Smartphotography201205

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SIGHTS, SOUNDS & STORIES...

REVIEWS

Ajay Sood

Canon PowerShot G1X Our 3-Legged Friends Nissin MF18 Digital TTL Macro Flash Corel PaintShop Pro x4

LEARNINGS Basics: Exposure Controls in D-SLRs Create an Out of Frame Effect using Adobe Photoshop Expose to the Right Depth of Field Preview Why Narrow Apertures provide Greater D.O.F. Remedy for Over-sharpening

Editor Hoshang S. Billimoria Technical Editor Rohinton Mehta Executive Editor Mathew Thottungal Senior Correspondent Sujith Gopinath Copy Editor Aswathi Nair Photography Mahesh Reddy Creative Director & Head Production Atul D. Bandekar Design Ajit Manjrekar, Sanjay Awad, Ajay Paradkar Production Dinesh Bhajnik, Deepak Narkar, Ravi Parmar Product Manager Perseus Master Publisher Girish Mallya Circulation and Subscription Sanjeev Roy (Asst. Operations Manager) Sachin Kelkar (Subscription Supervisor) Head Office - Mumbai 2nd Floor, C Wing, Trade World, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013 Tel: + 91 22 43525252 Fax: + 91 22 24955394 Email: sp@nextgenpublishing.net Subscription Tel: + 91 22 43525220 Fax: + 91 22 24955394 Email: subscriptions@nextgenpublishing.net News Stand Distribution India Book House, Mumbai 400 002, Tel: +91 22 2284626 Fax: +91 22 22835099 Marketing Offices Ahmedabad Chandan House, 3rd Floor, Mithakhali Six Roads, Ahmedabad 380006 Tel: + 91 79 40008000 Fax: + 91 79 40008080 Bangalore #903, 9th floor, ‘B’ Wing, Mittal Towers, MG Road, Bangalore -560001 Tel: +91 80 - 66110116 New Delhi Plot No.225, Okhla Industrial Estate, Phase III, Okhla, New Delhi 110020 Tel: + 91 11 42346600 Fax: + 91 11 42346679 Chennai Unit No:20,Third floor, Modern Towers, 35/23 West Cott Road, Royapettah, Chennai 600 014 Tel +91-44-39149889/90/91 Fax +91-44-39149892.

Pune 401B, Gandhi Empire, Plot no.2, 5th floor, Sareen Estate, Kondhwa Road, Pune 411040 Tel: + 91 20 32930291 Fax: + 91 20 26830465 Hyderabad

Richard G.C. +9199492 17127 Views and opinions expressed in the magazine are not necessarily those of Next Gen Publishing Ltd. Next Gen Publishing does not take the responsibility for returning unsolicited material sent without adequate postal stamps for return postage. No part of the magazine may be reproduced in part or full without the prior express written permission of the publisher. Printed by Girish Mallya, Next Gen Publishing Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Published by Girish Mallya on behalf of Next Gen Publishing Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Printed at Kala Jyothi Process Pvt. Ltd, 1-1-60/5 RTCX Roads, Hyderabad - 20. Published at Next Gen Publishing Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Copyright 2006 SMART PHOTOGRAPHY All readers are recommended to make their own independent enquiries before sending money, incurring expenses or entering into commitments in relation to any advertisement appearing in the publication. Smart Photography does not vouch for any claims made by advertisers for their products and services. The editor, publisher, printer and employees of the publication shall not be held liable for any consequence in the events of such claims not being honoured by the advertisers. All disputes are subject to the exclusive jurisdiction of competent courts and forums in Mumbai only.

Editor – Hoshang S Billimoria

Welcome

I

ntellectual property rights relating to images are under serious challenge. A British photographer has been recently exposed for using images copyrighted by others without permission. For most professional photographers, the web and sites like Flickr are a good way of marketing themselves. The underlying risks of your image being passed off are, however, huge. We daresay that you should proceed with caution and care and clearly mark your pictures as your own and not transferable without prior consent.

On a different note, the British Institute of Professional Photography has come under severe criticism for conducting a photography competition and giving out prizes to the judges. Nearer home, we are reminded of a similar set of awards where the sponsors award themselves. Tch, tch.. ..

H. S. Billimoria

Here’s What Makes us

#1

WE ARE GLUED TO THE GLOBAL IMAGING INDUSTRY Our team is updated with all the benchmarks and road blocks that the field of photography and imaging across the globe experiences. This helps us record the changes in the global perspective, thus making us the first to predict which products will be a rage in the Indian markets.

OUR TESTS ARE CONDUCTED BY EXPERTS All equipment go through a series of tests at the hands of our experts. Our reviewers are experts in the field of photography across the country and have many years of experience. That gives us the foresight to distinguish between a passing trend and a big change in the field of photography and imaging. And finally, our reviews are not extended to just fill up the pages!

WE’RE IMPARTIAL Loyalty towards our readers is a given, and their best interests are always on our mind.

Every verdict is honest and not influenced by advertisers or personal favorites. So when we say a product is a ‘BEST BUY’, then, it is just that!

WE ARE HERE TO HELP YOU There is no debate on why we are here. Our sole goal is to provide you options and better your judgement in product purchase while, sharing tips and tricks to improve your images. Our biggest joy is in building a bridge between you and your perfect picture!

May 2012 Smart Photography

5

Contents May 2012

52

INDIA EXCLUSIVE! CANON 5D MARK III PANASONIC LUMIX DMC GF5 ●

ISSUE 2 VOLUME 08 MAY 2012

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INDIA’S NUMBER 1 IMAGING MAGAZINE!

MASTERCRAFTSMAN

SIGHTS, SOUNDS & STORIES...

Ajay Sood

REVIEWS

Canon PowerShot G1X Our 3-Legged Friends Nissin MF18 Digital TTL Macro Flash Corel PaintShop Pro x4

Regulars 10 Mailbag 12 News Watch 31 Industry Opinion - Toshiyuki Kasai, Epson India 32 Picture of the Month

LEARNINGS Basics:Exposure Controls in D-SLRs Create an Out of Frame Effect using Adobe Photoshop Expose to the Right Depth of Field Preview Why Narrow Apertures provide Greater D.O.F.

Photograph courtesy: India Picture

34 Special Report - Samsung Regional Forum 36 Kaleidoscope 40 Showcase - Babul Bhatt

Just a moment!

Smart Photography thanks the readers who participate in the Picture of the Month contest.

We would like to bring to your attention a few changes in the rules for submission. From now on, you may send in your images with the longer side measuring atleast 17 inches. Please note that the images have to be horizontal. This permits readers to submit panoramic shots, which was not possible with the current size of 17 x 11 inches.

6

Smart Photography May 2012

46 If I Were You

49 Ask Uncle Ronnie 52 Master Craftsman - Ajay Sood 146 Tidbits

40

D I G I TA L S E R I E S

WIDE ANGLE ZOOM L E N S for APS-C Format Digital SLR

Round Your World

TO FIT CANON • NIKON-D

AF11-16mm f/2.8

TO FIT CANON • NIKON-D

APS-C Sized Sensor Model Only

Capture it all or create images with more impact. The Tokina AT-X 107 DX is Fisheye zoom lens that gives the photographer a 180º field of view with dramatic curvature of field or “fisheye” effect. That's wider than the human eye can see! The AT-X 107 DX creates an entirely new view on everything from street scenes to nature's beautiful vistas. This lens will open a new dimension to your photography.

The front element of the AT-X 107 DX has a newly formulated WR or “Water Repellent” optical coating on the glass. This new coating makes marks such as spots left by water or finger-prints much easier to clean than standard multi-coating.

The rear optical group of the lens contains 1 SD (Super-Low Dispersion) glass element to reduce the number of elements (pieces of glass) in the optical design in order to make the lens more compact, light-weight and faster focusing. ** Please note, the Tokina AT-X 107 DX lens itself is not waterproof or water resistant. *** Will not AF when used on Nikon D60 and D40 SLR camera body.

AT-X 116 PRO DX

APS-C Sized Sensor Model Only

The Tokina AT-X 116 PRO DX is an ultra-wide angle lens with a fast f/2.8 aperture for better photography in low-light situations. Many photojournalists consider having an f/2.8 aperture a must for any lens in their camera bag.

Based on the award-winning optical design of the AT-X 124 PRO DX (12-24mm f/4) lens, the AT-X 116 PRO DX has a slightly shorter zoom range to maintain optical quality at wide apertures.

Tokina’s exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the camera to focus manually. There is no need to change the AF-MF switch on Nikon cameras*** and there is no second AF/MF switch on the lens for Canon, everything is accomplished by the focus ring. *** Will not AF when used on Nikon D60 and D40 SLR camera body.

for APS-C Format Digital SLR

Super Wide-Angle Zoom AF12-24mm f/4 AT-X 124 PRO DX II TO FIT CANON • NIKON-D

for APS-C Format Digital SLR

Ultra-Wide, Ultra-Speed

AF10-17mm f/3.5-4.5 AT-X 107 DX Fisheye

www.tokinalens.com

for APS-C & Full Format Digital SLR

Full Frame Wide Zoom

AT-X 16-28PRO FX

AF16-28mm f/2.8

APS-C Sized Sensor Model Only

TO FIT CANON • NIKON-D

APS-C and Full Sized Sensor

DesignedÊforÊprofessionalÊdigital ÊSLRÊcamerasÊlikeÊtheÊCanonÊEOSÊ5DÊMarkÊIIÊandÊtheÊNikonÊD700ÊandÊD3x.Ê TheÊ16-28ÊzoomÊrangeÊ givesÊ theÊ professionalÊ photographerÊ aÊ super-wideÊ angleÊ ofÊviewÊtoÊgetÊcloseÊtoÊ subjectÊforÊdramaticÊe ectÊorÊtoÊtakeÊinÊentireÊscenes.Ê TheÊ16-28Êf/2.8ÊusesÊaÊnewlyÊdevelopedÊsilentÊDCÊmotorÊthatÊallowsÊtheÊlensÊtoÊfocusÊfasterÊandÊmoreÊquietly Ê thenÊpreviousÊgenerations.ÊTheÊDCÊmotorÊcoupledÊwithÊaÊnewÊGMRÊmagneticÊAFÊsensorÊworkÊtogetherÊtoÊ increaseÊAFÊSpeed.ÊÊÊÊÊÊÊÊÊ This lens can auto focus with the Nikon D60 and D40 and other silent wave bodies.Ê

The AT-X 124 PRO DX II 12-24mm f/4 AF lens gives the Digital photographer an ultra wide-angle zoom lens that has the equivalent angle of view to an18-36mm in full frame (FX) format.

The Nikon mount of the AT-X 124 PRO DX II has a new built-in AF motor drive, which the original 12-24 does not have. The AF operates smoothly and quietly due to a DC motor that uses a newly designed AF control gear assembly.

This lens can auto focus with the Nikon D60 and D40 and other silent wave bodies.

Dimensions (mm) Diameter

5.5 in.

f/3.5~f/22

N/A

70

71

350

Built-in

13/11

104° ~ 82°

11.8 in.

1:11.6

f/2.8~f/22

77

84

89.2

560

BH-77A

AT-X 124 PRO DX II 12~24mm f/4

C, N/D

13/11

99°~61°

11.8 in.

1:8

f/4~f/22

77

84

89.5

540

BH-777

AT-X 16~28 PRO DX 16~28mm f/2.8

C, N/D

15/13

107°1’~76° 8 ’

11 in.

1:5.26

Auto Focus Lenses

Mount C: CANON AF

N/D: NIKON AF-D

1:2.56

f/2.8~f/22

■ The external appearance and specifications shown in this catalog may be changed without any advance notice.

Kenko Tokina Co., Ltd.

TOKYO JAPAN

India office : Kenko Tokina Imaging India Pvt. Ltd.

N/A

90

133.3

950

Lens Hood

180° ~ 100°

C, N/D

Weight (gram)

10/8

f/2.8

Length

Filter Size (mm)

C, N/D

AT116 PRO DX 11~16mm

Diagonal Angle of View

AT-X 107 AF DX 10~17mm f/3.5~4.5

LENS

Aperture Range

Magnification Ratio in Macro Mode

Closest Focus Distance from Film Plane (in Macro Mode)

Optical Construction Elements / Groups

T E C H N I C A L S P E C I F I C AT I O N S

Built-in

1g = 0.03527 oz 10mm = 0.39370 inch 1m = 3.28084 feet

URL:www.tokinalens.com E-mail:kenkoindia@tokina.co.jp

IBC, M-38/1, Middle Circle, Connaught Place, New Delhi-110001 TEL : 011-4157-1155 E-mail:kenkoindia@tokina.co.jp

Contents May 2012

68

LEARNINGS 60 Basics of Photography: Exposure Controls in D-SLRs 68 Create an Out of Frame Effect using Adobe Photoshop 74 Expose to the Right 76 Depth of Field Preview 78 Why Narrow Apertures provide Greater D.O.F. 80 Remedy for Over-sharpening

REVIEWS

74

83 Canon 5D Mark III 90 Panasonic LUMIX DMC GF5 95 Canon PowerShot G1X 99 Our 3-Legged Friends 104 Nissin MF18 Digital TTL Macro Flash 106 Corel PaintShop Pro x4

buyers’ guide 112 Lenses 8

Smart Photography May 2012

80

Mailbag Write to us at: Mail Bag-Smart Photography, Trade World, C-Wing, 2nd Floor, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel(W), Mumbai 400013. E-mail: sp@nextgenpublishing.net

F2.0 HS CARL ZEISS 50MM

D800 MAKRO PLANAR NIKON

Smar thy

RSHOT SX240 WB150F CANON POWE REVIEWED: SAMSUNG

RS.100

Photograph ISSUE 1 VOLUME 08 APRIL 2012

SUBSCRIBER’S

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AZINE! 1 IMAGING MAG INDIA’S NUMBER

SMAN MASTERCRAFT

Vikram Bawa

Femme Fatale

SHOWCASE

ni

Vickky Idnaa

200+

In pursuance to the last letter printed under the title ‘Changing Times’, which was published in SP’s April 2012 issue.

PAGES

Some added perspectives...

Nikon D800

This is with reference to your response to my queries on the ‘Kids Portraiture’ contest. I would like to thank you for your kind elucidation, published in Mailbag (April 2012), of the definition of “Portraiture”: Old norms and its changing perspective. I hope this benefits the public.

Nonetheless, I would like to share the common perception of many of us about the Portraiture, which have been published and practised by the legends of India, such as K.G. Maheshwari, O.P. Sharma, Benu Sen, Gautam Rajadhyakshya, Jagdish Mali, J.P. Shinghal and like. Most of us have learnt the nuances of photography from these doyens. The question arises here, do these LEARNINGSn Flash

Basics: Using the Built-i(Part III) of your D-SLR in Photoshop Create Strobe Effects ound How to Blur the Backgr Create a Fog Effect Building Tilted a t Correc Let’s Lens Hoods & Light CuttersCS5 hop How to Setup Photos

Kudos on the new look of SP

I wish to congratulate you on the new look of Smart Photography.

It looks excellent, and has improved to a large extent. The large font size is very pleasing, making it is easier to read.

Kindly accept my belated greetings and best wishes on completing seven successful years. I am glad that Smart Photography is always there to provide readers with thought provoking material.

Kind regards, Anil Risal Singh, Lucknow 10

Smart Photography May 2012

great masters agree to the changing definition of portraiture?

Secondly, you clarify that the contest was intended to encourage the “general public”. SP’s endeavour towards educating, encouraging and involving common people in the art of photography is admirable and this is clearly reflected in the regular topics published in the Mailbag, Picture of the month, If I were you, Ask Uncle Ronnie, and also numerous topics in Learnings section. However, as far as the contest is concerned the award should reflect excellence in the work, neither a public nor an eminent photographer. This should be mentioned here that the winners of the above contest do not belong to the “General Public” category.

In my opinion, the true Portraiture photography will carry on its inherent essence and a handful artist cannot redefine its true sense. I apprise this to you because, I am an admirer of SP and have been attached to the magazine since very long.

Kind regards, Dr. Kamran Khan, Bareilly

SP is a friend, philosopher and guide

One of my images was published in the March 2012 issue, in If I Were You. I had cropped and edited the image using Photoshop and thought that nothing more could be done beyond that to enhance it. Upon seeing the edited image, corrected by you, I was astonished. Like a great teacher you also made it clear, by a diagram, where the main subjects should be placed.

It opened my eyes. Your excellent advice would certainly help and guide me in future.

All the very best to the magazine.

Best regards, Sajal Biswas

Mailbag

A great piece of news to be shared!

ERRATA

It gives me immense pleasure to inform you that I was awarded 2nd place in the All India Digital Photography Contest organized by Federation of Indian Photography (FIP) (Patna).

We deeply regret the error in the Olympus M.Zuiko Digital 45mm f/1.8 review (April 2012 issue). The Olympus 45mm provides a 35mm-equivalent focal length of 90mm on a Micro Four Thirds body, and not 70mm, as stated.

The winning image is titled ”Beyond Matured Windows”. It was awarded based on the merits of creativity, composition, technique, concept, presentation etc.

The contest was judged by India’s reputed senior photographer of international repute Mr. Anil Risal Singh (MFIAP, ARPS, FFIP, AIIPC) and the Vice President and Editor of FIP. It is worth mentioning that Mr. S. Hanumantha Jois (AFIP, Hon. FIP), Secretary of the Digital Photo Contest has taken a lot of hard work to make this event a success.

SP thanks its reader Phiroze B. Javeri for pointing out the oversight.

I would be happy to see this news shared with Smart Photography and its readers.

Thanks and Regards, Mr. Chandan D. Naik Gaonkar (LIIPC, IIPC BRONZE), Goa

Letter Of The Month

Win

A Uniross 1H LCD CHARGER Worth Rs.1,095/Every Month For the LETTER OF THE MONTH

A Few Suggestions The April issue was superb! The reviews were well-done.

Learnings covered extremely interesting and useful techniques. I wish the team and the magazine great success.

I have a few suggestions: 1) For any photographer, the concern is under what settings would the printed image look best. Information like what size to be printed at etc. could be provided.

If you are comparing the model under review with any other model in the class, even that model’s printing capability could be shown side by side.

While reviewing high-end D-SLRs you do mention in your review pointers like at 12.33%, the image has no

noise, etc. For a layman, in my opinion, it would be very convenient if you could mention in tabulated form, via colour coding it or by qualifying it as EXCELLENT, VERY GOOD, GOOD, etc. This would make ‘immediate sense’.

2) For high-end and mid-range SLRs, a RAW testing would be helpful. This I am sure will take time but would be very useful to the reader.

I thank Smart Photography for the effort it takes to teach photographers about various techniques. All the very best.

Thanks and Regards, Raajan Patil via E-mail

May 2012 Smart Photography

11

News Watch International

SNIPPETS

Canon EOS-1D X to arrive in June Canon has declared the arrival of its EOS-1D X professional D-SLR by mid-June 2012. The company’s latest fast full-frame standard zoom, the EF 24-70mm F2.8L II USM will follow in early-July 2012, it says.

DxO Optics Pro 7.2.2 gains Nikon D4 support in Elite edition

DxO Labs has launched DxO Optics Pro v7.2.2, adding support for the Nikon D4, Olympus XZ-1 and PEN E-P1. The D4 is only available to users of the Elite edition of Optics Pro. A 30-day free trial of the software is available.

Nikon alerts buyers about D800 shortage

Nikon has warned buyers, prior to scheduled launch of its new middle-class, full 35mm size D-SLR D800, that the D-SLR may not be readily available as the firm is receiving larger advance orders than expected. The firm apologised, saying, “It may take some time for delivery of the camera since the advance orders far exceed initial shipments.”

Fujifilm discontinues Fujicolor REALA ACE film

Fujifilm plans to discontinue its color negative film Fujicolor REALA ACE as soon as current inventory expires. To replace the REALA model, the manufacturer recommends Fujicolor 100 (35mm) and Fujicolor PRO 160NS (120/220).

12

Smart Photography May 2012

TIPA Awards 2012 announced The annual meeting of the Technical Image Press Association to vote for the best photographic and imaging products in 2012 was held on 24th March 2012 in Cape Town, South Africa. The TIPA award winners in the Photo and Imaging category are as follows: Award Product Best Photo Software Adobe Photoshop Elements 10 Best Professional D-SLR Lens Canon EF 8–15mm f/4L USM fish-eye lens Canon EOS 5D Mark III Best Video Digital SLR Best Professional Video camera Canon EOS C300 Digital Cinema Camera Canon EOS-1D X Best Digital SLR Professional Best Multifunction Photo Printer Canon PIXMA MG8250 Best Expert Compact Camera Canon PowerShot G1X Fujifilm X-Pro1 Best CSC Professional Best Superzoom Camera Fujifilm X-S1 Best Premium Camera Leica M9-P Gitzo New Systematic series Best Tripod Best Digital SLR Entry Level Nikon D5100 Best Digital SLR Expert Nikon D800 Best Professional Flash System Nikon SB-910 Best Imaging Innovation Nokia PureView technology Best CSC Fixed Focus Lens Olympus M.ZUIKO DIGITAL ED 12mm 1:2.0 Olympus PEN E-PL3 Best CSC Entry Level Best CSC Expert Lens Panasonic LUMIX G X Vario PZ 14-42mm Best CSC Advanced Panasonic LUMIX GX1 PENTAX Optio WG-2 Best Rugged Compact Camera Best Mobile Imaging Device Samsung GALAXY Nexus Best General Compact Camera Samsung MV800 Epson Stylus Photo 1500W Best Expert Photo Printer Best Entry Level D-SLR Lens Sigma 18-200mm F3.5-6.3 II DC OS HSM Best Expert D-SLR Lens Sigma APO MACRO 180mm F2.8 EX DG OS HSM Best Digital SLR Advanced Sony Alpha SLT-A65 Best CSC Entry-Level Lens Tamron 18-200mm F/3.5-6.3 Di III VC Best Accessory Vanguard BBH-200 Ball Head Best Photo Bag Vanguard Heralder series

Olympus presents VH510

Olympus has launched a high-end compact D-cam, the VH510. Mounting a 8X zoom lens and 12MP backlit CMOS image sensor, the iHS technology utilised in the camera is said to realise high sensor speed, less noises and high AF speed. The VH510 features 1/2.3-inch 12MP backlit CMOS image sensor with highest speed of ISO6400 equivalent, 25-200mm equivalent F3.3-5.9 zoom lens with mechanical (senor-shift) image stabilisation system. The camera provides a wide variety of programs including ‘iAuto’ that automatically selects optimised setups for the user. The VH510 comes in 4 colors: silver, black, white and pink selling for around 32.8K yen (US$410).

News Watch International Canon announces EOS-1D C 4K D-SLR SNIPPETS Velbon presents new largesized carbon tripods Velbon has launched new models in its Geo Carmagne series. The E730 and E740 are sturdy carbon-fiber tripods with lever-type locks. The E730 is a 3-section and the E740 is a 4-section model, both have top section of 32mm in diameter.

The E730 stands 2,070mm high when fully extended and the E740 1,930mm high. The E730 with the head is list-priced at 139.5K yen (YS$1.7K) and the F740 at 143.2K yen (US$1.8K).

Panasonic DMC-GF5 12MP mirrorless camera showcased

Panasonic has formally announced the much-discussed DMC-GF5. The 12MP camera is a subtle revision over the GF3, but features a higherres screen, refined user interface and the inclusion of Panasonic’s retractable 14-42mm power zoom lens for a list price of $749.99/£579.

Carl Zeiss adds Compact Prime cine lenses

Carl Zeiss announced two videography-orientated lenses to add to its CP.2 Compact Prime range, a 15mm and a 135mm.

The lenses unveiled at the NAB broadcast industry trade show in Las Vegas, are the CP.2 15mm T/2.9 and CP.2 135mm T/2.1. Both lenses are colour-matched to allow consistency in footage shots.

14

Smart Photography May 2012

Canon has unveiled the EOS-1D C, which can capture 4K (4096 x 2160 pixel) videos up to 24p without downscaling, from an APS-H crop of its 18MP full-frame sensor. The camera, which shares a majority of its specifications with the still-awaited EOS 1D X, can also capture 1080p60 or 50p or output it uncompressed via the HDMI connector. The camera will cost approximately €10,000 and will be available from October.

The 1D C gains a series of features from the C300 Full HD camera launched last year. This includes Canon Log Gamma - a very flat, low contrast, high dynamic range response, allowing footage from both cameras to be mixed together and colour-graded identically.

Canon working on Cinema EOS C500 4K professional rig Canon has announced it is developing the EOS C500, a 4K (4096 x 2160 pixel) capable camera in both EF and PL mounts. The camera will be a continuation of the concept of the C300, will be able to capture of Raw 4K video footage and will offer frame rates of up to 120fps in compressed 4K. Targetting both the motion picture and high resolution digital production industries, the EOS C500 will offer 4K RAW output and will be available with Canon’s EF mount and the industry-standard PL mount. Supporting nextgeneration 4K-resolution video capture and RAW data output, the EOS C500/EOS C500 PL will achieve exceptional video results without any loss in quality.

A development prototype of the EOS C500 digital cinema camera will be on display at NAB 2012, from April 16th -19th in Las Vegas.

News Watch International Canon introduces EOS 60Da for astrophotography Canon has released the EOS 60Da, a longawaited successor to the EOS 20Da that is optimised for astrophotography.

This D-SLR caters to astronomers and hobbyists who enjoy capturing the beauty of the night sky by offering a modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity. The Canon EOS 60Da camera packs a powerful 18-megapixel CMOS sensor (APS-C) that produces sharp and high-contrast images of astronomical objects.

Canon acknowledges ‘light leak’ in the EOS 5D Mark III Canon has published a product advisory notice acknowledging the existence of a ‘light leak’ issue on the EOS 5D Mark III. Users of the camera have reported that in dark conditions, switching on the top-LCD’s back-illumination or shining a light on it alters the camera’s metering, suggesting light is leaking into the body and reaching the metering sensor. The company says it is investigating the problem will make further announcements once a decision has been made. The full advisory note is available on the Canon USA website.

Nikon issues advisory on rechargeable lithium-ion battery

Nikon USA has issued a service advisory and is seeking cooperation from all its users regarding a voluntary recall of certain lot numbers of its Nikon Model EN-EL15 rechargeable lithium-ion battery pack. The battery pack can experience a short circuit causing it to overheat and possibly causing the outside casing to become deformed, posing a potential hazard to consumers. Nikon has asked owners of the affected battery pack to return them to Nikon Inc. for a free replacement.

16

Smart Photography May 2012

Nikon’s updated D3200 released

Nikon has announced the D3200 24 megapixel entry-level D-SLR that can be used with an optional WU-1a Wi-Fi module. The camera can shoot up to 1080p30 video (rather than the D3100’s 24p) and has a 920k dot LCD. The new 24.2-megapixel DX-format CMOS sensor allows for incredibly sharp images with stunning detail and less noise, while Nikon’s EXPEED 3 image processing engine helps to create clear, lifelike images and video. The D3200 is expected to release soon at an MSRP of $699.95.

Nikon announces wide-angle prime Nikon has announced the AF-S Nikkor 28mm f/1.8 G, a fast wide angle lens for full frame SLRs such as the D800. It uses two aspherical elements in its 11 element / 9 group construction, along with Nano Crystal Coat. It can also be used on DX format cameras, giving a 42mm-equivalent ‘normal’ angle of view. It will be available from the end of May 2012 at a suggested retail price of $699.95.

News Watch International

Sony launches new entry-level SLR Sony recently announced the entry level Alpha 57 (A57) SLR, as a successor to the present Alpha 55. The A57 can take a burstshot at 12 fps while tracking subjects. The A57’s APS-C sized 16.1MP CMOS image sensor is sustained by the new BIONZ image processor engine as used in the upper-grade A77 model with speed ranging from ISO100 to ISO1600 equivalent. It also features a 15-point AF system with a translucent mirror and 1.44MP electronic viewfinder (EVF) giving 100 percent view and 3.0-inch, 921K-dot pivoting LCD display. The A57 model will sell for around 80K yen (US$10K) on the street.

2012 Pulitzer Prize announced (Photography)

AFP wins three photograpy awards in China Greek photographer Louisa Gouliamaki was awarded Gold in the “General News Single” category in the 8th edition of the China International Press Photo Contest (CHIPP) grand prize for photojournalism, the theme of which was “Peace and Development”, for her photo of a child arriving in Greece aboard a ferry, having been evacuated from Benghazi in Libya.

The Japanese photojournalist Yasuyoshi Chiba was awarded the Silver prize in the “War and disaster story” category of the CHIPP for his series of photos on the Japanese earthquake and tsunami in 2011.

The Bronze prize in the “General News Story” category was awarded to the Greek photographer Angelos Tzortzinis for his coverage of the demonstrations in Greece. AFP’s international photo service covers world news 24/7 thanks to its network of 500 photojournalists, who take more than 2,500 new photos every day.

Mono winners announced

The winners of the Mono publication contest have been announced. Jan von Holleben is one of the eight photographers to have received this honour. A total of 1084 photographers sent in 4784 images. Out of which 48 photographers were shortlisted, but the final eight will see their work published alongside photographs

by Antoine D’Agata, Daido Moriyama, Jacob Aue Sobol, Roger Ballern, Anders Petersen and Trent Parke. The curators and writers Christiane Caujolle, Yasmina Reggad, Peggy Sue Amison, Tom Griggs, Wayne Ford, Jorg Colberg and John Matkowsky are contributing to the book.

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Columbia University has announced the 2012 Pulitzer Prize winners for photography. The prize for Breaking News Photography was awarded to Massoud Hossaini of Agence France-Presse for ‘his heartbreaking image of a girl crying in fear after a suicide bomber’s attack at a crowded shrine in Kabul.’ The winner in the Feature Photography category is Craig F. Walker of The Denver Post, ‘for his compassionate chronicle of an honourably discharged veteran, home from Iraq and struggling with a severe case of post-traumatic stress.’ The annual awards include a cash prize of US$10,000.

Information on this year’s awards and the winning photographs can be found on the Pulitzer Prizes site.

Massoud Hossaini is an Afghanistan-born photographer, raised in Iran, who chose photography as a means of documenting the events around him, covering the plight of Afghan refugees and the post-9/11 War on Terrorism in Afghanistan.

He has worked for Agence France-Presse since 2007.

Craig F. Walker has been a staff photojournalist at the Denver Post since 1998. He is a previous Pulitzer Prize winner (2010) for his series of images about a teenage American soldier during the height of violence in Iraq.

News Watch Business

Error leads to rise in Nikon prices

Nikon has been forced to increase the retail prices of its D4, D800 and D800E cameras after it was hit with an “internal systems error”.

Nikon has apologised to its customers after a “local internal systems error” led to the communication of incorrect suggested retail prices when it launched its new flagship digital SLRs - the D4, D800 and D800E. When they were announced, the cameras came with retail prices of £4800 for the D4 and £2400 and £2690 for the D800 and D800E. Now, the three cameras will retail from £5290, £2600 and £2890 respectively. The price increase affects the UK and Irish markets but its likely that the effect will be felt in other markets too.

Nikon’s Thai plant back to normal

Nikon’s Thai digital camera plant, which was damaged by huge floods last autumn, has come back to the pre-flood level, according to the industry sources. The company has operated camera assembly in Thailand for over 20 years since 1990, and has built up favourable relationship among local component suppliers. Those companies offered help in assembling cameras in place of damaged factory. The company estimates sales of interchangeable lens system cameras to rise 10 percent year-on-year to 4.7 million units and 17 million compact cameras, up 19 percent. Operational profit of the camera business unit is expected to maintain the previous year’s level at 52 billion yen (US$650).

Nikon’s production of entry- to medium-class D-SLRs in Thailand comes to some 90 percent of the company’s total and the remaining high-end models are made in Sendai, Japan. Nikon 1 mirrorless cameras are produced in Nikon Imaging China, in Wuxi, together with compact models and interchangeable lenses.

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Smart Photography May 2012

Sharp establishes global partnership with Hon Hai group Sharp Corp. announced that it entered into agreement with Hon Hai group, the world’s leading EMS (electronic manufacturing service) company, to establish strategic global partnership collaborating in various business fields. The company will issue new shares to Hon Hai group through third-party allotment from May to March 2013. The Hon Hai group is to take about 10 percent share in Sharp, becoming the largest shareholder. Sharp is to collect some 130 billion yen (US$1.53 B) by issuing new shares and selling subsidiaries.

Hon Hai Precision has expanded its business by providing EMS to Apple Inc. for iPhones and iPads. It is said the company eyes Apple’s New TV as a new opportunity and having large-size panels on its own by investing into Sharp’s cutting-edge LCD panel plant will become advantage.

Ability Enterprise to start shipping of cameras Taiwanese camera maker Ability Enterprise, plans to start shipments of 18-megapixel 36x optical zoom CMOS digital cameras in the second-half 2012, according to DigiTimes. While 5x optical zoom digital cameras accounted for 80-85 percent of Ability’s total shipments in 2011, their share will drop to 30- 35 percent in 2012, while 6-8x and 10-20x optical zoom models will reach 40 percent and over 20 percent respectively, as per reports

by Chairman Roger Tseng.

“Ability shipped more than 25 million digital cameras in 2011, growing 6.2 percent from 2010, and its monthly capacity, including a factory in eastern China, has reached 2.7 million digital cameras, and should reach three million by year’s end.

Taiwan-based makers stand a chance of obtaining ODM orders for MILCs (mirrorless interchangeable-lens cameras, also known as CSCs) beginning 2014 and are unlikely to receive ODM orders for D-SLR (digital single-lens reflex) cameras until 2015”, Mr. Tseng indicated.

News Watch Business

Facebook buys Instagram for $1bn Just as Instagram looked to expand its ambitions as a mobile photo sharing network, it has been bought by Facebook for $1bn. Facebook CEO Mark Zuckerberg says his company need to be conscious about keeping and building on Instagram’s strengths and features, rather than just trying to integrate it into Facebook. He stresses on the importance of growing the service independently of Facebook and voices support for Instagram’s recent expansion to easily share images from other apps, such as Hipstamatic and Camera Awesome.

Olympus may face objection for its new management

It has been reported that US Institutional Shareholder Services is against the proposal of the new top management of Olympus Co. At the meeting, the following officers-designated, including President-to-be Hiroyuki Sasa, Chairman to-be Yasuyuki Kimoto and Directorto-be Hideaki Fujizuka will be presented.

According to the largest shareholder, Mr. Sasa is said to have lack of experience and ability since he had not proposed detailed restructuring measures; the other two were questioned due to their previous position as bankers.

Olympus to decide on capital alliance in June

Olympus has stated that it received capital alliance offers from Fujifilm Holdings, Sony Corp. and Terumo Co. through its financial advisor. The company is said to reach a decision at the general shareholders’ meeting slated later in June, whether to form a tie-up or going its own way. The company expects double-digit gains in revenue and operational profit for the 2011/12 fiscal year thanks to release of new endoscope products, while imaging business may post a loss for the two years in straight. The company may reduce employees and consolidation of factories of the division.

Eastman Kodak Company reports loss Eastman Kodak Company posted a net loss of $197.6 million during the first two months of 2012; a loss of $100.3 million in January and $97.3 million in February from its filing with the US Securities Exchange Commission. The financial are contained in the monthly operating reports filed to show assets use and cash for the US entities of Kodak that have filed bankruptcy chapter 111. Kodak logged revenues of more than $312 million during the two- month period, with $168.1 million in February and $143.8 million in January 2012. The reporting was prepared solely for complying with the bankruptcy court’s monthly reporting requirements.

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News Watch National Canon announces a slew of new models with youth icon, Anushka Sharma as the brand ambassador Canon India has signed leading Bollywood actress and youth icon Anushka Sharma to mark the re- positioning of the Power Shot sub-brand. This move coincides with the introduction of new series of PowerShot Digital Cameras which have targetted the youth. Canon’s all new PowerShot range now provides their lifestyle offerings and the existing IXUS range of lifestyle cameras is now focussed on the distinctly ‘premium’ consumers.

“Canon is an aspirational brand and so is the attractiveness and energetic persona of Anushka Sharma who the audience looks up to as a youth icon. There is great synergy between Canon’s new lifestyle line up and Anushka, as both are exuberant and dynamic. Canon has evolved significantly and securing a youth icon is a conscious step in the natural progression to take our brand to the next level in an increasingly competitive market”, said Dr. Alok Bharadwaj, Senior Vice President, Canon India.

The new line-up includes 10 new models – 6 PowerShot A series, 2 PowerShot SX series and 2 IXUS series models.

This is in addition to three models (2 IXUS and 1 G series ) already announced earlier this year. Some of the advanced features include HS System with new DIGIC 5 image processor, Advanced Face ID – the smartest Smart Auto yet, New Canon lenses – giving the sensor new eyes, Advanced Movie Shooting Functions and Intelligent IS and Optical IS. Additionally, the ultra-compact designs allow for a previously unseen level of slimness, even with high zoom lenses. A good example is the PowerShot SX260 HS and SX240 HS that feature slimmer bodies that previous generation PowerShot models, with a more powerful 20x optical zoom.

Nikon adds more zing this summer with new, stylish and vibrant COOLPIX range Nikon India announced the launch of its latest COOLPIX collection for Spring Summer 2012 that combines affordability and convenience with performance and versatility. The intriguing 13 new models put together with the existing 6, takes the COOLPIX range to a total of 19 chic and colourful cameras.

All the new models are equipped with world class NIKKOR lenses and unique features of Hindi Menu and HD function that caters to the varied customers demands across pan India. The COOLPIX P-series models are COOLPIX P510 and COOLPIX P310. The COOLPIX S-Series includes COOLPIX S9300, S9200, S6300, S4300, S3300, S2600 and S30. The cameras were launched by Bollywood actor and Nikon ambassador, Priyanka Chopra.

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Priyanka Chopra aong with Nikon spokespeople at the latest COOLPIX collection for Spring Summer 2012

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News Watch National FUJIFILM introduces long zoom camera for travel enthusiasts

Fujifilm’s all new long-zoom camera – FinePix JZ100 -- takes stunning images of distant objects. With the new JZ100 users can set specific scene-based modes suiting the subject you are photographing or even experiment with its advanced features, like Motion Panorama, a new feature for shooting and playback of seamless 360° view by simply pressing the shutter button and slowly sweeping the camera to create a seamless ultra-panoramic photo.

“Our newest lens unites the beauty of high resolution images with the power of interacting with the social networks to help our customers experience their treasured moments like never before”, said Mr. K Tanaka, Managing Director, FUJIFILM India.

The JZ100 lets you discover the impact of full-screen HDTV image display, capturing high resolution images in 16:9 formats. The lens is available in 6 rich colors of Black, Silver, Pink, Blue, Red and Purple.

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Samsung adds two new launches to its smartphone portfolio Samsung Electronics announced the expansion of its GALAXY smartphone range with the GALAXY S Advance (GT-I9070) and GALAXY Pocket (GT-S5300). The Samsung Smartphone range enables users to stay connected through Samsung’s Social Hub and ChatON services. ChatON connects phone users—across all mobile platforms—into a single community using phone numbers instead of usernames and passwords. The ChatON feature provides instant messaging, group chatting and sharing of content in multiple formats including images, video, voice, etc.—to make messaging simpler and more intuitive than ever.

Samsung GALAXY S Advance delivers premium visual experience with its WVGA Super AMOLED display and a large 4-inch curved glass screen. Powered with a 1GHz dual core processor, the device offers fast booting speed, seamless internet browsing and smooth image processing. It is based on the Android 2.3 Gingerbread OS and users can access Google Mobile Services and download free apps from the Samsung Apps store. The Samsung GALAXY S Advance is priced at Rs. 26,900/-

Kingston releases HyperX 3K Solid-State Drive Kingston announced the HyperX 3K SSD, a high-performance, lower priced solid-state drive enabling users to experience ultra-responsive gaming, multitasking and multimedia computing power. Powered by the second-generation SandForce SF-2281 processor and based on SATA Rev. 3.0 (6Gb/s) interface, HyperX 3K SSD loads games and applications faster, increases frames-per-second for an improved gaming experience and allows for quick transfers and edits of large media files. It has incredible sequential read/write throughputs of 555/510MB/s and max random R/W IOPS of 85k/74k. HyperX 3K SSD features SandForce DuraClass technology to provide best in class endurance; and, SandForce DuraWrite technology to maximise life span and durability under the most intensive environments. Shipping in 90GB, 120GB, 240GB, and 480GB capacities, HyperX 3K SSD comes in a sleek black and an aluminum case design.

News Watch National

Moser Baer launches India’s first ‘credit card-shaped’ USB Flash Drive Moser Baer has launched India’s first creditcard shaped USB flash drive called Moser Baer Zap. The pocket flash drive is akin to a credit card and fits easily in wallets, card holders, files and folders owing to its ultraslim size and shape.

According to Deepak Shetty, Sr. Vice President, Domestic Sales & Marketing, Moser Baer, “Moser Baer Zap not only scores high on the convenience factor but also on the technology, making it a perfect offering in the 2 GB-above pen drive segment. It is a boon for the forgetful users saving them a lot of trouble.”

Moser Baer Zap pocket flash drive comes with 4 GB memory, measures 84.15 X 52.83 sq. mm

and weighs just 10.25 gms. Priced at INR 1,100 (MRP), Moser Baer Zap pocket flash drive has been introduced with a warranty of 2 years. The product is available at http://shop.moserbaer.in (at a special introductory price of INR 399/-) and at around 10,000 Moser Baer dealer outlets across the country.

Atomos Ninja and Nikon D4/Nikon D800 the perfect foil for recording uncompressed HD Pro Video Solutions announced the completion of testing for compatibility of the award-winning Atomos, Ninja with newly launched Nikon D4. Initial testing of the Ninja with the new Nikon D4 D-SLR camera proved the combo to be a real gamechanger. The Nikon D4 is the first FX-format D-SLR to output an uncompressed, clean HD signal over HDMI. Ninja and Nikon D4 are the ultimate bangfor-buck combination for recording high quality images, in 4:2:2 Apple ProRes, directly to HDD, or to SSD if you prefer. It even includes a monitor

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and extra audio inputs so you can play back your recorded footage instantaneously for review.

The Ninja implements Apple ProRes in hardware to give you real-time, 10-bit recording anytime, anywhere.

It takes advantage of low-cost, modern technology by utilising HDMI-capable pro- video and consumer camcorders as well as D-SLRs. Many features from Atomos are designed with real productions and real situations in mind, to create smarter workflows, keeping the highest quality but also keeping running costs low.

News Watch

Olympus Imaging India Private Limited Launches OM-D Olympus Imaging India Private Limited officially launched their prized flagship mirror-less interchangeable system – the OM-D E-M5 – at a grand function OM-D E-M5

at the Taj Mahal Hotel in Mumbai, on 17th April 2012. The new-generation OM-D E-M5 has its legacy in the world-famous OM-series introduced sometime around 1972-73, and features the world’s fastest autofocus*, 5-axis image stabilization system that claim up to 5 steps advantage in shutter speed, electronic viewfinder with creative control and Dust & Splash-proof technology. * World’s fastest Single AF speed even compared to pro D-SLRs, and 20 percent faster than Olympus E-P3.

SZ-31MR

VG-150

Along with the OM-D E-M5, Olympus also launched 8 new compact digital cameras with advanced and unique technologies, expanding the brand’s footprint in the Indian market.

From L to R - Yoshiyuki Nada, Amy Jackson and Toshio Murai The new models are: SZ-31MR, SZ-14, SH-25MR, SPSelected media personnel were also 720UZ, VR-350, VG-170, VG-160 taken to a 2-day getaway at Amby and VG-150.

Valley on 14th and 15th April 2012 for a sneak preview. The participants Commenting on the launch, Toshio had a hands-on experience with 2 Murai san, MD, Olympus Imaging shooting sessions at the luxurious site.

India, said “After the unprecedented Yoshiyuki Nada san, Head of Product success of the PEN series in India, we Planning and launch department, are quite excited about the buzz, briefed the participants on the our flagship model, the Olympus technology behind the OM-series.

OM-D will create when it hits the This was followed by a grand shooting Indian shores. The OM-D not only session with the glamorous film reflects Olympus’ commitment actress-cum-model Ms. Amy Jackson, as a technology pioneer but also who incidentally, is Olympus’ new strengthens its position as a market brand ambassador. leader in the segment”.

SH-25MR

VG-160

SP-720UZ

SZ-14

VG-170

VR-350

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News Watch Exhibition 3 Hours – a tribute to the performing artists Through his solo photographic exhibition titled “3 hours“, Hari Mahidhar pays a photo tribute to performing artists who perform gravity defying acts. He showcases the grit, physical and mental strength along with grace and perfection.

Silent Miracle

Soumitra Datta has always been fascinated by the mystery within the raw elements of a landscape– light, colour and movement. Soumitra Datta’s solo photo exhibition on landscape titled “Silent Miracle”, will be held from 10th to 18th May 2012 at the Visual Art Gallery, India Habitat Centre, in Delhi. Raghu Rai will inaugurate the event, while Ina Puri is expected to be the chief guest.

The exhibition will be held from 18th-25th May’12 at the Jehangir Terrace Art Gallery in Mumbai.

Through the Lens

“Through the Lens” is a collection of interpretations by three friends, Aditya Waikul Kedar Amburle, Yogesh Waikul, who are avid travellers. Photography has helped them communicate and understand people in the most unusual and humble way. The exhibition opens at Jehangir Terrace Gallery in Mumbai from 25th to 31th May’12.

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Chitra Katha O Kahini

Chitra Katha O Kahini, is a photo exhibition by a group of eight enthusiastic Kolkata based photographers. The theme of the exhibition is Inframeing the story of life.

The photographers have tried to bring to the fore the different expressions of the culture or the expression of enjoyment or love or lifestyle of the people in these regions. The expo was held from 11th to 17th April 2012 at the Academy of Fine Arts in Kolkata.

Industry Opinion With Epson poised to break new grounds and record excellent growth across multiple product categories and given the buoyant mood at Epson’s global headquarters, we decided to interview Toshiyuki Kasai, the incumbent President, of Epson India to find out more about his plans and priorities on a comprehensive range of issues. Excerpts:

Toshiyuki Kasai, President, Epson India

With the company targeting significant growth across different product categories, what is the ambitious growth that you are eyeing both in terms of volume and turnover?

The year under review (2011-12) was an excellent year for Epson India. We closed at a turnover of approximately Rs. 600 crores, a growth of 19 percent over that of the previous year. Every product category that we operate in the country, has witnessed wonderful growth. Our Inkjet Printer market share as per the latest reports is 23 percent in terms of volume and a whopping 36 percent in terms of value. In Photo Printers category, we have extended our dominance with over 60 percent market share.

We hope to carry this momentum in to the next financial year. We have set ourselves an ambitious target of reaching Rs. 1000 crore company by 2014 or even earlier. While our immediate goal is to achieve a turnover of Rs. 750 crores by the turn of next year and also establish market leadership across all product categories.

With digital convergence happening at the speed of thought, the photo printing market and specially the small and premium photobooks

market are emerging as the new cash cows. What are the new initiatives that you are putting into place to realise the potential?

As I mentioned Epson is extremely strong in the Photo Printing segment and we are considered the de facto standard when it comes to quality of printing.

There will be fantastic new printers being launched for the photo segment this year. Other related segments like pre-proofing and indoor signage are also areas of strength for Epson.

This year our focus will be to enter new segments and markets, that we do not operate in, by unveiling a fantastic new range of products.

We will be entering the short run label printing market with our latest SurePress printers. We will be looking at the signage and CAD markets in greater depth with some fantastic new offerings in our SureColour series of printers and finally in the commercial lab segment, we will be rolling out the all new SureLab series.

While the consumable market has witnessed significant growth in recent years, it has at the same time also accentuated the entry of re-fillers/compatibles manufacturers into the fray.

What is Epson’s mantra to make things more affordable and easy for the consumers?

Last year we took the refill and compatible market head on with the launch of our new L Series printers.

These printers have refillable external ink tanks and this enabled us to bring down printing costs to levels previously unheard of. The L100/200 printers from Epson allow printing (with genuine Epson inks) at just 10 paise for B&W and 20 paise for colour prints. That’s absolutely incredible and the response to these printers has been phenomenal. For the Photo market too, we have launched the L800 Photo printer. This printer has brought down the cost of a 4x6 print to Rs. 1.70/- and an A4 sized photo print of Epson quality to just Rs. 9/- .

And as expected our Ink sales for these printers are doing very well as the products have been embraced by consumers across the board.

With India being placed as a priority market, now directly under the control of the company’s headquarters in Japan and as a visionary and leader, what are some of the new plans and priorities to drive growth?

I am honoured to be given the responsibility of taking the Epson brand further in this exciting market. We have a strong team, some amazing products and an extremely robust channel that Epson India has developed over the years. I am excited and looking forward to providing the necessary vision and direction in order to continue the robust growth for Epson India while ensuring fair returns to all its stakeholders.

Mathew Thottungal May 2012 Smart Photography

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Photograph by

Gopal Krishna Tyagi

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Picture of the Month We are sure that all of you have a few pictures that you think are prize worthy. It happens very often that you don’t know where to send the image that could put a feather in your cap. If you have such images (we’re sure you have many!), send us ONE such horizontal image. If it qualifies, we shall publish it as a double-spread. a. You have to guarantee that the picture was shot by you b. If there are people in the picture who can be identified, we’ll need a model release

c. The picture should not have been printed elsewhere (magazine newspaper, or offered to any publication) d. Mark the entry as “Picture of the Month” and rename the file using your name e. You may send images via print/e-mail to: Next Gen Publishing Ltd.,2nd Floor, C Wing, Trade World, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013 (or) sphoto.india@gmail.com

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Special Report

Samsung pushes the boundaries of innovation and technology at the South West Asia Forum Samsung held its South West Asia Forum 2012 in Bangkok recently to showcase its diverse array of new products from TVs to mobile phones, tablets to Notebook PCs and cameras to home appliances. The sessions were not just business related but the trip had its moments of fun, thrill and of course shopping at the end of the day that made media professionals largely from the Indian subcontinent more than happy.

S

amsung Electronics is by far the undisputed market leader in many product categories, including Internet enabled smart TVs and smart phones across many regions in Asia. With the company pushing boundaries in consumer electronics, Samsung organised its Regional South West Asia Forum recently in Bangkok.

For this the company flew in a select group of media professionals from across the Indian subcontinent to Bangkok to enlighten and share some of its strategies in an attempt to widen its footprint across the Asian markets.

Coinciding with the launch, was the unveiling of Samsung’s 2012 product catalogue, where the company declared its vision to deliver connectivity and content across all its product categories - from TVs to mobile phones, tablets to Notebook PCs and cameras to home appliances.

Flagging off the deliberations, B.D. Park, President and CEO of Samsung Electronics, South West Asia and Managing Director, Samsung India, emphasised that, “The region remains a very strong growth market for Samsung and will continue to expand as consumers continue to lead increasingly dynamic lifestyles, requiring technology and products that will enrich and enhance their experiences. To achieve our goals, 34

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we must push the boundaries.”

For the record, in 2011, Samsung Electronics achieved record sales of US $143 billion. In South West Asia, the company achieved a healthy growth during the last year and retained its numero uno position in a number of product categories, including flat panel television, side by side refrigerators, and colour monitors. In fact, it also became the market leader for smartphones for the first time.

B.D. Park explained that the company unveiled its 2012 product innovations under three main guiding pillars: Smart Interaction, Smart Content and Smart Evolution. The new family of products offers more content, smarter interfaces,

intuitive controls, incredible picture quality and stunning design.

Samsung also announced its new range of home theater systems and Blu-ray players for regional consumers, providing richer, purer sounds while maintaining sleek, stylish form factors that complement any room in the home. “As the home entertainment leader, we strive to provide consumers with products that deliver the most astounding entertainment experiences in the home,” stated Raj Kumar Rishi, Vice President, AV Business, Samsung India.

Even though Samsung has been rather slow to take off in the digital imaging space, it is responding to growing consumer demands for integrated Wi-Fi enabled technology in its products.

The company’s Smart Camera range has enabled photographers to take advantage of the wireless world. The new range include the Samsung’s WB850F, WB150F, DV300F. The ability to instantly share, securely save and automatically backup images on the go makes the Smart camera line-up a B. D. Park, President & CEO, Samsung India, displaying the Galaxy Beam smartphone at the Bangkok Forum must have for photographers.

Special Report

Samsung’s Wobble 3D technology with specialised tangle-free wash enables users to save water up to 30 percent thereby distinguishing the top load washing machine from the rivals said Mahesh Krishnan, Vice President, Home Appliances divn., Samsung Electronics India. In addition, Samsung has unveiled a 10 year warranty on its Digital Inverter Compressor in all its advanced technologies, thus enhancing product reliability, durability and enhanced energy efficiency in all its intuitive home appliances. Besides, Samsung introduced the second generation of Samsung Notebook Series 9 and Series 5 Ultra. “The refined aerodynamic design of the new series 9 represents the best of design with top performance and functionality”, recalled Uday Bhatt, Director, IT, Samsung India. He envisaged that the introduction of the new multi-function printer clearly demonstrated the company’s vision to deliver a printer that provides a full gamut of printing solutions, including speed and network connectivity.

Media professionals at the demo sessions at the Bangkok Convention Centre

Last but not the least, Samsung showcased the Samsung Galaxy Beam, which is a projector smartphone that allows users to display and share multimedia content anywhere on a large luminous projector screen. The device lets users spontaneously share photos, videos or other digital media directly onto walls, ceilings etc. “Galaxy Beam provides mobile freedom, enabling users to share experience around digital content for everyone – anywhere and instantly from a smartphone explained Ranjit Yadav, Country head, Mobile & IT, Samsung India Electronics. The company

Rak Kumar Rishi, VP, AV Business, Mahesh Krishnan, VP, Home Appliance dvsn & Ms. Ruchika Batra GM Corporate Communications, Samsung India, addressing the AV & Imaging products session at the Forum

also showcased the Galaxy Tab 2 310, thereby extending the company’s vision to offer a variety of choices to match the varied needs and lifestyles of the consumers. Beyond content, the Galaxy Tab 2 310 features Wi-Fi Direct and built-in social networking features that enable unique cross platform sharing and connectivity via AllShare Play, which allows content to be transferred between the tablet and other devices.

In addition, the company also arranged for a display-cum-demonstration of the product on the sidelines of the forum at the Bangkok convention centre where the media professionals had an opportunity to get a feel of the products. To make the business sessions more fun and exciting, the company arranged for a river cruise down the famous Chao Phraya river, besides, a visit to the Wat Pho (temple of the Reclining Buddha), apart from enabling media professionals to do a bit of shopping as well.

Text & Images by Mathew Thottungal in Bangkok

May 2012 Smart Photography

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Finally, a platform for all photographers to exhibit their talent and GET NOTICED!

Kaleidoscope

Nomadic by Nature

Mystical Curves

Camera: Canon EOS 5D Mark II Shutter speed: 1/400sec Aperture: f/8 Sensitivity: ISO 100

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“I

am Akshata Viveka, a nomad, a story teller, and an artist, with a severe case of the wanderlust. I spend my time flitting from place to place in search of new things that capture my eye, as well as push my imagination. I would never pass up an opportunity to learn something new. The journey to find the perfect amalgamation Akshata Viveka, of travel, adventure, fun Mumbai and work is a constant in my life”, explained the Mumbai based talented photographic prodigy.

“Like it is said, for me photography is an art and science. Undoubtedly a great eye is necessary, but without the technical know-how, you will never be able to execute the images exactly the way you imagined it”, she states. Akshata is on an ongoing mission to acquire vast knowledge about her profession, which also doubles as a way of life for her.

“I definitely am not a purist. I love Photoshop for everything it brings to the table of an artist who has given photography everything. But yes, you need to use it very judiciously. I strongly believe this field of work is an art as well as a trade. You have to give it time, and photography has a learning curve that takes a lot of patience.

Currently I am surfing this difficult, yet fulfilling curve, with a hope to do better work in the coming years”, Akshata affirmed.

For a hardworking beginner, who sharpened her skills at Iqbal Mohammad’s ‘Light & Life Academy’, with a PGD (Professional Photography) in 2009, Akshata has come a long way. Currently, based out of the city of dreams, she is more than willing to take up assignments all over the country.

May 2012 Smart Photography

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Jet, Set, Go...

Camera: Canon EOS 5D Mark II Shutter speed: 1/500sec Aperture: f/8 Sensitivity: ISO 100

Hong Kong Skyline Camera: Canon EOS 5D Mark II Shutter speed: 1/400sec Aperture: f/7.1 Sensitivity: ISO 100

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Welcoming Porch Camera: Nikon D3 Shutter speed: 1/125sec Aperture: f/10 Sensitivity: ISO 200

Armani Junction Camera: Nikon D5000 Shutter speed: 1/125sec Aperture: f/5.6 Sensitivity: ISO 200

Blue Trees

Camera: Nikon D3 Shutter speed: 1/40sec Aperture: f/5.6 Sensitivity: ISO 400

Get featured & win an Epson PictureMate PM245, worth Rs.9999/-!

CALLING ALL PHOTOGRAPHERS! Kaleidoscope is the perfect way to jump-start your career... So simply send us a selection of your images along with full details of your vision and the technical information at sp@nextgenpublishing.net. We accept both film and digital images.

All pictures that are forwarded to Kaleidoscope should be 8x10 inches in size (or larger) and at 300 ppi. However, we will re-size them according to the layout considerations.

Showcase

G

urgaon based Babul Bhatt’s curiosity towards art was evident from a young age.

He used to scribble on books, walls and newspapers, Babul Bhatt, Gurgaon, N.C.R. whatever crossed his young mind. Art always featured predominantly in his thoughts. With the passing years, this focus enabled him to move away from the monotonous humdrum of life to undertake something more interesting and creative. Photography was the off shoot of this fascination and he soon invested in a point and shoot camera - SONY DSCP1. While still understanding the finer nuances of the art, he began to seriously consider and understand the techniques of composition.

After mastering the same, he made the transition to Digital SLRs. Currently, he shoots with a 12-megapixel Nikon D300 SLR camera, and his accessories includes Sigma 10-20mm Ultra Wide f/4.0 for landscapes and cityscapes, Nikon 18 - 55mm f/3.5, Nikon 70 - 300mm VRII f/4.0 Mid-Telephoto Lens, Nikon 50mm f/1.8 lens for portraits, and Sigma 105mm Macro f/2.8 for extreme close ups. The Manfrotto Tripod is a part of his gear that he refuses to part with.

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Smart Photography May 2012

This passionate photographer, professionally works with the Telecom/IT sector, and is currently the General Manager of a leading Telecom company. His job profile provided him with enough opportunities to travel across countries. This was an added benefit that enabled him to seriously pursue travel photography.

He specialises in landscapes and cityscapes in the blue hour and in low light situations using long exposures/slow shutter speeds.

He for one effectively makes use of the High Dynamic Range technique, commonly referred to as HDR. This technique involves shooting multiple frames of different exposure values and then merging them into one photograph. This technique allows accurate representation of the light intensity or derive an exposure which is similar to a real life situation. He is of the opinion that photography keeps him connected to his idiosyncrasies.

Recently, one of his pictures – Temple of Mirrors was shortlisted in the top 10 images of the ‘Architecture Category’ at the Sony World Photography Awards 2012. What is credit worthy is that the image was selected from over 52,323 entries received from 171 countries. For more of his work visit www.babulbhatt.com Mathew Thottungal

Showcase

The Adventures of a Traveller

Shining Overcast

May 2012 Smart Photography

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Showcase

Victoria Memorial

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Smart Photography May 2012

Taj at Sunset

Showcase

A view in London

Serenity in Wales

May 2012 Smart Photography

43

Showcase

Singapore from a height

His Favorite Photograph

those two and half days of my stay in the city.

Having grown up reading National Geographic magazines, I was always fascinated with night photography, especially with traffic trails and lit up buildings. When I had the opportunity to get back to Singapore after almost 8 long years, it was a magical experience for me to shoot stunning night portraits. It was so hectic that I ended up sleeping only 4 hours in

In fact, shooting the Singapore cityscapes, while standing atop the 47th floor of a skyscraper was a dream come true.

Even though it was quite scary to look down from the top, the city looked absolutely spectacular.

I feel this picture showcases the beauty and perfectly complements it to the T.

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Smart Photography May 2012

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If I Were You Our Imaging Expert

No one can take a picture that everyone likes. But, almost every picture can have a scope of improvement. Many-a-times, we are not our best critic, while others can immediately point out the faults. In If I were you, our expert comments on how your pictures could be taken to another level.

The Monkey and the Temple Smart Photography reader Ashish Dugtal from Lucknow photographed this monkey in Ayodhya. The monkey is sitting with his hands by his side, just like most humans would. Ashish wants to know how this picture could be improved.

Let’s first analyse the picture. Which is the principal subject in the picture? The monkey, of course! You wanted to have the flag as well as the rounded structure at the bottom right of the frame. These two elements help us to identify the building as a temple. So far so good. But look carefully, don’t these two elements make the main subject (the monkey) less prominent? And then the remaining part (the left side) of the temple further ‘dilutes’ the attention away the monkey.

either the flag or rounded structure, both of which emphasis e the fact that the building is a temple.

See the edited image. Though I am not too happy about the composition, this is the best that I could think of.

The overall brightness of the scene has made the monkey go a bit too dark in the original photo. I have brightened the monkey ( just a bit) and adjusted the contrast of the scene. Finally, a touch of sharpening was added.

Having said that, this is not a simple image from compositional point of view. If you try to place the monkey as per the ‘Rule of the Thirds’, you cut away Picture Info

Camera: Nikon D3100 ISO: 400 Shutter speed: 1/320 sec Aperture: f/10

Original Image 46

Smart Photography May 2012

Rohinton Mehta, Technical Editor, Smart Photography

Edited Image

If I Were You

Taking a Stroll This picture comes to us from Mrinal Saha.

Says Mrinal, “Please review my photograph and suggest me enhancement and more techniques and skills”.

Let me give it a try. Which is the principal point of interest that you had in mind when you shot the picture? The rocks in the background, the sea-water coming in, or the young lady? Unless I am very wrong, it is the lady. Now look at the picture again. Don’t you think that the lady is camera-conscious?

It seems to me that she is ‘marching for the

photo’. And, with reference to the frame, does she not appear to be going out of the frame?

Is there anything in the picture that seems to be attracting more attention than the principal subject (the lady)? Surely there is. That’s the white sky in the top left corner, and to a certain extent, the two persons on the rocks, right in the center of the frame. And finally, the picture has been shot when the light is absolutely ‘flat’ (there are no shadows around the lady).

Photographs need to show the interplay between light and shade. The EXIF data confirms that light was very low when you

shot the picture, so in this case, I would have tried some fill-in flash that could have slightly brightened up the lady’s face. You have used a shutter speed of 1/30 sec (and f/4.5) with a relatively heavy 55300mm f/4.5-5.6 lens. This is also a cause of the image not being sharp enough.

I first thought of putting in some tone (using Photoshop) in the overexposed sky area. I tried sky blue but somehow, it didn’t appear ‘natural’. I then tried making the sky area light gray. That didn’t work too (at least for me). Hence I cropped the image as shown in the print-screen and then took the liberty of implanting (cloning) the remaining sky with the surrounding area. I also got rid of the two guys on the rocks. The next step was to slightly increase the contrast and brightness (I don’t know if that will be visible in magazine printing). Finally, I added some sharpening to the picture.

In spite of my critique, I congratulate you for attempting to take this photo in lessthan-favourable light.

Picture Info

Camera: Nikon D90 ISO: 200 Shutter speed: 1/400 sec Aperture: f/10

Original Image

Edited Image Printscreen showing crop May 2012 Smart Photography

47

If I Were You

Note: If I Were You is meant to encourage and guide readers, and help them improve their photography. Please ensure that the required camera/exposure details are sent to us (or are available in the EXIF data). From now onwards, we shall not accept images for this section if the required data is not available. Readers are requested to send their images at 300ppi for 8 x 10-inch size. If they are too small, it gets difficult to work on them, and hence may be rejected.

Picture Info

Camera: Nikon Coolpix P500 ISO: 160 Shutter speed: 1/250 sec Aperture: f/3.4

Original Image

Waterscape Smart Photography reader Abhinav has emailed this picture he shot this month at Dal Lake in Srinagar. He has requested my inputs as to how the picture could be improved. I would say that for a beginner, Abhinav has done well. Now let’s see how we can improve upon it.

The picture that Abhinav has sent us is almost a square.

Nothing wrong in that, but a waterscape picture generally looks better in a panoramic format. Also, the original picture is more or less divided in two horizontally equal parts. This sort of makes it ‘two pictures in one’ and divides the viewer’s interest. Hence, this must be avoided. The horizon is slightly tilting to the right, and this too should be avoided.

Edited Version 1

Edited Version 2

Edited Version 3 48

Smart Photography May 2012

I have corrected the tilting horizon, adjusted the contrast and slightly deepened the blues. Let’s look at edited versions 1 and 2. In version 1, greater emphasis is placed on the water while version 2 places greater importance on the sky. Both are fine; it just depends what you want to convey to the viewer.

Versions 3 and 4 show how a somewhat different treatment could be given. Version 3 has been slightly blurred (except for the boats) to give a painterly effect, while version 4 has been sharpened. Due to space restrictions, the edited images have been kept small, but I assure you, when enlarged sufficiently, these differences are very much visible.

Edited Version 4

Ask Uncle Ronnie Adapter Rings

I own a Nikon D90 with 18-105 mm, 50mm (f/1.8) and 70-300 mm Nikkor lenses. I am also having UV filter for all three lenses. But now I want to buy CPL & ND8 filters. Which size should I buy, because purchasing separately for all three will be quite expensive? As all three lenses have different filter sizes, can I make use of adapter rings/step up rings? Are they a good option? I am not sure about this.

Arpit Goyal, via E-mail Check which lens has the largest diameter. On the inside of the lens caps (front lens caps), you’ll find the filter size mentioned in millimeters. Buy the required filters for the largest diameter.

Then buy step-up rings of suitable sizes.

For example, let’s say that the largest diameter is 77mm, and the other two are 72mm and 67mm. Buy your filters in 77mm size and buy two step-up rings72 to 77mm and 67 to 77mm. While this is a less expensive solution, please be aware that larger the filter surface, greater are the chances of flare being picked up from unwanted light sources.

Take adequate precautions to shield the filter from unwanted light.

Did you know... Ronnie has over 35 years of experience in photography?

In fact, he has taught several thousand photoenthusiasts in various institutions and through workshops, as well as judged many national and international photo contests, including the prestigious International Photo Contest held at Colombo, Sri Lanka. So, if you have any photo-queries, whether conventional or digital, don’t hesitate. Just go ahead and Ask Uncle Ronnie at sp@nextgenpublishing.net, ‘cause he knows it all!

Compatible?

I am planing to purchase a Nikon D700 full-frame camera body.

I own two lenses. a Tamron 10-24mm wide- angle zoom and a Tamron 90mm Macro. Will these lenses be compatible with the full frame camera ?

Ajit Kulkarni, via E-mail The Tamron 90mm macro lens will be compatible with your Nikon D700 body, but the Tamron 10-24mm lens is designed for APS-C size sensors, and hence will cause heavy darkening of corners and sides.

Some manufacturers provide a different solution to the kind of problem you face. They supply rectangular/square filters with a suitable filter holder. The filter holder is attached to the lens thread, and the filter is simply slipped in and out as required. The problem with such devices is the chance of dust easily settling down on both the filter surfaces.

Take your pick!

May 2012 Smart Photography

49

Ask Uncle Ronnie

Caught between two brands!

I am in a dilemma of choosing between two brands. Presently I am having Nikon D300s and a 80 - 400 mm F/4.5-5.6 VR lens. I wish to purchase 300 mm f/2.8. Accordingly, I asked my friend residing at Bengaluru; (He is a well known wild-life photographer and won an award at Sanctuary magazine’s annual competition) for his expert advise. His reply instigated me to take your advise. He asked me to switch over to Canon.

According to him, Canon has a legendary Autofocus system which will reduce my chances of missing opportunities in wildlife photography. Now my options are Nikon D300s (which I already have) + 70-300 f/2.8 VR II + 300 mm f/2.8 VR II or Canon 7D + 70-300 f/2.8 IS + 300 mm f/2.8 IS. Kindly guide me.

Dr. Matrishva B Vyas, Nagpur.

Are you not satisfied with the autofocussing accuracy of your Nikon D300s? More often than not, complains/dissatisfaction about autofocus have their roots in the way the camera (any make of camera) is configured. With so many autofocussing options, and with each option dictating how some other option will behave, it is a miracle that we get autofocus in the first place!

From the lenses you posses, I take it that you want another lens for the purpose of photographing wildlife. (By the way, to the best of my knowledge, the 70-300mm lens

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Smart Photography May 2012

is f/4.5-5.6 and not f/2.8. Obviously, a typo. I think you were referring to a 70-200mm f/2.8 VR II.) A 300mm f/2.8 lens will allow you to add teleconverters but bear in mind that the lens is awfully heavy. You may be able to get a few shots hand-held, but without a firm tripod, you will get back to square one, with a feeling that the lens is not focussing accurately!

The 80-400mm lens that you have is good value for money, though it is slow at autofocussing. You already have the 70-200mm f/2.8. By staying with Nikon, you will save a lot of cash. For a wildlife photographer, the Canon EOS 7D is a great camera (especially if you love to fire away long fast bursts). On the other hand, it cannot match the Nikon D300s at higher ISOs on control over digital noise. If you want a camera that has superb noise control, then consider the Canon 5D Mark III or the Nikon

Canon 300mm

f/2.8

Nikon 80-400

mm

Nikon D300S

Canon EOS 7D

Canon 7

D3s/D4. These are full-frame cameras so you will not get the advantage of the crop factor. You can read the India Exclusive review of the Canon 5D Mark III elsewhere in this issue.

0-200 f/

2.8

Nikkor 300mm

f/2.8

Ask Uncle Ronnie

Canon 550D or 60D?

After using Fujifilm S1800 for one year, I am planning to buy my first D-SLR in June 2012. My choice is between the Canon EOS 550D and 60D with 1855mm IS kit lens. The 60D costs Rs.20,000 more than the 550D. My questions are: 1) Is the price difference justified in terms of image quality as I could not find much difference in specifications except frames per second and the rotatable monitor?

2) What does it mean when it says ‘all crosstype 9 AF points’?

Does the 550D have the same?

3) Is the 18-55mm IS lens enough to capture group photos and landscapes, as I am going to Kashmir in June?

Debottam Das, via E-mail Yes, you are right in saying that not much difference exists in the specifications between the two models you have mentioned. However, the viewfinder in the 550D is Pentamirror type; that in the 60D is Pentaprism (which, in theory at least, could be brighter). The maximum

shutter speed on the 550D is 1/4000sec; that on the 60D is 1/8000sec (I wouldn’t consider that to be of great practical value to most users).

Continuous firing speed is approx. 3.7fps (550D) versus 5.3fps (60D). The 550D is not water and dust resistant; the 60D is. The 550D LCD is fixed; that of the 60D is articulated.

1. Coming to your first question, the extra Rs.20,000 seems to be for the convenience of the articulated

screen, the extra frames per second, and the possibly brighter viewfinder. It is really difficult to say whether the extra cost is justified or not.

The way I see it, convenience comes at a cost. If you like to do a lot of low level/high level work, then there could be some justification. As far as the image quality is concerned, I don’t think there would be any noticeable difference.

2. Autofocus sensors (referred to as AF points) can be vertical or horizontal.

A vertical AF sensor can easily focus on a horizontal element in a scene but would find it difficult to focus on a vertical element. Similarly, a horizontal AF sensor can easily focus on a vertical element but may find it difficult to focus on a horizontal element.

Cross-type AF sensors can easily focus on both, vertical as well as horizontal elements and hence, are considered more useful.

Do keep in mind though, in many D-SLRs, cross-type AF sensors get activated only when using ‘fast’ lenses. It would be prudent to check this issue before purchasing the camera.

3. Yes. May 2012 Smart Photography

51

Ajay Sood

Mastercraftsman

Sights, Sounds & Stories...

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Smart Photography May 2012

Mastercraftsman

Travel and photography come together to create a harmonious union. It does not take much effort to take pictures while travelling. The real test presents itself when it comes to taking photographs that tell you a story while combining emotions and the beauty attached to it while being informative. Delhi based travel photographer, Ajay Sood is one such photographer who has taken photography and used it not just in a creative way but also as a way of expressing a story about the places he visits. His images are laden with bursts of colour and oodles of energy.

Ajay Sood (Travelure), N. Delhi

Š Ajay Sood

May 2012 Smart Photography

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Ajay Sood

Mastercraftsman Travel photography takes you all over the world. Apart from your personal choice of D-SLR, which gear is particularly important in your work flow?

© Ajay Sood

Photography is more about composition, while equipment are simply facilitators. Besides, the D-SLR body, accessories include an extra card and battery, and a couple of lenses. As a travel photographer, I always carry Canon 24-70mm EF-L f/ 2.8, while the TS-E 24mm f/3.5. 24-70mm

is my bread-and-butter lens. Additionally, I am equipped with a Gitzo Traveler tripod.

In addition, I have a Black Rapid, as well as a C-Loop, Split Strap and M-Plate.

M-Plate also helps when you have to change battery (the battery compartment’s flap opens, and isn’t blocked, as it provides flexible adjustments in its set-up. C-loop’s free-rivet makes sure that my camera does not get tangled around my neck, and is available to shoot at will.

How did you get into Travel photography?

How different is it from the other genres of photography?

Travel photography is a diverse genre. It offers you the choice of shooting landscapes, cityscapes, people, street, heritage and architecture, details and much more. In the other genres I have pursued, light is always controllable. You could also ask the model to pose again. The food you shoot is not running away.

We could add a fill, use

a reflector, a cutter, or whatever.

In travel photography, we cannot do any of that. You have to work with the light available. In my case, I work with the shadows available.

There are times when you can’t use tripods, or the crowds are hostile and don’t want you to shoot, there’s haze, you can’t use flash, etc. I relish these experiences and the uncertainties that come with it.

My work makes me travel to the most exotic of

Ajay Sood

© Ajay Sood

places. The newness of a place, the sights, the sounds and the stories out there are fascinating.

Another crucial point is that I get to develop memories.

needs to reflect the basic character and essence of the place being shot, the locale, or the story being captured.

In short, a viewer should feel the place – its beauty, character, and drama.

In your assessment what makes a good travel photograph?

Secondly, what are the important qualities that a travel photographer needs to possess?

Personally, some of the qualities I aspire for are – viewer should end up saying, “I wish I had captured this”; or “I haven’t seen this”; or simply, “Wow”.

What I love hearing is, “I want to go there too.”

A good travel photograph

Ideally it is advisable to read up about the place you are visiting in advance and also understand the lens you plan to take.

I typically step out with one lens for an entire day’s shoot.

What is the most inspiring encounter you have had in your travels?

there for 3 days. The view was simply overwhelming with the Sydney Harbour Bridge to the left, and the Sydney Opera House to the right. I kept shooting this view for hours during my 3 day stay. I shot in the morning, night, blue hour, day, harsh sunlight, at all times and just couldn’t get enough of it.

The inspiring view from the Could you list out your 33rd floor of Hotel Shangri- top three places to La in Sydney. I was put up photograph and why?

May 2012 Smart Photography

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Ajay Sood

Mastercraftsman The top 3 places would have to be Cape Town, Beijing, and Bundi (Rajasthan, India), and in that order.

Š Ajay Sood

Cape Town is a 300-year old city with no building older than 10 years. The authorities make it a point to keep the city spanking

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Smart Photography May 2012

Ajay Sood

new. The entire idea is refreshing.

to keep shooting images there.

As far as Beijing is concerned, I went there with the intention of shooting this great heritage city extensively. I was there for a week or so. This place offered so much thrill that I did not find it monotonous

Bundi is in a time-warp. A large city, with a relatively small population ( just 1.22 Lac). The place is magnificent, it has heritage and street life which is any travel photographer’s dream. It has a fort, a

palace, and a 50 step well. Many of these are being restored by ASI and INTACH.

Your ability to post process an image is consistent throughout your imagery. Can you elucidate on how this style was developed?

When it comes to post processing, I am still old school. I am a purist who considers it important to keep the feel of the image intact. For that, I take care of metering and exposure while shooting. In fact, I always shoot in RAW. While in bright daylight, I always shoot one stop under. In

Š Ajay Sood

May 2012 Smart Photography

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Ajay Sood

Mastercraftsman fact, I detest burnouts, highISO noise and HDRs. My post processing is all about composing and addressing the dynamic range of light. As a travel photographer, it is not always possible to use graduated filters

58

or polarising filters, as these hamper movement and flexibility (given the diversity of subjects and the limited time you have).

I address these issues in the post-processing phase.

I use Lightroom, and extensively rely on some

Smart Photography May 2012

of its versatile tools like Graduated Filter, Crop tool, Fill light, Lens correction, and Contrast.

There are times when I fall back on the good old B&W to lend adequate character to my images. For this, I either use lab colour in Photoshop, or Silver

Efex 2.0. This provides the necessary character to otherwise common-looking images.

Creating an image exactly the way I imagined, while not ruining its integrity is what I aim for.

Mathew Thottungal

Learnings 60

Basics of Photography: Exposure Controls in D-SLRs

74

Expose to the Right

78

Why Narrow Apertures provide Greater D.O.F.

68

Create an Out of Frame Effect using Adobe Photoshop

76

Depth of Field Preview

80

Remedy for Over-sharpening

Learning Basics of Photography Smart Photography has been continually receiving requests to start a basic course for beginners. With this in mind, we have asked a very knowledgeable photographer from Hyderabad, Andhra Pradesh, to take over writing these articles. We have also requested him to be as jargon-free as it is possible, so that newcomers to photography feel comfortable to pursue the hobby.

The author, Ashok Kandimalla has been in the photographic field for over three decades and has extensive experience in both film and digital photography. Being an electronics engineer by profession and a photographer, he possesses a unique and deep insight into the technical aspects of digital photography and equipment. He has published several articles on photography and some of his writings have also been published in the well-known international magazine Popular Photography.

An avid collector of photographic books and vintage cameras, Ashok has a keen interest in the history of photography and a passion for sharing his knowledge on photography through teaching and writing. He is presently working as a Management and Engineering consultant. you can see his work at http://www.flickr.com/photos/ashok_kandimalla. He can be reached at kashokk@gmail.com

A

Exposure Controls in D-SLRs

s you may recall, there are three basic parameters that influence exposure - shutter speed, aperture and ISO. Apart from these, you have a number controls that are related to exposure. Given below is the list of such controls:

Exposure modes Exposure compensation l Bracketing control l AE Lock l Metering modes or Metering patterns l l

This installment of Basics of Photography will explain the usage of these modes.

First, let’s run through a few basics.

Basics of Exposure:

Concept of Stop: You have just seen that there are three variables that control the exposure in your camera. Changing these variables in such a way that the exposure is doubled or halved is called a “stop”. In the case of shutter speed and ISO this means doubling or halving the number. In the case of aperture, the f/number should be divided or multiplied by 1.4. A stop is also called EV (exposure value).

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Smart Photography May 2012

Concept of Reciprocity: Reciprocity means that several combinations of shutter speeds and apertures can achieve the same exposure. There is one more variable, ISO, that gives rise to even more combinations. Thus for the same exposure you can practically have unlimited combinations using these three variables. See the following table (Table 1) which illustrates this very well. All these combinations give the same exposure!

Manual Mode: In this mode you can set both shutter speed and aperture as you wish, for total control. Changing one of these will not in any way affect the other. The camera will give you an indication of the deviation that is the error, between your settings and the correct exposure with the help of an exposure scale in the viewfinder. This is the reason why manual mode is also called “metered manual”.

Table 1

Rest of the modes you are going to see are ‘Automatic’, in the sense that if the light changes, the meter detects that change and alters one or more of the variables (depending on the mode you have chosen) – viz. shutter speed or aperture or both or ISO to the give correct exposure. Also, they follow reciprocity. That is, if you vary either shutter speed or aperture the other will be changed automatically in step so that the overall exposure remains the same.

Shutter Speed Aperture ISO 1/125 sec

f/8

50

1/250 sec

f/11

200

1/125 sec

f/16

200

1/250 sec

f/16

400

1/125 sec

f/22

400

Exposure Modes: To make the task of selecting the right aperture or shutter speed easier for you, cameras are equipped with various exposure modes. There are five basic exposure modes. Of these, one is manual and the rest are automatic. Read on for a brief explanation of the different exposure modes.

Shutter Priority Mode: This is called Tv (Time Value) mode by Canon.

Here you choose the shutter speed and the camera will set the aperture to give you the correct exposure.

Basics of Photography

This is best used when you definitely need a certain shutter speed (for example, a shutter speed of 1/1000 to photograph action).

Aperture Priority Mode: This is called Av (Aperture Value) mode

by Canon. In this mode you choose the aperture and the camera will set the shutter speed to give you the correct exposure. This mode is very popular with many professionals and serious amateurs. It is best when you need a specific aperture to control the depth of field (for example, when you are photographing landscapes or portraits).

Program: Here the camera sets both the shutter speed and aperture.

However, you can change the combination to give the same exposure.

As an example, if the camera chooses 1/250 second shutter speed and an aperture of f/11 then you can choose 1/125 sec and f/16 which will give the same exposure. This feature is called “shifting of a program”.

Scene Modes: One of the features of middle and low end D-SLRs is the ‘Scene Mode’. This is a collective name for several situation specific modes. These are best avoided as using them will not make you a better photographer. We will not be dealing with these anymore in the article There are three more features that are available to you to control the exposure. These are Exposure Compensation, Exposure Bracketing and Auto Exposure Lock.

Exposure Compensation: Exposure

meters are calibrated to medium tone.

However, you will encounter situations that are high key (very light) or low key (very dark) scenes. Also, sometimes the exposure that the camera sets may be technically correct but that may not be the one you want for artistic or aesthetic reasons! In these cases you may want to modify (or compensate) the exposure set by the camera. In automatic modes, varying either shutter speed or aperture will change the other in step (to maintain reciprocity) thus keeping the exposure same. The “exposure compensation” control is the feature with which you can change the exposure set by the camera in such cases.

Exposure compensation is generally not used in manual mode as you can achieve the same effect by individually adjusting shutter speed or aperture since these two are not “tied” as in automatic modes. To set compensation in the manual mode, use the exposure scale in the viewfinder of your camera.

For e.g. if you want to give -1 EV compensation simply adjust the shutter speed or aperture till the marker corresponding to -1 EV is lit up. That is all to it!

You can give more exposure (make the image lighter) by giving plus (+) compensation. Conversely you can give less exposure (make image darker) by giving minus (-) compensation. Normally you give the former for high key scenes and the latter for low key scenes. Most cameras allow +5 to -5 EV (stops) of compensation. Universally, the symbol is used to indicate exposure compensation.

Tip: Do not forget to reset the exposure compensation. Also, it will remain set even after you switch off the camera. Make it a habit to check the exposure compensation and a few other important settings like exposure mode, metering mode, white balance, image size and compression factor, etc. whenever you switch on the camera.

This will save you lot of grief later!

Exposure Bracketing: This is used for two purposes. Here you can take (2 or) 3 images, each at a different exposure.

The exposure step between each image can be varied. As an example, you can program your camera to take three pictures at 1.5 EV intervals. As you press the shutter release three times, three pictures are taken at : l Metered value with a compensation of -1.5 EV l Metered value (that is with no compensation) l Metered value with a compensation of +1.5 EV. You can later choose the one you like the best or you can join them together to make a high dynamic range (HDR) image. You can combine this feature with the exposure compensation.

Tip: For HDR, generally a set of 5 images at an interval of 1 EV is recommended.

To achieve this, first set exposure compensation to -1 EV and then take three bracketed images. Then change the exposure compensation to +1 EV and take three more bracketed images. You will now have 6 images at -2, -1, 0, 0, +1 and +2 EV. Simply discard the extra image taken at 0 EV and you will have a set of 5 images at 1 EV interval. Also, make sure that your camera is on a tripod.

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As with exposure compensation make sure you disable the bracketing function after you have used it.

AE–L (Auto Exposure Lock): Very often it is required to recompose the picture after you have taken an exposure reading (especially when you are using a spot meter). If you are using any of the automatic exposure modes, the reading you have taken will change when you recompose, which is not what you want. You can use the manual mode to keep the reading locked. However, if you find switching to manual mode and back cumbersome, you can use the AE–L button instead. Here, take the meter reading and then press the AE-L button to keep the reading locked.

Metering Modes or Metering Patterns: All modern cameras have an in-built exposure meter to measure the intensity of light. Generally D-SLRs have three types of built in meters. These are generally classified depending on the way the light sensing elements are shaped and arranged - that is the pattern of the elements. The most commonly used meters along with their symbols are shown in Table 2.

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Table 2 Type

Application

Canon Symbol Nikon Symbol

Here the meter has many light sensing Evaluative segments each of which measures Meter or Matrix Meter the light intensity of an area, and if a segment finds something abnormal, then that segment is ignored. From this you can see that the camera “evaluates” (hence the name) the readings from different segments. Works very well in most situations and ideal for use with daylight fill flash.

Center Weighted Meter

Most of the sensitivity of this meter is concentrated at the center of the frame. This area and the amount of concentration (as a percentage) changes from camera to camera. In a D-SLR, typically 75 percent of the sensitivity is concentrated in a circle of 8 mm (millimeters) in diameter. This circle is indicated in the viewfinder. Used in slightly backlit or similar tricky situations.

Spot Meter

The entire sensitivity of the meter is concentrated in a small area called ‘spot’, which is about 3.5mm in diameter. Present D-SLRs have several spot meters, each corresponding to a focus point. The area covered by each spot meter is marked in the viewfinder either by a square or a rectangle. It is best for very tricky lighting conditions (heavily back-lit scenes for e.g.), scenes that have a very high brightness range (very high contrast). This is a thinking photographer’s meter that gives complete control.

Partial

Here, like a spot meter the entire sensitivity of the meter is concentrated in one area but this area is much larger than a typical spot.

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Not available

Basics of Photography

Now let us see how you can choose these options in D-SLR cameras. As in the previous articles of this series, we will be using Canon 7D and Nikon D7000 as the reference cameras while discussing about the operation and various options available.

Picture C2

Convention: Names of the buttons and dials will be highlighted as - Button LCD Monitor menu options and screen displays will be highlighted as – Option Top Deck LCD displays will be highlighted as – Basic

Settings in Canon D-SLRs:

Choosing the exposure mode: This is done with the help of the mode dial (Picture C1). Rotate the mode dial with the appropriate exposure mode symbol opposite to the index and you are done. You can also see the mode you have set by looking at the Information screen (Picture C2).

You must press INFO (Picture C3) repeatedly till you get the Information screen.

Picture C1: Mode dial. The different exposure modes Manual, Aperture Priority, Shutter Priority and program modes are marked as M, Av, Tv, and P respectively. The green circle shows the index.

Picture C1

Picture C2: The information screen. The exposure mode selected can be seen here (highlighted by a red circle).

The area marked by a green ellipse shows the exposure compensation and below this you can see the bracketing parameters (if set). Here the AEB has been set with an interval of 1 EV. The metering pattern is also shown. This is marked by a yellow circle. When active AE-L symbol * is shown as indicated by the magenta circle.

Setting the exposure compensation and exposure bracketing: Exposure compensation can be set on a Canon 7D in three ways.

Method 1: First make sure that the QCD Lock, QCDL (Picture C3) is released by sliding it to the left. Now simply rotate the QCD to dial in the exposure compensation you want.

The value you have set will appear at three places - the viewfinder, top deck LCD and the Information screen of the monitor.

This method is the fastest to use but you should remember these three important points: 1. Please move QCDL back to lock position after you set the exposure compensation since any inadvertent movement of the QCD will change the exposure compensation or worse set exposure compensation when you don’t want it at all!

2. The exposure compensation on

the 7D can be set between -5 EV to +5 EV that is, 5 stops under or over exposure. The interval is 1/3 stop. However, the three displays just mentioned can show only up to plus or minus 3 stops. If you plan to give compensation beyond this please see the next two methods.

3. This method allows you set only the exposure compensation but not AEB (Auto Exposure Bracketing).

The two methods described next will remove these limitations.

Method 2 (through INFO button): First press INFO (Picture C3) repeatedly till you get the information screen (Picture C2).

Now press Q. You will now be shown the Quick Control Screen (Picture C4). Use MC to highlight the exposure scale area (Picture C4). Press SET to select it. You will be taken to a new screen (Picture C5) which is the Exposure Comp. / AEB screen.

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Picture C3

Picture C6 Picture C6: Exposure Comp. / AEB screen showing exposure compensation and AEB scales. Here the AEB interval has been set to 2 stops. This means that three images will be taken – one at exposure decided by the camera (that is zero exposure compensation), and two more images with exposure compensation of -2 and +2 EV respectively.

Picture C7: Exposure Comp. / AEB screen that you will see when you come through the menu screen.

Picture C3: The buttons and dials are Q-Quick Control (Q) Menu (MENU), INFO (INFO), Main Dial (MD), Multi Controller (MC), Quick Control Dial (QCD), SET (SET) and quick control dial lock (QCDL).

The relevant Shooting: menu icon is circled in green. The option for Expo. comp/AEB option has been highlighted here for selection.

Picture C4: Quick Control screen. The Exposure scale area has been shaded green. The same area also shows AEB, if set.

Picture C4

Use QCD to dial in the required compensation and then press SET to store it. The value you have dialed will appear on the information screen.

Turning MD will bring up another scale which is the AEB scale (Picture C6).

Rotate MD to dial in the AEB value you want and press SET to complete the operation.

Picture C7

Picture C8: The buttons Main Dial (MD), Metering mode button (MM) and AE Lock button (*) Picture C8

Picture C5: Exposure Comp. / AEB screen showing exposure compensation scale. Here the scale indicates that a compensation of +2 EV has been set.

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Picture C5

Basics of Photography

Method 3: First press Menu (Picture C3). This will take you to the menu screen. Rotate the MD to highlight the Shooting: menu icon (circled green, in Picture C3) and select it by pressing SET.

Choosing the Metering (pattern) Mode: First press MM (Picture C8) and release it. Within 6 seconds rotate MD. Now as you rotate MD, the meter pattern symbols as indicated in Table 2 will appear on the top deck LCD as well as on the LCD monitor. Choose the one you want. Note that there will be no indication in the viewfinder regarding the meter pattern you will be using. So, be careful as you can get very wrong readings (especially when using spot meter) inadvertently.

Now in the Shooting: menu scroll using QCD to highlight the option Exposure compensation/AEB and select it by pressing SET (Picture C3).

Settings in Nikon D-SLRs:

You will be presented with a screen (Picture C7) similar to the screen which you had accessed through the Quick Control Screen. The rest of the procedure is exactly the same too.

Whichever way you might have set the exposure compensation, the value you have set can be seen at three places – in the viewfinder, top deck LCD as well as the Information screen (on the LCD monitor) provided it is within ¹ 3 EV. Beyond this you need to go to Exposure Comp. / AEB screen (Picture C5 or C7) to see the compensation set. These screens will also show the AEB. Using the AE-L: This is activated simply by pressing the * button (Picture C8). Pressing * will lock the exposure at the present setting. It will be held there till you release the shutter or switch off the camera. There is no need to keep the * button pressed unless you want to use the same exposure compensation setting for multiple photographs. When the AEL is active the symbol * will appear in the viewfinder, in top deck LCD as well as the Information screen of the LCD Monitor.

Choosing the exposure mode: This is done with the help of the mode dial (Picture N1). Rotate the mode dial with the appropriate exposure mode symbol opposite to the index and you are done. You can also see the mode you have set by looking at the Information screen (Picture N2).

Picture N1

Picture N2 Picture N1: Mode dial. The different exposure modes Manual, Aperture Priority, Shutter Priority and Program modes are marked as M, A, S and P respectively. The green circle shows the index. Bracketing button (BKT) is also shown.

Picture N3

Picture N2: Sub Command dial (SCD), Exposure compensation button (EC) and metering (pattern) mode (MM) button.

Picture N3: The buttons and dials are - AE-Lock (AEL), Main Command Dial (MCD), and Information (Info).

Also shown is the Information screen on the monitor. This screen can be invoked by pressing Info. The following areas are highlighted: Exposure mode (green circle) Exposure compensation symbol (red circle) Metering mode (magenta circle) Bracketing on (yellow ellipse).

Just below this is the exposure compensation plus bracketing scale. Here an exposure compensation of - 0.3EV has been set along with AEB of three images with an interval of 1EV. The three markers on the scale which are at -1.3. -0.3 and +0.7 reflect this.

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Bracketing: In Nikon D-SLRs you can set the bracketing to a two or three image sequence.

As you press the BKT (Picture N1) and rotate the SCD (Picture N2), you will see the various exposure intervals available - 0.3, 0.7, 1, 1.3, 1.7 and 2 EV. Choose the one you want. While keeping the BKT pressed now rotate MCD, (Picture N3). You will now see the letters -2F, + 2F, 0F and 3F. Of these, 0F means that you are disabling the bracketing.

The 3F refers to bracketing of 66

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three frames. The other two, -2F and +2F refer to two frame bracketing sequences and are not very useful. Ignore them.

As an example, a three frame sequence with a 0.7 EV interval will be shown on the top deck LCD as 3F 0.7. This means that three frames will be exposed with a compensation of -0.7 EV, 0 EV and +0.7 EV respectively.

This program is stored and can be used any number of times.

To activate this program simply press BKT and then rotate MCD till 3F 0.7 appears. At the same time notice that the bracketing symbol with three segments will appear on the top deck LCD. This looks like .

This is a very useful tool as it tells you exactly at what stage of the bracketing sequence you are in. Once you press the shutter, that part of the symbol corresponding to the image taken will vanish. For example in the said sequence the symbol will look as follows after you have taken two images of the three( ).

In addition the letters BKT will appear in the viewfinder and the top deck LCD. The letters AE-BKT along with an exposure scale will be shown on the information screen. If the exposure compensation is also set at the same time, the scale will indicate the composite values (Picture N3 gives more details on this).

Using the AE-L: This is activated simply by pressing the AEL button (Picture N3). Press and hold to lock the exposure at the present setting till you release the shutter. When the AEL is active the letters AE-L will appear in the viewfinder.

Choosing the Metering (pattern) Mode: First press MM (Picture N2) and rotate MCD. Now as you rotate MCD, the meter pattern symbols as indicated in Table 2 will appear on the top deck LCD as well as on the LCD monitor one after another. Choose the one you want. Note that there will be no indication in the viewfinder. So, be careful as you can get very wrong readings (especially when using spot meter) inadvertently.

Conclusion Exposure is one of the most basic and important parameters that must be accurate for a technically good photograph. Though modern cameras are capable of giving correct exposure most of the time, there are instances when you want to change what the camera suggests.

Use the controls fully and you will be rewarded with much better images. Also, whenever you take a photograph don’t forget to take a peek at the histogram and highlight warning tools which will help you in nailing the exposure.

All photographs by the Author

Setting exposure compensation: For this press EC and then rotate MCD till the value you want appears. The value is shown at three places - in the camera viewfinder, top deck LCD as well as the LCD monitor. You can give any value between -5 EV to +5 EV at an interval of 1/3 EV. Once set, the exposure compensation symbol will also be visible at the same places but the actual value will be shown only when you press the EC. Also the ‘O’ symbol at the center of the exposure scale (both in the viewfinder and as well as the information screen) will blink when any exposure compensation is active as a warning. The exposure scale will also give the value of exposure compensation set but only if it is between plus or minus 2 EV. Hence is always better to press EC to confirm the exact value.

Learning Photoshop The author, Rajendra Prasad, an Associate of Royal Photographic Society of London, and a banker by profession, has been in the photographic field for over two decades and has extensive experience in both film and digital photography. At present he is the Chairman of Digital Imaging Division, India International Photographic Council, Delhi. Rajendra has a passion for sharing his knowledge on photography through teaching and writing. He has published several articles on photography in photographic magazines and journals of IIPC & FIP. He has also published an e-book An Introduction to Digital Photography which was released at Indore IIPC workshop by Sri Jaipal Reddy, Minister-Information & Broadcasting. He has also given talks on photography at Doordarshan. He has taught several photo-enthusiasts through workshops on photography in several Indian cities. His photographs have also won many accolades in different photographic salons. He has also served as a judge in various contests. His other hobbies are electronics and painting. He maintains a photoblog digicreation.blogspot.com and can be reached at rajdigi25@gmail.com

Create an Out of Frame Effect using

W

e all have probably seen graphics in advertisements that show someone or something coming out of the screen of a monitor, television or any other display device. This effect is called the Out of Frame Effect. Out of Frame is an interesting photo effect where the object or scene in the image seems to jump right out of the photo or its borders.

It is a photo manipulation technique that adds an illusion of 3-dimensionality to a flat photograph. You can also create this amazing effect that will make the object in your photo jump out of the frame easily by using Photoshop’s two powerful features - Layers and Masking. This effect can be used with photographs to create surreal and fantasy illusions. It is a great way to add an element of interest to a sports photo, a wedding photo, product shot, or even in a photo of your kids playing in the backyard. In this month’s tutorial you are going to learn how you can achieve this ‘3D’ effect in Photoshop without any special tools or plug-ins.

In this tutorial, I have used Photoshop CS5, hence my screenshots may differ from yours, depending on the version you are using. This does not mean this tutorial won’t work with other versions of Photoshop. Just try it out.

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Choosing the Image The biggest hurdle is choosing the right image to work with. The best images for out-of-Frame effects are ones in which the subject is coming toward the viewer or has some movement of the body, such as a leg up in walking or an arm lifted up in an action. A runner jumping over a hurdle out of the frame, a waterfall running out of the picture and boats coming toward the viewer are other good examples. Body action is important to create the illusion of movement. Decide what is going to happen in the picture. Obviously, some images will be more natural fits than others, and thus will be easier to work with. For this tutorial I have taken a sea shot with boat, I want to show that this boat and water coming out of frame, so let us proceed and see how it is done.

Learning

1

Duplicate the Background layer To begin, duplicate the Background

layer using the simple keyboard shortcut Ctrl+J (Win) / Command+J (Mac). In the layers panel you can now see that you have the original Background layer and a copy of it, which Photoshop has automatically named as “Layer 1” (open the layer panel if it is not already by clicking Window>Layers).

2

Applying a layer mask Our next task is to create a mask

3

Photoshop

Creating another new layer Click on ‘Layer 1’ in the Layers palette to activate it if it is not active. Now we

need to create yet another layer over the Layer 1, so click on the add layer icon to do so. Once you have the new layer created, select the rectangular marquee tool.

This is completely up to you on how you want to frame your image, so select a corner for your frame by clicking on your left mouse button and drag out a box as shown below with the help of marquee tool. Again, do not worry if your selection does not match mine as your image is unique and it will vary from image to image.

You can also change the shape of your selection afterwards so don’t fret over the exact shape of the frame.

4

Filling your selection with white Press the letter D on your keyboard to quickly reset your Foreground and Background colours, so that white is now your Background colour. Then use the keyboard shortcut Ctrl+Backspace (Win) / Command+Delete (Mac) to fill the new layer with the Background colour, which in this case is white.

of our primary image. Click Layer 1 in the layer panel to activate it, if inactive.

For applying a mask click the mask icon to create the layer mask. You will see a layer mask applied to the new layer you created the screenshot provided here.

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5

6

the ‘Select’ item, then modify, then ‘Contract’. This should bring up a menu where you can type in the number 30 and hit enter to contract by 30 pixels.

around the selection you made. After you hit Delete, go back up to the Select menu and select ‘Deselect. This should remove the selection around the inside portion of the frame you had created. A plain frame looks good but if you make it look inclined you will get a better 3D effect. For this select ‘Edit’ from the top menu of Photoshop. From the edit menu, select transform, and then ‘Distort’. You can now grab any corner of your frame and adjust it as you as you like. For my picture, I grabbed the left hand side corners and brought them down to create an angled frame as seen below. Again, this is really a personal preference and you are free to create a frame shape of your choice and liking.

Contracting your selection In the Photoshop toolbar, select

7

Filling the background layer with a pattern

Now click the background layer to activate and it open its eye icon. Click Edit >Fill to open the fill dialog box.

Now select Pattern under Content and select a pattern of your choice and then click OK to fill your background with this pattern. Note that you will not see anything happen to your image since the two top layers are on, but in the layer palette you can see that the background layer has been filled with a pattern.

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Making your frame and distorting for a 3D illusion Now hit the Delete key on your keyboard. This should create a white frame

Learning Photoshop

8

Creating the Out of Frame Effect Now click the Frame layer - Layer 2 to activate it. Select the add layer mask icon again to create a mask. Select the brush tool and adjust the size to somewhere in the neighbourhood of ‘30’. You need to make sure that your primary colour selection is black. With the brush tool selected, click the left mouse button and begin painting the white parts of the frame to be hidden by your subject coming out of the frame for the 3D effect. You can be as ‘rough’ or as ‘thorough’ as you want to be. You can always ‘repaint’ the white border by switching your colour selection to white to ‘unhide’ any portion of the frame you painted while black was selected. As you’ve probably noticed, with the layer mask, that white shows the painted area while black hides any painted area.

9

Erasing parts of image which are out of frame

Now click on your primary layer (Layer 1) to activate it.

Left click on the layer mask icon of your image. Now, select the brush tool and select a size of around 50 or so. Again, make sure your colour selection is black. Now begin painting away any part of the image that is outside your frame except the parts of your image that you actually want extruding outside the frame for your 3D effect.

As I mentioned above, don’t worry if you accidentally paint over something you later want to show as you can just select white and paint it to reappear.

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10

Giving your frame a 3D effect A simple white frame does not look good so let us make our frame look real.

For a fresh look to the frame, first click the frame layer (Layer 2) to activate it. Then click the add layer style icon which is the second icon situated at the bottom of layer palette. I have added Colour Overlay, Bevel and Emboss and Stroke to give my frame a real look. You can experiment with and apply any style you like.

11

Giving your image a final touch Note that before saving your final image, you may also crop or adjust your final photo in any way you choose to achieve the desired effect and size.

There are no ‘absolute’ rules to this effect or how you should apply them, so please feel free to, and certainly do, experiment!

Some of the best effects and final results are sometimes accomplished by ‘accident’. When you are done flatten the layers (Layers>Flatten Image) to make the image size small.

Now save your creation.

Your illusion will look more authentic if the boat and water cast their shadow on the background. So I have added shadows to frame and water. The technique of how to add shadows is not given here due to space constraints. I have also added a border around the image, as well as my name.

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Closing comment You don’t have to follow this tutorial word-by-word to achieve the effect you want.

This tutorial is just a basic of what you need to do to create this cool effect. Use your imagination and creativity, think of the perfect angle and perspective that best fits your picture. Photo manipulation is an art that requires a lot of patience along with expertise in Photoshop. With our creativity and imagination, we can manipulate any photograph the way we want. It is all about how we use our imagination and properly understand the effects that can be achieved in Photoshop and employing them with a lot of experimentation. Hope you enjoy this technique as much as I did. Do try this Photo Effect and I promise your friends will be amazed with your Photoshop abilities.

The key, as always, is to experiment! Keep sending in your creations and work to SP as we are always happy to see them. See you next month.

Learning

Expose to the Right

D

igital noise is a part and parcel of every digital image.

Fortunately for us, noise, though there, is not too visible unless we underexpose. Underexposed areas lack in image data.

When we try to bring in detail in such areas (by adjusting Photoshop Levels or Curves, or any other method), noise raises its ugly head.

Let us perform an experiment. Set your tripod mounted camera to RAW mode and meter any dark area in your home and take a shot.

Now take the next shot of the same subject at the same aperture but with 2-stops faster shutter speed (underexposure). Take the third shot with 2-stops slower shutter speed than what you gave for the first frame (overexposure). If you prefer, and if your camera permits, do a 3-frame exposure bracketing in Aperture Priority mode, with 2-stops difference. Load the 3 frames in Photoshop.

1. Open the 3 RAW files in Adobe Camera RAW (the RAW Converter that comes with Photoshop). The histograms show you how they are exposed.

2. Adjust the Exposure slider (‘Exposure’ here means setting the highlights). For the underexposed frame, you’ll have to move the 74

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We receive quite a number of inquiries asking about the ‘shoot-to-the-right’ technique to reduce digital noise. This ‘Learning’ article is designed to clear your confusion and set you on the right track.

Keep in mind though, that this technique can only be applied to images shot in RAW. Rohinton Mehta

Exposure slider to the right, till the highlights just start to clip. For the normally exposed frame, do the same. For the overexposed frame, you’ll have to move the Exposure slider to the left till the image shows no clipping.

Let’s try to understand what we have done so far. For the underexposed frame, we have tried to bring in detail where no (or very little) detail existed. This always adds noise. For the overexposed frame, we have tried to push excess data from the brighter part of the picture to the darker areas. When there is data in the darker areas, there can be no (or very little) noise. This is the basic idea of ‘shooting to the right’. Let me remind you again, this method will work only with RAW files.

3. Some tweaking of the individual frames may be required. For example, you may have to adjust the Contrast, Brightness (‘Brightness’ in ACR means ‘middle-tones’) etc.

Now let’s examine our 3 frames after they have been adjusted as explained above. (All three frames received equal amounts of sharpening). At normal viewing distance, you may or may not notice the noise. So, let’s enlarge each frame to 150%. Here are the results:

Printscreen showing Histogram of the metered exposure

Printscreen showing Histogram of underexposed pic

PS showing Histogram of the overexposed pic

Learning

150 % enlargement.

Metered exposure

150 % enlargement.

2-stops under exposure

150 % enlargement.

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Learning

Depth of Field Preview

W

hen you set any aperture on your lens, the aperture blades do not close down to the level you have set. Only when you press the shutter release button, do the aperture blades close down to the set aperture. This is done on purpose. If the aperture was to close down as soon as you set it, the image in the viewfinder would darken, making it difficult to focus.

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So then how do you check (before you shoot) as to what will be in focus and what not?

The answer lies in the use of the Depth-of-Field Preview. When you press the preview button, the aperture blades close down to the set value, making it possible (to a certain degree) to see what will be acceptably sharp and what won’t.

Note: Because the aperture blades close down to the set value, the image in the optical viewfinder will go dark. How dark depends on the value set for the aperture.

Unfortunately, not every camera offers the DOF Preview. If your camera has it, then you must get into the habit of using it.

Learning

When the DOF preview button is pressed, the image on the LCD will not go dark as in the optical viewfinder.

You can see the increased DOF at f/22 in the lower image

DOF preview as visible on the LCD at f/4

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Learning

Why Narrow Apertures provide Greater D.O.F. This ‘learning’ is created in response to a very interesting query by Kalpana Gada. She wrote, “I’m learning photography. My question is about depth of field. Why do small apertures give more depth of field and visa versa? Please give me the technical reasons behind this.”

Rohinton Mehta

An excellent short question that has a very long answer. Get ready for a lot of theory!

Depth of field, as you are already aware, is the zone of acceptable sharpness in a picture.

But then, why is it that when we see with our eyes, as opposed to seeing through a camera lens, we see everything sharp? Herein lies the issue. We don’t see everything sharp with our eyes! We see sharply only at the plane of focus. When we look at something else, our eyes re-focus so very quickly that we are just not aware that, earlier, the other elements (other than points we were focussing on) were not in focus. You could say, our eyes are the fastest autofocussing device. See Sketch 1.

A A-A1 is the ‘plane of focus’.

All points along this line will be reproduced as points on the film/ sensor and we will see this plane as ‘sharp’.

Sketch 1

A1

If you wish to confirm what I have mentioned in the above paragraph, just hold your finger at about reading distance and concentrate on the finger with one eye closed. You will become aware that everything else in the background is out of focus. If you were to change your gaze to the background (while still holding your finger at the same distance), you will realise that your finger no longer appears sharp.

In a camera, each point on the subject along the plane of focus, is captured as a corresponding point on the film/sensor (Sketch 3 on the opposite page). This results in a sharp image. But what about the points on the subject that are not in the same plane of focus? The answer is that these points do not form corresponding points on the film/sensor (they focus either in front of or behind the film/sensor) and hence form ‘circles’ instead of points on the film/sensor (Sketch 4 on the opposite page). The circle thus formed is known as ‘Circle of Confusion’. If these circles are so small that our eyes accept them as points, the image will appear as acceptably sharp. If on the other hand, if our eyes see them as circles, the image will appear blurry. Depth of field (DOF) as we know it, is possible because our eyes, though amazing, cannot distinguish between a point and a very small circle.

In this case, B-B1 is the ‘plane of focus’.

All points along this line will be reproduced as points on the film/sensor and we will see this plane as ‘sharp’.

However, points along A-A1 will no longer reproduce as points on the film/sensor.

Rather, they will be recorded as circles.

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Sketch 2

A

B

A1

B1

Learning

A

Image is formed as a ‘point’.

Film/sensor

A1

Sketch 3

A circle is formed instead of a point

A

B

A1

B1

Film/sensor

Sketch 4

A-A1 is the plane of focus. B-B1 is not in the plane of focus

Now look at the following two sketches. In Sketch 5, light is coming in through an out-of-focus area using a wider lens aperture. This has resulted in larger circle of confusion. Larger circle of confusion means that the image looks fuzzy, resulting in less depth of field.

Sketch 6 shows light coming in through an out-of-focus area using a narrow lens aperture.

Here the circle of confusion formed is smaller. This is because a narrow aperture gives a narrower beam of light from any given point on a subject. Smaller circle of confusion makes the image appear sharper and results in greater depth of field.

Represents out-of-focus areas

Large circle

Light coming from out-of-focus area and wide aperture results in a larger circle of confusion. Large circle of confusion means fuzzy images.

Film/sensor

Sketch 5

Plane of focus Represents out-of-focus areas

Smaller circle

Sketch 6

Plane of focus

Light coming from out-of-focus area and narrow aperture results in a smaller circle of confusion. Small circle of confusion means sharp images.

May 2012 Smart Photography

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Learning

Remedy for Over-sharpening

D

igital imaging offers us some amazing facilities which we did not have in the film era. We often get carried away using these new ‘toys’, and then, we tend to over-use them or use them in an inappropriate manner. Take for example, the facility to ‘sharpen’ a not-so-sharp image in Photoshop. Before we proceed, let me remind you that there is really no way to sharpen a photo that is not sharp to start with. What we do when we ‘sharpen’ the photo is increase the contrast in edges of the image.

This gives us an illusion of achieving better sharpness.

Most users of image editing programs (especially beginners) tend to over-sharpen their images. After all, the process does improve the overall image, so why not improve it a bit more, or so they think.

An over-sharpened image looks visually wrong. Depending on the degree of over-sharpening, it can look rough and/or noisy. Edges can get the thin white/black line we are so used to seeing in oversharpened images. This article is not designed to teach you how to sharpen (that is something we have discussed before), but teaches you how to take remedial action to make the over-sharpened images 80

Smart Photography May 2012

look presentable again.

Note: While this method will help you to make your oversharpened pictures acceptable again, they may still not be as good as you want. Hence avoid over-sharpening in the first place. And never sharpen your original image. Always make a copy of the original, enlarge it to your required size, and then sharpen this copy image. Also remember, an ‘under-sharpened’ (if there is such a word) image, is better than over-sharpened.

Printscreen 1

Open the over-sharpened image in Photoshop. Create a duplicate layer by dragging the Background layer to ‘Create a new layer’ icon at the bottom of the Layers palette. (see Printscreen 1).

Go to Filter > Blur > Gaussian Blur and apply a 1 to 2-pixel blur. In my example I have applied a 1.4 pixel blur. (see Printscreen 2). Now go to the Blending mode (click on the small downward pointing arrow where it says Normal) and click on Darken. (see Printscreen 3). You will immediately notice the overall sharpening come back to an acceptable level. Now, flatten the image and save the file.

Rohinton Mehta

Showing Gaussian Blur applied (1.4 pixels)

Printscreen 2

Printscreen 3

Learning

Original Image

Final Image

May 2012 Smart Photography

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Reviews 83 90 95 99 106 104

D-SLR Review Canon 5D Mark III

ILCC Review Panasonic LUMIX DMC GF5 Head to Head Our 3-Legged Friends

Compact Review Canon PowerShot G1X

Software Review Corel PaintShop Pro x4 Flash Review Nissin MF18 Digital TTL Macro Flash

Change in Rating System Smart Photography’s new rating system exercises stricter evaluation in view of improvements in the overall performance of photographic equipment. Marks will be awarded for the following parameters...

Final Rankings Recommended .......................................... 75-80% Best Buy..........................................81% and above

D-SLR CAMERAS

LENSES

COMPACT CAMERAS

Design & Build Quality..................... (out of 20)

Design & Build Quality..................... (out of 20)

Design & Build Quality..................... (out of 20)

Key Features............................................ (out of 20)

Key Features............................................ (out of 20)

Key Features............................................ (out of 20)

Ergonomics.............................................. (out of 20)

Ergonomics.............................................. (out of 20)

Ergonomics.............................................. (out of 20)

Performance Autofocus.....................................................(out of 5) Metering.......................................................(out of 5) Noise control............................................(out of 5) Distortion/Sharpness...........................(out of 5) LCD/Viewfinder.....................................(out of 5) Auto White Balance............................(out of 5)

Performance Autofocus.....................................................(out of 5) Sharpness.....................................................(out of 5) Distortion control..................................(out of 5) Aberrations.................................................(out of 5) Darkening of corners..........................(out of 5) Extra Features............................................(out of 5)

Performance Autofocus.....................................................(out of 5) Metering.......................................................(out of 5) Noise control............................................(out of 5) Distortion/Sharpness...........................(out of 5) LCD/Viewfinder.....................................(out of 5) Auto White Balance............................(out of 5)

Value for Money........................ (out of 10)

Value for Money.................................. (out of 10)

Value for Money........................ (out of 10)

Grand Total................................ (out of 100)

Grand Total.......................................... (out of 100)

Grand Total................................ (out of 100)

D-SLR Review Canon EOS 5D Mark III

The Challenger!

C

anon made a remarkable dent in the market with the EOS 5D. The 5D fulfilled the aspirations of the advanced amateur and the professional and therefore saw a great deal of popularity. The 5D Mark II continued in that tradition and remained in high demand throughout its life cycle. Canon has now introduced version III of the very successful 5D. The introduction is very timely as Nikon is finally out with the D800 which is positioned to compete with the 5D Mark III in the market place.

Design and Build Quality The EOS Mark III body is elegant and made from tough magnesium alloy. It

has a dust and drip-proof construction and the grip is re-designed to perfectly fit the hand. The Mark III comes with improved CMOS sensor technology, which, according to Canon, results in superior colours, and better signalto-noise ratio, especially at higher ISO sensitivities. And though there are visual differences, you would be hard-pressed to notice them easily at a first glance.

The Mark III at 800g is 50g heavier than its predecessor.

Key Features Let’s see what are the key differences between the Mark III and Mark II and what they mean to you and me.

(Marginal differences are not mentioned)

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Rs.2,06,095 Inside the Box l l l l l l l l l l l

Camera body Eyecup Battery pack LP-E6 Battery charger Wide strap Interface cable Stereo AV cable EOS DIGITAL Solution Disk Software Instruction Manuals User Manual Pocket Guide May 2012 Smart Photography

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Rohinton Mehta

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Smart Photography May 2012

D-SLR Review

Canon EOS 5D Mark III Sharpness &

0

d: 1/6sec. ISO:10 1 Shutter Spee

Aperture: f/1

pression

Noise

Detail

ISO:100

JPEG Com

ality, JPEG, Fine Qu B) M 6 .2 100% (8

ISO:25600

Mark III

Imaging processor DIGIC 5+ 61 points Autofocus Cross Points for AF Max. 41

(Central 5 points are dual-cross) AF Brightness Range EV -2 to 18 AF Modes 6 types AF point tracking display Yes Frames per second Approx. 6

(Increases with grip) Max. Burst 16,270 JPEG (L/F)

18 RAW Approx. 59ms Shutter release time lag ISO sensitivity (Still) ISO 100-25,600 Can be expanded 50-1,02,400 ISO for Movies 100-12,800 Can be expanded 50-25,600 Metering iFCL metering using 63-zone

dual layer sensor LCD monitor 1.04 million dots Electronic Level Yes, Dual axis

(in VF and L/V) In-camera corrections CA, Peripheral illu.

Camera start-up time Approx 0.2 sec Extra features HDR mode

Multiple Exposure

1-touch Image Quality setting

Customizing operation buttons

Quick Control (Shooting/Playback) Weight (Body) Approx 860 g

ity,

rd Qual JPEG, Standa B) 100% (2.36 M

Mark II DIGIC 4 9 (+ 6 assist Points) 1 central cross point EV – 0.5 to 18 2 types No Approx. 3.9 78 JPEG 13 RAW Approx. 75ms 100-6400 50-25,600 100-6,400 100-12,800 35-zone 920,000 dots No Peripheral illumination Approx 0.1 sec Quick Control (Shooting)

Approx 810 g May 2012 Smart Photography

85

D-SLR Review Canon EOS 5D Mark III Colour Accu

racy

DIGIC 5+ is a newly designed image processor (using 8-Channel reading full-frame CMOS sensor) capable of dramatically improving digital noise at high ISO sensitivities. As per Canon, the Mark III’s noise level at ISO 25,600 is as low as the Mark II’s at ISO 6400!

It corrects –in camera – longitudinal and lateral CA (Chromatic Aberration).

Further, its processing capability is 17 times that of the DIGIC 4, which also results in the Mark III providing approximately 6 frames per second at its full resolution of 22.3 MP. The DIGIC 5+ also allows us to use the electronic leveler during movie shoots.

The newly designed CMOS sensor uses improved photo-diodes with superior photoelectric conversion efficiency that enhances ISO sensitivity. Improved in-pixel transistors reduce noise from the pixels, resulting in improved signal-to-noise ratio that translates into higher ISO sensitivity. A new design of micro-lenses with gap-less technology dramatically improves the light-receiving capabilities of the sensor, which in turn, plays an important part in the overall image quality.

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Smart Photography May 2012

5 or 7 frames, as against only +/- 2 steps with 3 frames on the Mark II. Autofocus: The EOS 5D Mark III uses a total of 61 High Density Reticular Autofocus points that include 41 cross-type points. (Reticular means resembling a network). This makes for easier composition for portraits Rohinton Mehta

Colour checker shot using Auto White Balance in sunlight. Auto Levels applied.

iFCL Metering: FCL stands for Focus, Colour and Luminance. The Mark III uses 63-zone dual-layer sensor (similar to that on the EOS 7D) which analyses autofocus and colour data provided by each point of the AF system for accurate exposures. It offers +/- 5 steps of exposure compensation with 2, 3,

D-SLR Review

Canon EOS 5D Mark III and moving shots. The 41 cross-type points include 5-point central dual cross-type AF sensors that enhances subject tracking.

AF Points Configuration in Detail We all know that cross-type AF points can offer quicker and more accurate autofocus compared to plain horizontal or vertical AF points.

What is not known to many, is that to activate cross-type AF points, the lens used has to be ‘faster’ (should have greater light-gathering power).

The EOS 5D Mark III even has 5 ‘Double Cross-type’ AF points. Here’s a countdown on which AF points get activated and when.

If you use a f/2.8 or faster lens, all 61 AF points will be activated. (Out of these 61 points, 5 will be double-cross-type, 36 will be cross-type,and the remaining 20 will be horizontal-only AF points).

See sketch below.

If you use a lens whose speed is slower than f/2.8 but up to f/4, again, a total of 61 AF points will be activated, but in this case, 41 crosstype AF sensors and 20 horizontalonly sensors come into play (the double-cross-type sensors are not activated). See sketch.

Finally, if you use a lens whose speed is slower than f/4 but up to f/5.6, once again all 61 points will be activated but now only 21 points are cross-type and the remaining are plain horizontal-type only. See sketch below.

AF Brightness Range: The Mark III can detect subjects in very low light (EV -2 to 18). EV -2 is equal to an exposure of 8 seconds at f/1.4 at ISO 100, or the brightness you are likely to find in moonlight.

Maximum Burst: The maximum Burst rate for the Mark III is approximately 6 frames per second.

What is incredibly surprising is Canon’s claim, that, using JPEG Large/Fine with the suggested UDMA card , the Mark III can fire at approximately 6 fps for up to 16,270 shots! This means, that for practical purposes, you can keep firing till the pain in your index finger begs of you to stop. Amazing!

While the Mark II has a single slot for CF card only, the mark III offers dual slots for CF (UDMA compatible) and SD (Eye-Fi compatible). The user can allow automatic switching for recording the images, and different types of files ( JPEG, RAW) can be assigned to any card. You can even record the same images to both the cards (as a safety measure).

HDR mode: In this mode, first for an EOS model, 3 images of the same scene, at different exposures are combined to form a single High Dynamic Range image. A dedicated button simplifies access to HDR mode, Picture Styles and Multiple Exposures.

Electronic Level: During Live View mode, you can display a dual-axis electronic level in the viewfinder as well as on the LCD. This is a very useful feature that can help you in keeping the horizons straight.

New features added to the Mark III include the Silent and Low-Vibration modes. When using the viewfinder for shooting, the user can opt for the Silent continuous or Silent single option. In these two modes, the mirror action is slowed down, which results in quieter and possibly, sharper images. Live View mode offers even quieter shooting and lesser vibrations due to slow mirror action combined with electronic first shutter curtain. Besides these new introductions, the Mark III allows you to shoot in 4 different aspect ratios – 3:2.

1:1, 4:3, and 16:9. In-camera processing of RAW files is an option; JPEG images May 2012 Smart Photography

87

D-SLR Review Canon EOS 5D Mark III can be re-sized to help you to easily post the images to websites and blogs. Movie buffs can rejoice. Movie quality and editing flexibility has been improved.

If you were satisfied with the movie quality of the Mark II (you should be; two Bollywood films have been shot using the Mark II), then you’ll wonder how they’ve managed to further improve it.

Ergonomics The Mark III was very easy to handle. The Mark II has the on/off switch next to the right bottom corner of the LCD but on the Mark III, the on/off switch is next to the Mode Dial at the top left of the camera body. Personally, I find this more convenient – it is easier to operate this switch with the thumb of your left hand. Images on the LCD were crisp and a pleasure to view.

The Mode Dial has a center lock button, which means you cannot accidentally change the shooting mode (the Mark II does not have any such safety lock). If you come from the other world (that is, if you own/use any other make of camera), you will surely love the Silent Mode wherein the shutter fires without awakening your neighbours! I mentioned earlier that the Mark III was easy to use but having said that, I repeat what I mention in almost all my reviews – that, to use any modern, feature-filled D-SLR to its full potential, you have to do lots of groundwork; you have to 88

Smart Photography May 2012

diligently study its features, and know when to use which feature.

This of course is easier said than done. My experience tells me that the majority of D-SLR users, use less than one-third of the available features!

Performance Our test was done using an L-series 24-105mm f/4 IS USM lens. Picture Control was set to ‘Landscape’. For those not in the know-how, Landscape picture control offers slightly greater sharpness as well as strong blues and greens. A question that would be on everyone’s mind is, does the Mark III perform better than the Mark II? While the term ‘better’ could be interpreted by different users in different ways, here are my observations on some of the things that matter: *The Mark III focusses faster and with greater accuracy. *The DIGIC 5+ image processor does a much better job in controlling digital noise as compared to the Mark II. I shot some portraits in normal officelight illumination at ISO 25,600, and was astonished by the results.

At this ISO setting, yes, there was some noise but I would say it was as good as some ISO 400 film shots that I have seen in the past. *The Mark III autofocusses in much lower light as compared to Mark II. However, I did notice it struggling to achieve focus in areas of low contrast. *Those who love to photograph

flying birds now have the advantage to shoot up to 6 frames per sec, compared to about 4fps with the Mark II. And, using a battery grip, the frames per second rate go higher. *You can shoot many more frames before the buffer gets full. Though we didn’t test this out, Canon claim it can shoot 16,270 JPEG (L/F) using the specified card! *Shutter release time lag has improved (aprox. 59ms for Mark III Vs approx. 75ms for the Mark II ). * The Mark III offers in-built corrections for CA and peripheral illumination; Mark II offers only peripheral illumination correction. *Besides, the Mark III offers HDR shooting and Multiple Exposures, which the Mark II does not offer.

On the metering front, all the metering modes performed well, though occasionally we noticed highlight burnouts in strong lighting. White Balance was not up to our expectation.

We noticed colour casts in varying degrees with every WB setting. Though this can be easily corrected in Photoshop, it would have been so much nicer if the Mark III did that on its own.

Images were sharp (though this largely depends on the optics used and the shooting discipline, it also speaks about internal processing). I just loved the silent shooting modes. As mentioned earlier, the user can opt for silent continuous or silent single mode.

We were very happy with the

D-SLR Review

Canon EOS 5D Mark III

video performance, though we did not get a chance to view the same on a HD TV. A challenge with any digital camera, whether point & shoot or D-SLR, is its inability to faithfully record red colour.

The 5D Mark III is no different. But all in all, a D-SLR that will grow on you and one that can be relied on in any given (normal) situation.

Value for Money The Canon EOS 5D Mark III is available at an MRP of Rs. 2,06,095. Compared to the competition, the Mark III is on the costlier side. Just like with every D-SLR, the prices should fall within few months.

If it matches the selling price of the Nikon D800, we would consider it very good value for money.

SPECIFICATIONS

Camera type : D-SLR : 36 x 24 mm, CMOS Sensor Compatible lenses : Canon EF Dust delete feature : Auto, Manual, Dust Delete Data appending Image type : JPEG, RAW (14-bit), RAW + JPEG Picture Style : Auto, Standard, Portrait, Landscape, Natural, Faithful, Monochrome, User Defined 1-3 White Balance : Auto, 6 Presets, Custom, Colour temperature Noise Reduction : Applicable to long exposures and high ISO shots Auto image brightness correction : Auto Lighting Optimizer Highlight tone priority : Yes Lens aberration : Peripheral illumination correction and CA correction Grid display, DOF preview, Electronic level : Yes AF type : Phase Detection AF Points : 61 (Up to 41 cross-type points).

Availability depends on the lens.

Focus modes : One-shot AF, AI Servo AF, AI Focus

AF, Manual Focus AF area selection : Single-point Spot AF, Single-point modes AF, AF-point Expansion, Zone AF, Auto selection of 61 AF points AF Fine-adjustment : Yes Metering modes : 63-zone TTL full-aperture metering, Evaluative, Partial, Spot, Center-`weighted average Exposure control : P, Av, Tv, M ISO sensitivity Scene Intelligent Auto: 100-12,800, set automatically P, Av, Tv, M, B: Auto ISO, ISO 100-25,600 ISO speed settings : ISO speed range, Auto ISO range, and Auto ISO Minimum shutter speed settable Exp. Compensation : +/- 5 stops (Manual); AEB: +/- 3 stops HDR shooting : Possible Multiple exposures : Possible : 30-1/8000 sec, Bulb.

Shutter speeds X-sync : Up to 1/200 sec : Single, High speed/Low speed Drive modes continuous, Silent single, Silent continuous, 10-sec/2-sec self-timer remote control Continuous shooting : Maximum, approx. 6 shots per second (High speed) Maximum, approx. 3 shots per second (Low speed) Maximum, approx. 3 shots per second (Silent continuous) : JPEG Large/Fine: Approx. 65 shots Max. Burst Approx 16,270 shots using UDMA mode 7, 128 GB card Compatible : EX-series Speedlites Speedlites Flash metering : E-TTL II autoflash Live View focus : Live mode, Face detection Live modes mode (contrast detection), Quick mode (phase-detection), Manual focusing Metering mode : Evaluative in LV Movie compression : MPEG-4, AVC/H.264 Recording format : MOV Rec. size/fame rate : 1920x1080 (Full HD): 30p/25p/24p 1280x720 (HD): 60-/50p 640x480 (SD): 30p/25p Custom functions : 13 Power : LP-E6 battery pack AC power/battery grip (optional) Dimensions (wxhxd) : 152 x 116.4 x 76.4mm Weight : 860 g (body only)

+

Excellent image quality

+

Superb noise control

+

In-built HDR capability

-

White Balance could have been better

-

Costlier than the competition

FINAL SCORE Design and Build Quality

18/20

Key Features

19/20

Ergonomics

18/20

Performance Autofocus 5/6 Metering

4/6

6/6

Noise Control

LCD/VF

5/6

AWB

3/6

Sub-Total

23/30

Value for Money

8/10

Grand Total

86/100

Canon USA has issued an advisory to say that some amount of light leakage through the top LCD has been noticed.

This can cause exposures to change unintentionally. Canon is investigating the issue.

Verdict Though Canon categorises the Mark III as an advanced amateur model, and has targeted it for landscape and portrait photographers, you may find that the only thing that is not in the ‘pro rating’ is the build quality. Having said that, don’t let this fool you; the build quality is good enough to withstand rough use.

And the image quality? That’s superb!

The performance of the Mark III proves that it is not the megapixels alone that constitutes superior image quality.

Best Buy!

Rohinton Mehta

May 2012 Smart Photography

89

ILCC Review Panasonic LUMIX DMC GF5

Yearning for More

81

%

Rs.39,990 Inside the Box

(DMC-GF5X kit) Camera Body with LUMIX G X VARIO PZ 14-42mm f/3.5-5.6 ASPH/POWER O.I.S lens (H PS14042) l Battery pack l Battery Charger l USB Cable l Shoulder Strap l CD-ROM l Basic Manual l (Body cap and rear cap of H-PS14042 lens not included for DMC-GF5X kit) l

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T

he Internet has, of late, been abuzz with leaked images of Panasonic’s latest Micro Four Thirds ILCC with point-and-shootlike functionality. Finally, the company has broken silence with the launch of the Lumix GF5, successor to the GF3.

So what happened to the GF4, you might ask. Well, Japanese consider the number 4 as unlucky, and hence the jump (Canon did the same in 2007 by launching the S5 IS, succeeding the S3 IS). The GF5 is available as two kits in U.S.A.—the GF5X, which includes the newly designed LUMIX G X VARIO PZ 14-42mm f/3.5-5.6 ASPH/POWER O.I.S lens, and the GF5K, which includes the standard zoom LUMIX G VARIO 14-42mm f/3.5-5.6 ASPH. / MEGA O.I.S lens. Here we received the GF5X with the power zoom lens.

Design and Build Quality

The Micro Four Thirds Standard has been designed with the aim of reducing the overall bulk of the interchangeable camera system, and bringing highquality imaging within the grasp of point-and-shoot users as well. The GF5X does just that; with its compact size and power zoom function in the lens, it behaves exactly like a pointand-shoot model, with the exception that the lens can be changed to suit your requirements. The camera is very compact, and with the 14-42mm lens (equivalent to 28-84mm in 35mm format), is less bulky than some of the superzoom compact cameras.

The GF5 does not sport an accessory shoe as use of external flash is not always a necessity for a compact model.

Mahesh Reddy

ILCC Review Panasonic LUMIX DMC GF5 Sharpness &

Detail

The camera has a fixel LCD and a builtin flash mounted high above the camera so that it does not cast a lens shadow.

The outer camera body is made of metal while the lens barrel is plastic. The tripod mount and the lens mounts (including the body mount) are made of metal.

Noise

Key Features

20sec. ISO:160

utter Speed: 1/

Aperture: f/8 Sh

JPEG Compression

JPEG, Fine Quality, 100% (6.44 MB)

92

JPEG, Standard Quality, 100% (3.09 MB)

Smart Photography May 2012

ISO:160

ISO:6400

Colour Accu

racy

Colour checker shot using Auto White Balance in sunlight. Auto Levels applied.

The 12.1 megapixel LUMIX GF5 uses a Four Thirds (17.3 x 13.0 mm) Live MOS sensor for imaging. The sensor has a supersonic wave filter to knock off dust from its surface. The camera uses contrast detect AF system, which, claim Panasonic, is faster than the phase detect system. Focus modes available are AFS (Single), AFF (Flexible), AFC (Continuous), and Manual. The AF modes are Face detection, AF Tracking, 23-area focussing, 1-area focussing, and Pinpoint focussing. The camera uses a 144zone multi-pattern sensing system for exposure metering. Metering modes are Intelligent Multiple, Centre-weighted, and Spot.

Exposure can be compensated in 1/3-EV steps up to +/- 3EV. Exposure modes available are Program, Shutter Priority, Aperture Priority, and Manual. Shutter speeds range from 60 to 1/4000 sec. ISO sensitivity options are Auto, Intelligent ISO, and ISO 160 – 6400 (boosted to 12800).

White Balance options are Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, and Colour Temperature setting. White Balance can be bracketed for three exposures. Self timer can be set for 10 sec or 2 seconds for up to 3 images. Still images can be recorded at a maximum resolution of 4000 x 3000 pixels in RAW, JPEG or MPO (3D, with special Micro Four

ILCC Review

Panasonic LUMIX DMC GF5 Thirds 3D lens) formats. JPEG compression options are Fine and Standard, and the camera provides options of recording RAW, JPEG, RAW + JPEG, or MPO + JPEG (both Fine and Standard compression options exist in each case). Movies are recorded in AVCHD or MP4 format with the best quality of Full HD (1920 x 1080 pixels).

At the best quality, movies can be recorded continuously for approximately 140 minutes.

Scene modes include Clear Portrait, Silky Skin, Backlit Softness, Clear in Backlight, Relaxing Tone, Sweet Child’s Face, Distinct Scenery, Bright Blue Sky, Romantic Sunset Glow, Vivid Sunset Glow, Glistening Water, Clear Nightscape, Cool Night Sky, Warm Glowing Nightscape, Artistic Nightscape, Glittering Illuminations, Clear Night Portrait, Soft Image of a Flower, Appetising Food, Cute Dessert, Freeze Animal Motion, Clear Sports Shot, and Monochrome. The built-in flash uses TTL metering and has a Guide Number of 6.3m at ISO160.

It has a synchronisation speed up to 1/160 sec and flash modes are Auto, Auto/Red-eye Reduction, Forced On, Forced On/Redeye, Reduction, Slow Sync., Slow Sync./Red-eye Reduction, and Forced Off. The camera accepts an SD/SDHC/SDXC memory card for external storage, and it is compatible with UHS-1 standard cards.

The GF5X kit comes bundled with the new X-series 14-42mm kit lens that features Power O.I.S., which provides better shake reduction than the earlier Mega

O.I.S. Unfortunately Panasonic has decided not to supply the back cap of the lens and the body cap of the camera with this kit.

This is quite a disappointing and surprising move since these are essentials for an interchangeable lens camera. These can be purchased as optional accessories from a dealer, which means more money for Panasonic.

The GF5 uses a 3.0-inch, 920,000dot wide-viewing angle TFT LCD with Touch Panel for display. The camera is powered by a Li-ion battery pack (DMW-BLE9PP, supplied). It weighs approximately 362g with SD card, battery, and the H-PS14042 (power zoom) lens and has dimensions of 107.7 x 66.6 x 36.8mm (W x H x D).

Ergonomics

The LUMIX GF5 is very comfortable to carry around, thanks to its compact design. It has a comfortable rubber grip and thumb rest. Images appear crisp on the LCD. The lens protrudes on powering up the camera, and has two levers on the side of the barrel—one for zoom and the other for manual focus. Panasonic has done a great job in designing this new lens. Though the zoom is operated with a zoom lever, it can be stopped precisely where needed. The zoom position is indicated in the viewfinder, which makes it very useful. Normally we don’t suggest touch screen devices, but Panasonic has done a wise thing in incorporating it here as an additional facility. So if you are not comfortable with touch screen, you can use the buttons and dial to set up the camera. We are concerned

about the built-in flash, which appeared fragile and slams against the body when popped up. It would have been nice if Panasonic had softened the pop-up action.

Performance

The Panasonic GF5X kit performed like a champion in our tests. The lens focussed very fast, validating the claim that it uses a superior AF method. Images appeared sharp edge-to-edge and the kit lens had a sweet spot between f/5.6 and f/8. Slight moustache distortion was observed up to 60mm (equivalent), while slight pincushion distortion was observed from 76mm (equivalent) onwards. Darkening of corners was confined to the extreme corners at the wide-angle end at the widest aperture. Flare was observed along with purple fringing at the wideangle end and the widest aperture in strong against-the-light scenes, though it was not very prominent.

All White Balance modes worked perfectly without producing any disturbing cast.

Native print size was 10 x 13.33 inches at 300 ppi. At 25 percent of the image size, the images were free of noise up to ISO 1600. ISO 3200 produced slight noise, while ISO 6400 was noisy. Enlarged to 50 percent, the images were free of noise up to ISO 800. Viewed at 100 percent, slight noise was seen at ISO 800, but the images were perfectly usable. For best results, stick to ISO 400 or lower.

Video quality of the GF5X was amazing. While recording, you can change the focus point easily from one point to another by just May 2012 Smart Photography

93

ILCC Review Panasonic LUMIX DMC GF5 tapping at the desired position on the LCD. The camera proved powerhungry, which, we presume, is due to the power zoom lens.

Value for Money

Panasonic has not yet debuted the GF5 in India, but we were asked to quote a tentative price of Rs.39,990 along with the 14-42mm lens, though the company did not specify whether it is for the power zoom lens or the manual zoom, which is a kit option in the U.S. Unfortunately since Panasonic does not supply a body cap or a lens back cap, be prepared to spend some more for these necessary accessories. This price is higher than some of the basic D-SLR/ ILCC models even though the camera does not have an accessory shoe or option to use an external flash.

SPECIFICATIONS

Type : Digital interchangeable lens system camera Image sensor size : 17.3 x 13.0 mm (in 4:3 aspect ratio) Type : Live MOS Sensor Effective pixels : 12.1 million : Micro Four Thirds Lens Mount Colour filter : Primary colour filter : Supersonic wave filter Dust reduction system Recording media : SD/SDHC/SDXC memory card (Compatible with UHS-I standard cards) Recording file format : Still Image: JPEG(DCF, Exif 2.3), RAW, MPO (When attaching 3D lens) Movie: AVCHD / MP4 Aspect ratio : 4:3, 3:2, 16:9, 1:1 Image quality : RAW, RAW+Fine, RAW+Standard, Fine, Standard, MPO+Fine, MPO+Standard Max. Recorded Pixels : 4000x3000 Best Video Quality : Full HD(1920×1080 (sensor output 30p) Continuous : Approx. 140 min (AVCHD with recordable time picture quality set to [FSH]: with H- H014 Focus Type : Contrast Detect AF system Focus modes : AFS (Single), AFF (Flexible), AFC (Continuous), MF

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Smart Photography May 2012

AF mode : Face detection, AF Tracking, 23-area focusing, 1-area-focusing, Pinpoint Light metering system : 144-zone multi-pattern sensing system Light metering mode : Intelligent Multiple, Center Weighted, Spot Exposure mode : P, A, S, M ISO sensitivity : Auto, Intelligent ISO, 160-12800 (Extended) Exposure comp. : 1/3EV Step ±3EV White balance : Auto, Daylight, Cloudy, Shade, Incandescent, Flash, White Set 1, 2, Colour temperature setting : Blue/amber bias, Magenta/green bias White balance adjustment Color temperature : 2500-10000K in 100K setting White balance : 3 exposures in blue/ amber axis bracket or in magenta/ green axis : Focal-plane shutter Shutter Type Shutter speed : Still Images: 60 ~1/4000s Self timer : 10sec, 3 images/ 2sec / 10sec : Clear Portrait, Silky Skin, Backlit Scene Modes Softness, Clear in Backlight, Relaxing Tone, Sweet Child’s Face, Distinct Scenery, Bright Blue Sky, Romantic Sunset Glow, Vivid Sunset Glow, Glistening Water, Clear Nightscape, Cool Night Sky, Warm Glowing Nightscape, Artistic Nightscape, Glittering Illuminations, Clear Night Portrait, Soft Image of a Flower, Appetising Food, Cute Dessert, Freeze Animal Motion, Clear Sports Shot, Monochrome Burst speed : H: 4 frames/sec (with AFS), M: 3 frames/sec (with Live View), L: 2 frames/sec (with Live View) Built-in-Flash Type : TTL, GN6.3 equivalent (ISO 160) Flash Modes : Auto, Auto/Red-eye Reduction, Forced On, Forced On/Red-eye Reduction, / Slow Sync., Slow Sync.

Red-eye Reduction, Forced Off Synchronization speed: Less than 1/160 second Flash synchronization : 1st. Curtain Sync Display Type : 3.0inch, 920K dots wide-viewing angle TFT LCD with Touch panel USB : USB 2.0 High Speed HDMI : miniHDMI TypeC Power : Li-ion Battery Pack (7.2V, 940mAh) (Included) Dimensions : 107.7 x 66.6 x 36.8 mm (W x H x D)

(excluding protrusions) Weight : Approx. 267g with card and battery Approx. 362g (SD card, Battery, and H-PS14042 lens)

+

Excellent Performance

+

Power Zoom Lens

+

Fast AF

+

Best-in-class Display

+

No Accessory shoe for external flash Body cap and lens back cap not supplied Power zoom drains battery fast

FINAL SCORE Design and Build Quality

16/20

Key Features

18/20

Ergonomics

17/20

Performance Autofocus 5/5 Distortion/Sharpness

4/5

3/5

Noise control

Aberrations

4/5

Auto White Balance

5/5

Extra Features

4/5

Sub-Total

25/30

Value for Money

5/10

Grand Total

81/100

Verdict The Panasonic GF5 is a Micro Four Thirds System ILCC aimed at prosumer users. The camera-lens combination is a good performer and quite feature packed. But the tentative price seems very steep for this kit. We do not expect the final price to be significantly less than the indicative price.

Sujith Gopinath

Compact Review Canon PowerShot G1X

A Category Born

P

rofessional compact cameras sit between prosumer cameras and the interchangeable lens cameras such as D-SLRs/ILCCs. Canon PowerShot G1X is the latest in this line-up, but this time, the company has created a premium segment with this camera, housing a large 1.5-inch Type sensor, one that falls between APS-C and Four-Thirds in size. The

Flash Output

camera is aimed at professional and semi-professional photographers who want a secondary camera that is less bulky, but which provides professional quality images.

Design and Build Quality The Canon PowerShot G1X is built like a tank. A heavy metal body with dials and controls providing easy

82

%

Rs.47,995

Macro

Inside the Box Camera Battery Pack NB-10L l Battery Charger l USB Cable l Neck Strap l Lens Cap with cord l Getting Started Guide l CD-ROM l Warranty Card l l

Aperture: f/6.3 Shutter Speed: 1/60sec. ISO:100

: f/

Aperture

00

c. ISO:1

d: 1/8se

r Spee 8 Shutte

May 2012 Smart Photography

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Compact Review Canon PowerShot G1X

Key Features The 14.3 megapixel G1X uses a 1.5-inch Type (18.7 x 14mm) high-sensitivity CMOS sensor for imaging. The camera uses the latest DIGIC 5 image processor to provide superior image quality, fast processing speed, and improved noise reduction in low-light photography.

The combination of these two, Canon claim, delivers outstanding low-light performance up to ISO 12800. The camera features a 28-112mm equivalent f/2.8-5.8 lens, which features an advanced lens-shift Image Stabilisation system. This intelligent IS system is capable of automatically choosing one from six different IS modes to optimise image stabilisation with the Noise

ISO:100

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ISO:12800

Smart Photography May 2012

Mahesh Reddy

access to most features essential for pro photographers provide a very sophisticated look. The camera features an optical viewfinder in addition to a swivel and rotate LCD panel. The lens has a three-segment construction. The tripod mount is metal and is placed near the centre of gravity (when the lens is not extended). The grip and thumb rest are rubberised.

Compact Review

Mahesh Reddy

Canon PowerShot G1X filters included are High Dynamic Range, Nostalgic, Fish-eye Effect, Miniature effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect, Colour Accent, and Colour Swap.

The camera has a real-image zoom viewfinder with dioptre adjustments.

The camera uses a 3.0-inch, approximately 922,000-dot TFT colour LCD for display. The LCD provides a wide viewing angle and is articulated.

The screen can swivel approximately 175 degrees and rotate 270 degrees.

The camera does not have an internal memory and uses an SD/SDHC/SDXC memory card for external storage. It is powered by a Li-ion battery pack (NB-10L supplied). The device weighs approximately 534g and has dimensions of 116.7 x 80.5 x 64.7mm (W x H x D). shooting conditions. In Normal mode, the lens focusses from 20cm to infinity at the wide-angle end and from 85cm to infinity at the telephoto end. In Macro mode, it focusses from 20 to 70cm at the wide-angle end, and from 85cm to 1.6m at the telephoto end. Focus modes are Continuous, Servo, and Manual. AF frame options are Face AiAF, Centre, Tracking AF, and FlexiZone. Metering options are Evaluative, Centre-weighted average, and Spot and exposure can be compensated up to +/-3EV in 1/3-stop increments. Shutter speeds range from 60 to 1/4000 seconds. The minimum aperture of the lens is f/16 and ISO sensitivity ranges from ISO 100 to 12,800. White Balance options are Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Underwater, Custom 1, and Custom 2.

Still images are recorded at a maximum

size of 4352 x 3264 pixels in JPEG or RAW (14 bit) format, while movies are recorded at the best quality of 1920 x 1080 at 24 fps in MOV format.

The built-in flash has a range of 50cm to 7.0m at the wide-angle end, and 1.0m to 3.1m at the telephoto end, but Canon does not specify at what ISO it attains this range. Flash modes available are Auto, On, Slow Synchro, and Off. The G1X features a standard accessory shoe, which allows you to attach a compatible external flashgun or trigger studio strobes. The shooting modes of the camera are C1, C2 (Custom Modes), M, Av, Tv, P, Auto, SCN, Creative Filters, and Movie. The various Scene modes are Movie Digest, Portrait, Landscape, Kids & Pets, Sports, Smart Shutter, Highspeed Burst HQ, Handheld Night Scene, Beach, Underwater, Foliage, Snow, Fireworks, and Stitch Assist. The Creative

Ergonomics The Canon G1X is comfortable to hold and operate. The rubber grip provides extra stability and the swivel and rotate LCD displays crisp images, though we observed slight noise due to hot pixels and uneven backlighting when the LCD is powered up. The optical viewfinder does not provide enough magnification and hence it is strenuous to compose your shot through this. Having said that, consider the viewfinder as an additional feature that provides extra stability to the camera while shooting with a slow shutter speeds, since it allows you to hold the camera closer to your eyes. The pop-up flash has a smooth popping-up action.

Performance The Canon G1X is aimed at professionals and those who require professional quality images from a compact camera.

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Compact Review Canon PowerShot G1X The camera’s White Balance performed as expected. Slight cast was observed in Auto White Balance under Cloudy situation and in Preset mode under Flash, but these were easily corrected in Photoshop. Noise control of the G1X was nothing short of impressive. Native print size was 10.88 x 14.51 inches at 300 ppi.

At 25 percent screen size, all we observed was slight noise at ISO 12,800, but I can safely bet that you will not notice it unless you deliberately look for it. Enlarged to 50 percent, the images were free of noise up to ISO 3200. We observed slightly more noise at ISO 6400 than at ISO 12,800, which we presume, to be the work of noise reduction algorithm at 12,800. Observed at 100 percent size, images were absolutely clean up to ISO 800. Overall, the images were perfectly usable right up to ISO 12,800, which is an excellent feat.

The camera controlled darkening of corners very well. Though it produced slight darkening of corners at the wideangle end at wide-open aperture, this was a ‘blink and miss’ situation for us.

Flare was observed at the above setting in strong against-the-light shots, but the lens did not produce chromatic aberration. Images were sharp overall, but we observed slightly unsharp peripheries towards the telephoto end.

Slight barrel distortion was observed up to 95mm equivalent, but this again was at a normally imperceptible level. Its metering modes also worked perfectly. We were, however, worried about the performance of autofocus, which took some time to lock on to subjects, especially in dark areas and low-contrast situations. The closest focussing distance (Macro) of 20cm did not produce enough magnification.

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Value for Money The Canon PowerShot G1X retails at an MRP of Rs.47,995. At this price, the camera seems to be a fair value for money for the targeted market, considering that it delivers professional quality images.

Recording Media : SD/SDHC/SDXC memory card File Format : Still Images: JPEG, RAW (14bit) Movies: MOV Max. Recording Pixels : 4352 x 3264 Interface : Hi-Speed USB : Battery pack NB-10L Power Source Dimensions : 116.7 x 80.5 x 64.7mm (W x H x D) Weight : Approx. 534g (including battery and memory card)

SPECIFICATIONS

Effective Pixels : Approx. 14.3 Million pixels Lens Focal Length : 28 – 112 mm equiv. f/2.8-5.6 Focusing Range : Normal: 20cm – infinity (W), 85cm – infinity (T) Macro: 20 – 70cm (W), 85cm – 1.6m (T) Image Stabilizer : Lens-shift type (IS) System Imaging Processor : DIGIC 5 Optical Viewfinder : Real-image zoom viewfinder (with dioptric adjustment) LCD Monitor : 3.0-inch, Approx. 922,000 dots TFT colour LCD with wide viewing angle Swivelling LCD : Yes. Vari-angle (Opening angle: Approx. 175 degrees, Rotational angle: 270 degrees) Focus Modes : Continuous, Servo, Manual : Face AiAF, Centre, Tracking AF, AF Frame FlexiZone Metering Modes : Evaluative, Centre-weighted average, Spot Exposure Comp. : ±3 EV in 1/3-stop increments : Auto, ISO 100-12800 ISO Sensitivity White Balance : Auto, Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H, Flash, Underwater, Custom 1, Custom 2 Shutter Speed : 60 – 1/4000sec. : f/2.8 - f/16 (W), f/5.8 - f/16(T) Aperture Flash Modes : Auto, On, Slow Synchro, Off Hotshoe : Available Built-in Flash Range : 50cm – 7.0m (W), 1.0 – 3.1m (T) Shooting Modes : C1, C2, M, Av, Tv, P, Auto, SCN, Creative Filters, Movie Scene Modes : Movie Digest, Portrait, Landscape, Kids & Pets, Sports, Smart Shutter, High-speed Burst HQ, Handheld Night Scene, Beach, Underwater, Foliage, Snow, Fireworks, Stitch Assist Creative Filters : High Dynamic Range, Nostalgic, Fish-eye Effect, Miniature effect, Toy Camera Effect, Monochrome, Super Vivid, Poster Effect, Colour Accent, Colour Swap Max. Continuous : Approx. 4.5 fps Shooting Speed (HQ)

+

Excellent noise control

+

Very good White Balance performance

+

Swivel and rotate LCD

+

Sturdy build quality

-

Sluggish AF

-

Inadequate Close-focussing

-

Pricing

-

No inter-changeable lens

FINAL SCORE Design and Build Quality

18/20

Key Features

17/20

Ergonomics

17/20

Performance Autofocus 2/5 Metering

5/5

5/5

Noise Control

Distortion/Sharpness

3/5

4/5

LCD/VF

AWB Sub-Total

4/5 23/30

Value for Money

7/10

Grand Total

82/100

Verdict The Canon PowerShot G1X is aimed at professionals looking for a compact camera to augment the capability of their professional systems. It is a high-performer, but its prospects are limited by the inadequate closefocussing capability and sluggish AF, which are very important. If these two factors don’t bother you much, the camera is a terrific buy.

Sujith Gopinath

Head to Head

Our 3-Legged Friends We at Smart Photography always suggest that you use a good tripod to achieve the maximum sharpness that your lenses are capable of. Your lenses may be very sharp but if there is any camera movement during exposure, even the ‘best lens in the world’ achieves a second-grade title. With this in mind we decided to conduct a mini test of the available tripods.

May 2012 Smart Photography

99

Head to Head Benro

T

he suppliers were informed that the tests would be carried out with a heavy D-SLR body coupled with a 70-200mm f/2.8 lens. This would give us a reasonable idea about the tripod/head combination for one of the most popular lenses. Further, they were given the choice of supplying the tripod/head best suited for the equipment just mentioned. They were also requested to send us the technical details and the MRP of the combo. Only one tripod/head was permitted per manufacturer. We did mention that we would prefer ball-heads instead of pan-and-tilt heads.

The test was conducted keeping in mind the following:

1. Height (folded and full length, with legs spread to the first locking position). The height measurement was done with the head in place, but without extending the center column.

2. Weight (including the provided head) 3. Quality/Material of construction 4. Ease of use 5. Overall stability. The camera used was a Nikon D4.

The body/lens combination was mounted using the tripod collar. With heavy camera/lens combinations, the framing tends to drift (ever so slightly). Hence care was taken to observe the amount of the drift, if any. The amount of drift also depends on the quality of the tripod collar but the same combo was used throughout the test. This applied equally to all the tripods. The lens was also tapped gently at its filter end to visually observe (through the LCD) any vibrations.

This test was conducted at the minimum as well as maximum height.

6. Value for Money

We received the following tripods (in alphabetical order):

Benro A 1692T legs with BO ball head Berlebach Report 3032 legs with Novoflex Magic Ball head l Gitzo GT 1551T with GH 1780 TQR ball head l Manfrotto 290 MT 294 A3 legs with 496 RC2 Ball head l Slik AMT legs with AF 1100E Handle Head l l

100

Smart Photography May 2012

4 4 4 4 4 4 4 4 4 4 4 4

Legs made from Magnesium Aluminum Legs spread can be locked at 2 positions 5 sections, with twist-grip locks Rubber protection for feet Smooth ball head action, with friction control knob Spirit level provided on ball head Quick Release with safety lock Panning possible Minimum height approx. 20.2 inches Maximum height approx. 53.4 inches Weight, with the supplied head: 1740g MRP Rs.20,990, inclusive of ball-head

Head to Head

Berlebach

Gitzo

4 4 4 4 4 4 4 4 4 4 4 4 4

Made from high quality ash wood and metal Legs spread can be locked at 3 positions 2 sections, with sliding leg construction Legs marked in centimeters, to easily adjust the height of each leg Spiked feet with screw-type plastic protection Levelling base 10 year warranty for normal wear and tear Novoflex heavy-duty ball head Spirit level provided on ball head Minimum height approx. 36.2 inches Maximum height approx. 58 inches Weight, with the supplied head: 4020g MRP Rs. 21,000 legs. Magic Ball Head Rs. 31,590.

4 4 4 4 4 4 4 4 4 4

Made from Carbon fiber and metal Legs spread can be locked at 2 positions 5 sections, with twist-grip locks Rubber protection for feet Smooth ball head action Quick Release, with safety lock Minimum height approx. 18.5 inches Maximum height approx. 50.8 inches Weight, with the supplied head: 1155g MRP Rs.70,180 May 2012 Smart Photography

101

Head to Head

Slik

Manfrotto

4 4 4 4 4 4 4 4 4 4 4 4 4

Legs made from aluminum Legs spread can be locked at 2 positions 3 sections, with plastic snap locks Rubber protection for feet Reasonably smooth ball head action Friction control on ball head Quick Release No spirit level Panning possible Minimum height approx. 26 inches Maximum height approx. 59 inches Weight, with the supplied head: 2250g MRP: Rs.9126.

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Smart Photography May 2012

4 4 4 4 4 4 4 4 4 4 4

Legs made from anodised aluminum Legs spread can be locked at 3 positions 3 sections, with plastic snap locks Rubber protection for feet Quick Release Panning possible Spirit level on handle-type grip Minimum height approx. 24 inches Maximum height approx. 50.8 inches Weight, with the supplied head: 1745g MRP Rs. 11,900.

Performance

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What is the main purpose of a tripod?

To get the best out of what your lens is capable of. If a tripod is not stable enough, your best lens is no longer ‘best’. In our tests, we placed great emphasis on stability during the actual exposure. After locking down the camera, we noticed camera movement (in various degrees,) when touching the shutter release button, except in the case of the Berlebach tripod/Magic Ballhead combination. On the other hand, setting up the other tripods was faster.

One thing that we liked immensely was the Levelling Base on the Berlebach which allows the user to level the camera very easily and quickly even on uneven ground. We also noticed that this combination of Berlebach legs and the Magic ball, though the steadiest, was not suitable for panoramic shots. Also, travelling with the Berlebach would not be easy due to its size. Looking at the overall performance, and in spite of its higher cost, we would consider the Berlebach/Magic Ball combo to be the best out of the lot.

The Benro as well as the Gitzo are very compact and lightweight. If your camera/lens is not heavyweight, then these two would make ideal travelling companions. The Benro, incidentally, comes with a beautiful carrying case. The Slik and the Manfrotto would also be convenient to lug around, though not as convenient as the Benro and the Gitzo. Depending on the weight of your gear and the magnification that your lenses produce, any of the tripods tested here could be considered acceptable.

L HOME AND GARD EN

Our verdict had a lot to do with the performance, not just the price.

Though price is often an important consideration when making purchasing decisions, it must be remembered that a product that does not perform as expected does not justify the purchase in the first place.

The purchase of a good tripod can be compared to the purchase of a good camera. One can buy a camera for Rs. X, but one can also buy a camera for 5X or 10X. Why would one do that? After all, every camera can take a picture! In tripods too, performance often relates to the amount spent.

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Flash Review Nissin MF18 Digital TTL Macro Flash

Let there be Light...!

A

hot-shoe mounted flashgun is inappropriate when it comes to lighting macro subjects due to the position of the flashgun. If you use such a flashgun for macro subjects, it is likely to cast a strong lens shadow, especially if the subject is close to the lens. Even bouncing the flash might not provide the desired results. The solution is a ring flash that attaches to the front of the lens. Apart from macro subjects, it can be used to provide uniform illumination in portraits as well.

The Nissin MF18 ring flash joins these specialists.

Design and Build Quality

81

%

Rs.21,000

Inside the Box

Nissin MF18 Flash Unit Adapter rings (52, 58, 62, 67, 72, and 77mm) l Leather case l Quick Manual l Warranty Card

The Nissin MF18 unit consists of two parts — the main body that houses the control panel, accessory shoe contacts, and wireless transceiver, and the flash head. Both the units are made of engineering plastic, while the adapter rings are made of metal. The flash head consists of two C-shaped flash tubes.

The heads can be moved apart without detaching the unit. Another set of two release buttons can be used to attach or detach the flash unit from the adapter ring. The flash unit is powered by four AA batteries (Alkaline, Lithium, or NiMH) and comes with a battery magazine.

l l

Optional Accessories l Extra battery magazine l Adapter rings 49, 55, and 82mm

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Smart Photography May 2012

Key Features The Nissin MF18 system is fully compatible with Canon ETTL/ETTL II auto flash systems and has a Guide Number of 16m at ISO 100. The unit

is compatible with the latest cameras including the Canon 5D Mark III. It has a colour display, which automatically rotates to allow easy viewing in both horizontal and vertical orientations. The main functions set on the flash unit are: Full Auto, TTL, Wireless, Fine Macro, Manual, and Custom Setting. TTL flash exposure compensation is available up to +/-3 EV in 1/3-EV steps. If TTL flash exposure is set on the camera, compensation set on the flash will be counted in addition to that which is already set. The flashgun allows you to adjust the output of each flash tube (defined as side A and side B) separately.

This can be set in 15 different output ratios. The flash unit can be used as ‘Master’ in Wireless (remote) mode.

Multiple flashguns can be triggered in two groups using four channels of communication. The Fine Macro mode provides power ratios from 1/128 to 1/1024 in 1/6 EV steps. In Manual mode, you can vary the power ratio from 1 (full) to 1/64 in 2/3-EV steps. In addition to these settings, the flashgun offers My TTL setting, which allows you to permanently adjust the TTL flash exposure by +/-3 EV in 1/3-EV steps. In Canon compatible units, you can choose 1st curtain sync, high-speed sync, or rear curtain sync.

The flashgun features modelling lamps consisting of two LEDs on either side. The brightness of the lamps are proportional to the flash power ratios

Lens Review Nissin MF18 Digital TTL Macro Flash Mahesh Reddy

set for each flash tube, thereby simulating actual illumination by the flash. As said earlier, the flash heads can be expanded in case the flash unit causes vignetting with the lens used. The MF18 has an external power pack socket to connect a compatible power source. It also features a USB port for firmware update and an X-terminal contact for flash synchronisation with a strobe. It weighs approximately 446g.

Ergonomics The MF18 is very easy to fix and operate.

The full instruction manual can be downloaded from the Nissin website, which explains everything about the flash including how to set up each parameter.

The display is intuitive and simple. The battery magazine has to be pulled out of the chamber to change the batteries, which is difficult. We feel that this would not be a problem for most users.

Performance The MF18 ring flash performed well in our tests. We were provided with a Canon compatible flash and hence we used it on a 5D Mark III body with 24-105mm f/4L IS USM lens. The flash proved very useful for both portraits as well as close-up images. The ability to adjust the output of each flash head finely is invaluable in close-up photography. The modelling lamps were quite helpful in focussing on the subject in dim light and completely dark environments. These lamps also simulate the lighting ratio set on individual flash tubes and hence it helps to get a clear idea of how the image would be lit up in the final shot. The flash recycled in approximately 3 sec when fired in manual mode with full output with Sanyo Eneloop 1900 mAh NiMH batteries.

Portrait shot in harsh sunlight with the Nissin MF18 flashgun.

The flashgun was used to provide fill flash to soften the harsh shadows.

Value for Money The Nissin MF18 flash unit retails at an MRP of Rs.21,000. This price seems fair if you are a regular at macro photography.

SPECIFICATIONS

Guide Number : 16 m (ISO100) : 80°x80° Focal length Coverage

FINAL SCORE

Power source : 4 x AA battery : 0.1-5.5 sec. (Alkaline, NiMH) Recycle time TTL mode : E-TTL, E-TTL II (for Canon), i-TTL / i-TTL (for Nikon) Fine Macro mode : 1/128-1/1024, 1/6 Ev steps Manual mode Full-1/64, 1/3 Ev steps Rear curtain sync. : Yes High speed sync. : Yes (available in TTL mode only) Ev Comp. on flash : -0.3 - +3.0, 1/3Ev steps My TTL setting : -0.3 - +3.0, 1/3Ev steps Wireless Remote : Master, 4 Channels, 3 Groups : Main body: 115 x 65 x 85mm Dimensions Ring flash : 120 x 134 x 41mm) : 446g Weight

Design and Build Quality

17/20

Key Features

17/20

+

Ergonomics

17/20

+

Feature-packed

Excellent performance Performance + Fine control of flash output Coverage 3/5 + Useful Modelling Lamps Illumination 4/5 + Remote flash feature Recycling time 4/5 - Difficult to replace battery Continuous Shooting 2/5

Remote Flash Performance

4/5

Extra Functions

5/5

Sub-Total

22/30

Value for Money

8/10

Grand Total

81/100

Verdict The Nissin MF18 is a very useful tool for close-up and portrait photography. This is certainly a useful addition in any macro photographer’s inventory.

Sujith Gopinath

May 2012 Smart Photography

105

Software Review Corel PaintShop Pro x4

Darkroom Simplified

I

85

mage editing software have become an essential part of a photographer’s life, whether he is an advanced amateur or a professional photographer. Corel had been a pioneer in the field of image editing with their PaintShop Pro software. But of late, the software has lost out to Adobe Photoshop in popularity. Here is the latest from Corel, the PaintShop Pro x4, which, the company claim, betters Photoshop Elements 9 in functionality.

%

Rs.4,500

106

Smart Photography May 2012

Key Features The PaintShop Pro x4 has a new redesigned interface. The new tabbed interface has three tabs similar to the Photoshop Elements interface. If

you are familiar with the Elements 9 interface, you would feel comfortable using this interface. The tools can get you confused with the extensive customisation options, but Corel has provided a 194-page PDF user guide with extensive instructions about the software, which makes it a cakewalk. If you are still confused at any point, you can access the Corel Guide (installed along with the software) from within the interface. This guide provides exhaustive learning resources on every aspect of image editing with the PaintShop Pro x4.

Corel has incorporated a host of new features in the PaintShop Pro x4. These

Software Review

Corel PaintShop Pro x4

are HDR tools, Photo Blend, Selective Focus Effect, Vignette Effect, and Fill light/Clarity filter. HDR Tools have two settings—Exposure Merge, which combine images shot with different exposure settings, and Batch Merge, which combine multiple bracketed images into a single image with high dynamic range. In Photo Blend mode, you can combine photos of the same scene taken at different times so that you can remove, swap, or add details in the final image. This is useful if you have group photographs and you want to combine images of members with specific facial expressions or remove a person from the image without complex editing work. In Selective Focus mode, you can introduce a tilt-shift (miniature) effect in a photograph. This introduces shallow Depth-of-Field in such a way that the image will look like a miniature model shot with a tilt-shift lens. The software also has a new Vignette Effect, which allows you to introduce a soft outer border.

With the fill light effect, you can brighten shadow areas without affecting other areas of the image.

Apart from the new features, Corel has also enhanced the functionality of various existing functions. The software now has a button for sharing your photographs on Facebook and Twitter. This is good, considering that many photographers, especially amateurs, promote their photographs through social media. The built-in Camera RAW lab has an improved histogram and new highlight recovery option in addition to a larger preview area. The new interface has three tabs—Manage, Adjust, and Edit. The Manage tab is similar to the Organizer tab in Photoshop Elements, which allows you to review and organise your photographs. The Adjust tab provides some of the commonly used and essential editing tools (such as brightness, shadows, highlights, and saturation), and the Edit tab opens the fullfledged editing screen with all tools necessary for advanced editing functions.

Getting Familiar

Fill Flash This can be used to introduce a fill flash effect to your photographs. It helps in softening harsh shadows.

Capture/Apply Edits With this, you can copy the edits you make to one image and apply the same set of edits to multiple images.

The Camera RAW lab This allows you to process RAW images optimally.

It also has the option of opening multiple images and applying the same level of adjustment to all the images and then fine-tuning them individually. This is quite useful if you have many images taken at the same location under the same conditions.

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107

Software Review Corel PaintShop Pro x4

Adjusting Depth-of-Field The Depth-of-Field control option allows you to render a photograph with shallow depth-of-field.

Perspective Correction This is a very useful tool for correcting perspective distortion in images of tall vertical structures such as buildings that appear tapering in photographs taken from a low level.

Red-eye Fix As the name indicates, this removes unwanted red-eye effect from photographs.

The Manage Screen This is the organiser screen of PaintShop Pro x4. It displays all the photographs and the details of the selected photograph such as camera details, EXIF data, and IPTC data.

The Adjust Screen This is a quick-edit screen with built-in as well as simple, common, and adjustable functions including smart fix option.

The Edit Screen The edit screen can be considered the heart of any image editing program.

This provides access to the exhaustive tools and creative options available in the software. This is the main workstation of a serious photographer.

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Smart Photography May 2012

Scratch Remover This is helpful in removing scratches, wrinkles, wires and other linear flaws from the images without using the clone and stamp tool.

Software Review Corel PaintShop Pro x4

Performance

+

Excellent features

+

Easy to use

+

Elaborate Tutorials and Manual

-

Possible trouble with installation

FINAL SCORE Key Features

17/20

Ease of Use

16/20

Performance

17/20

Value for Money

17/20

Support

18/20

Overall

85/100

Verdict If you are a serious amateur/advanced amateur or a budding professional looking for a cost-effective solution to your image editing needs, the Corel PaintShop Pro x4 is a very good buy. But we feel, the release of this product has come very late since the competition has already upgraded their software to an advanced version from the one that Corel has compared it with.

As always, we would recommend you to download a trial version of the software (for that matter, any image editing program) and try it out before purchasing.

Sujith Gopinath

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Smart Photography May 2012

We tested the Corel Paintshop Pro x4 on an AMD Athlon 64 X2 Dual 3800+ machine with 2.00 GHz processor, 3 GB RAM, NVIDIA GeForce 6200 TurboCache graphic card and Windows XP Professional installed with Service Pack 3. The software performed very well in our test. In fact, the simplicity of the software kept me hooked on to it. Once set up, mastering the software is not very complicated with help readily available at your finger tips. As in the case with any new system, migrating from Photoshop Elements or any other image editing programme will seem unfamiliar. But once you get a hang of it, the PaintShop Pro x4 does the same job without much hassle. The features like capturing and applying edits, batch RAW processing, scratch remover and object remover are valuable additions because of the simplicity and ease of use compared to other methods like the clone and stamp tools. The fill-light and fill flash options also proved great tools for editing images. The Perspective Correction tool was one of my favourites since it could accurately correct perspective distortion.

We encountered some trouble in installing the PaintShop Pro x4 on two of our computers, but we believe this was because of some compatibility issue of the hardware. Working with Brushes appeared resource-hungry since I felt that the operation slowed down in between. I do not have any major complaint except for the limited adjustment options in Camera RAW.

The PaintShop Pro x4 is in fact filled with effects and adjustment option, and it is beyond the scope of this review to mention all the goodies included.

Value for Money The Corel PainShop Pro x4 can be downloaded at an MRP of Rs.4,500 with an upgrade pricing of Rs.3,500 if you upgrade from an earlier version.

At this price, the software is good value for money.

Support The very fact that Corel has an Indian website quoting Indian pricing seems reassuring in terms of the support system in place. In fact, once the software is installed, you would not require any additional support, owing to the exhaustive user manual and the excellent tutorials online.

System Requirement Microsoft Windows 7, Windows Vista or Windows XP with latest service packs installed (32-bit or 64-bit editions) l 1.5 GHz processor (2GHz or faster processor recommended) l 1 GB RAM (2 GB or higher recommended) l 1 GB of free hard drive space required (2 GB or greater recommended) l 1024 x 768 16-bit display Windows-compatible CD-ROM drive for installation l Internet connection required to post photos online and download program updates l

Readers can check the entire Buyer’s Guide, that features specs and prices of D-SLRs, ILCCs, Digital compActs and lenses vide link

http://smartphotography.in/news/monthly-special

March 2012 Smart Photography

113

Ta xe s MR PR s. +

Fo cu s Cl os est

Di Bla aphr de agm s

Fil ter Th rea d

(gm s) W eig ht

No Gr of ou Ele me p nts /

Mi nA pe rtu re

Ma xA pe rtu re

Fo ca lL en gth .

Le ns Br an d

uyer’s BG Lenses uide

WIDE ANGLE LENSES Canon

15mm

F/2.8

F/22

8/7

330

NA

5

0.2

Rs. 51,495/-

Canon

20mm

F/2.8

F/22

9/11

405

72mm

5

0.25

Rs. 33,895/-

Canon

28mm

F/1.8

F/22

9/11

310

58mm

7

0.25

Rs. 33,595/-

Canon

14mm

F/2.8

F/22

10/14

560

NA

-

0.2

Rs. 1,26,295/-

Canon

24mm

F/2.8

F/22

10/10

270

58mm

6

0.25

Rs. 25,795/-

Canon

35mm

F/1.4

F/22

9/11

580

72mm

8

0.3

Rs. 97,595/-

Nikkor

14mm

F/2.8

F/22

14/12

670

NA

7

0.2

Rs. 92,110/-

Nikkor

35mm

F/2

F/22

6/5

206

52mm

7

0.25

Rs. 18,415/-

Sigma

4.5mm

F/2.8

F/22

13/9

470

Rear

6

0.135

Rs. 64,500/-

Sigma

15mm

F/2.8

F/22

7/6

370

-

7

0.15

Rs. 51,500/-

Sigma

20mm

F/1.8

F/22

13/11

520

82mm

9

0.2

Rs. 41,600/-

Sigma

30mm

F/1.4

F/16

7/7

430

62mm

8

0.4

Rs. 34,000/-

Tamron

14mm

F/2.8

F/22

14/12

675

-

5

0.20

NA

WIDE ANGLE ZOOM LENSES

112

Canon

10-22mm

F3.5-4.5

F/22

13/10

385

77mm

6

0.24

Rs. 43,595/-

Canon

16-35mm

F2.8

F/22

12/16

635

82mm

7

0.28

Rs. 73,395/-

Canon

17-40mm

F/4

F/22

13/10

475

77mm

7

0.42

Rs. 45,095/-

Canon

20-35mm

F/3.5-4.5

F/22

12/11

340

77mm

5

0.34

NA

Canon

18-55mm

F3.5-5.6

F/22

9/11

190

58mm

6

0.28

Rs. 13,000/-

Nikkor

10-24mm

F/3.5-4.5

F/22

14/9

460

77mm

7

0.24

Rs. 59,770/-

Nikkor

12-24mm

F/4

F/22

11/7

485

77mm

7

0.3

Rs. 66,210/-

Nikkor

14-24mm

F/2.8

F/22

14/11

1000

NA

9

0.28

Rs. 1,05,565/-

Smart Photography May 2012

Ta xe s MR PR s. +

Fo cu s Cl os est

Di Bla aphr de agm s

Fil ter Th rea d

(gm s) W eig ht

No Gr of ou Ele me p nts /

Mi nA pe rtu re

Ma xA pe rtu re

Fo ca lL en gth .

Le ns Br an d

Nikkor

16-35mm

F/4

F/22

17/12

680

77mm

9

0.28

Rs. 86,905/-

Nikkor

17-35mm

F/2.8

F/22

13/10

745

77mm

9

0.28

Rs. 97,605/-

Nikkor

18-35mm

F/3.5-4.5

F/22

11/8

370

77mm

7

0.33

Rs.31,270/-

Olympus

7-14mm

F/4

F/22

18/12

780

NA

7

0.25

Rs. 1,43,395/-

Olympus

9-18mm

F/4-5.6

F/22

13/9

275

72mm

7

0.25

NA

Olympus

11-22mm

F/2.8-3.5

F/22

12/10

485

72mm

7

0.28

Rs.46,345/-

Olympus

12-60mm

F/2.8-4

F/22

14/10

575

72mm

7

0.25

Rs.55,045/-

Olympus

14-35mm

F/2.

F/22

18/17

915

77mm

9

-

Rs.1,24,145/-

Olympus

14-42mm

F3.5-5.6

F/22

10/8

190

58mm

7

0.25

Rs.13,445/-

Pentax

18-55mm

F3.5-5.6

F/22

11/8

220

52mm

6

0.25

NA

Sigma

10-20mm

F/3.5

F/22

13/10

-

82mm

7

0.24

Rs. 47,500/-

Sigma

12-24mm

F/4.5-5.6

F/22

16/12

600

-

6

0.28

Rs. 61,500/-

Tamron

10-24mm

F/3.5-4.5

-

12/9

406

77mm

7

0.24

NA

Tamron

11-18mm

F/4.5-5.6

-

15/12

355

77mm

7

0.25

NA

Tamron

17-35mm

F/2.8-4

-

14/11

440

77mm

7

0.3

NA

Tamron

17-50mm

F/2.8

-

16/13

430

67mm

7

0.27

Rs. 37,700/-

Tokina

10-17mm

F/3.5-4.5

F/22

10/8

350

NA

6

0.14

Rs.39,100/-

Tokina

11-16mm

F/2.8

F/22

13/11

560

84mm

9

0.3

Rs.39,100/-

Tokina

12-24mm

F/4

F/22

13/11

540

77mm

9

0.3

Rs.36,800/-

NORMAL LENSES Canon

50mm

F/1.8

F/22

6/5

130

52mm

5

0.45

Rs. 6,099/-

Canon

50mm

F/1.2

F/16

8/6

545

72mm

-

0.45

Rs. 79,095/-

Canon

50mm

F/1.4

F/22

7/6

290

58mm

8

0.45

Rs. 26,995/-

May 2012 Smart Photography

113

7

0.2

NA

Nikkor

35mm

F/1.8

F/22

8/6

200

52mm

-

0.3

Rs. 13,170/-

Nikkor

50mm

F/1.8

F/22

6/5

155

52mm

7

0.45

Rs. 6,290/-

Nikkor

50mm

F/1.4

F/16

8/7

280

58mm

9

0.45

Rs. 29,950/-

Nikkor

50mm

F/1.4

F/16

7/6

250

52mm

-

0.45

Rs. 36,950/-

Nikkor

50mm

F/1.8

F/22

6/5

155

52mm

7

0.45

Rs 6,290/-

Olympus

25mm

F/2.8

F/22

5/4

95

43mm

7

0.2

Rs. 13,445/-

Panasonic

20mm

F/1.7

F/16

7/5

100

46mm

7

0.2

NA

Pentax

55mm

F/1.4

F/22

9/8

375

58mm

9

0.45

NA

MR PR s. +

Cl os est

W eig ht

Ta xe s

58mm

Fo cu s

290

Di Bla aphr de agm s

7/6

Fil ter Th rea d

F/16

(gm s)

No Gr of ou Ele me p nts /

F/1.4

Ma xA pe rtu re

50mm

Fo ca lL en gth .

Carl Zeiss

Le ns Br an d

Mi nA pe rtu re

uyer’s Lenses BG uide

STANDARD ZOOM LENSES

114

Canon

15-85mm

F/3.5-5.6

F/22-38

17/12

575

72mm

7

0.35

Rs. 61,995/-

Canon

17-55mm

F/2.8

F/22

19/12

645

77mm

-

0.35

Rs. 65,995/-

Canon

17-85mm

F/4-5.6

F/22-32

17/12

475

67mm

6

0.4

Rs. 35,595/-

Canon

18-135mm F/3.5-5.6

F/22-38

16/12

455

67mm

-

0.45

Rs. 38,995/-

Canon

24-70mm

F/2.8

F/22

16/13

950

77mm

6

0.4

Rs. 78,796/-

Canon

24-85mm

F/3.5-4.5

F/22-32

15/12

380

67mm

6

0.5

Rs. 24,695/-

Canon

28-80mm

F/3.5-5.6

-

10/10

200

58mm

5

-

NA

Canon

28-90mm

F4-5.6

F/32

10/8

190

58mm

5

-

NA

Canon

28-105mm F/3.5-4.5

F/22-27

15/12

375

58mm

-

0.5

Rs. 15,395/-

Canon

28-135mm F/3.5-5.6

F/22-36

16/12

540

58mm

6

0.5

Rs. 32,295/-

Canon

28-300mm F/3.5-5.6

F/22-38

23/16

1670

77mm

6

0.7

Rs. 1,76,995/-

Canon

18-200mm F/3.5-5.6

F/22-36

16/12

595

72mm

-

0.5

Rs. 35,595/-

Nikkor

16-85mm

F/22

17/11

485

67mm

-

0.38

Rs.37,000/-

F/3.5-5.6

Smart Photography May 2012

Ta xe s MR PR s. +

Fo cu s Cl os est

Di Bla aphr de agm s

Fil ter Th rea d

(gm s) W eig ht

No Gr of ou Ele me p nts /

Mi nA pe rtu re

Ma xA pe rtu re

Fo ca lL en gth .

Le ns Br an d

Nikkor

17-55mm

F/2.8

F/22

14/10

755

77mm

9

0.36

Rs.1,05,950/-

Nikkor

24-70mm

F/2.8

F/22

15/11

500

77mm

9

0.38

Rs.1,26,950/-

Nikkor

18-55mm

F/3.5-5.6

F/22-38

7/5

205

52mm

7

0.28

Rs.6,150/-

Nikkor

18-55mm

F/3.5-5.6

F/22-36

11/18

265

52mm

7

0.28

Rs.9,990/-

Nikkor

18-70mm

F/3.5-4.5

F/22

15/13

390

67mm

7

0.38

Rs. 21,950/-

Nikkor

18-200mm F/3.5-5.6

F/22-36

16/12

565

72mm

7

0.5

Rs. 51,950/-

Nikkor

24-85mm

F/22

15/11

545

72mm

9

0.5

Rs. 35,815/-

Nikkor

24-120mm F/3.5-5.6

F/22

15/13

575

72mm

7

0.5

Rs. 37,750

Nikkor

28-70mm

F/2.8

F/22

15/11

935

77mm

9

0.7

Rs. 99,490

Olympus

12-60mm

F/2.8-4

F/22

14/10

575

72mm

7

0.25

Rs. 59,495/-

Olympus

14-35mm

F/2.0

F/22

18/17

900

77mm

9

0.35

Rs. 1,35,995/-

Olympus

18-180mm F/3.5-6.3

F/22

15/13

435

62mm

7

0.45

Rs. 33,795/-

Olympus

14-42mm

F/3.5-5.6

F/22

10/8

190

58mm

7

0.25

Rs.14,795/-

Olympus

14-54mm

F/3.5-5.6

F/22

7/7

210

52mm

7

0.28

NA

Olympus

35-100mm F/3.5-6.3

F/22

21/18

1650

77mm

9

0.09

NA

Panasonic

14-140mm F/A-5.8

F/22

17/13

460

62mm

7

0.50

NA

Pentax

18-250mm F/3.5-6.3

F/22-45

16/13

455

62mm

7

0.45

NA

Sigma

17-70mm

F/2.8-4.5

F/22

15/12

455

72mm

7

0.20

Rs.26,000/-

Sigma

18-50mm

F/2.8

F/22

15/13

450

72mm

7

0.20

Rs.22,500/-

Sigma

18-125mm F/3.5-5.6

F/22

16/12

505

67mm

7

0.35

NA

Sigma

18-200mm F/3.5-6.3

F/22

15/13

405

62mm

7

0.45

Rs.22,950/-

Sigma

18-250mm F/3.5-6.3

F/22

18/14

630

72mm

7

0.45

Rs.41,500/-

Sigma

24-70mm

F/22

14/12

NA

82mm

9

0.38

NA

F2.8-4

F/2.8

May 2012 Smart Photography

115

8

0.50

NA

Tamron

17-50mm

F/2.8

F/32

16/13

430

67mm

7

0.27

NA

Tamron

28-75mm

F/2.8

F/32

16/14

510

67mm

7

0.33

NA

Tamron

28-80mm

F/3.5-5.6

F/22

7/7

237

58mm

6

0.7

NA

Tamron

28-200mm F/3.8-5.6

F/22

15/14

354

62mm

7

0.49

Rs. 26,000/-

Tamron

28-300mm F/3.5-6.3

F/22

15/13

420

62mm

9

0.49

NA

Tamron

28-300mm F/3.5-6.3

F/22-40

18/13

555

67mm

9

0.49

Rs.41,600/-

Tokina

16-50mm

F/22

15/12

610

77mm

9

0.3

Rs.37,000/-

F/2.8

MR PR s. +

Cl os est

W eig ht

Ta xe s

58mm

Fo cu s

245

Di Bla aphr de agm s

11/8

Fil ter Th rea d

F/22

(gm s)

No Gr of ou Ele me p nts /

F/2.8-4

Ma xA pe rtu re

28-70mm

Fo ca lL en gth .

Sigma

Le ns Br an d

Mi nA pe rtu re

uyer’s Lenses BG uide

TELEPHOTO LENSES

116

Canon

85mm

F/1.2

F/16

8/7

1025

72mm

8

0.95

Rs.1,18,995/-

Canon

85mm

F/1.8

F/22

9/7

425

72mm

-

0.85

Rs.26,995/-

Canon

100mm

F/2

F/22

8/6

430

58mm

8

0.9

Rs.31,895/-

Canon

100mm

F/2.5

F/22

8/6

460

58mm

8

0.9

Rs.31,895/-

Canon

135mm

F/2

F/32

10/8

750

58mm

8

0.9

Rs. 62,895/-

Canon

135mm

F/2.8

F/32

7/6

390

52mm

6

1.3

Rs.31,595/-

Canon

200mm

F/2.8

F/32

9/7

765

72mm

8

1.5

Rs.54,395/-

Canon

300mm

F/4

F/32

15/13

1190

77mm

-

1.5

Rs.97,795/-

Canon

400mm

F/4

F/32

17/13

1940

-

-

1.5

Rs.4,34,695/-

Canon

600mm

F/4

F/32

17/13

5360

-

-

1.5

Rs.6,80,395/-

Canon

800mm

F/5.6

F/22

18/16

5915

52mm

9

.

Rs.6,80,395/--

Nikon

85mm

F/1.4

F/16

9/8

550

77mm

9

0.85

Rs.64,180/-

Nikon

105mm

F/2

F/16

6/6

640

72mm

-

0.9

Rs.57,215/-

Nikon

135mm

F/2

F/16

7/6

815

72mm

-

1.1

Rs.67,165/-

Smart Photography May 2012

Ta xe s MR PR s. +

Fo cu s Cl os est

Di Bla aphr de agm s

Fil ter Th rea d

(gm s) W eig ht

No Gr of ou Ele me p nts /

Mi nA pe rtu re

Ma xA pe rtu re

Fo ca lL en gth .

Le ns Br an d

Nikon

180mm

F/2.8

F/22

8/6

760

72mm

9

1.5

Rs. 47,070/-

Nikon

200mm

F/2

F/22

13/9

2930

52mm

-

1.9

Rs.4,19,950/-

Nikon

200mm

F/2

F/22

19/13

2900

52mm

9

1.9

Rs.3,41,960/-

Nikon

300mm

F/2.8

F/22

8/6

2700

39mm

-

3

Rs.2,85,580/-

Nikon

400mm

F/2.8

F/22

11/9

4440

52mm

9

4

Rs.6,16,950/-

Nikon

400mm

F/2.8

F/22

14/11

4620

52mm

9

2.9

Rs. 5,62,860/-

Nikon

500mm

F/4

F/22

11/9

3430

52mm

9

5

Rs.5,64,950/-

Nikon

500mm

F/4

F/22

4/11

3880

52mm

9

4

Rs.5,28,915/-

Nikon

600mm

F/4

F/22

10/7

4750

52mm

-

5.6

Rs.6,60,950/-

Nikon

600mm

F/4

F/22

12/15

5060

52mm

9

5

Rs.6,29,660/-

Olympus

150mm

F/2

F/22

11/9

1610

82mm

9

1.4

Rs.1,69,995/-

Olympus

300mm

F/2.8

F/22

13/11

3290

43mm

9

2

Rs.4,71,795/-

Pentax

200mm

F/2.8

F/22

9/8

825

77mm

9

1.2

NA

Pentax

300mm

F/4

F/32

8/6

1070

77mm

9

1.4

NA

Sigma

50mm

F/1.4

F/16

6/5

530

77mm

9

0.45

NA

Sigma

500mm

F/4.5

F/32

12/9

3150

-

9

4

NA

Sigma

800mm

F5.6

F/32

13/10

4740

-

9

7

NA

Tamron

300mm

F/2.8

F/32

10/7

2800

-

9

2.5

NA

TELEPHOTO ZOOM LENSES Canon

55-200mm F/4.5-5.6

F/22-27

13/13

310

52mm

6

1.2

NA

Canon

70-200mm F/2.8

F/32

15/18

1310

77mm

8

1.5

Rs. 89,195/-

Canon

70-200mm F/2.8

F/32

23/19

1490

77mm

8

1.2

Rs. 1,48,995/-

Canon

70-200mm F/4

F/32

16/13

749

67mm

8

1.2

Rs. 68,295/-

May 2012 Smart Photography

117

118

Ta xe s MR PR s. +

Fo cu s Cl os est

Di Bla aphr de agm s

Fil ter Th rea d

(gm s) W eig ht

No Gr of ou Ele me p nts /

Mi nA pe rtu re

Ma xA pe rtu re

Fo ca lL en gth .

Le ns Br an d

uyer’s Lenses BG uide

Canon

70-200mm F/2.8

F/32

13/16

710

67mm

8

1.2

Rs. 49,295/-

Canon

70-300mm F/4.5-5.6

F/32-38

18/12

720

58mm

6

1.4

Rs. 92,675/-

Canon

70-300mm F/4.5-5.6

F/32-38

15/10

630

58mm

8

1.5

Rs. 42,095/-

Canon

75-300mm F/4-5.6

F/32-45

9/13

480

58mm

-

1.5

Rs. 13,495/-

Canon

100-300mm F/4.5-5.6

F/32-38

10/13

540

58mm

8

1.5

Rs. 22,898/-

Canon

100-400mm F/4.5-5.6

F/32-40

14/17

1380

77mm

8

1.8

Rs. 1,09,995/-

Canon

55-250mm F/4.-5.6

F/22-32

12/10

390

58mm

-

1.1

Rs. 14,995/-

Nikkor

55-200mm F/4-5.6

F/22

13/9

255

52mm

9

0.95

Rs. 10,535/-

Nikkor

55-300mm F/4.5-5.6

F/22-29

17/11

530

58mm

-

1.4

Rs. 20,155/-

Nikkor

70-200mm F/2.8

F/22

21/15

1570

77mm

9

1.4

Rs.1,59,185/-

Nikkor

70-300mm F/4-5.6

F/22

13/9

1300

77mm

9

2.3

Rs. 90,015/-

Nikkor

70-300mm F/4.5-5.6

F/32

13/9

505

74mm

-

1.5

-

Nikkor

80-400mm F/4.5-5.6

F/32

17/11

1360

77mm

9

2.3

Rs. 90,015/-

Nikkor

200-400mm F/4

F/32

24/17

3360

52mm

9

2

Rs. 5,00,570/-

Olympus

40-150mm

F/4-5.6

F/22

12/9

220

58mm

7

0.9

Rs. 15,095/-

Olympus

50-200mm

F/2.8-3.5

F/22

16/15

995

67mm

9

1.2

Rs. 64,795/-

Olympus

70-300mm

F/4-5.6

F/22

14/10

620

58mm

9

1.2

Rs. 21,745/-

Panasonic

45-200mm

F/4-5.6

F/22

16/13

380

52mm

7

1

NA

Pentax

55-300mm

F/4-5.8

F/22-32

12/8

440

58mm

6

1.4

NA

Sigma

120-400mm F/4.5-5.6

F/22

21/15

1750

77mm

9

-

Rs.56,000/-

Sigma

50-500mm

F/4-6.3

F/22

20/16

1840

86mm

9

1.3

Rs. 98,000/-

Sigma

55-200mm

F/4-5.6

F/22

12/9

310

55mm

8

1.1

NA

Sigma

70-300mm

F/4-5.6

F/22

14/10

545

58mm

9

0.95

Rs. 9,900/-

Smart Photography May 2012

Rs. 1,89,750/-

Tamron

55-200mm

F/4-5.6

F/32

13/9

300

52mm

9

0.95

NA

Tamron

70-300mm

F/4-5.6

F/32

13/9

435

62mm

9

1.5

Rs. 12,350/-

Tamron

200-500mm F/5-6.3

F/32

13/10

1237

62mm

9

2.5

Rs. 55,000/-

Tokina

50-135mm

F/2.8

F/32

18/14

845

67mm

9

1.0

Rs. 42,300/-

Tokina

80-400mm

F/4.5-5.6

F/32

16/10

1024

72mm

8

2.5

Rs.35,100/-

MR PR s. +

Cl os est

W eig ht

Ta xe s

1.5-2.5

Fo cu s

9

Di Bla aphr de agm s

105mm

Fil ter Th rea d

No Gr of ou Ele me p nts /

2600

(gm s)

Mi nA pe rtu re

18/16

Ma xA pe rtu re

F/32

Fo ca lL en gth .

120-300mm F/2.8

Le ns Br an d

Sigma

MACRO LENSES Canon

50mm

F/2.5

F/32

8/9

280

52mm

6

0.2

Rs. 23,395/-

Canon

60mm

F/2.8

F/32

12/8

335

52mm

8

2.8

Rs. 23,195/-

Canon

65mm

F/2.8

F/16

8/10

730

58mm

-

-

Rs. 68,595/-

Canon

180mm

F/3.5

F/32

12/14

1090

72mm

8

0.48

Rs. 1,03,395/-

Nikon

200mm

F/4

F/32

13/8

1190

62mm

9

0.5

Rs. 84,080/-

Nikon

60mm

F/2.8

F/32

8/7

440

62mm

7

0.219

Rs. 25,180/-

Olympus

35mm

F/3.5

F/22

6/6

165

52mm

7

0.146

Rs. 14,445/-

Olympus

50mm

F//2

F/22

11/10

300

52mm

7

0.24

Rs. 34,045/-

Sigma

105mm

F/2.8

F/32

11/10

460

58mm

8

0.313

Rs. 32,500/-

Sigma

50mm

F/2.8

F/32

10/9

320

55mm

7

0.189

Rs. 23,600/-

Sigma

24mm

F/1.8

F/22

10/9

485

77mm

9

-

Rs. 35,600/-

Sigma

105mm

F/2.8

F/22

11/10

450

58mm

8

0.132

Rs. 32,500/-

Tamron

180mm

F/3.5

-

14/11

920

72mm

7

0.47

Rs. 49,400/-

Tamron

90mm

F/2.8

-

10/9

405

55mm

9

0.29

Rs. 27,300/-

Tokina

100mm

F/2.8

F/22

9/8

540

55mm

9

0.3

Rs. 23,000/-

Tokina

35mm

F/2.8

F/22

9/8

340

52mm

9

0.14

Rs. 24,200/-

May 2012 Smart Photography

119

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Universal LCD Battery Charger

Li-ion Batteries & Chargers

Double Sided Li-ion Battery Charger

Li-ion Batteries Available for all leading Camera, Camcorders & Video Camera Batteries like Canon, Nikon, Fuji, Pentax Samsung , Sony etc.

Desktop & Auto Cut Charger with LCD Display. Charges 1 or 2 AA/AAA Rechargeable Ni-MH/ Ni-Cd & 1 Li-ion battery at a time. Charges AA 2800 & AAA 1100 in just 2* hours.

Independent LCD Display shows charging status for each batteries being charged. With 2 additional Plug in plates for Sony & Panasonic Camcorder Batteries.

Available widest range of Li-ion Batteries for Camera, Camcorders & Video Camera of all leading brands like Canon, Nikon, Fuji, Samsung, Pantax etc.

Digital LED Video Light LED Video Light For DSLR Cameras / Camcorders & Professional Video Camera with Longer life & clear white and yellow light

Other Photographic Accessories Auto Extension Tube Set

Digitek Power Bank Capacity 3.7V /5200 mAh. Ideal to charge Mobile Phone, MP3/MP4,PSP, ipod, i-phone. Available with all type of connecting cable of various leading brands. Charge completely before start using this to get best performance

It couples perfectly with camera ‘s diaphragm. With Camera’s of TTL AE ( through the lens automatic exposure) type it gives perfect coupling expect when combine with Electronic Flash AE Unit.

Computer Accessories Laptop Batteries Available for all leading Notebook / Netbook brands like HP, Dell, Lenovo, Asus, SONY etc.

Infrared Remote Control Available for all leading Camera Brands e.g. Canon, Nikon, Pentax etc.

Wireless & Cable Style Remote Controls For Canon, Samsung, Nikon, Olympus, Pentax, etc.

Notebook Universal AC Adaptor Universal Notebook Adaptor for all leading brand of Notebook / Netbook

Battery Grips Available for all leading Camera Brands e.g. Canon, Nikon, Pentax etc.

Wireless Flash Synchro Trigger Canon Speed Lite 580EXII, 580EX, 540EZ, 520EZ, 430EZ,430EX, 420EX, 420EZ, 380EX, Nikon Speed Lite SB-800, SB-600, SB-28, SB-27, SB-26, SB-25, SB-24

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Scan size 8.5” (W) x up to 50”(L) & Resolution 300/600DPI Simply Scroll & Scan any images or documents without connection to your computer. Runs on AA Batteries.

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Tidbits

Konica The name ‘Konica’ is a shortened version of Konishiroku Photo Industry Co.Ltd., Japan. Konishiroku was the world’s oldest photo manufacturer, even older than Kodak and was founded in 1873 to make photosensitive materials. It subsequently started making cameras and after the second world war, came out with a line of excellent rangefinder cameras and very good SLRs.

switched from full frame to half frame.

The Autoreflex T followed in 1968 and omitted the half frame switching system of its predecessor. Both the Autoreflex and and the Autoreflex T required considerable pressure to activate the shutter release and this was a common criticism voiced by

automatic also. The FS-1 was followed by the FC-1 and the FP-1.

Konica’s last SLR was the FT-1 in 1983.

The FT-1 offered both automatic and manual exposure control and automatic film transport.

The Konica F introduced in 1960 was the world’s first SLR to have a top Konica F Autoreflex T

shutter speed of 1/2000 sec and came with a selenium exposure meter. It also introduced into the market, the Konica bayonet mount. The Konica F also offered a fast flash synchronization speed of 1/125 sec.

In 1966, the first of the Konica Auto Reflex cameras appeared. The Konica Auto Reflex was the first focal plane shutter SLR with automatic exposure control by way of Shutter Priority. It was also the first SLR whose picture format could be mechanically

146

Smart Photography May 2012

Konika FS-1

users of that period. Nevertheless, the Autoreflex T was the first focal plane shutter SLR with TTL metering, automatic exposure control using Shutter Priority. The Autoreflex T was followed by the T2, T3, T3N and T4 (in 1978). The T4 was similar to the Autoreflex T C which was a compact SLR with a fixed pentaprism offering split-image rangefinder and microprism collar for full focussing.

In 1979, the Konica FS-1 became the first SLR not to have the customary film advance lever; instead once the shutter was pressed, the film advanced automatically. Loading of the film was

Konica’s lenses were known as Hexanon lenses and offered good optical quality. At one time, there were as many as 23 lenses in the Hexanon range.

Konica apparently gave up the manufacture of SLRs to concentrate on film and video. As it turned out, film also had a finite life and was soon overtaken in the 21 st century by digital technology.

Konica merged with Minolta in order to gain competitive strength.

However, the partnership did not last long and Konica Minolta withdrew from the camera industry in the early part of the 21st century.

H. S. Billimoria

RNI No. MAHENG/2005/14978

2

The Magic of

T

he Panasonic Corporation was founded in 1918 by Konosuke Matsushita in Osaka, Japan.

Today, the Panasonic Corporation is one of Japan’s largest companies and is very well known in India for its extensive range of consumer durables extending from Plasma and LCD TVs to refrigerators, airconditioners and washing machines. The company is a technological power house. In the year 2011, it was fourth in the world in terms of number of patents filed and the company has been a consistent performer on the patent front for the last ten years and has ranged in the top 10 worldwide. Panasonic took over Sanyo in 2010 and is now a power house also in the imaging business. All of Panasonic’s products are designed and developed keeping the environment in mind.

Compared to the competition, Panasonic entered the imaging business rather late with its first cameras entering the market in 2001. Using excellent and innovative technology, Panasonic, in such short time has raced ahead in the world’s imaging market and today is one of the top five imaging companies in the world. In the highly competitive Japanese market, Panasonic is currently number 2. For its imaging business, Panasonic uses the LUMIX brand name and over the years, this brandname has become synonymous with optical excellence.

Lumix

The success of Panasonic in the imaging business arises due to its technological prowess and manufacturing strengths.

Very wisely, Panasonic started of its foray in the imaging business with a tie-up for the manufacture of lenses

FZ 150

TZ 30

FH 8

Smart Photography May 2012

with the world’s No.1 company respected for quality, namely Leica.

As a general rule of thumb, Panasonic controls most areas of production itself thereby resulting in excellent quality in the end product.

FZ 47

FH 6

SZ 1

TZ 25

SZ 7

*TERMS AND CONDITIONS: Optical Image Stabilizer in 3x Zoom was introduced in Compact Camera Model No. FX01 in 2003.World’s smallest camera, FX01, with 28mm Wide Angle Lens was introduced in 2006. Mirror-less Technology in Digital Interchangeable Lens Camera was introduced in Model No. G1 in 2008. The shape, size and features of actual product may vary, and shall be subject to the availability and may not necessarily be as per the choice of the customer. Offer valid till stocks last. In case of any dispute the decision of the Managing Director of Panasonic India Private Limited shall be final and binding on all the parties. All disputes shall be subject to the exclusive jurisdiction of the Courts at New Delhi only.

May 2012 May 2012 Smart Smart Photography Photography 3

3

Reasons to Buy Lumix Razor Sharp Optics Image sharpness depends on various factors, but top of the list is the quality of the optics used in Lumix cameras. Panasonic wisely chose the best name in the business – world famous Leica AG of Germany! Leica lenses were made, and are still made, with an uncompromising high quality. Leica design the lenses and Panasonic manufacture them in their own sophisticated plants, strictly adhering to Leica specifications. Even for lenses that are not branded Leica, Panasonic uses the same philosophy and manufacturing techniques. All Panasonic optics therefore carry an edge in optical quality. Panasonic was also the first to introduce digital wide-angle zoom lenses starting at 24mm for their compact cameras.

In-house Manufactured Image Sensors Panasonic does not rely on outside suppliers for their imaging sensors. They manufacture their own, thus ensuring stringent quality control in the manufacturing process.

The Image Processor The image processor can be thought of as the heart of the system. Coupled with the best lenses and the best imaging sensors, Pansonic-developed Venus Engines deliver unbeatable results. The Venus Engine offers full-HD recording in AVCHD. Currently, the Venus Engine is in its fifth generation.

4

Image Stabiliser No matter how good a lens is or how good an imaging sensor or image processor, user-induced camera movement during exposure can quickly put a blob on the final image quality.

Panasonic realised this fundamental flaw in human architecture, and designed an image stabiliser to counteract the effects of camera movement during exposure. They introduced the pathbreaking Mega Optical Image Stabiliser

Improved Liquid Crystal Displays The Liquid Crystal Display (LCD) at the back of the camera allows us to focus and compose our shots.

After the images have been captured, the LCD allows us to view our captured images. With the G1, Panasonic introduced for the first time an LCD

(MOIS) that left other manufacturers in avow, and later, improved on it in the form of Power Optical Image Stabiliser (Power OIS) which, claim Panasonic, is twice as good as the MOIS. Image

OFF

Cameras that can only focus through the LCD use what is known as Contrast-Detect AF. In the earlier days, this system

Superb Video Quality Panasonic has a wide range of cameras suitable for different movie applications.

Full HD movies (1,080p) are recorded in AVCHD format (which can be directly viewed on a compatible Panasonic Viera television with the help of an HDMI cable) or MP4 format (suitable for editing

stabilization works with still as well as video shooting. Some models are provided with ‘Active Mode’, which greatly improves jitter when taking videos while moving.

ON

Viewfinder that could be tilted as well as swiveled. This design is extremely useful (and comfortable) for high-level/ low-level shooting. The design also protects the LCD from scratches and dust during transport.

It further prevents smudging of the LCD due to nose grease. Lumix models have high-

Fast Autofocus

Smart Photography May 2012

resolution LCDs that make viewing images a pleasure.

was slow and sluggish and was not comparable to PhaseDetection AF (which is used in cameras having a Viewfinder).

Modern Lumix cameras come with a much-improved Contrast-Detection AF system that is as good as Phasedetection AF.

on a computer or uploading to the internet). Since AVCHD movies occupy half the space compared to Motion JPEG, you can record movie clips twice as long. This format incorporates sound in Dolby Digital format, enabling more realistic sound with the clips. HD videos (720p) are recorded in AVCHD Lite, MP4, or Motion JPEG (best to be played

or edited on a computer, attached to email, and uploaded to the internet).

Live MOS sensor and Venus image processing engine enable stunning videos with LUMIX G Micro System cameras.

Availability of fast lenses provide excellent defocussing effect. So with Panasonic, you are sure to have a model tailor-made for all your movie requirements.

May 2012 Smart Photography

5

Fashionable, yet Compact Design Lumix cameras, with their Leica designed lenses, make a fashion statement that’s hard to beat. And yet, the cameras are so compact that they

can be easily carried in a shirt pocket, a pouch, or a lady’s hand-bag.

Panasonic pioneered the Micro Four Thirds System used in today’s mirror-less interchangeable lens compact cameras.

The absence of the reflex mirror as well as the optical viewfinder result in smaller, and

lighter camera bodies, as well as smaller, lighter, and less costlier lenses. Another important but often unrealised advantage of the mirror-less compact is the doing away of mirror-induced vibrations that rob the image of its critical sharpness.

Panasonic creates, others copy!

Technology Market Leaders Kajal Koyal

OFF

GPS and 3D

ON

GEOTAGGING by

A new function in Panasonic compact cameras is Global Positioning System.

The GPS tracks the camera’s location using the coordinates obtained using global positioning satellites and incorporates the data into the recorded images and videos so that you can easily identify the location at which the image was shot. Unlike common GPSenabled cameras, these models not only record the position coordinates (latitude and longitude) of the camera, but also displays the name

‘Lumix’ represents leading technology. We gave the world the Intelligent Auto Mode (iA), Touch Screen interface, and FaceDetection, to name a few. Photos and videos recorded in AVCHD on SD memory cards can be easily viewed on Panasonic VIERA TVs.

Jacqueline

of the location. The area information incorporated in these cameras include that of 203 countries or regions with landmarks of over 1,000,000 locations in 82 countries or regions. If a particular landmark is missing on the list, you can easily add it to your camera so that while playing back the images, you can pinpoint exactly where the image has been shot. This is very useful if you travel a lot with your camera. This is also useful in adding location information when you upload the images on to social media applications.

Another breakthrough in Panasonic’s innoivations is 3D imaging. This allows you to record images and playback in

three dimensional space on compatible Panasonic Viera 3D enabled television by inserting the memory card containing the 3D content into the card slot of the television or by simply connecting the camera with the TV using an HDMI cable. This is made possible by a newly developed dual lens system with folded optics technology. This functionality has been extended to videos and can be found in Panasonic’s special 3D enabled compact cameras. 3D technology can easily be adapted to G-Micro system interchangeable lens cameras using the newly designed and the world’s first 3D-capable interchangeable lens, the LUMIX G 12.5mm f/12 (65mm equivalent).

6

Smart Photography May 2012

Best Buy

FH 8 16.1 MP 1/2.33-inch CCD sensor Aperture range: F/2.5-9 (W); F/6.4-20 (T) 24-120mm equi. Leica DC VarioSummarit lens Shutter speeds: 8-1/1,600sec ISO: iISO, 100-1600 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight, Cloudy, Shade, Incandescent, White Set Intelligent Auto, Normal, Scene, Miniature Effect Program AE and Mega O. I. S. 3.0” LCD, 230K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 96 x 57.1 x 19.4mm Weight: 123 g

FH 6 14.1 MP 1/2.33-inch CCD sensor Aperture range: F/2.5-9 (W); F/6.4-20 (T) 24-120mm equi. Leica DC VarioSummarit lens Shutter speeds: 8-1/1,600sec ISO: iISO, 100-1600 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight, Cloudy, Shade, Incandescent, White Set Intelligent Auto, Normal, Scene, Motion Picture Program AE and Mega O. I. S. 2.7” LCD, 230K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 96.4 x 55.5 x 19.9 mm Weight: 119 g

TZ 25 12.1 MP 1/2.3-inch High Sensitivity MOS sensor Aperture range: F/3.3-6.3 (W); F/5.9-6.4 (T) Leica DC Vario-Elmar lens with Nano Surface Coating, 24-384mm equivalent Shutter speeds: 15-1/4,000sec ISO: iISO, 100-3200 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight,Cloudy, Shade, Incandescent, White Set, WB Adjustment Intelligent Auto, P, A, S, M, C1, C2, 3D Photo, Scene, Creative Control Program AE, Aperture Priority AE, Shutter Priority AE, Manual 3.0” LCD, 460K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 104.9 x 57.6 x 33.4mm Weight: 208 g

TZ 30 14.1 MP 1/2.33-inch High Sensitivity MOS sensor Aperture range: F/3.3-8 (W); F/6.4-8 (T) Leica DC Vario-Elmar lens with Nano Surface Coating, 24-480mm equivalent Shutter speeds: 15-1/2,000sec ISO: iISO, 100-3200 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight,Cloudy, Shade, Incandescent, White Set, WB Adjustment Intelligent Auto, P, A, S, M, C1, C2, 3D Photo, Scene, Creative Control Program AE, Aperture Priority AE, Shutter Priority AE, Manual 3.0” LCD, 460K dots Built-in memory: Approx. 12MB SD/SDHC/SDXC Memory Card 104.9 x 58.9 x 28.2mm Weight: 206 g

Best Buy Best Buy

SZ 1 16.1 MP 1/2.33-inch CCD sensor Aperture range: F/3.1-9 (W); F/5.9-16 (T) Leica DC Vario-Elmar lens, with Mega O. I. S. 25-250mm equivalent Shutter speeds: 8-1/1,600sec ISO: iISO, 100-3200 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight,Cloudy, Shade, Incandescent, White Set Intelligent Auto, Normal Picture, Scene, Miniature Effect Program AE 3.0” LCD, 230K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 99 x 59.4 x 21mm Weight: 131 g

SZ 7 14.1 MP 1/2.33-inch High Sensitivity MOS sensor Aperture range: F/3.1-9 (W); F/5.9-16 (T) Leica DC Vario-Elmar lens, with Mega O. I. S. 25-250mm equivalent Shutter speeds: 8-1/1,600sec ISO: Auto, iISO, 100-3200 High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight, Cloudy, Shade, Incandescent, White Set, WB Adjustment Intelligent Auto, Normal Picture, Scene, Miniature Effect, 3D photo Program AE 3.0” LCD, 460K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 99 x 59.4 x 21mm Weight: 133 g

FZ 47 12.1 MP 1/2.33-inch CCD sensor Aperture range: F/2.8-8 (W); F/5.2-8 (T) Leica DC Vario-Elmarit lens, with Nano Surface Coating, 25-600mm equivalent Shutter speeds: 60-1/2,000sec.

ISO: Auto, I.ISO,100-3200.

High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight,Cloudy, Shade, Incandescent, Flash, White Set 1 & 2, Col. Temp.

Intelligent Auto, P.A, S, M, Creative Video, Creative Control, Portrait, Scenery Sports, Night Portrait, Close-up, Scene, Custom P, A, S, M 3.0” LCD, 460K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 120.3 x 79.8 x 91.9mm Weight: 498 g

FZ 150 12.1 MP 1/2.3-inch High Sensitivity MOS sensor Aperture range: F/2.8-8 (W); F/5.2-8 (T) Leica DC Vario-Elmarit lens, with Nano Surface Coating, 25-600mm equivalent Shutter speeds: 15-1/2,000sec.

ISO: Auto, 100-3200.

High Sensitivity Mode: 1600-6400 Aspect ratio: 4:3, 3:2, 16:9, 1:1 White Balance: Auto, Daylight,Cloudy, Shade, Incandescent, Flash, White Set 1 & 2, Col. Temp.

Intelligent Auto, P.A, S, M, Creative Video, Creative Control, Portrait, Scenery Sports, Night Portrait, Close-up, Scene, Custom.

P, A, S, M 3.0” LCD, 460K dots Built-in memory: Approx. 70MB SD/SDHC/SDXC Memory Card 124.3 x 81.7 x 95.2mm Weight: 498 g

May 2012 Smart Photography

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m Where there is no optical viewfinder, the autofocus system used is the contrast detection autofocus system. In the old days, this system was slow and sluggish and not comparable to face detection autofocus system.

Panasonic research has improved the contrast detection autofocus system to such an extent that today it is amongst the fastest in the business.

m On video front, Panasonic has always been a world leader. Apart from having the movie mode in its still cameras, it has a range of camcorders offering high definition movie recording, recording whilst zooming and other such high tech features. Panasonic has also had the distinction of producing the world’s lightest camcorder.

All the above combine to give Panasonic’s entire range of cameras a

m Image stabilization for compact cameras was also an area where Panasonic led the pack. It started of with Mega Optical Image Stabilisation and now uses Power Optical Image Stabilization (Power OIS) for its cameras.

The latest system compensates for vertical and horizontal shake resulting in much better picture quality.

competitive edge in imaging quality, resolution, colour accuracy, contrast and highlight/shadow detail. Even though the four thirds standard sensor is smaller than the sensor used by D-SLRs; pictures taken on Panasonic cameras at commonly used ISO levels are amongst the best in the industry.

The 2012 range of Panasonic cameras is now in the market.

Contact your nearest dealer.

m3D is the latest feature in Panasonic cameras and Panasonic has introduced specialist 3D lenses to garner market share in the growing 3D market. Using what is known as ‘Frame Sequential Method’, separate images for the left and right eyes are recorded with 1920 x 1080 full-HD quality and alternately played at high speed. The images are viewed through special LCD glasses that are timed to open and closed the right and left lenses in sync with the alternating images, thus creating exciting 3D realism.

RNI No. MAHENG/2005/14978 Postal Reg no. MH/MR/WEST/53/2012-2014 Licenced to post at Mumbai Patrika Channel sorting office G. P. O. Mumbai 400 001 Published on 24/25 of every previous month and posted on 26/27 of every previous month

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