new camera and flash to determine the best settings so that the background and the subject of the picture balanced lighting.

If the background is brighter than the subject of the photo, the flash will give off light with a large quantity so that images look the same subject with a bright background.

Conversely, if the dark more photos subject of subject of the picture, the flash will give off light with a small quantity, so that offset the background. If your camera mode in the form of auto or semi auto (Aperture priority (Av / A) or Shutter priority (S / Sv)), then the camera will automatically balance the lighting between the flash and camera settings. The result is photographs that seem more natural and less plasticity that youuse the flash because the flash of light and the background has been mixed. After identifying a few lenses that have been in their posts and use a camera that fits in now learn to understand the mode Nikon Speed lite - TTL and TTL-BL and the popularity of studying these differences are also very important because everything relating to working way you who want to become a photography, it never hurts read a little article is to add your insights about the world jour photography.

Know Your camera lens

2011-02-10T02:07:00.002+07:00

ATTENTION ..... for you all before it went further it would not hurt us look a little bit about the images here are also important for those of you who want to know more about the lens camera, further, Learn first picture above, note the green lines on the image bridge it, and watch the Angle of View, represented by the red line, watch the red picture which type of information circling the lens. After listening to the picture above let's go see the pictures they carry more please observe.

The air above the image sequence was taken using 20mm lens, 24mm, 28mm, 35mm, 50mm, 85mm, 135mm, 200mm, 300mm, 400mm, (600mm then its manna? yet out...???, Maybe ...! !! The information was made in 1996 when he was umbelen ...).These are just some examples for your detailed information about the introduction of the types of camera please search algorithm on Google there are many more types of other cameras.

AF-S VR Zoom-Nikkor 70-300mm

2011-02-05T18:19:00.000+07:00

Captivating performance telephoto zoom lens nikon combination. advanced features and exceptional specifications.

AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED, captivating performancetelephoto zoom lens offers many advanced features such as Nikon Extra Low Dispersion (ED) glass for sharpness, Silent Wave Motor (SWM) for Auto soft focusand improved Vibration Reduction (VRII), as well as excellent optics for Nikon DX format digital camera and 35mm film SLR cameras.

Zoom lens Nikkor 70-300mm zoom capability (4.3x), suitable for various telephotos hooting, for example, sports photos, nature pictures, etc.. When using Nikon's DX format digital SLR the picture angle is equivalent to 105-450mm lens on a 35mm SLR camera, Nikon has created a sophisticated lens design a lightweight, compact,outstanding optical performance and excellent grip characteristics.

Vibration Reduction (Vibration Reduction (VRII)) new from Nikon this system can helpthe user to take sharp pictures at slower shutter. In the new VRII system, users cantake sharp pictures at shutter with 4 x more slowly * if possible. There are two options VR mode al: Normal mode primarily to reduce
Vibration when the camera is in the grip of photographers, automatic panningdetection, Active Mode reduces vibration when using the camera in a moving vehicle.
Lens AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF-ED also offers features thathave proved powerful tehnologinya the SWM, with speed and accuracy to get Auto Focus with a very fine and two ED glass elements provide higher resolution andhigh-contrast images.

AF-S DX NIKKOR 35mm f/1.8G

2011-02-05T18:06:00.000+07:00

AF-S DX NIKKOR 35mm f/1.8G

f/1.8 NIKKOR DX-format lenses are lightweight and perfect for low light conditions,travel, environment and portrait photography.

• Fast f/1.8 prime NIKKOR lens Perfect for low light conditions, travel, environment andgeneral portrait photography.
• Engineered for the Nikon DX-format digital SLRs optical formula is optimized for usewith Nikon DX-format digital SLRs, rendering the picture angle near normal angle of view of 50mm lens on a Nikon FX-format digital SLR or 35mm film camera
• Aspherical lens element Minimizes comma and type of lens aberrations, and furtherimprove the integrity of the image.
• Nikon Super Integrated Coating (SIC) Improving the efficiency of light transmission and delivers superior color consistency and reduced flare.
• Exclusive Nikon Silent Wave Motor (SWM) More Fast, Accurate and smooth auto focus.

Focal Length	: 35mm
Maximum Aperture	: 1.8
Minimum Aperture	: 22
Autofocus	: Yes
AF-S (Silent Wave Motor)	: Yes
Compatible Format(s)	: DX : FX in DX Crop Mode
Distance Information	: Yes
Super Integrated Coating	: Yes
Aspherical Element(s)	: Yes, 1
Rear Focusing	: Yes
Manual/Auto Focus Mode	: Yes
Minimum Focus Distance	: 1 ft. (0.30m)
Angle of View	: 44-degrees (DX-format)
Lens (Elements)	: 8
Lens (Groups)	: 6
Maximum Reproduction Ratio	: 0.16
Dimensions	: 2.8x2.1in. (Diameter x Length) : 70x52.5mm (Diameter x Length)
Weight	: 7oz. (200g)
Mount Type	: Nikon F-Bayonet
Accepts Filter Type	: Screw-on
Filter Size	: 52mm
Lens Case	: CL-0913
Lens Hood	: HB-46 bayonet
Supplied Accessories	· HB-46 Bayonet Lens Hood · LC-52 Snap-On Front Lens Cap · LF-1 Rear Lens Cap · CL-0913 Soft Case

PC-E NIKKOR 24mm f/3.5D ED

2011-02-05T17:54:00.000+07:00

PC-E NIKKOR 24mm f/3.5D ED

Wide-angle NIKKOR lens with a new perspective control

Nikon Corp. introduces PC-E NIKKOR 24mm f/3.5D ED, PC berpeforma high. This new lens is equipped with mechanical slider that allows the photographer the flexibility to change the image perspective, distortion and focus.

The lens is equipped with special mounting which can slides up to 11.5mm and tilte dup to ± 8.5 ° for control perspective . Pan and tilt can be adjusted through control of the mounting side refers to the existing scale with gradations every 1mm or 1 °intervals. The lens optics can be rotated up to 90 ° right or left to adjust the control prespectif and click stop at every 30 °.

Lens diaphragm can be reset using the bracelet and the reduction of the diaphragmaperture. And will decrease to press the button on the back for easy confirmation ofdepth-of-field. With SLR models compatible with electromagnetic diaphragm (D3 andD300),available automatic diaphragm control.

In addition to perspective control in their applications such as architectural and interior photography, this lens can also be used for any suitable object width 24 mm lens. With the closest focusing distance of only 0.21m / 0.7 ft and a maximum reproduction ratio of 1/2.7, also very good for close range photography.

To ensure the best quality image lens includes a large number optical technology andfeatures state-of-the-art Nikon's exclusive Nano Crystal Coat dramatically reduces fogand flickering light caused by internal reflection. 3 ED lens elements minimize chromatic aberration for high resolution, high contrast images. Three aspherical lens to correct aberrations sperikal and fog around the lens. And 9 parts plate roundeddiaphragm opening makes the out of focus into a more natural look. Altogether optical performance except when the maximum shift and tilt.

Major Features

Wide shifting and tilting range (shift: ±11.5 mm; tilt: ±8.5°)
±90° lens revolving capability for versatile tilt/shift effects
Maximum reproduction ratio of 1/2.7 (at 0.21 m/0.7 ft.)
Three ED (Extra-low Dispersion) glass elements for superior sharpness and color correction by effectively minimizing chromatic aberration
Three aspherical lens elements minimize various types of lens aberration
Nano Crystal Coat virtually eliminates internal lens element reflections, effectively reducing ghosting and flare
High-performance Nikon Super Integrated Coating delivers superior color reproduction while substantially reducing ghosting and flare
Rounded 9-blade diaphragm for more natural appearance of out-of-focus image elements
Lens aperture can be preset by using aperture ring and aperture stop-down button
With the Nikon D3 and D300, auto aperture control with electromagnetic diaphragm is possible

Specifications :

Lens Construction (Groups/Elements)	: 13/10 (3 ED glass elements, 3 aspherical lenses and 1 Nano Crystal Coat)
Picture Angle with Nikon DX Format	: 84° (maximum 101° when fully shifted)
Minimum f/stop	: 32
Closest focusing distance	: 0.21 m (through the entire focal range)
Maximum reproduction ratio	: 1/2.7
Filter Attachment Size	: 77 mm
Lens Hood	: HB-41
Lens Case	: CL-1120
Dimensions (approx.) (from the camera’s lens mounting flange)	: 82.5 x 108 mm
Weight (approx.)	: 730 g
Supplied Accessories (may differ by country or area)	: Bayonet Hood HB-41, Flexible Lens Pouch CL-1120

AF-S DX Zoom-NIKKOR 10-24mm f/3.5-4.5G ED

2011-02-05T17:45:00.000+07:00

This is for you that mad with the sharpness of photos of new stuff that makes the mind more and photo enthusiasts with a hobby like this one here are a few types of lenses from Nikon and type so that no confusion looking for type that suits you.

AF-S DX Zoom-NIKKOR 10-24mm f/3.5-4.5G ED

This very wide-angle lens, designed specifically for use with Nikon's DX-format, providing wide viewing angles enlarge versatile.

Compact, ultra wide-angle 24x zoom
Ideal for landscapes, cityscapes, interiors, architecture and others.
Optical design optimized for use with Nikon DX-format digital cameras Renders an image from the point of 109 ° to 61 ° or equivalent with 15-36mm focal length (in FXor 35mm format).
Exclusive Nikon Silent Wave Motor SWM allows the autofocus to work fast, precise and calm.
Two ED (Extra-low Dispersion) glass elements for superior sharpness and color correction by effectively minimizing the relationship with color aberration.
Three aspherical lens elements Aspherical lens elements virtually eliminate the point sand types of lens aberration, even when used on a wide aperture.
Nikon Super Integrated Coating (SIC) Improving the efficiency of light transmission and delivers superior color consistency and reduced flare.
Close focusing to 0.8 feet for perspective drawing creativity and flexibility.
M / A focus mode switch enables quick work to change the situation between manual and autofocus.
Internal Focus (IF)
The design allows for faster, smoother autofocus lenses and eliminates barrel lengthchanges to be more consistent.
Rounded 7-blade diaphragm
Renders more natural appearance of out-focus image elements.

Focal Length Range	10-24mm
Zoom Ratio	2.4x
Maximum Aperture	3.5
Minimum Aperture	22
Autofocus	Yes
AF-S (Silent Wave Motor)	Yes
Compatible Format(s)	DX FX in DX Crop Mode
Vibration Reduction	No
Distance Information	Yes
ED Glass Elements	Yes
Super Integrated Coating	Yes
Nano Crystal Coat	No
Aspherical Element(s)	Yes, three
Internal Focusing	Yes
Close Range Correction	No
Manual/Auto Focus Mode	Yes
Minimum Focus Distance	0.8 ft. (0.24m)
Maximum Angle of View	109°
Minimum Angle of View	61°
Angle of View	109° - 61°
(Elements) Lens	14
ED (Elements)	2
Aspherical (Elements)	3
Lens (Groups)	9
Maximum Reproduction Ratio	0.2x
Dimensions	3.25x3.43in. (Diameter x Length) 82.5x87mm (Diameter x Length)
Weight	16.2oz. (460g)
Mount Type	Nikon F-Bayonet
Accepts Filter Type	Screw-on
Filter Size	77mm
Lens Attachment Size	77mm
Lens Case	CL-1118
Lens Hood	HB-23
Supplied Accessories	HB-23 Hood CL-1118 Soft Lens Case 77mm Lens cap Rear lens cap

Camera Nikon

2011-02-05T17:10:00.000+07:00

Nikon is one of the famous camera with a sharp shooting, the lens from Nikon is alsono less competitive than the camera lens used by other. Strength picture in take it look cleaner and brighter, Nikon also has many types and kinds, among others:

Digital SLR Cameras:
- Nikon >> New D3100
- Nikon>> D300's
- Nikon>> D3000
- Nikon>> D5000
- Nikon>> D3X
- Nikon>> D90
- Nikon>> D700
- Nikon>> D60
- Nikon>> D3
- Nikon>> D300
- Nikon>> D40x
- Nikon>> D80
Above there are several types of Nikon cameras and there's more to type and other species, Nikon has the potential need for high professional standards with very good noise control and a wide dynamic range. It prepares the photographer in various situations with the added convenience to achieve quality images in most lighting situations with very good noise control and a wide dynamic range. It prepares the photographer in various situations with the added convenience to achieve quality images in most lighting situations.
faster shutter speed or depth more field is required. In developing the first FX format, HD-quality D3S combine the functions of let users take advantage of the wide dynamic range and high ISO performance,including groundbreaking High-Sensitivity Movie mode.

Type And Purpose Lens

2011-02-04T22:29:00.000+07:00

Normal Lens

This Lens is a lens that produces image with brightness and strength of the lens more natural perspective compared with other types of lens normal lens provides a unique effect of the drawing. A lens is categorized as a normal lens has a focal length equivalent to the diagonal projected image sensor inside the camera. In 35 mm format, the dimension of the projected image into the camera is the image with the size of the take it 36 mm x 24 mm (length x width), so that the image diagonalis 43.27 mm, equivalent to 50 mm. These lenses are also categorized as a primary lens because it has several advantages, among other:

First : it has a maximum aperture open a large and simpler that the other lens is equal, like F.2, f.1.8 or even f1,2 so it can be used to take picture in light conditions.

To Two : It can produce a richer color image. This is possible because with a maximum aperture diaphragm, the camera can capture more light and generating a more complete picture.

Wide – Angle Lens

This lens is sometimes called a wide lens. As the name suggests this lens has a very wide angle of view and different lenses that were discussed earlier, even on some lenses can give the point of view approaching 180 degrees. In practice the type Wide-angle lens is often used to photograph the narrow room or to take a picture of an object as a whole when the objects are located relatively close to the photographer. But keep in mind is much that the image produced by the normal lens is the difference between this lens provides plenty of inspiration for people. Another note, this lens does not produce image in accordance with what was captured by the human eyes otherwise this lens give an impression or more of the situation. The room can look taller, bigger or wide than the actual size in order to more clearly people are clear impression.

Zoom Lens

These lens are deliberately designed to have several different viewpoints. There are a wide range zoom lens, ranging from 2x zoom, 3x zoom (70 – 200mm), 10x zoom (35-350mm) up to 12x zoom. Why are many sizes and different types of lenses that are often in check by the people, simple HhhMm… answer because each lens has its pros and cons of each as well when we want to take a picture like the example image above zoom lens automatically we must lenses that function as well as the next. For now, the lenses that have more than 3x zoom or less get the images with consistent quality. Therefore, in general, professional zoom lens users only use 2x or 3x zoom lens only. Some of the zoom lens is a telephoto lens (200 – 400mm), while others are wide – angle lens 10 – 20mm, 16 – 25mm) and the rest covers wide – angle to telephoto (28 – 200mm, 35 -35mm). Lens in the last category is often referred to as a normal zoom lens and has been replace as the primary lens solution use one lens to various conditions.

Telephoto Lenses

Known for its ability to en large a distant object, and produces images that are not distorted, this type of lens is a favorite lens for photographing sporting events (football, basketball, tennis, etc). And do not forget also to stage performances (concerts, theaters, orchestras, etc). Also did not escape the paparazzi even make this type of lens as its flag ship lens. Telephoto lenses can be categorized as a normal telephoto lens (85mm, 100mm, 135mm, 200mm) telephoto zoom lens (28 – 300mm, 55 – 200mm, 70 – 200mm, 90 – 300mm, 100 – 300mm) and super telephoto lens (300mm, 400mm, 500mm, 600mm).

Canon L Lens Series Information

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There are still many people who have difficulty in choosing a lens because now and forms of lenses so most of my friends a lot of trouble, here there is little variation and type of lens for those of you who are interested please look carefully. Pictured above from left to right are three lenses from the Canon L Series - the Canon 24-70mm f/2.8 L USM Lens, the Canon 70-200mm f/4 L USM Lens and the Canon EF 70-200mm f/2.8 L IS USM Lens.

What is the Canon "L" Lens Series?

Good question - and many answers exist, but it is Canon's professional line (though used extensively by non-professionals) of EOS EF autofocus 35mm SLR and DSLR still camera lenses. Some say L stands for "Low Dispersion" - achieved by the UD lens elements found in these lenses. But, the true answer is probably the one in Canon's Lens Work III Book - "L"

Let's look at another fine Canon lens is beautiful, crisp let us not be fooled by the typeand shape, diligent, industrious clay and many read more about cameras and lensesbecause there are many cameras are in almost the same duplicate that here do not get us wrong select, note the pictures and this lens type.

Aren't they beautiful?! Pictured above from left to right is the Canon EF 300mm f/2.8 IS L USM Lens, Canon EF 400mm f/2.8 IS L USM Lens and Canon EF 500mm f/4 IS L USM Lens. Stacked on the right side from top down are the lens hoods from the 300, 500 and 400. All lenses are pictured with optional Wimberley Lens Plates.
The Canon Lens Reviews go into much more detail about specific Canon L lenses. I hope you find the information helpful!

Check out Canon's L Lens Series Info Page.

Did you know that Canon sells white L Series touchup paint? Although it is not cheap ($14.41 for 100g plus $8.00 or so for shipping), you can order it through Canon Parts. The part number is CY9-8078-001. The phone number to order in the US is 1-732-521-7230.

Lensa Camera

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For those who struggled to find the type and brand of camera or lens may be here a little help you to add a new inspiration want to have more than hope, there are a fewpictures here to see the lens itself may be of some images there is interest from you.for those who need the information in the input lens can also post comments on certainin the near future we post for you.