Photography for Study & Share

Nikon SLR D90 Body

2010-01-28T10:21:00.001+07:00

Nikon Corporation is pleased to announce the introduction of its newest DX-format digital SLR, the D90. More than just a new camera, the D90 represents a new era of digital SLR fun and creativity.

The first thing that will amaze photographers about the D90 is its stunning image quality, which takes its inspiration from Nikon’s flagship DX-format digital SLR, the D300. The D90’s image sensor and 12.3 effective megapixels combine with Nikon’s exclusive EXPEED image processing to deliver outstanding images featuring fine details, smooth tones, rich colors and low noise across a wide ISO sensitivity range.

The D90 is the world’s first* digital SLR camera with a movie shooting function that delivers genuinely cinematic results, enhanced by the creatively shallow depth of field made possible by the DX-format sensor. This is further refined by the optical quality and broad selection of NIKKOR lenses — the same lenses relied upon by professional photographers the world over. Thanks to the D90’s large image sensor, D-Movie images exhibit less noise than those of a typical camcorder, most notably in low-light situations.

The D90 also provides remarkable performance and operability, featuring Nikon’s exclusive Scene Recognition System that advances precision in auto focus, auto exposure, and auto white balance in diverse shooting situations. Live View mode allows shooting while confirming the subject on the large 3-in., approx. 920k-dot high-density color LCD and offers three contrast-detect AF modes to allow photographers to focus on any point in the frame, enabling a greater variety of composition. In addition to wide and normal area AF, the D90 offers face priority AF in Live View mode for even sharper pictures of people.

All of these powerful features and more are housed in a compact, comfortable-to-hold body, with intuitive controls. In other words, the D90 is a camera that will satisfy the requirements of passionate photographers who demand superior image quality and crave exciting new photographic possibilities.

Nikon D90 Feature Highlights
Newly designed Nikon DX-format CMOS image sensor with wide ISO sensitivity range with low noise

D90’s 12.3 effective megapixels provides outstanding resolution, delivering images with extraordinarily defined detail and expanded enlargement capacity. The extremely wide sensitivity range of ISO 200 to 3200 delivers incredibly low-noise characteristics throughout. Furthermore, sensitivity can be increased to Hi 1 (ISO 6400 equivalent) and decreased to Lo 1 (ISO 100 equivalent) to expand shooting versatility. The camera also employs the Image Sensor Cleaning function that works to free image-degrading dust particles from the sensor’s optical low-pass filter.
EXPEED for smooth tones, rich colors and fine details
Nikon’s comprehensive digital image-processing EXPEED technology is optimized for the D90 to realize the high-quality, high-speed image processing capability. EXPEED also contributes to the outstanding performance of other powerful features such as Live View and the new Face Detection System.

D-Movie: the world’s first* D-SLR movie mode

In a world first* for D-SLRs, the D90 offers a movie function, allowing you to shoot 320 x 216 pixels, 640 x 424 pixels or HD720p (1,280 x 720 pixels) movies at the professional smoothness of 24 frames per second in motion JPEG format. The D90’s sensor, which is much larger than the sensor of a typical camcorder, ensures higher image quality and exceptional low-noise, high ISO sensitivity performance, even during movie shooting. Capturing creative movie clips or the drama of life’s moving moments is further enhanced by the wide selection of incredibly sharp NIKKOR interchangeable lenses that are available, from fisheye to wide-angle to super-telephoto. And Micro NIKKOR lenses bring the magic of extreme close-up imagery to movie making.Note: Autofocus and some other functions are not available when recording movies.

Scene Recognition System integrated with Face Detection System

The D90 precisely reads the color and brightness information of each scene from the 420-pixel RGB sensor, and applies this to auto focus, auto exposure and auto white balance. The D90 also recognizes human faces using the new Face Detection System, data which is incorporated during calculation, resulting in faces with newfound definition and accuracy as well as enabling face priority AF in Live View mode and immediate zoom into people’s faces in playback zoom.

Easy-to-use Live View mode

One press of the Live View button activates the D90’s Live View mode, delivering a bright, crisp image to the 3-in., approx. 920k-dot color LCD and allowing comfortable shooting without looking through the viewfinder. There are three contrast-detect AF modes that let you focus on any point in the frame: Face priority AF automatically detects up to five faces and focuses on that calculated to be the closest. Wide area AF offers a large AF area suitable for handheld shooting, and normal area AF provides focus with pinpoint accuracy when using a tripod. And when Nikon VR (Vibration Reduction) lenses are in use, photographers will enjoy the benefit of a VR-smoothed image, even in Live View mode.
Picture Control System: Customize the visual style of your images

Nikon’s Picture Control System enables users to customize the look and mood of images. Six original setting options are available — Standard, Neutral, Vivid, Monochrome, Portrait and Landscape — for easy customization of image preferences.

Active D-Lighting for smooth tone reproduction in high-contrast lighting

The D90’s Active D-Lighting accurately restores details in the shadows and highlighted areas, which are often lost in high-contrast lighting situations, by localizing tone control while shooting. There are four levels, including the new “Extra High.” Active D-Lighting can be used manually or set to Auto mode. It is also possible to bracket your pictures, allowing the capture of one image with Active D-Lighting and one without.

Versatile, practical 11-point AF system

Thanks to the Multi-CAM 1000 autofocus module, the D90’s 11-point AF system offers fast and precise autofocus coverage across the frame with the most sensitive AF sensor operating from the center. In addition, the D90 features versatile AF-area modes to handle most shooting situations: Single-point AF is recommended for stationary subjects, dynamic-area AF for moving subjects, auto-area AF for spontaneous shooting and 3D-tracking (11 points) AF for when you want to change the composition after focusing on your subject.

Bright pentaprism viewfinder featuring frame coverage of approx. 96%

The D90 has a precise eye-level pentaprism viewfinder with approx. 96% (centered) frame coverage and an easy-to-view 19.5 mm eyepoint (at -1.0 m-1). The built-in 16-frame superimposed grid display can be activated to assist in the creation of better-balanced compositions.
Advanced Scene Modes for superior image quality

The D90 features Advanced Scene Modes: Portrait, Landscape, Close-up, Sports and Night Portrait. These modes not only adjust exposure and image processing, but also judge the optimum Active D-Lighting and Picture Control settings to obtain the best results. The D90 also recognizes if VR (Vibration Reduction) is on or off and minimizes noise even in dimly lit scenes.

Extensive palette of in-camera Retouch Menus

The D90’s designers incorporated a wide variety of image editing functions, making it easy for users to enhance images within the camera. The D90 introduces several new retouch options: Distortion Control adjusts lens aberration, Straighten corrects inclination of the image, while Fisheye produces optical effects similar to a fisheye lens.

Engineered for precision and durability

Accurate exposures rely on precise shutters and the D90’s electronically timed shutter mechanism was specifically engineered for long, accurate service. To ensure this, D90 shutters, assembled in D90 bodies, underwent exhaustive 100,000 shutter-release cycle testing.

Nikon D90 Other Features
Gives you quick response, with 0.15-second start-up, 65 ms shutter release time lag (CIPA standard) and 4.5 fps continuous shooting.
3-in., approx. 920-k dot high-resolution LCD monitor with wide viewing angle that lets you change composition of the frame during shooting from various angles and easily confirm your image during playback.
Built-in flash with 18mm lens coverage, guide number of approx. 17/56 (ISO 200, m/ft., 20°C/68°F) and Nikon’s original i-TTL flash control; works as a commander; controlling up to two groups of remote Speedlights.
Highly efficient energy-saving design allows approx. 850 images on a single charge of the Rechargeable Li-ion Battery EN-EL3e. (CIPA standard, with AF-S DX NIKKOR 18-105mm f/3.5-5.6G ED VR, with 50% of pictures taken with flash)
Extensive playback functions offer ample options for viewing and selecting the right shot, including 72-frame playback, calendar playback and histogram display for magnified portion of the image.
Versatile Pictmotion menu creates slideshows combining five choices of both background music and image effects.
Compatible with HDMI (High-Definition Multimedia Interface) output.
Supports the Nikon Creative Lighting System when using the SB-900, SB-800, SB-600 Speedlight, or Wireless Close-up Speedlight System R1C1; ensures accurate exposures via i-TTL flash control.
Multi-Power Battery Pack MB-D80 (Optional, in common with the D80) gives you the choice of using one or two Rechargeable Li-ion Batteries EN-EL3e or six R6/AA-size batteries to extend battery life.
New optional Remote Cord MC-DC2 enables shutter release and long time exposures (bulb) remotely.
With the new optional GPS Unit GP-1, location information such as latitude, longitude, altitude and time is automatically recorded to each image’s EXIF data.
Included Nikon ViewNX image browsing and editing software lets you organize, label and select images as well as perform RAW (NEF) image editing adjustments and conversions.
Optional Capture NX 2 photo-editing software features patented U Point™ technology and powerful tools for quick and easy photo editing including enhanced RAW (NEF) Editing.
Nikon Digital SLR Camera D90 SpecificationsType Single-lens reflex digital camera
Lens mount Nikon F mount (with AF coupling and AF contacts)
Effective picture angle Approx. 1.5 x lens focal length (Nikon DX format)
Effective pixels 12.3 million
Image sensor 23.6 x 15.8 mm CMOS sensor
Total pixels 12.9 million
Dust-reduction system Image Sensor Cleaning, Image Dust Off reference data (optional Capture NX 2 required)
Image size (pixels) 4,288 x 2,848 [L], 3,216 x 2,136 [M], 2,144 x 1,424 [S]
File format • NEF (RAW)
• JPEG: JPEG-Baseline compliant with fine (approx. 1:4), normal (approx. 1:8), or basic (approx. 1:16) compression
• NEF (RAW) + JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control System Can be selected from Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; storage for up to nine custom Picture Controls
Media SD memory cards, SDHC compliant
File system DCF (Design Rule for Camera File System) 2.0, DPOF (Digital Print Order Format), Exif 2.21 (Exchangeable Image File Format for Digital Still Cameras), PictBridge
Viewfinder Eye-level pentaprism single-lens reflex viewfinder
Frame coverage Approx. 96% horizontal and 96% vertical
Magnification Approx. 0.94 x (50mm f/1.4 lens at infinity; -1.0 m-1)
Eyepoint 19.5 mm (-1.0 m-1)
Diopter adjustment -2 to +1 m-1
Focusing screen Type B BriteView Clear Matte screen Mark II with focus frame (framing grid can be displayed)
Reflex mirror Quick-return type
Depth-of-field preview When depth-of-field preview button is pressed, lens aperture is stopped down to value selected by user (A and M modes) or by camera (other modes)
Lens aperture Instant return, electronically controlled
Compatible lenses • DX AF Nikkor: All functions supported
• Type G or D AF Nikkor: All functions supported (PC Micro-Nikkor does not support some functions). IX-Nikkor lenses not supported.
• Other AF Nikkor: All functions supported except 3D color matrix metering II. Lenses for F3AF not supported.
• AI-P Nikkor: All functions supported except 3D color matrix metering II and auto focus.
• Non-CPU: Autofocus not supported. Can be used in exposure mode M, but exposure meter does not function. Electronic rangefinder can be used if lens has a maximum aperture of f/5.6 or faster.
Shutter type Electronically controlled vertical-travel focal-plane shutter
Shutter speed 1/4,000 to 30 s in steps of 1/3 or 1/2 EV, Bulb
Flash sync speed X = 1/200 s; synchronizes with shutter at 1/200s or slower
Release modes Single-frame, continuous low speed, continuous high speed, self-timer, delayed remote, quick-response
Frame advance rate Continuous high speed: up to 4.5 fps, continuous low speed: 1-4 fps
Self-timer Can be selected from 2, 5, 10 and 20 s duration
Exposure metering TTL exposure metering using 420-pixel RGB sensor
Exposure method • Matrix: 3D color matrix metering II (type G and D lenses); color matrix metering II (other CPU lenses)
• Center-weighted: Weight of 75% given to 6-, 8- or 10-mm circle in center of frame
• Spot: Meters 3.5-mm circle (about 2% of frame) centered on selected focus point
Exposure range (ISO 100 equivalent, f/1.4 lens, 20°C/68°F) • Matrix or center-weighted metering: 0-20 EV
• Spot metering: 2-20 EV
Exposure meter coupling CPU
Exposure modes Auto modes (auto, auto [flash off]), Advanced Scene Modes (Portrait, Landscape, Sports, Close-up, Night Portrait), programmed auto with flexible program (P), shutter-priority auto (S), aperture-priority auto (A), manual (M)
Exposure compensation ±5 EV in increments of 1/3 or 1/2 EV
Exposure bracketing 2 or 3 frames in steps of 1/3, 1/2, 2/3, 1 or 2 EV
Exposure lock Luminosity locked at detected value with AE-L/AF-L button
ISO sensitivity (Recommended Exposure Index) ISO 200 to 3200 in steps of 1/3 EV, can also be set to approx. 0.3, 0.7 or 1 EV (ISO 100 equivalent) below ISO 200, or to approx. 0.3, 0.7 or 1 EV (ISO 6400 equivalent) over ISO 3200, ISO sensitivity auto control available
Active D-Lighting Can be selected from Auto, Extra high, High, Normal, Low or off
Active D-Lighting bracketing 2 frames
Autofocus Nikon Multi-CAM 1000 autofocus module with TTL phase detection, 11 focus points (including 1 cross-type sensor) and AF-assist illuminator (range approx. 0.5-3 m/1 ft. 8 in.-9 ft. 10 in.)
Detection range -1 to +19 EV (ISO 100 equivalent, 20°C /68°F)
Lens servo • Autofocus: Single-servo AF (S), Continuous-servo AF (C), Auto-servo AF (A), Predictive focus tracking automatically activated according to subject status in single- and continuous-servo AF
• Manual (M): Electronic rangefinder supported
Focus point Can be selected from 11 focus points
AF-area modes Single-point AF, dynamic-area AF, auto-area AF, 3D-tracking (11 points) AF
Focus lock Focus can be locked by pressing shutter-release button halfway (Single-servo AF) or by pressing AE-L/AF-L button
Built-in flash Auto, Portrait, Close-up, Night Portrait modes: Auto flash with auto pop-up
P, S, A, M: Manual pop-up with button release
Guide number (m/ft.) at 20°C/68°F • At ISO 200: Approx. 17/56, 18/59 with manual flash
• At ISO 100 equivalent: Approx. 12/39, 13/43 with manual flash
Flash control • TTL: i-TTL balanced fill-flash and standard i-TTL flash for digital SLR using 420-pixel RGB sensor are available with built-in flash, SB-900, SB-800, SB-600 or SB-400
• Auto aperture: Available with SB-900, SB-800 and CPU lenses
• Non-TTL auto: Supported flash units include SB-900, SB-800, SB-28, SB-27 or SB-22s
• Range-priority manual: Available with SB-900 and SB-800
Flash modes Front curtain sync, slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync
Flash compensation -3 to +1 EV in increments of 1/3, or 1/2 EV
Flash bracketing 2 or 3 frames in steps of 1/3, 1/2, 2/3, 1 or 2 EV
Flash-ready indicator Lights when built-in flash or SB-900, SB-800, SB-600, SB-400, SB-80DX, SB-28DX, or SB-50DX is fully charged; blinks for 3 s after flash is fired at full output in i-TTL or auto aperture modes
Accessory shoe Standard ISO 518 hot-shoe contact with safety lock
Nikon Creative Lighting System (CLS) Advanced Wireless Lighting supported with built-in flash, SB-900, SB-800, or SU-800 as commander and SB-900, SB-800, SB-600 or SB-R200 as remotes; Auto FP High-Speed Sync and modeling illumination supported with all CLS-compatible flash units except SB-400; Flash Color Information Communication and FV lock supported with all CLS-compatible flash units
White balance Auto (TTL white-balance with main image sensor and 420-pixel RGB sensor); 12 manual modes with fine-tuning; color temperature setting; preset manual white balance
White balance bracketing 2 or 3 frames in steps of 1, 2 or 3
Live View AF modes Face priority AF, wide area AF, normal area AF
Live View focus Contrast-detect AF anywhere in frame (camera selects focus point automatically when face priority AF is selected)
Movie image size (pixels) 1,280 x 720/24 fps, 640 x 424/24 fps, 320 x 216/24 fps
Movie file format AVI
Movie compression format Motion-JPEG, with monaural sound
LCD monitor 3-in., approx. 920k-dot (VGA), low-temperature polysilicon TFT LCD with 170° viewing angle, approx. 100% frame coverage, and brightness adjustment
Playback function Full-frame and thumbnail (4, 9 or 72 images or calendar) playback with playback zoom, movie playback, Pictmotion, slide show, histogram display, highlights, auto image rotation, and image comment (up to 36 characters)
USB Hi-Speed USB
Audio video output Can be selected from NTSC and PAL; simultaneous playback from both the audio video output and on the LCD monitor available
HDMI output HDMI Mini connector; camera monitor turns off when HDMI cable is connected
Accessory terminal • Remote Cord MC-DC2 (Optional)
• GPS Unit GP-1 (Optional)
Supported languages Chinese (Simplified and Traditional), Danish, Dutch, English, Finnish, French, German, Italian, Japanese, Korean, Norwegian, Polish, Portuguese, Russian, Spanish, Swedish
Battery One Rechargeable Li-ion Battery EN-EL3e
Battery pack Multi-Power Battery Pack MB-D80 (optional) with one or two Rechargeable Li-ion Battery EN-EL3e or six R6/AA-size alkaline, Ni-MH, lithium or nickel-manganese batteries (Battery Holder MS-D200 is required when using R6/AA-size batteries.)
AC adapter AC Adapter EH-5a (optional)
Tripod socket 1/4 in. (ISO 1222)
Dimensions (W x H x D) Approx. 132 x 103 x 77 mm/5.2 x 4.1 x 3.0 in.
Weight Approx. 620 g/1 lb. 6 oz. without battery, memory card, body cap or monitor cover
Temperature 0-40°C/32-104°F
Humidity Less than 85% (no condensation)
Supplied accessories (may differ by country or area) Rechargeable Li-ion Battery EN-EL3e, Quick Charger MH-18a, Eyepiece Cap DK-5, Rubber Eyecup DK-21, USB Cable UC-E4, Audio Video Cable EG-D2, Camera Strap AN-DC1, LCD Monitor Cover BM-10, Body Cap, Accessory Shoe Cover BS-1, Software Suite CD-ROM./DPreview.com

Canon EOS 50D Body

2010-01-28T10:11:00.000+07:00

The EOS 50D. With a 15.1 Megapixel CMOS sensor, 6.3 frames per second shooting and Canon’s latest DIGIC 4 image processor.

Outstanding, clean images
A newly designed 15.1 Megapixel CMOS sensor delivers ultra-detailed, low-noise images – ideal for large-scale reproduction or creative cropping. New manufacturing processes, plus redesigned photo diodes and microlenses, extend the light gathering capabilities of the sensor – allowing more pixels to be fitted on the CMOS sensor without compromising image quality. These changes ensure improved high ISO performance and low noise. High-speed, low light shooting is enabled by ISO levels of 3200, expandable to an ultra-sensitive 12800.

The EOS Integrated Cleaning System – including the improved Self Cleaning Sensor Unit with a new fluorine coating – increases protection of image quality by helping to reduce, repel and remove unwanted dust from the sensor. Stubborn particles can be removed automatically in post-production with Dust Delete Data and Canon’s included Digital Photo Professional software.

Rapid-fire performance
Canon’s new DIGIC 4 processor is fast enough to allow up to 6.3fps continuous shooting, in bursts of up to 90 JPEGs with a UDMA card. Used with Canon’s wide area AF system, which locks onto subjects with 9 individual cross type sensors, stunning action sequences can be captured – even in low-light conditions. This makes the EOS 50D particularly suited to sports and wildlife shooting.

DIGIC 4 works with the CMOS sensor to deliver 14-bit image processing, for smooth gradation and natural-looking colours – as well as ensuring ultra-fast startup times and near-instant image review after shooting.

See everything
A new 3.0” Clear View VGA LCD provides extra-large and wide angle-of-view image review, with plenty of clarity for accurate focus checks in playback. By switching to Live View mode – which displays a real-time image on the LCD – photographers can enjoy simplified shooting from awkward angles, or connect to a PC for remote shooting. Live Mode now offers three ways to auto focus: Quick AF, Live AF, and new Face Detection Live AF, which optimizes focus based on faces detected in the frame – for fast, spontaneous portraiture.

Control and ease
The famously intuitive EOS menu system includes a new Quick Control screen, for instant access to the most commonly-changed settings. A new Creative Auto mode offers automatic focus and exposure – while still allowing creative ‘tweaks’ to settings such as background sharpness.
“For advanced amateurs and semi-professionals – or professionals looking for a powerful backup model – the EOS 50D stands alone,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “No other camera in this price bracket offers a comparable combination of speed and image quality.”

Technologies Explained

CMOS

Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.

Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased.

DIGIC

Image data captured by the CMOS sensor is processed by Canon’s purpose-built DIGIC image processors before being written to the camera's memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times.

DIGIC chips work with a high speed DDR-SDRAM image buffer – reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. And because DIGIC integrates all key processing functions, power consumption is kept to a minimum.

EOS Integrated Cleaning System
The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove.
Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself.

Repel - Anti-static technologies, including a special fluorine coating, are applied to the low-pass filter covering the front of the sensor so as not to attract dust.

Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed.

Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Picture Style
Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

The six pre-sets are:
Standard – for crisp, vivid images that don’t require post-processing

Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones

Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines

Neutral – ideal for post-processing

Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K

Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green).

Software

Digital Photo Professional Software
Digital Photo Professional software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation, noise reduction and colour tone – plus the ability to view Auto Focus points on an image. The Lens Aberration correction tool allows precise correction of different types of distortion caused by certain cameras. Images can be recorded in camera with sRGB or Adobe RGB colour space.

Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and Wide Gamut RGB colour spaces. ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility
The latest version of EOS Utility provides essential support for Live View remote shooting, camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system. Users can also tag their images with EXIF data, including copyright information.

Picture Style Editor
Picture Style Editor allows users to create individual Picture Styles that fit with their personal requirements. Each Picture Style contains detailed information on how specific colours should be represented within an image. Once new Picture Styles have been created, they can be uploaded directly into the camera and applied to JPEG or RAW images. When working with RAW files in DPP, both personal Picture Styles and the 6 predetermined Picture Styles can all be adjusted.Canon EOS 50D specifications

Sensor
• 22.3 x 14.9 mm CMOS sensor
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 15.5 million total pixels
• 15.1 million effective pixels
• 3:2 aspect ratio

Image processor
DIGIC 4

A/D conversion
14 bit

Image sizes
• 4752 x 3168
• 3456 x 2304
• 2353 x 1568

File formats
• RAW (.CR2; 14-bit)
• JPEG (EXIF 2.21) - Fine / Normal
• RAW + JPEG (separate files)
• sRAW1 (7.1 MP)
• sRAW2 (3.8 MP)

Lenses
• Canon EF / EF-S lens mount
• 1.6x field of view crop

Dust reduction
• "EOS Integrated Cleaning System"
• Self-cleaning sensor unit (filter in front of sensor vibrates at high frequency at start-up and shutdown - can be disabled)
• Dust Delete Data - Data from a test shot is used to 'map' dust spots and can be later removed using Canon DPP Software

Auto focus
• 9-point TTL CMOS sensor
• All points cross-type for lenses of F5.6 or faster
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 - 18 EV (at 23°C, ISO 100)

Focus modes
• One shot AF
• AI Servo AF
• AI Focus AF
• Manual focus

AF point selection
• Auto
• Manual

Predictive AF
• Up to 8 m

AF assist
• Stroboscopic flash

AF microadjust
• +/- 20 steps
• Adjust all lenses by same amount/individually adjust up to 20 lenses

Metering
• TTL 35 zone SPC
• Metering range: EV 0.0 - 20 EV

Metering modes
• Evaluative 35 zone
• Partial (9% at center)
• Spot metering (approx. 3.8% at center)
• Center-weighted average

AE lock
• Auto: One Shot AF with evaluative metering
• Manual: AE lock button

Exposure compensation
• +/-2.0 EV
• 0.3 or 0.5 EV increments

Exposure bracketing
• +/- 2.0 EV
• 0.3 or 0.5 EV increments

Sensitivity
• Auto ISO (100-1600)
• ISO 100 - 3200
• 0.3 or 1.0 EV increments
• H1 (6400) and H2 (12800) expansion

Shutter
• Focal-plane shutter
• 100,000 exposure durability
• 30 - 1/8000 sec
• 0.3 or 0.5 EV increments
• Flash X-Sync: 1/250 sec
• Bulb

Aperture values
• F1.0 - F91
• 0.3 or 0.5 EV increments
• Actual aperture range depends on lens used

White balance
• Auto
• Daylight
• Shade
• Cloudy
• Tungsten
• Fluorescent
• Flash
• Custom
• Kelvin (2500 - 10000 K in 100 K steps)

WB bracketing
• +/-3 levels
• 3 images
• Blue / Amber or Magenta / Green bias

WB shift
• Blue (-9) To Amber (+9)
• Magenta (-9) to Green (+9)

Picture style
• Standard
• Portrait
• Landscape
• Neutral
• Faithful
• Monochrome
• User def. 1
• User def. 2
• User def. 3

Custom image parameters
• Sharpness: 0 to 7
• Contrast: -4 to +4
• Saturation: -4 to +4
• Color tone: -4 to +4
• B&W filter: N, Ye, Or, R, G
• B&W tone: N, S, B, P, G

Image processing
• Highlight tone priority
• Auto lighting optimizer (4 settings)
• Long exposure noise reduction
• High ISO noise reduction (4 settings)
• Auto correction of lens peripheral illumination (vignetting)

Color space
• sRGB
• Adobe RGB

Viewfinder
• Eye-level pentaprism
• 95% frame coverage
• Magnification: 0.95x(-1 diopter with 50 mm lens at infinity)
• Eyepoint: 22 mm
• Interchangeable focusing screen Ef-A standard (2 other types optional)
• Dioptric adjustment: -3.0 to +1.0 diopter

Focusing screens
(optional)
• Ef-A (Standard Precision Matte - included)
• Ef-D (Precision Matte with grid)
• Ef-S (Super Precision Matte for easier manual focus)

Mirror
• Quick-return half mirror (transmission:reflection ratio 40:60)
• Mirror lock-up (once or multiple exposures)

Viewfinder info
• AF points
• Focus confirmation light
• ISO sensitivity
• Shutter speed
• Aperture
• Manual exposure
• AE Lock
• Exposure compensation amount
• AEB level
• Spot metering area
• Flash ready
• Red-eye reduction lamp on
• High-speed sync
• FE Lock
• Flash compensation amount
• ISO speed (while changing)
• WB correction (while changing)
• Highlight tone priority icon *
• B&W mode icon
• Warnings
• Maximum burst for continuous shooting
• Buffer space

LCD monitor
• 3.0 " TFT LCD
• 920,000 pixels
• 7 brightness levels
• 160 ° viewing angle
• Dual anti-reflection

LCD Live view
• Live TTL display of scene from CMOS image sensor
• 100% frame coverage
• 30 fps
• Real-time evaluative metering using CMOS image sensor
• Best view or exposure simulation
• Silent mode
• Grid optional (x2)
• Magnify optional (5x or 10x at AF point)
• Three AF modes - Live mode/Quick mode/Face Detection
• Histogram
• Remote live view using EOS Utility 2.0 (via USB or WiFi/Ethernet using WFT)

Record review
• Off
• On (histogram via INFO button)
• Display mode same as last used Play mode
• 2 / 4 / 8 sec / Hold

Playback modes
1. Single image with exposure, file number, storage slot
2. As 1 but also image count and quality
3. Detailed exposure information, thumbnail and luminance histogram
4. Less detailed exposure info., thumbnail, luminance and RGB histograms

Playback features
• Optional blinking highlight alert
• Optional AF point display
• Magnified view (up to 10x)
• 2x2 or 3x3 thumbnail index
• Jump (by 1, 10, 100 images / by screen or date)
• Delete / Protect

Flash
• Auto pop-up E-TTL II auto flash
• FOV coverage up to 17 mm (27 mm equiv.)
• Guide number approx 13 m / 43 ft (ISO 100)
• Cycle time approx. 3 sec
• Flash compensation +/-2.0 EV in 0.3 or 0.5 EV increments
• X-Sync: 1/250 sec

External flash
• E-TTL II auto flash with EX-series Speedlites
• In-camera flash configuration (currently only 580 EX II)
• Wireless multi-flash support
• PC Sync

Shooting modes
• Auto
• Creative auto
• Program AE (P)
• Shutter priority AE (Tv)
• Aperture priority AE (Av)
• Manual (M)
• Auto depth-of-field
• Portrait
• Landscape
• Close-up
• Sports
• Night portrait
• Flash off
• Camera user settings 1
• Camera user settings 2

Drive modes
• Single
• High-speed continuous: 6.3 fps
• Low-speed continuous: 3 fps
• Self-timer: 2 or 10 sec (3 sec with mirror lock-up)

Burst buffer
• Large/Fine JPEG: 90 frames (with UDMA card)
• RAW: 16 frames

Orientation sensor
Yes

Auto rotation
• On (recorded and LCD display)
• On (recorded only)
• Off

Custom functions
25 custom functions with 74 settings in 4 groups

Menu languages
• English
• German
• French
• Dutch
• Danish
• Portuguese
• Finnish
• Italian
• Norwegian
• Swedish
• Spanish
• Greek
• Russian
• Polish
• Czech
• Hungarian
• Romanian
• Ukrainian
• Turkish
• Arabic
• Thai
• Simplified Chinese
• Traditional Chinese
• Korean
• Japanese

Firmware
User upgradable

Portrait grip
• Optional WFT-E3/E3A
• Optional BP-E2N battery grip
• Optional BP-E2 battery grip

Connectivity
• USB 2.0 Hi-Speed
• Video out
• HDMI connector
• N3 type wired remote control
• PC Sync flash terminal
• Communication terminal on base for WFT-E3/E3A

Storage
• Compact Flash Type I or II (inc. FAT32)
• Supports UDMA cards
• Canon Original Data Security Kit supported ("Original Image Data")
• No CF card supplied

Power
• Lithium-Ion BP-511A rechargeable battery (supplied & charger)
• Supports BP-511 / BP-511A / BP-512 / BP-514
• CR2016 Lithium battery (date/time backup)
• Optional AC adapter

Wireless connectivity
(optional WFT-E3/E3A)
• Mounts on base of camera and also acts as vertical grip
• Has its own BP-511A battery
• Wireless 802.11b / 802.11g
• Wireless security: WEP, TKIP/AES, WPA-PSK, WPA2-PSK
• Wireless methods: Infrastructure or Ad Hoc
• Wired ethernet (100 Base-TX)
• Transfer: FTP, PTP (remote control by computer), HTTP (view / remote fire)
• USB host capable: External hard drives, flash drives
• USB comms: GPS devices (records coordinates and altitude in image header)

Dimensions
146 x 108 x 74 mm (5.7 x 4.2 x 2.9 in)

Weight
• No battery: 730 g (1.6 lb)
• With battery: 822 g (1.8 lb)./DPreview.com

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

2010-01-28T08:44:00.000+07:00

Main Features
DX-format, ultra wide-angle 2.4x zoom lens with focal length ranging from 10 to 24mm (picture angle is equivalent to a focal length of 15 to 36mm in FX- and 35mm formats)
Newly developed optical system features two ED glass and three aspherical lens elements
Superior reproduction capability, with the distortion that is common with ultra wide-angle lenses dramatically reduced
Silent Wave Motor (SWM) ensures smooth, quiet AF operation
Two focus modes available — M/A (manual-priority autofocus) and M (manual focus)
Seven-blade rounded diaphragm for natural blur effects
Internal focusing (IF) system means the lens barrel length does not change during focusing

SpecificationsFocal length

10-24mm

Maximum aperture

f/3.5-4.5

Minimum aperture

f/22-29

Lens construction

14 elements in 9 groups (with two ED glass and three aspherical lens elements)

Picture angle

109°-61°

Closest focusing distance

0.24 m/0.8 ft. in AF mode, 0.22 m/0.7 ft. in MF mode

Maximum reproduction ratio

0.2x

No. of diaphragm blades

7 (rounded)

Filter/attachment size

77mm

Diameter x length
(extension from lens mount)
Appproximately 82.5 x 87 mm/3.25 x 3.43 in.

Weight
Approximately 460 g/16.2 oz.?
DPreview.com

Nikon AF-S 50mm f/1.4G

2010-01-28T08:12:00.001+07:00

Tokyo – Nikon Corporation is pleased to announce the introduction of the 50mm single- focal-length lens AF-S NIKKOR 50mm f/1.4G (when attached to a DX-format SLR, picture angle is equivalent to a focal length of 75mm in FX/35mm format).

This latest addition to the NIKKOR lineup features a large maximum aperture of f/1.4, enabling it to be used for easy handheld shooting in dark settings, such as a dimly lit room. It also allows photographers to easily create beautiful large blur effects. The lens’ Silent Wave Motor (SWM) ensures quick, quiet autofocus. Autofocus shooting is made possible with SLR models that do not have a built-in motor, such as the D40 series and D60.

The AF-S NIKKOR 50mm f/1.4G is a high-performance large-aperture, single-focal- length lens especially suitable for professional and advanced amateurs who use Nikon FX-format cameras such as the D3 and D700, and frequently shoot human subjects as well as night landscapes and astronomy. What’s more, when attached to a DX-format SLR, this f/1.4 lens with 75mm equivalent picture angle is capable of shooting portraits with beautiful blur effects.

AF-S NIKKOR 50mm f/1.4G Major Features
AF-S 50mm lens — a fast, single-focal-length lens with normal picture angle (when attached to a DX-format SLR, the picture angle is equivalent to a focal length of 75mm in FX/35mm format)

Large maximum aperture of f/1.4
Well-balanced design realizes both high MTF performance and natural-looking picture blur

Newly developed optical system effectively corrects sagittal coma flare and chromatic aberration
Silent Wave Motor (SWM) ensures smooth, quiet AF operation
Two focus modes are available — M/A (manual-priority autofocus) and M (manual focus)

Focus ring does not rotate in AF operation
Natural blur effects thanks to nine-blade rounded diaphragm

Although all lens groups shift during focusing, the lens barrel length does not change

AF-S NIKKOR 50mm f/1.4G Specification

Focal length
50 mm

Maximum aperture
f/1.4

Minimum aperture
f/16

Lens construction
8 elements in 7 groups
Picture Angle with Nikon DX Format 31° 30'
Maximum reproduction ratio 0.15x

Picture angle with 35mm (135) format
46°

Closest focusing distance
0.45 m/1.5 ft.

No. of diaphragm blades
9 (rounded)
Lens Hood HB-47
Lens Cap Snap-on
Lens Case CL-1013

Filter/attachment size
58mm

Diameter x length (extension from lens mount)
Approx. 73.5 x 54 mm/2.9 x 2.1 in.

Weight
Approx. 280 g/9.9 oz.

Supplied accessories
58mm snap-on front lens cap LC-58, Rear lens cap LF-1, Bayonet hood HB-47, Flexible lens pouch CL-1013./DPreview.com

Nikon AF-S DX VR II 18-200mm f/3.5-5.6G ED

2010-01-28T08:07:00.000+07:00

Tokyo — Nikon Corporation is pleased to announce the upcoming release of the new ultra-high ratio zoom lens AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II for use expressly with Nikon DX-format digital-SLR cameras.

A number of unique Nikon technologies have been developed for, and applied to, including a high zoom magnification of 11.1x, a Vibration Reduction (VR II) image stabilization system that provides camera shake compensation equivalent to increases in shutter speed by four stops, and a Silent Wave Motor (SWM), as well as a zoom lock switch. Designed expressly for use with Nikon digital-SLR cameras, exceptional image performance is assured.

As the compact AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II covers an extremely wide range of focal lengths (18-200mm, equivalent to 27-300mm in 35mm format; a zoom magnification of 11.1x), it offers excellent versatility for various scenes that include portraits and landscapes. The addition of a zoom lock switch allows photographers to secure the lens barrel at its minimum length, eliminating the natural gravitational effect that can draw the barrel downward during transport.

This lens offers superior optical performance in a compact size of just 77 x 96.5 mm, despite a high zoom magnification of 11.1x. Nikon’s Silent Wave Motor (SWM) assures fast and quiet autofocusing.

The Vibration Reduction system (VR II) provides camera shake compensation equivalent to increases in shutter speed by four steps. Two Vibration Reduction modes are available.

NORMAL VR mode: Reduces ordinary camera shake. Panning is also supported.

ACTIVE VR mode: Reduces extreme camera shake, such as that which occurs when shooting from a moving vehicle.

Optics, optimized for use with digital-SLR cameras, utilize two ED glass elements and three aspherical lenses for optimum balance of chromatic aberration, astigmatism and distortion compensation, allowing for capture of images exhibiting extraordinary fidelity, with vivid color, high resolution and crisp contrast.

Note:
Although DX NIKKOR lenses can be attached to 35mm-format and IX 240-format film cameras, the smaller image circle they project on the film plane prohibits compatibility with these cameras. When this (or any DX NIKKOR) lens is mounted on a Nikon FX-format digital SLR, with the Image Area option set to Auto DX crop (default), the camera recognizes that a DX NIKKOR lens is in use and the DX crop mode is activated automatically.

AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II Major Features
A zoom lens offering a high zoom ratio with magnification of 11.1x
Equipped with a zoom lock switch
Equipped with a compact Silent Wave Motor (SWM)
Built-in Vibration Reduction (VR II)
Nikon Super Integrated Coating (SIC) adopted

Nikon AF-S DX 12-24mm f/4.0G

2010-01-28T08:02:00.003+07:00

Specially designed and optimized for Nikon digital SLRs, Built-in SWM for ultra-fast, ultra-quiet AF operation, High optical performance by aspherical lenses and ED glass elements, M/A mode for quick switching between autofocus and manual operation, Lightweight and compact design.

Note:

When using the D100 camera, check the focal length and shooting distance before taking flash pictures to prevent vignetting since the light emitted from the flash may be obstructed by the lens barrel. Vignetting may occur at 18mm or shorter focal length, and at 0.6m or shorter shooting distance. We do not recommend the use of DX Nikkors with 35mm (135) or IX240 format cameras.

Specifications
Picture angle
99° - 61°

Focal-length scale
12, 15, 18, 20, 24mm

Number of diaphragm blades
7 (rounded)

Minimum f/stop
22

Closest focusing distance
0.3m (through the entire focal range)

Maximum reproduction ratio
1/8.3

Zoom control
Manual, via separate zoom ring

Macro focusing
N/A

Focus-limit switch
N/A

M/A mode
Available

Focus lock button
N/A

Wight (approx.)
485g

Lens cap
Snap-on

Lens hood
HB-23 (supplied)

Lens case
CL-S2 (optional)

Tripod collar
N/A

External front filter attachment frame
Does not rotate

External front filter
77mm

Slip-on filter
N/A

Built-in/rear filter
N/A

Circular polarizing filter
Usable

Circular polarizing filter II
Usable, even with dedicated Lens Hood HB-23

Infrared compensation scale
N/A

Aperture ring
N/A

Distance scale
Does have

Material of lens mount
Metal

Dimensions (approx.) (from the camera lens mounting flange)
82.5—90 mm

Lens constructio
11 elements in 7 groups (2 ED glass elements and 3 aspherical lenses)

Supplied accessories
77mm snap-on front lens cap LC-77, Rear lens cap LF-1, Bayonet Hood HB-23./DPreview.com

Nikon AF-S DX 35mm f/1.8G

2010-01-28T07:28:00.001+07:00

Tokyo — Nikon Corporation is pleased to announce the introduction of the DX-format 35mm single-focal-length lens AF-S DX NIKKOR 35mm f/1.8G, which offers a picture angle equivalent to a focal length of 52.5mm in FX and 35mm formats.

The AF-S DX NIKKOR 35mm f/1.8G features a large maximum aperture of f/1.8 enabling effortless handheld shooting in dark settings, such as a dimly lit room. This lens makes it easy to create large, beautiful blur effects. And the built-in Silent Wave Motor (SWM) ensures fast, quiet autofocus, even with SLR models that do not have a built-in motor, such as the D40 series and D60.

The AF-S DX NIKKOR 35mm f/1.8G is the first single-focal-length lens with a normal picture angle developed exclusively for Nikon’s DX format. It is a compact, lightweight model that achieves the high reproduction performance unique to single-focal-length lenses at an affordable price. This lens is most suitable for natural portrait and landscape shooting.

Note:
Although DX NIKKOR lenses can be attached to 35mm film and APS cameras, they cannot actually be used with them due to their small image circle. When the lens is mounted on a Nikon FX-format digital SLR, with the image area in the shooting menu set to Auto DX crop (default), DX crop is selected automatically.

AF-S DX NIKKOR 35mm f/1.8G Major Features

DX-format, normal single-focal-length lens with 35mm focal length (picture angle is equivalent to a focal length of 52.5mm in FX and 35mm formats)

Large maximum aperture of f/1.8

Silent Wave Motor (SWM) ensures smooth, quiet AF operation

High-performance optical system with aspherical lens delivers superior reproduction capability

Compact, well-balanced design when attached to small SLRs

Two focus modes available — M/A (manual-priority autofocus) and M (manual focus)

Metal mount

Natural blur effect thanks to seven-blade rounded diaphragm.DPreview.com

Some Applications for Photography

2010-01-28T06:56:00.010+07:00

In this digital era, use of an essential software in a working device, which software will be considered as a virtual device must be complementary in a job or function within project.So photogrphy be complementary software that can create a different combination of images variations.I 'm will discuss some photography software I've ever used in the work:

1. Adobe Photoshop Lightroom

Simplify photography from shoot to finish.Adobe® Photoshop® Lightroom® 2 software is essential for today's digital photography workflow. Now you can quickly import, process, manage, and showcase your images — from one shot to an entire shoot. With Lightroom 2, you spend less time in front of the computer and more time behind the lens.

Top new features :

Local adjustment brush

Enhanced organizational tools

Volume management

Extensible architecture

Multiple monitor support

Flexible print package functionality

Streamlined Photoshop CS4 integration

Enhanced output sharpening

64-bit support for Windows® and Mac OS

2. Adobe Photoshop

Adobe Photoshop, or simply Photoshop, is a graphics editing program developed and published by Adobe Systems. It is the current market leader for commercial bitmap and image manipulation software, and is the flagship product of Adobe Systems. It has been described as "an industry standard for graphics professionals" and was one of the early "killer applications" on the Macintosh, later also for MS Windows.

Adobe's 2005 "Creative Suite" rebranding led to Adobe Photoshop 8's renaming to Adobe Photoshop CS. Thus, Adobe Photoshop CS4 is the 11th major release of Adobe Photoshop. The CS rebranding also resulted in Adobe offering numerous software packages containing multiple Adobe programs for a reduced price. Adobe Photoshop is included in most of Adobe's Creative Suite offerings.

Photoshop's popularity, combined with its high retail price, makes Photoshop's piracy rate relatively high. Adobe countered by including SafeCast DRM starting with Adobe Photoshop CS.

3. PhotoScape

Photoscape is a fun and easy photo editing software that enables you to fix and enhance photos.

Key Features :
Viewer: View photos in your folder, create a slideshow
Editor: resizing, brightness and color adjustment, white balance, backlight correction, frames, balloons,mosaic mode, adding text, drawing pictures, cropping, filters, red eye removal, blooming
Batch editor: Batch edit multiple photos
Page: Merge multiple photos on the page frame to create one final photo
Combine: Attach multiple photos vertically or horizontally to create one final photo
Animated GIF: Use multiple photos to create a final animated photo
Print: Print portrait shots, carte de visites(CDV), passport photos
Splitter: Slice a photo into several pieces
Screen Capture: Capture your screenshot and save it
Color Picker: Zoom in on images, search and pick a color
Rename: Change photo file names in batch mode
Raw Converter: Convert RAW to JPG
Paper Print: Print lined, graph, music and calendar paper
Face Search: Find similar faces on the Internet

Basic Digital Photography Technique Blitz / Flash Light (part 2)

2009-11-26T10:11:00.002+07:00

Engineering bounce flash (bounce)

Purpose use of this technique is to reflect light from the flash to a larger surface as the ceiling or wall. By reflecting light from the flash, the light of the existing space more evenly and smooth. This technique is best used in a room with a ceiling that is not too high.

Technique Light diffuse (spread of light)

Its purpose is similar to bounce the light more evenly and smooth. This technique can be achieved by using accessories such as Gari Fong lightsphere or stofen omnibounce. With one of these accessories, we can spread light in all directions. This technique is best used in a relatively small room.

Engineering Direct Flash (direct)

How to use this technique is to direct the flash directly into the subject. Usually the result of direct flash rough enough, and, therefore often avoided. But if we can not bounce or diffuse techniques for environmental constraints, then this technique can be done.

Off Camera Flash Techniques

The purpose of this technique is to produce light on a subject tearah. For example in the human portrait, using this technique correctly can produce images as three-dimensional objects. To use this technique, necessary link between the camera and the flash. Other tools such as the link between the synchronization cable (flash sync cable), or wireless trigger (lighter wireless devices). With this interface, the camera can manage one or several flash flash arranged in several groups. There are several digital SLR cameras such as Nikon's high-level D90 and the Olympus E-620 has a wireless built-in trigger that does not require an additional interface. But usually, this feature has a flaw such as a short range and not too reliable in every situation.

As a photographer, we are required to be aware of and choose the best technique depending on the situation, conditions and results to be achieved.

Hopefully helpful./TentangDigitalBlog

Basic Digital Photography Technique Blitz / Flash Light (part 1)

2009-11-26T10:00:00.004+07:00

After a long series of articles about the basic techniques of digital photography is not my updates on this blog, finally gatel well for posting. Previously we have discussed about the shutter speed, aperture and iso, and the terminology in photography. series of articles in the basic techniques of digital photography this time I will discuss about the Blitz madura ato in his flash light.

Blitz or flash freely translated into the flash. This is one accessory that is widely used in the world of photography. Its main function is to illuminate (mencahayai / illuminated) objects to the lack of light exposure well. But later began expanding its use to produce artistic photographs. This article will discuss the basic knowledge required to use the flash correctly.

Using the flash is not merely a flash light, directing the camera and click and be a bright picture, but there are things we need to know for the sake of getting a good photographic work.

Blitz and GN (Guide Number)

To divide / classify blitz, there are several classifications that can be used. The first, based on the availability of the camera flash is divided into the built-in flash and external. Built-in flash from the camera itself while the external flash is a flash attached additional cables or hot shoe to the camera. In addition, we also can divide by the type / brand of camera.

We know the dedicated flash and non-dedicated flash. Dedicated flash flash is made specifically to use certain features within a specific camera. Usually the camera manufacturer-specific flash out also for the camera range and can use features such as TTL, slow sync or rear sync, etc.. While non-dedicated flash has the general functions of most of the camera alone and can be used regardless of the type / brand of camera. Flash this type usually require a lot of computation because the flash is already dedicated've got the information from the camera lighting so that does not require additional settings again.

There are also flash output power (GN) can be arranged and some are not able to (fixed GN). We'll tend to talk more about the flash non-dedicated, non-TTL, and fixed GN.

In using flash photography, we will not escape from the calculations related to the intensity of light reflected back from objects that we cahayai. Therefore, we will see what is often called the GN (Guide Number) or flash power. In short we can say if flashnya powerful, it will be one object with mencahayai lighter and can reach more distant objects.

GN is basically a simple calculation of flash power. There are 2 kinds of writing GN using a different calculation of unit m (meters) and feet (feet). Normally in Indonesia, we use the count to m. This is one of the considerations are also due to flash with the same strength, the number GN m and different feet away. In addition, GN is generally written for the use of film with ISO / ASA 100 and wide angle (35mm/24mm/20mm).

GN is a product of the distance from the opening (f / stop or aperture) in certain conditions (ISO / ASA 100/35mm/m or ISO / ASA 100/35mm/feet). For example, if we want to use flash to photograph a person standing at a distance of 5m from us using a 35mm lens and we want to use f/2.8 then we need to flash GN 14. Calculation commonly used is usually just find the right aperture for a particular blitz. For example, the GN 28 will flash to photograph the object is 5m that we will use f/5.6.

GN is only a guide for photographers. Not set in stone. Which affected a few. One of them is the ISO / ASA is used. Each 1-stop increase in ISO / ASA will cause GN increased by sqrt (2) or approximately 1.4 times (or the farthest distance multiplied by 1.4) and 2-stop improvement in ISO / ASA will cause GN increased 2 times (or the farthest distance multiplied by 2 ).

Indoor Flash

Blitz often even almost always used in the room. The reason is because in the room lighting is usually somewhat less bright light to produce images that can be seen. Indeed, there is a technique using a slow shutter speed to capture more light, but this usually causes a rather blurry picture because the cameraman's hand shake and the movement of people who want us to photograph. Therefore, we usually use a flash.

Its use is usually simple. We can set a digital camera on auto and let it do its work or it could be our own setting using the calculations done above. Not difficult. Only, there are some things we need to consider in order to get maximum results.

1. Do not take pictures of objects that are too close to the flash straight faced. Take for example the flash GN 20 which I think is adequate as an external flash for digital cameras in an indoor shooting in a room (not the hall). If we want to mention the shooting at a distance of 2 meters with ISO / ASA 200 then we need f/16 is not available in most of the PDC and will produce images over. Therefore, for the PDC / DSC are usually already have a built-in flash to TTL and has the GN rather small (8-12 on the part of the PDC, the Nikon 12-14). Use it instead of an external flash to objects rather close.

2. Combine flash with slow shutter speed to get the main object tercahayai well and has a background light sources are also well captured. This is a technique that's worth a try, and often produces a beautiful picture. Do not be afraid to use a low speed because the object that was subjected to flash will be recorded freeze (freeze).

3. When the room was quite dark, beware of the red-eye effect / red eye effect. This red-eye effect occurs because the pupils are dilated to familiarize yourself with the light but rather darkness suddenly startled a very bright light from the flash. If the camera and / or flash is pre-flash/red eye reduction facility, use it. If not, change the angle akali with a flash of light coming directly not to the eye.

4. In the room there was a strong light source like a spotlight. Avoid taking pictures with facing directly into the strong light source but want to get a silhouette that is not perfect (compensation under 1 to 2 stops for a good silhouette). In this case, use flash to fill in / illuminated object that you want photographed.

Bounce / diffuse

Flash is a source of very strong light. In addition, the flash is the light that comes from a small light source (narrow). Therefore, if the light is exposed directly to an object will cause harsh lighting (harsh). In most of the documentation photographs of personal consumption where officers documentation using point & shoot camera (film / digital) can be accepted. But in a higher level where the results of these photographs will become public consumption, hard path of light will give effect less unsightly. Plus this will usually cause a flash of light bleaching thing was a little white and cause certain details disappear.

There are several ways that we can do to avoid this in terms of softening the light:

1. Expanding the field came to light that is reflected into other areas (bounce).

2. Spreading the light coming from a small source is so widespread (diffuse).

Bounce flash is done by reflecting the flash into a broad field so that the light comes in a wider angle. We can use the ceiling or wall in the room. If the external flash mounted on a digital camera connected via hot shoe, then the flash should have a tilt facility to reflect light. If the synchro is connected via cable, then we can put flash on a bracket with a position facing upwards / sideways or hold such positions.

Reflect the correct position so the light falls exactly on the object is to confront these flash on the ceiling in the middle of the photographer / flash and the object.

Some things we need to consider the use of bounce flash is:

1. The distance to calculate the f / stop change is not a distance camera and the object, but turned into the distance traveled by the light flash. Normally at 45 ° tilt angle we will widen the aperture 1 stop and the tilt angle of 90 ° we widen the aperture by 2 stops. Surely this is only a brief guide. Depending on the technical implementation in the field.

2. Related to no. 1 above, the langit-langit/dinding distance should not be too far or it will be useless.

3. Always use a white reflective areas and dark. Color other than white will cause the color contaminated image and the dark color will absorb the light flash.

4. Note the appearance of the image can occur on the other side of light. For example, if we reflect on the ceiling we will get a shadow under the nose or chin and if we reflect at the wall on the left then there will be shadows on the right. To overcome this we can put a bounce card on the front of the flash so that when we reflect the light up / side we still have a light that is not too strong which leads to the front and neutralize shadow appears.

To take a photo in the vertical, would be easier if we use a cable connection because we can easily expose flash upward when using brackets or held. But if our connection is hot shoe flash then make sure we have a swivel head so the facility can we play is facing up. Even better if we have a flash that can be tilt and swivel. This will accommodate most of our needs.

Another way to soften the light is to expand dispersinya. How to use flash diffuser. Flash diffuser will spread the light out of the flash in all directions so that light does not come out hard. Special diffuser generally available for a particular flash head flash considering different. We can also make your own flash diffuser for us to use the various tools.

When we use a diffuser, we actually block certain areas of the light flash and turn it into another place. This reduces the power of flash that we use it. If we use a diffuser which is the result of buying, then we can read how much compensation we need aperture when calculating exposure. Usually found on the box or paper manual. If we decide to make your own, then we can perform the experiment many times to get the right numbers required to compensate other times.

Outdoor Flash

Brief if we think about using flash, then we'll know if it applies to an atmosphere of lack of light shooting. Therefore, we are not thinking about the need for flash in outdoor photography (during the day, of course) because the sun was very bright. This is where our mistake begins. Flash is required to shoot outdoors, especially on:
Condition object back to the sun. In these conditions, the camera meter will think the atmosphere was light enough so it will cause the object to be photographed the dark / under strong light such as a waste because it is not reflected by the object. How to outsmart is to fill in on an object so that even though the setting is very bright but still get the light objects.
The sun is above the heavens. This will cause the image appears on the bottom of the nose and chin. Use a flash to eliminate them. To soften the light using bounce card or diffuser.
Objects are in the open shade (shadow). Flash is used to obtain the same lighting on the overall image of the object because it will make the dark shades of different parts of objects much less a human face.
The sky was blue and seductive. If we are not tempted by the blue sky and willing to get pictures of white sky when shooting outdoors so please do the metering on the object without using a flash or with flash. If we are willing to object as long as the lack of light blue sky please do the metering on the sky. Well, if we want to keep the blue sky and object tercahayai well, use the metering on the sky and fill flash on the object. This will produce the right mix and right.
The sky was overcast. When the sky was overcast, do not hesitate to use the flash because the effect would be the same cloud as if we were under the shadow./DieeBlog

Tripod (Photography)

2009-11-26T09:38:00.002+07:00

In photography, a tripod is used to stabilize and elevate a camera, or to support flashes or other photographic equipment.

Usage

Tripods are used for both still and motion photography to prevent camera movement. They are necessary when slow-speed exposures are being made, or when telephoto lenses are used, as any camera movement while the shutter is open will produce a blurred image. In the same vein, they reduce camera shake, and thus are instrumental in achieving maximum sharpness. A tripod is also helpful in achieving precise framing of the image, or when more than one image is being made of the same scene, for example when bracketing the exposure. Use of a tripod may also allow for a more thoughtful approach to photography. For all of these reasons a tripod of some sort is often necessary for professional photography as well as certain video uses. Tripods are also used as an alternative to C-Stands to photographic accessories.

Construction

For maximum strength and stability, most photographic tripods are braced around a center post, with collapsible telescoping legs and a telescoping section at the top that can be raised or lowered. At the top of the tripod is the head, which includes the camera mount (usually a detachable plate with a thumbscrew to hold onto the camera), several joints to allow the camera to pan and tilt, and usually a handle to allow the operator to do so without jostling the camera. Some tripods also feature integrated remote controls to control a camcorder or camera, though these are usually proprietary to the company that built the camera.The de facto standard threading for the screw that attaches the camera to the tripod is 1/4"-20tpi (threads per inch) Whitworth for smaller cameras or 3/8"-16tpi Whitworth for larger cameras and pan/tilt heads. 1/4"-20 UNC and 3/8"-16 UNC screw threads are generally close enough to work when Whitworth screw forms are unavailable.

Variations

There are several types of tripod. The least expensive, generally made of aluminium tubing and costing less than US$100, is used primarily for consumer still and video cameras; these generally come with an attached head and rubber feet. The head is very basic, and often not entirely suitable for smooth panning of a camcorder. A common feature, mostly designed for still cameras, allows the head to flip sideways 90 degrees to allow the camera to take pictures in portrait format rather than landscape. Often included is a small pin on front of the mounting screw that is used to stabilize camcorders. This is not found on the more expensive photographic tripods.

More expensive tripods are sturdier, stronger, and usually come with no integrated head. The separate heads allow a tripod-head combination to be customized to the photographer's needs. There are expensive carbon fiber tripods, used for applications where the tripod needs to be lightweight. Many tripods, even some relatively inexpensive ones, also include leveling indicators for the legs of the tripod and the head.

Many of the more expensive tripods have additional features, such as a reversible center post so that the camera may be mounted between the legs, allowing for shots from low positions, and legs that can open to several different angles.

Small tabletop tripods (sometimes called tablepods) are also available, ranging from relatively flimsy models costing less than US$20, to professional models that can cost up to $800 USD and can support up to 68 kg (150 lb). They are used in situations where a full sized tripod would be too bulky to carry. An alternative is a clamp-pod, which is a ball head attached to a C-clamp.

Another is actually made of string. Forming a triangle with the two feet of the photographer and linking to the camera. This negative string tripod, can give up to three stops.

Heads

The head is the part of the tripod that attaches to the camera and allows it to be aimed. It may be integrated into the tripod, or a separate part. There are generally two different types of heads available.

A ball head utilizes a ball and socket joint to allow movement of all axes of rotation from a single point. Some ball heads also have a separate panoramic rotation axis on the base of the head. The head has two main parts, the ball, which attaches to the camera and the socket, which attaches to the tripod. The camera is attached to the ball via quick release plate, or a simple 1/4"-20 screw. The socket is where the ball rotates in, and also contains the controls for locking the ball. The socket has a slot on the side, to allow the camera to be rotated to the portrait orientation. Ball heads come in varying styles of complexity. Some have only one control for both ball and pan lock. While others have individual controls for the ball, pan, and also ball friction. Ball heads are used when a free-flow movement of the camera is needed. They are also more stable, and can hold heavier loads, than pan-tilt heads. However, ball heads have the disadvantage that only one control is available to allow or prevent movement of all axes of rotation, so if the camera is tilted on one axis, there may be risk of tilting on the other axes as well. When movement of one, or two axes or rotation is needed, a pan-tilt head is used.

The pan-tilt head has separate axes and controls for tilting and panning, so that a certain axis can be controlled without risk of affecting the other axes. These heads come in two types, 2-way and 3-way. 2-way heads have 2 axes and controls, one for panoramic rotation, and one for front tilt. 3-way heads have 3 axes and controls, one for panoramic rotation, front tilt, and lateral tilt. The controls on these heads, are usually handles that can be turned, to loosen or tighten the certain axis. This allows movement in one, a few, or none of the axes. When movement of all axes of rotation is needed, a ball head is used. There are some pan-tilt heads that use gears, for precision control of each axis. This is helpful for some types of photography, such as macro photography.

Other tripod head types include the fluid head, gear head, alt-azimuth, and equatorial heads. Fluid heads and gear heads move very smoothly, avoiding the jerkiness caused by the stick-slip effect found in other types of tripod head.

Monopod

In place of or to supplement a tripod, some photographers use a one-legged telescoping stand called a monopod for convenience in setup and breakdown. A monopod requires the photographer to hold the camera in place, but because the photographer no longer has to support the full weight of the camera, it can provide some of the same stabilization advantages as a tripod./Wikipedia

Lens Hood

2009-11-26T09:11:00.001+07:00

In photography, a lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare.

The geometry of the lens hood can vary from a plain conical section (much like a lamp shade) to a more complex cut sometimes called a flower, petal or tulip hood (as shown in the picture), which prevents the hood from blocking the field of view of the lens and producing vignetting. Flower shaped lens hoods are most often used on zoom lenses as a normal lens hood may block the field of view on some zoom settings.

Lens hoods are more prominent in telephoto lenses because the field of view has a smaller viewing angle than of wide-angle lenses. For wide angle lenses, the length of the hood (away from the end of the lens) cannot be as long as those for telephoto lenses because of the viewing angle.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. Some lens hoods are flexible and collapse for storage.

In addition, they offer a kind of protection for the lens due to the hood extending farther than the lens itself./Wikipedia

Type Lens Filters My Favorites

2009-11-26T08:04:00.004+07:00

Clear and Ultraviolet

Clear filters, also known as window glass filters or optical flats, are completely transparent, and (ideally) perform no filtering of incoming light at all. The only use of a clear filter is to protect the front of a lens.

UV filters are used to reduce haziness created by ultraviolet light. A UV filter is mostly transparent to visible light, and can be left on the lens for nearly all shots. UV filters are often used for lens protection, much like clear filters. A strong UV filter, such as a Haze-2A or UV17, cuts off some visible light in the violet part of the spectrum, and so has a pale yellow color; these strong filters are more effective at cutting haze, and can reduce purple fringing in digital cameras.Strong UV filters are also sometimes used for warming color photos taken in shade with daylight-type film.

While in certain cases (such as harsh environments) a protection filter may be necessary, there are also downsides to this practice. Arguments for the use of protection filters include:

If the lens is dropped, the filter may well suffer scratches or breakage instead of the front lens element.
One can clean the filter frequently without having to worry about damaging the lens coatings; a filter scratched by cleaning is much less expensive to replace than a lens.
If thereis blowing sand the filter may protect the lens from abrasion from sand.

And arguments against their use include:

Adding another element degrades image quality due to aberration and flare.
It may reduce the use of lens hoods, since threading a lens hood on top of the clear filter might cause vignetting on some lenses, and since not all clear filters would even have threads allowing a hood to be attached.
If the ring of the filter is struck in a drop it may shatter the filter and cause scratches to the front element rather than a bend in the filter ring of the lens barrel

Additionally, users of UV filters must be careful about the quality of such filters. There is a wide variance in the performance of these filters with respect to their ability to block UV light. Also in lower quality filters, problems with autofocus and image degradation have been noted.

Color Correction

A major use is to compensate for the effects of lighting not balanced for the film stock's rated color temperature (usually 3200 K for professional tungsten lights and 5500 K for daylight): e.g., the 80A blue filter used with daylight film corrects the orange/reddish cast of household tungsten lighting, while the 85B used with tungsten film will correct the bluish cast of daylight. Color correction filters are identified by numbers which sometimes vary from manufacturer to manufacturer. The use of these filters has been greatly reduced by the widespread adoption of digital photography, since color balance problems are now often addressed with software after the image is captured, or with camera settings as the image is captured.

Polarizing Filter

A polarizing filter, used both in color and black and white photography, filters out light polarized perpendicularly to the axis of the filter. This has two applications in photography: it reduces reflections from non-metallic surfaces, and can darken the sky.

Light reflected from a non-metallic surface becomes polarized; this effect is maximum at Brewster's angle, about 56° from the vertical (light reflected from metal is not polarized, due to the electromagnetic nature of light). A polarizer rotated to pass only light polarized in the direction perpendicular to the reflected light will absorb much of it. This absorption allows glare reflected from, for example, a body of water or a road to be much reduced. Reflections from shiny surfaces of vegetation are also reduced. Reflections from a window into a dark interior can be much reduced, allowing it to be seen through. (The same effects are available for vision by using polarizing sunglasses.)

Much of the light from the sky is polarized (bees use this phenomenon for navigation). Use of a polarizing filter will filter out the polarized component of skylight, darkening the sky; the landscape below it, and clouds, will be less affected, giving a photograph with a darker and more dramatic sky, and emphasizing the clouds.

The benefits of polarizing filters are largely unaffected by the move to digital photography: while software post-processing can simulate many other types of filter, a photograph does not record the degree of polarization, so the optical effects of controlling polarization at the time of exposure cannot be replicated in software.

Neutral Density

A neutral density filter (ND filter) is a filter of uniform density which attenuates light of all colors equally. It is used to allow a longer exposure (to create blur) or larger aperture (for selective focus) than required for correct exposure in the prevailing light conditions, without changing the tonal balance of the photograph.

A graduated neutral density filter is a neutral density filter with different attenuation at different points, typically clear in one half shading into a higher density in the other. It can be used, for example, to photograph a scene with part in deep shadow and part brightly lit, where otherwise either the shadows would have no detail or the highlights burnt out.

Cross Screen

A cross screen filter, also known as a star filter, creates a star pattern, in which lines radiate outward from bright objects. The star pattern is generated by a very fine diffraction grating embedded in the filter, or sometimes by the use of prisms in the filter. The number of stars varies by the construction of the filter, as does the number of points each star has./Wikipedia

Photographic Filter

2009-11-26T07:30:00.003+07:00

In photography and videography, a filter is a camera accessory consisting of an optical filter that can be inserted in the optical path. The filter can be a square or oblong shape mounted in a holder accessory, or, more commonly, a glass or plastic disk with a metal or plastic ring frame, which can be screwed in front of the lens or clipped onto the lens.

Filters allow added control for the photographer of the images being produced. Sometimes they are used to make only subtle changes to images; other times the image would simply not be possible without them.

The negative aspects of using filters, though often negligible, include the possibility of loss of image definition if using dirty or scratched filters, and increased exposure required by the reduction in light transmitted. The former is best avoided by careful use and maintenance of filters, while the latter is a matter of technique; it usually will not be a problem if planned out properly, but in some situations filter use is impractical.

Many filters are identified by their Wratten number./Wikipedia

Some Lens Mounts

2009-11-26T07:22:00.000+07:00

There is almost no commonality between different camera makers regarding lens mount systems. Each manufacturer has developed their own system, and build camera bodies and lenses that only work with their own lens mount, with the Four Thirds System being a partial exception. This was different before 1970 when most of the manufacturers use either M42 or M39 lenses, most of which can still be used depending on the particular adapter you can find.

This does not necessarily mean that one is limited to only mounting, for example, Pentax lenses on a Pentax camera body. There are independent optics companies that make lenses for the various otherwise proprietary mount systems, thus providing alternative sources for lenses that are often of equal quality and/or less expensive than the camera maker's own lenses. Another possibility is the use of adaptors that allow mounting a lens for one system on a camera with a different lens mount. However, the use of an adaptor usually results in reduced functionality, typically requiring the manual setting of aperture and focus, or perhaps not being able to use any aperture other than "wide open".

M42

Used by Leica, Nikon, Pentax, Canon

M39

Used only by Leica, Contax

Canon EF and EF-S lens mounts

Canon introduced the EF lens mount in 1987 as part of the EOS system. It broke with the most common technique for implementing autofocus at that time by not having a mechanical connection to a motor in the camera body, having instead only electrical connections and requiring a motor to be part of each autofocus lens.

The EF-S lens mount is a newer subset of the EF standard, introduced in 2003. EF-S lenses can only be used on Canon digital cameras that use the APS-C sensor, for example the 400D (EOS Digital Rebel XTi) and the 40D. Note that while you can not mount an EF-S lens on a camera that uses the EF mount, the converse it not true; you can mount EF lenses on cameras designed for both the EF and the EF-S standards.

As noted above under focal length, Canon makes DSLRs with various sensor sizes, and all using the EF or EF-S lens mounts. This leads to the interesting phenomenon of the same EF lens providing different angles of view depending on which camera it is mounted on.

Third-party lenses compatible with Canon's EF and EF-S mounts are manufactured by Sigma, Tamron, and Tokina. The manufacturers of these lenses have reverse engineered the electronics of the EF lens mount. The use of these lenses is not supported by Canon. However, many users find these lenses to be cheaper, and sometimes superior alternatives to Canon lenses.

Four Thirds System

The Four Thirds System was created by Olympus and Kodak in 2001, and is designed exclusively for digital cameras.It is the only lens mounting system that is not completely proprietary; it is a semi-open standard that may be licensed by third parties. Currently Olympus, Leica (in cooperation with Panasonic), and Sigma are making lenses under Four Thirds System consortium licensing.

The Four Thirds System sensor size (17.3 mm x 13 mm) is the smallest currently being used in DSLR cameras. This leads to both advantages (theoretically smaller, lighter and cheaper lenses and camera bodies) and disadvantages (slightly lower image quality, especially in low-light situations).

There are currently over 35 lenses available for Four Thirds System cameras. A complete list can be found on Andrzej Wrotniak's web site

Minolta AF Lens Mount

Konica Minolta sold the rights to their Minolta AF lens mount to Sony in 2006. See below under Sony α mount system.

In North America, Minolta began using the name 'Maxxum' for the SLR autofocus cameras, lenses and flashes while in Europe they were called 'Dynax', and in Asia the 'Alpha' branding was used, though they were otherwise identical in appearance and function - all of the equipment is 100% interchangeable regardless which of the names it carries.

Most Minolta Maxxum/Dynax compatible lenses, whether built by Minolta or one of the aftermarket lens manufacturers, are focused externally by a shaft connecting the autofocus computer and motor inside the camera body that mechanically connects to the internal focusing gears inside of the lens body. A couple later Minolta lenses do have a built in ultrasonic focus motor (SSM lenses), like other SLR and DSLR systems (i.e. Canon and Nikon) where the AF computer is inside the camera body and there is a digital interface connecting body to an electric motor and the focusing gears built into the lens body creating a "drive-by-wire" focusing system.

This shaft driven autofocus design has several benefits such as allowing for smaller and lighter lenses and also keeps the cost of lenses down because there are no internal focusing motors or digital interfaces built into the lens ... also, by keeping the autofocus motors inside the camera body and as far away from the lens glass as possible there is a vibration reduction benefit as well.

This shaft driven autofocus system has been extremely successful and continues to this day with Sony's current breed of state-of-the-art digital SLR cameras, the A-100, A-200, A-300, A-350 and A-700. Though Sony has also released more SSM lenses under the Sony and Zeiss brands.

Nikon F-Mount

The Nikon F-mount was introduced by Nikon back in 1959, and is thus one of the most venerable lens mounts still in existence. Another factor that makes the Nikon F-mount popular is that several other camera manufacturers, for example Fujifilm, have adopted it. F-mount photographic lenses are currently made by Nikon, Zeiss, Voigtländer, Schneider, Sigma, Tokina, Tamron, Hartblei, Kiev-Arsenal, Lensbaby, Vivitar, and others, and over 400 lenses are compatible with the system.

Most Nikon F-mount lenses cover the standard 36×24 mm area of 135 film, while "DX" designated lenses cover the 24×16 mm area of the Nikon DX format sensors, commonly referred to as APS-C format. "DX" lenses produce vignetting when used on film cameras or full frame digital cameras such as the new Nikon D3. However, the Nikon D3 and D700 has a DX-compatible mode that reduces the resolution from 12.2 megapixel to 5.1 megapixel and avoids vignetting.[9]

There are basically three types of F mount Nikon lens;

MF = Manual focus lenses
AF & AF-D = Auto focus by camera body driven focus motor, the D version provides distance information
AF-I & AF-S = Auto focus by integrated/ultrasonic motor in lens, see also List of Nikon compatible lenses with integrated autofocus-motor

Industrial F-mount lenses have varying, often small, film/sensor coverage. Older F-mount lenses designed for film cameras will work on modern SLR or DSLR cameras with some limitations, typically not providing autofocus or automatic aperture setting. Entry level Nikon DSLR's such as Nikon D40, D40x and D60 dont have an integrated focus motor, so will not auto focus with AF & AF-D lenses. Similarly, some AF-I & AF-S lenses wont work on some older Nikon AF film SLR's.

Pentax K Mount

The Pentax K mount (or just "PK mount") was created by Pentax in 1975, and has been used by all Pentax 35 mm and digital SLRs since. The mount has been developed over the years, resulting in a large number of designations such as KF mount, KA mount, KAF mount, KAF2 mount and KA2 mount, plus a couple of more recent versions that are not completely backward-compatible and are thus referred to as "crippled" versions. ("Crippled" in this context does not imply any lack of modern functionality, just a lack of compatibility with past lenses.) For more information see the Pentax K mount article or Bojidar Dimitrov's web site.[10]

A number of other manufacturers have produced K-mount lenses, and several other manufacturers have made K-mount cameras. In 2005 Pentax and Samsung entered into a cooperation resulting in the Samsung GX line of DSLRs, based largely on Pentax technology including the Pentax K mount.

Sigma SA Mount

Sigma Corporation, better known for manufacturing lenses for other cameras, has made some film SLR and DSLR cameras themselves. These cameras use the Sigma SA mount, for which Sigma makes a line of lenses.

The Sigma DSLR cameras that use the SA mount are the Sigma SD9, Sigma SD10 and Sigma SD14. These cameras are noteworthy for their use of the Foveon X3 sensor, an image sensor that works on quite different principles from the sensors used in all other digital cameras.

Sony α Mount System

The Sony α mount system is based on the Minolta AF lens mount, which was introduced with the Minolta Maxxum 7000 camera in 1985, along with 11 AF-mount lenses. Minolta (and later Konica Minolta) followed up by producing a large number of AF-mount lenses over the years up until 2006.

Sony acquired Konica Minolta's camera technologies in 2006, and chose the "α" (alpha) brand name, already in use by Minolta in Asia, for their new "Sony α" digital SLR system. The Minolta AF lens mount was retained from the old cameras and is now officially known as the "Sony α mount system".

Sony has produced several new lenses for the Sony α mount, and the current list of Minolta and Sony α mount lenses has over 60 entries. Some of the newest α mount lenses are designated "DT" for Digital Technology; these are for digital cameras with APS-C sensors, and will result in vignetting if used on a film SLR.

Third party lenses for the AF lens mount are made by Zeiss, Sigma, Tamron, Tokina and Vivitar.

Mount Compatibility Across Camera Generations

The Nikon F-mount lens systems and the Pentax K-mount systems are the only 35 mm SLR camera systems (apart from the Leica M-mount rangefinder system) that allow a photographer to use a mechanical SLR camera body, a fully automatic SLR camera body, and a DSLR camera body, all utilizing the same lenses. Thus, if a photographer is working in extreme climate conditions (i.e., the top of a high mountain where the temperatures are below freezing), that photographer can change from a digital camera body, which is totally dependent upon battery power, to a mechanical film camera body, which has no battery or power limitations, and continue photographing. The only aspects of these manufacturers' lenses that have changed are the addition of electronic contacts, autofocus abilities and, in some cases, the elimination of the external aperture ring for electronic control (i.e., Nikon's 'G-type' auto-Nikkors, which cannot be used on a mechanical SLR camera body).

Canon, Minolta (Sony), Olympus, and other manufacturers have changed lens mounts. Much older Canon film camers used the FD lens mount, which was discontinued in 1987 in favor of the EF lens mount. Olympus discontinued the OM lens mount for the OM series cameras in favor of the Four Thirds System lens mount. However, due to the size of the Four Thirds mount it is possible to fit legacy SLR lenses from any manufacturer using an adapter, albeit with manual aperture and focus control. Minolta (Sony after 2006) phased out its bayonet-mount MC and MD Rokkor lenses for a modified bayonet mount (supporting autofocus) in 1985./Wikipedia

Some Ability Lenses

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Automatic Focus

Almost all modern lenses for SLRs and DSLRs provide automatic focus. The autofocus sensor(s) and electronics are actually in the camera body, and this circuitry provides electrical power and signals to a motor inside the lens that adjusts the focus. (Some older autofocus systems are based on a motor in the camera body and using a mechanical connection to the focus mechanism in the lens.)

There are two different kinds of in-lens electronic focus drive motors currently in use, the traditional servo motor and the more modern "ultrasonic" drive systems. These ultrasonic drives go by different names according to the manufacturer, for example USM (Canon), AF-S/Silent Wave (Nikon), Super Sonicwave Motor/SSM (Sony), Supersonic Wave Drive (Olympus), Extra Silent Motor (Panasonic/Leica), Supersonic Drive Motor (Pentax), and Hypersonic Motor/HSM (Sigma). These ultrasonic focus drives typically provide faster focusing than the non-ultrasonic drives, as well as being practically silent and using less battery power.

Optical Image Stabilization

Image stabilization is a technique used to reduce image blur caused by the camera not being held steady. There are two kinds of image stabilization used in SLR and DSLR cameras and their lenses:

In-body image stabilization is implemented by moving the image sensor in an attempt to counteract the sensed motion of the camera. The advantage of this technique is that it works for all lenses mounted on the camera, at least if they provide necessary information to the camera body's electronics regarding focal length (or current focal length in the case of a zoom lens).
Optical image stabilization is implemented in the lens itself, and moves the lens elements in in an attempt to counteract the sensed motion of the camera. The advantage of this kind of image stabilization is that it typically provides slightly better results, especially for long telephoto lenses. The disadvantage is that you have to pay the extra cost for every lens you buy for which you want image stabilization.

Note that image stabilization can not reduce blur if the subject is moving, or if the camera is being panned in a continuous movement. Note also that mounting a lens with optical image stabilization on a camera with in-body image stabilization does not provide improved results; on the contrary, you must switch one of the two systems off.

Lens Types DSLR

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Zoom Lenses

The focal length of a zoom lens is not fixed; instead it can be varied between a specified minimum and maximum value. Modern lens technology is such that the loss of image quality in zoom lenses (relative to non-zoom lenses) is minimal, and zoom lenses have become the standard lenses for SLRs and DSLRs. This is different from only 20 years ago when, due to image quality concerns, most professional photographers still relied primarily on standard non-zoom lenses.

Zoom lenses are often described by the ratio of their longest to shortest focal lengths. For example, a zoom lens with focal lengths ranging from 100 mm to 400 mm may be described as a 4:1 or "4×" zoom. Typical zoom lenses cover a 3.5× range, for example from 24 - 90 mm (standard zoom) or 60 - 200 mm (telephoto zoom). "Super-zoom" lenses with a range of 10× or even 14× are becoming more common, although the image quality does typically suffer a bit compared with the more traditional zooms.

The maximum aperture for a zoom lens may be same for all focal lengths, but it is more common that the maximum aperture is greater at the wide-angle end than at the telephoto end of the zoom range. For example, a 100 mm to 400 mm lens may have a maximum aperture of 4.0 at the 100 mm end but only 5.6 at the 400 mm end of the zoom range.

Prime Lenses

Standard non-zoom lenses are called prime lenses or simply "primes". Their advantage, in addition to typically giving a slightly better image quality, is that they are smaller, lighter and cheaper than a zoom lens of the same quality. A prime lens may also be "faster", i.e., have a larger maximum aperture (smaller f-number), so it can be used with less light (with the same shutter speed), and can provide less depth of field in situations where this is desirable.

Macro Lenses

Macro lenses are designed for extreme closeup work. Such lenses are popular for nature shooting such as small flowers, as well as for many technical applications. As most of these lenses can also focus to infinity and tend to be quite sharp, many are used as general-purpose optics./Wikipedia

My Portofolio a Photography

2009-11-22T19:43:00.012+07:00

4 months did not feel I've joined in the FN (fotografer.net) fotorgafer forum best since 2007 until it know.From I get a lot of scientific input in the form of criticisms and suggestions from the beginner to the professional photographers who have a master class long enough to dedicate their knowledge in business pre-wedding photographs and models of the current rise leaf.Finally again I decided to buy the small domain address at http://gubtha.fotografer.net, a new stage of work on 10% only, because I still have a lot of activity going on in college.But I really wish hard for me to share some knowledge and experience in the world I am a photographer, so we can each take up the slack of each and share about the art world again when ini.Let trends for friends beginner photographer who wants to increase knowledge and kinship in this art does not have any hesitation or embarrassment, because all the friends from the senior to fellow starters will help develop and discover your artistic identity in the world of art fotografer.This very open to anyone and of the status of anything, moments captured anything that has artistic value and let good.So information studied together photographers in this world . /gubtha

Reasons for using Manual mode on the DLSR Camera

2009-11-22T15:54:00.007+07:00

The first experience of using DSLR camera itself is very pleasant, because I think we always want to capture the objects that are interesting on eyes.Example flowers, insects and other creatures That have their unique antiques.Objects like jars, antique tables, cabinets , and others, which essentially is interesting to note from a different side of the lens camera.On my prime example of the image such as wood and sand, is one simple example of a technique using Nikon manual setting mode, "why should I use manual mode? ?? ", because it is a DSLR camera designed for maximum but manual mode does not mean the other modes can not be maximal, in my opinion was clearly visible on the action buttons are provided more useful complete at why reasons manual.Jadi mode some DSLR camera users prefer to use manual mode simply fulfilled, there may enter from friends Fotography lovers who want to add why you should use the fixed priority mode and a spirit of manual.Semoga the beginner friends aka newbie photographer from my thoughts This, once again please enter from you./gubtha

My Frist Camera DSLR (Nikon D5000)

2009-11-11T20:38:00.018+07:00

My first DSLR camera, the Nikon D5000 (year 2009) + kit 18-55mm AF-S DX VR II, purchased at a price of Rp 8.200.000 in JPCKemang. I am quite satisfied with the service and an easy way to trade, so I can order goods from Samarinda.

Nikon D5000 + Kit

basic specifications :

12.9 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
2.7 "tilt and swivel LCD monitor (230,000 dots)
Movie capture at up to 1280 x 720 (720p) 24 fps with mono sound
Live View with contrast-detect AF, face detection and subject tracking
Image sensor cleaning (sensor shake)
11 AF points (with 3D tracking)
IS0 200-3200 range (100-6400 expanded)
4 frames per second continuous shooting (buffer: 7 RAW, 25 JPEG fine, 100 JPEG Normal)
Expeed image processing engine
Extensive in-camera retouching including raw development and Straightening
Connector for optional GPS unit (fits on hot shoe)
New battery with increased capacity
72 thumbnail and calendar view in playback

This camera is quite comfortable and easy to use for new beginners will learn photogaphy, because this camera is Beginner class camera that is able to adjust the usage and all light conditions where snapshot.But 2 months ago DSLR Nikon also launched the D3000 having a difference in the sensor have used this CCD.Where sensor CCD sensor can produce sharper images than CMOS sensors on Nikon D5000 less D5000.Not good that may only be superior in features and Extreme Video shoot via the 270 ° swivel screen. I'm sure you'll find an amazing style and pictures you've never seen in the world of photography in previous years with Nikon D5000./gubtha

My Frist Upload (focus for use Depth of Field)

2009-11-11T20:23:00.012+07:00

Sand of A View

Wood of Mango Trees

In optics, particularly as relates to film and photography, the depth of field (DOF) is the portion of a scene that appears acceptably sharp in the image. Although a lens can precisely focus at only one distance, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.

In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de-emphasizing the foreground and background. In cinematography, a large DOF is often called deep focus, and a small DOF is often called shallow focus.

The DOF is determined by the subject distance (that is, the distance to the plane that is perfectly in focus), the lens focal length, the lens f-number, and the format size or circle of confusion criterion.

For a given format size, at moderate subject distances, DOF is approximately determined by the subject magnification and the lens f-number. For a given f-number, increasing the magnification, either by moving closer to the subject or using a lens of greater focal length, decreases the DOF; decreasing magnification increases DOF. For a given subject magnification, increasing the f-number (decreasing the aperture diameter) increases the DOF; decreasing f-number decreases DOF.

When a picture is taken in two different format sizes from the same distance at the same f-number with lenses that give the same angle of view, the smaller format has greater DOF. When a picture is taken in two different formats from the same distance at the same f-number using lenses of the same focal length, the smaller format has less DOF.

Cropping an image and enlarging to the same size final image as an uncropped image taken under the same conditions is equivalent to using a smaller format under the same conditions, so the cropped image has less DOF.

When focus is set to the hyperfocal distance, the DOF extends from half the hyperfocal distance to infinity, and the DOF is the largest possible for a given f-number.

The advent of digital technology in photography has provided additional means of controlling the extent of image sharpness; some methods allow extended DOF that would be impossible with traditional techniques, and some allow the DOF to be determined after the image is made./Wikipedia

Tips Choosing a Digital SLR Camera (part 2)

2009-11-11T20:08:00.008+07:00

WHO, the hell, who did not want to have a DSLR camera? Besides the technology is far above the pocket camera, many people who feel more confident and stylish, if using a digital SLR camera.

But it must be remembered, lo, though the vendor is easier using DSLR camera menu, it still easier to use ordinary pocket camera, rather than DSLR cameras.

There are still many people who think that can help guide them in the use DSLR camera, but still many factors to consider in buying a camera of this type. Therefore, if you plan on buying a DSLR camera, consider the following few points. The hope, that you do not regret in the future.

First, adjust the requirements. Considering the price of DSLR camera is quite expensive, do not carelessly buy a camera of this type. Do not until you buy a DSLR camera just to style without knowing at all how to operate. Redundant, is not it?

Second, see the support for these products. For example, how long the warranty is given vendor, and whether the warranty is valid in Indonesia alone or applied globally.

Almost all the vendors warranty their products for one year and component warranty for two years. Beyond that, you have to bear alone the cost of repair if damaged digital camera.

It is also important also about the global warranty. There are some distributors who are establishing a global partnership. For example, when we are abroad and we bring a camera damaged. During the vendor has a network in the country concerned, the camera warranty is still valid.

Things like that do not apply to distributors with local warranty. Thus, although the camera still warranty, the owner must still pay for repairs.

Third, choose a clear product. Today many vendors who issue digital SLR camera. Of course, you must select a vendor who already has experience and after sales network wide.

Fourth, it is about technology. You must pay attention, how much the vendor will update the technology of their products. The more sophisticated, of course we will be more satisfied with their products. Do not forget, too, how many options the camera lens. Understandably, there are vendors who have many choices, there are a few.

Well, one thing is certain, do not be tempted by a cheap DSLR camera, but not quality. Many novice users are stuck with this. Now you no longer need to be confused if going to buy a camera which. Please make a selection./gubtha

Tips Choosing and Buying a Digital SLR Camera (DSLR) for Beginners (part 1)

2009-11-11T19:59:00.028+07:00

Choosing and buying a digital SLR camera (DSLR) more easy is difficult, especially for beginners who like me pas2n pockets. To your deep pockets, you just choose a high-priced or high-end class, because in the world of photography, the price , but mean very good. But for me, who can empty cost rations for two months, made me think hard to choose one of the producers who supply all tempting. There are some things that need to be considered in selecting and buying a digital SLR camera (DSLR) this. Let,s we discuss ...

"What You Need???"

There are so many choices on the market with a variety of prices and features variants. before deciding, think about your goal to buy a digital SLR camera, what features are important to you. You want the simplicity of a DSLR camera or the type of photographer you want to reply to explore all the advantages offered by an SLR camera.

Note the size of CCD or CMOS sensor used to capture the image. Although many variations in size, but generally fall into 3 categories, namely FullFrame, APS-C and Four-Thirds. For some, the size of the sensor (megapixel) not very important, more important, into which category the sensor.

What distinguishes the three types of sensors are Crop Factor, the picture above shows that the smaller the sensor size, the smaller the area of the screen capture. the image results, look sperti using the focal length (1.5x or 1.6x longer for APS-C, 2x for the Four-Thirds).

For most beginner DLSR user, the crop factor is not the main thing, but worth considering if you want to use a DSLR to replace your old SLR camera, and if you already have a collection of mahal2 lens, it's worth considering buying your DSLR Fullframe, because if not , the image produced will be different reply with regular SLR.

Another thing to note vote reply digital SLR camera or DSLR is antishake systems. A picture taken in dim lighting or taken from a distance will be prone to opaque (blur) due to hand movement or the camera accidentally wrote. Image Stabilization is designed to avoid this

The next thing to watch in reply to buy digital SLR camera or DSLR is speed. either speed or the speed of focus pictures. entry-level DSLR camera also has a speed of reply is better than a pocket camera high-end. The more expensive is also increasing its speed. this is required if you frequently photographing moving objects for example wrote a moving car or a bird in flight.

What is important is the size and weight of the camera body, you are familiar with the camera reply would be awkward pocket or little difficulty if the direct use Nikon D3 DSLR for example. reply should be started from such a compact Nikon D60 or Canon EOS 400D

Less is more so hal2 to be considered in selecting and buying a digital SLR camera or a DSLR for beginners. very easy and useful./gubtha