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Page 1: Smart Photography - October 2014 In
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• Versatile AF functions respond precisely to user’s intentions • Dual speed OLED displays – LVF and Monitor • Worldwide broadcast system support

Corporate Office: Panasonic India Pvt. Ltd, Consumer Sales Division, No. 88, 6th Floor, SPIC Building, Annex, Guindy, Mount Road, Chennai - 600032, Ph.: +91-44-22301952/ 22304100, Fax: +91-44-22301951. Marketing Office: Delhi/NCR: First Floor, ABW Tower, IFFCO Chowk, MG Road, Sec.25, Gurgaon - 122001. Ph.: +91-124-4999666. AVAILABLE AT ALL AUTHORISED PANASONIC DEALERS. For more, contact: North: Hardeep Singh Sarna: 09560508352, West 1: Ajitesh Swarup: 07738162200, West 2: Sachin Vyas: 09825362798, East: Sougata Chakarborty: 09831746006, South: G Muralidharna: 08754504068

Service Helpline: 1800 103 1333 www.panasonic.com/[email protected]

www.facebook.com/panasonicindiawww.twitter.com/panasonicindia

INSIST ON A PANASONIC INDIAWARRANTY CARD

Presenting the stunning Lumix GH4 which has been engineered for images that impress and videos that inspire.

The Master’s Piece

ibdbrands.com

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Photokina 2014 certainly proved to be an eye

opener and an indicator of major trends in the

industry. Our take is as follows:

1. Mobile phones will continue to introduce more and

more people to the pleasures of photography, especially

candid photography.

2. A growing percentage of mobile phone owners will

want better quality of pictures as well as more versatility.

Th ey will move to compact cameras or D-SLRs.

3. Th e compact camera market will largely consist of

super-zoom bridge cameras like the Panasonic FZ 1000

and professional compact cameras like the Sony RX series.

4. Th e D-SLR market will be challenged by the

mirrorless manufacturers. Mirrorless will increase

market share but not aff ect D-SLRs signifi cantly.

5. Th e accessories market will be buoyant.

In other words, enjoy your photography and let others

do the worrying.

H. S. Billimoria

WE ARE GLUED TO THE GLOBAL

IMAGING INDUSTRY

Our team is updated with all the benchmarks

and road blocks that the fi eld of photography

and imaging across the globe experiences.

Th is helps us record the changes in the global

perspective, thus making us the fi rst to predict

which products will be a rage in the Indian

markets.

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 infl uenced by

advertisers or personal favorites. So when we say

a product is a ‘BEST BUY’, then, it is just that!

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 fi eld of photography across the country

and have many years of experience. Th at

gives us the foresight to distinguish between

a passing trend and a big change in the fi eld

of photography and imaging. And fi nally, our

reviews are not extended to just fi ll up the pages!

WE ARE HERE TO HELP YOU

Th ere 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!

HERE’S WHAT

MAKES US

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 writt en 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 PHOTOGRAPHYAll 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. Th e 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

October 2014 Smart Photography 5www.smartphotography.in

WELCOME

EDITORHoshang S. Billimoria

TECHNICAL EDITORRohinton Mehta

SENIOR CORRESPONDENTSujith Gopinath

COPY EDITORTanika Godbole

PHOTOGRAPHYMahesh Reddy

HEAD-DESIGN & PRODUCTION Ravi Parmar

DESIGNNandkishor Sawant

ADVERTISE DESIGNSanjay Awad, Shubham RohatgiPRODUCTION SUPERVISOR

Dinesh BhajnikPICTURES DESKDeepak Narkar

PUBLISHERGirish Mallya

PRODUCT MANAGERPerseus Master

HEAD OFFICE - MUMBAI2nd 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: [email protected]

CIRCULATION AND SUBSCRIPTIONSanjeev Roy (Asst. Operations Manager) Sachin Kelkar (Subscription Supervisor)

Tel: + 91 22 43525220 Fax: + 91 22 24955394 Email: [email protected]

Apple Newsstand & Magzter Queries: [email protected] Subscriptions Queries: htt p://in.zinio.com/help/index.jsp

MARKETING OFFICESAhmedabad

c/o Working Company; Opp. Sardar Patel Seva samaj plot, Above Zen Cafe; Mithakali Six Roads, Ellisbridge, Ahmedabad - 380006

BengaluruUnit No. 509, 5th Floor ‘B’ Wing, Mitt al Towers, MG Road,

Bangalore -560001, Tel: +91 80 66110116/17 Fax: + 91 80 41472574Chennai

Unit No. 20, 3rd Floor, Modern Towers, No. 35/23 West Cott Road,Royapett ah, Chennai 600014. Tel: + 91 44 39149889 Fax: + 91 44 39149892

New Delhi26-B, Ground Floor, Okhla Industrial Estate, Phase-III, New Delhi - 110020.

Tel: +91 11 4234 6600 / 6678 Fax: + 91 11 4234 6679Pune

401B, Gandhi Empire, 2, Sareen Estate, Kondhwa Road, Pune 411040.Tel: + 91 20 32930291 Fax: + 91 20 26830465

HyderabadRichard G.C., Territory Sales Incharge (Circulation), Mobile no. 09949217127

KolkataVidyasagar Gupta Territory Sales Incharge (Circulation), Mobile no. 09804085683

#1

Page 6: Smart Photography - October 2014 In

6 Smart Photography October 2014 www.smartphotography.in

Contents ISSUE 115 / OCTOBER 2014

ISSUE 7VOLUME 10

OCTOBER 2014

RS.125

SUBSCRIBER’S COPY

INTERVIEW MITAL PATEL PROFILE NAVANEETH UNNIKRISHNAN

REVIEWS: CANON EF-S 10-18MM F/4.5-5.6 IS STM ● CANON EF 16-35MM F/4L IS USM ● AF-S NIKKOR 16-35MM F/4G ED VR

INDIA’S NUMBER 1 IMAGING MAGAZINE!

PHOTO FEATURE Waari PilgrimageINDIA

EXCLUSIVE

REVIEW

PANASONIC

FZ1000

LEARNINGSETTING UP YOUR D-SLRPOSTCARDS FROM LAHORELET’S PHOTOGRAPH A WRISTWATCH

TRAVELOGUE AUSCHWITZ

16 page EPOSN supplement with October 2014 issue.

Just a moment!Readers can find the updated Buyer’s Guide, log on http://smartphotography.in/news/monthly-special

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.

REGULARS

08 Mail Bag

10 News Watch

30 Picture of the Month

146 Tidbits

34 KaleidoscopeA platform for budding photographers to

exhibit their talent and get noticed!

40 Showcase A photographic profile of the person

behind the lens

44 If I Were YouOur expert comments on how your pic-

tures can be taken to another level

47 Ask Uncle RonnieYour photo queries answered by Uncle

Ronnie

52 MasterCraftsman The masters of the craft share their in-

sights and photographs

66 Photo feature Ajay Sood captures Auschwitz

Remembering the WW-II Holocaust

52

34

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October 2014 Smart Photography 7www.smartphotography.in

SUBSCRIPTION OFFERpage91

REVIEWS

LEARNINGS

74 Setting Up Your D-SLR

80 Postcards From Lahore

90 Let’s Photograph a

Wristwatch

94 Panasonic Lumix FZ1000

100 Canon EF 16-35mm f/4L IS USM l

102 Canon EF-S 10-18mm f/4.5-5.6 IS STM l

104 AF-S NIKKOR 16-35mm F/4G ED VR

106 Gionee Elife S5.5

109 First Look : Samsung Galaxy Tab S

8074

90

Page 8: Smart Photography - October 2014 In

MAILBAG

8 Smart Photography October 2014 www.smartphotography.in

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:

[email protected]

BUILDING AN ARCHITECTURAL PHOTOGRAPH (INTERIORS)

PIN-UP PHOTOGRAPHY10 HOW TO TIPS

ISSUE 6VOLUME 10

SEPTEMBER 2014

RS.125

SUBSCRIBER’S COPY

INTERVIEW SAPNA REDDY PROFILE DIGWAS GH

114

REVIEWS: NIKON D810 ● BENQ PG2401 PT ● SONY CYBER-SHOT RX100 III

INDIA’S NUMBER 1 IMAGING MAGAZINE!

HEAD-TO-HEADMACRO LENSES FOR CANON

FULL-FRAME CAMERAS

Long Journey

I have been practising photography since 1958. I am a graduate from the Film and Television Institute of India, 1966 batch, in Motion Picture Photography. I have been a subscriber of SP magazine from the very beginning. It has helped me learn digital photography technique, and has given me knowledge about the latest camera equipment, gadgets and accessories. I am very thankful to Mr. Ashok Kandimalla who shares his tremendous knowledge in the lessons in your magazine.

I would also like to mention that my student Rosario Fernandes, who attended a one month “Foundation course in Photography” with me, won second prize on World Photography Day organised by Mumbai Photographers Association, in association with Sony India and Colo Color Lab.

SN.Dubey

Errata

In the September 2014 issue, the following errors occured in the magazine:

The headline of the Showcase featuring Digwas GH (pg. 38) was incorrectly printed as ‘Hills and Valleys’. The actual headline was ‘Lovely Sights’. The image on pg. 34 titled ‘Lush Green’, erroneously printed in Kaleidoscope, was shot by Digwas GH (Showcase)

The price of Nikon D810 in the review ‘A Great Upgrade!’ was incorrectly printed (pg 110). The actual price of the camera is Rs.1,99,950.

In the Head-to-Head of Macro lenses for Canon Full-Frame Cameras (pg.117), the Key Features table wrongly mentions that the Canon EF 100mm f/2.8L Macro IS USM does not have Image Stabilisation, while the Canon EF 180mm f/3.5L Macro USM features Image Stabilisation. Also, note that the minimum focussing distance for the Canon EF 100mm f/2.8L Macro USM is 30cm and not 30m as mentioned in the table.

The errors are deeply regretted.

Wholesome Guide

I began reading Smart Photography only since March 2014, but beyond doubt, it is the best photography magazine we have in our country.

Unlike other magazines, SP builds your interest if you are an amateur, trains you if you are an advanced learner and polishes you if you are a professional. I am specially fond of the features written by Ashok Kandimalla and Dilip Yande. Th eir tips and suggestions have been valuable and have helped me reach a higher level of photography. I like the Glossary section too, which is unique in SP. Since I am an amateur, it helps me understand a lot of diffi cult jargon.

I thank Uncle Ronnie for sharing his expertise with us. His approach, makes reading SP a blissful experience.

Th e September 2014 edition made me aware of the huge imaging industry and the exciting products it off ers. Aft er reading this edition, I know exactly what to buy and why.

Anubhuti Sharma

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NEWS International

10 Smart Photography October 2014 www.smartphotography.in

Aft er a very long wait, Canon fi nally announced the

replacement to Canon 7D—the 7D Mark II—on September 15, 2014. It features a 20 MP

SNIPPETS

Samsung has joined hands with Aircel and Google in an initiative to open up the world of the internet to more women across India.

Kodak discontinued the BW400CN black and white fi lm, including T-Max 100 and 400, as well as Tri-X 320 and 400 fi lms. Kodak had previously discontinued its T-MAX P3200, an ultra high-speed black and white fi lm, in 2012.

Olympus has fi led a patent for HDR exposure bracketing during live preview. Th e new patent is not only to solve the preview issue, but also speed up the whole HDR capturing process at the same time. Instead of a steady stream of live-view images at the correct setting, the camera captures over and under exposed live view images in rapid succession.

Canon launches 7D Mark IICompactFlash and SD/SDHC/SDXC storage. Th e 7D II can capture Full HD videos at around 59.94 fps in MOV or MP4 fi le format. Th e camera has ports for a mic and headphone, and also for USB 3.0. Th e 7D Mark II unfortunately doesn’t off er Wi-Fi connectivity, but it does have built-in GPS.

Canon also released three new lenses, the EF 400mm f/4 DO IS II USM, EF 24-105mm f/3.5-5.6 IS STM and EF-S 24mm f/2.8 STM.

APS-C CMOS sensor and dual DIGIC 6 image processor. Th e 7D Mark II has a 65-point autofocus system and an updated version of Canon’s Dual Pixel CMOS AF system with continuous phase-detect focusing during video recording. Th is camera

can shoot continuously at up to 10 fps. It features a 3-inch LCD and an optical viewfi nder with 100% coverage. It has dual memory card slots for

Canon announces PowerShot G7 X,

PoweShot N2 and PowerShot SX60 HSCanon announced the PowerShot G7 X, with a 20 MP BSI CMOS Sensor and the Digic 6 image processor. This is supposed to be Canon’s first compact with a 1-inch sensor. It features a 20 MP BSI-CMOS sensor is paired with the DIGIC 6 image processor, and offers an ISO range of 125-12800. The lens has an aperture range of f/1.8-2.8 and an equivalent focal range of 24-100mm. It has a 9-blade curved aperture

diagram, an ND filter and 6.5 fps continuous shooting. The 3-inch touch-screen LCD can be flipped up by 180 degrees.

The company introduced the PowerShot N2, equipped with a 16 MP CMOS sensor and a 28-224mm 8x optical zoom lens. It offers Wi-Fi and NFC, and wireless sharing is facilitated by Mobile Device Connect button. This camera has a unique selfie-friendly design, to make it easier to

click selfies from any angle. It has a 2.8-inch touch LCD screen that can tilt upward by 180 degrees.

Canon also announced the PowerShot SX60 HS, with a 16.1MP CMOS sensor. It has a 21-1365mm 65x zoom lens. It features Wi-Fi and NFC, 1080/60p HD video, and an articulated 3-inch LCD. The camera also has a built-in EVF, and a 922k-dot equivalent resolution.

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NEWS International

12 Smart Photography October 2014 www.smartphotography.in

Leica has unveiled the Leica M-P, a rangefinder camera for professional photographers. This camera has an enlarged buffer memory of 2GB, making it twice as fast as capturing shots in sequence than the Leica

M. It also makes use of the sapphire crystal glass for the protective cover of the LCD monitor screen. This is one of the hardest materials available, almost unbreakable. An anti-reflective coating on both sides of the monitor cover

glass also improves image reviewing.

Unlike the Typ 240, the M-P does not include the red Leica logo. The camera body is compact and its design is minimalistic. The shutter works almost silently, to ensure unobtrusive photography. It features the Leica Maestro image processor, which allows a better quality of images with any exposure, according to the company. The camera has a 24MP full-frame CMOS sensor, the Leica MAX 24MP.

Leica M-P Rangefinder camera unveiled

Nikon launches the D750

Nikon’s new full-frame D-SLR D750, a 24MP falls between the D610 and D810 in their line-up.

Designed for enthusiasts, the D750 offers an improved version of the 51-point AF system from the D810, a 6.5fps maximum frame-rate and a vari-angle LCD. It is Nikon’s first camera to offer built-in Wi-Fi. Its video features are quite similar to the D810, with 1080/60p recording and full manual exposure control. The Nikon D750 features a 24 MP FX-format CMOS sensor and an

EXPEED 4 image processor. The ISO range extends from 100-12800, expandable from 50 to 51,200. Highlight Weighted Metering mode is available, meant for capturing events and performances. The camera also features the latest of Nikon’s Advanced Picture Control settings. It can capture full HD 1920x1080 resolution videos at 60/30/24p.

Kenko Professional to debut Horseman Digital View CameraKenko Professional Imaging Co. announced that it will begin offering a digital view camera under the Horseman brand, for the first time since it merged with Horseman and other professional businesses from Komamura Corp. The Horseman Axella will be available at a suggested list price of 580,000 Yen (US$5460) and above.

The Horseman Axella is a digital view camera to be used with a D-SLR body or a digital back using a suitable lens mount. The company has prepared models suitable for Mamiya 645, Hasselblad V, Canon EOS, Nikon F and Sony E mounts. The camera comes with bellows and L-letter arms, that make camera movements like swinging, tilting, rising and falling possible.

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NEWS International

14 Smart Photography October 2014 www.smartphotography.in

Nikon Announces AF-S NIKKOR 20mm f/1.8G ED Lens

On September 12, 2014, Nikon India announced the launch of the AF-S

NIKKOR 20mm f/1.8G ED, a compact and lightweight, 20mm ultra-wide angle lens. Bokeh pictures can be taken with this lens, and it is also possible to shoot close-up shots at a minimum focusing distance of 0.20m.

Th e lens design ensures minimal chromatic aberration. Nano Crystal Coat has also been utilized to reduce ghost and fl are. Th e AF-S NIKKOR 20mm f/1.8G ED is compatible with a wide range of 77mm screw-on fi lters. It also employs a Silent Wave Motor (SWM) for quiet and smooth autofocus operation.Th e lens will be available by October 2014 across India for Rs.61,950.

Samsung announced the launch of the NX1 Smart Camera, which is the first to sport an APS-C sized BSI CMOS sensor. The 28MP BSI CMOS sensor utilizes Samsung’s advanced semi-conductor technology. The new NX AF System III features 205 Phase-detect AF points, covering 90 percent of the frame. The camera allows 15 fps continuous shooting speed. The system also employs a patterned AF Assist Beam that reaches up to 15m and will help capture

clear photos in low light. The NX1 also incorporates a new DRIMe V Image Processor and has built-in Adaptive Noise Reduction technology.

The NX1 is capable of recording 4K video, and has a 2.36M-dot OLED EVF screen. It also offers Wi-Fi and Bluetooth connectivity.

Samsung also expanded its line of professional-grade S lenses with the introduction of a new telephoto lens, the NX 50-150mm f/2.8 S OIS lens. It is weather-sealed to resist dust and splashes, and covers a range equivalent to 77-

231mm on Samsung’s APS-C NX cameras. It includes 20 elements in 13 groups, and offers built-in stabilization and an i-Function button.

Olympus launches M Zuiko ED 40-150mm f/2.8 ProOlympus has announced the M Zuiko ED 40-150mm F2.8 Pro lens. Th is weather-resistant lens can withstand dust, splash and temperature. Th e telephoto zoom lens covers a range of 80-300mm. It uses a dual-linear motor to enable power focusing of two high-grade lens elements. It features an inner zoom mechanism that maintains its portable size of about 6 inches. Th e company also announced a 1.4x teleconverter. When used with this 40-150mm lens, the equivalent telephoto reach extends to 420mm.

Samsung introduces NX1 Camera and

a new Telephoto Lens

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NEWS International

16 Smart Photography October 2014 www.smartphotography.in

Hasselblad introduces

200MP H5D-50MS

Hasselblad announces new Medium Format Camera bodyWith Hasselblad’s new H5D-

50MS, users can capture super high-quality images. It’s not actually a 200 MP sensor in there, but the new camera uses the company’s multi-shot technology to combine 50 MP captures, to take “still-life studio photography to a mind-blowing moire-free 200 MP resolution to produce a quality that is hard to believe is possible.”

Hasselblad says that its

patented symmetrical multi-shot frame accurately positions the sensor with a sub-micron accuracy using piezo-electrical actuators. It can capture 6 shots with the sensor positioned accurately at a sequence of quadrants of the pixel. Th e medium-format 43.8x32.9mm sensor can click 1.5 frames per second, though long exposures can last 12 minutes. Th e high dynamic range is 14 stops.

Hasselblad has developed a new and exclusive medium format camera body, the H5X. Th e versatile H5X has been developed for H1, H2, H2F and H4X photographers who seek H5 capability; and also as a back-up body for H5D users.

Th e H5X off ers the latest capture functionality and works seamlessly with Hasselblad’s H System lenses. It comes aft er the spring launch of the world’s fi rst 50MP CMOS sensor camera, the H5D-50c; and the summer launch of the H5D-50c MS, H5D-200c MS and the CFV-50c

CMOS digital back.

Th e H5X provides the same functions as the H1 or H2 cameras, with a number of new additions. It off ers TrueFocus, which enables photographers

to concentrate on creativity without having to worry about focus mechanics. It also features full HC and HCD lens compatibility, including HCD 24, HCD 28 and the HCD 35-90 zoom lens. It also off ers the HVD90x Viewfi nder optimized for the 36x48mm format, and high power AF illumination. Th e H5X features eight memory banks for easy access to previously saved camera settings and all new programmable button options, available with an H5D sensor unit.

Fujifi lm announces X100T and Two Lenses

Fujifi lm unveiled a series of new products, which were showcased at the Photokina 2014. Th e Fujifi lm

X100T, a premium compact camera with the world’s fi rst advanced hybrid viewfi nder was announced. It displays images of the focus area in the optical fi nder to enable precise focusing. Th e X100T off ers a 16MP APS-C sized CMOS sensor, a fi xed 23mm f/2 lens and a 3-inch display. Th e camera autofocuses in 0.08 seconds, starts up in 0.5 seconds and has a shutter lag of 0.01 seconds, and 0.5 seconds shooting interval. Th e ‘Classic Chrome’ fi lm simulation option creates muted tones and produces deeper shades of colour.

Th e company also showcased a new lens, the Fujinon XF 56mm f/1.2 R APD, based on the XF56mm f/1.2 R. Th e new lens features the APD fi lter to create special eff ects. An ND fi lter comes with this lens, to use it to the best of its ability.

Th e fl agship model in the XF lens series of Telephoto zoom lenses, the Fujinon 50-140mm f/2.8 R LM OIS WR (equivalent to

76-213mm in the 35mm format) was also announced. Th e lens has 23 elements in 16 groups including a super ED element, fi ve ED elements, and the newly-developed Nano GI (Gradient Index) coating. It off ers inner autofocusing and optical shake reduction. Th e lens measures 82.9mm(D) x 175.9 mm(L), and weighs 995g.

Fujifi lm X100T

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NEWS International

18 Smart Photography October 2014 www.smartphotography.in

Olympus to offer

latest model in PEN

Lite Series

Panasonic announces Lumix DMC-LX100, DMC-GM5

and a new Telephoto Zoom Lens

Tamron announces new Lens, Model A012

Olympus Imaging Co. will offer the latest model in its PEN Lite Series, the PEN E-PL7. The new model features a new way of taking better selfies with a pivoting LCD monitor. The PEN E-PL7 has a Four-Thirds 16MP LiveMOS semsor and a TruePic VII image processing engine. It has a 3-inch pivoting touch screen that turns into a 3-inch pivoting

touchscreen that turns into a mirror display and activates the ‘Selfie’ mode when it is tilted downward in the 180 degree position. The camera offers continuous shooting of 8 frames per second, a built-in Wi-Fi and the 3 axis image stabilization system. The expected street prices are 71,280 Yen (US$ 664). With the 14-42mm lens kit, it costs 87,500 Yen (US$ 815).

The Lumix DMC-LX100 is the follow-up to the LX7. It has a Four-Thirds sensor. It features an f/1.7-2.8 24-75mm equivalent lens and a 3-inch tilting touchscreen LCD and a 2.76 million dot electronic viewfinder. The LX100 can record 4K video at 30p and Full HD at 60p

The Panasonic Lumix DMC-GM5 is a Micro Four-Thirds camera is an updated version of the GM1, with the addition of an electronic viewfinder. Other features include a 16 MP Live MOS sensor, a 3-inch touchscreen LCD, 1080/60p movie recording, and built-in Wi-Fi.

The Lumix G VARIO 35-100mm / F4.0-5.6 ASPH. / MEGA O.I.S. offers a focal distance of 35-100 mm (Equivalent to 70-200 mm on a 35mm camera). It comprises of 12 lenses in 9 groups. This includes 2 ED (Ultra Extra-Low Dispersion) elements to minimize chromatic aberration.

Tamron announced a new ultra-wideangle zoom lens for full-frame D-SLRs, the SP 15-30mm f/2.8 Di VC USD (Model A012), with a fast aperture and VC.

Since 2012, Tamron has been expanding its line-up of interchangeable lenses for 35mm full-frame D-SLR cameras. The SP 24-70mm f/2.8 Di VC USD (Model A007) was the first in the series, being integrated with VC, followed by the SP 70-200mm f/2.8 Di VC USD (Model A009), SP 90mm f/2.8 Di MACRO 1:1 VC USD (Model F004), and SP 150-600mm f/5-6.3 Di VC USD (Model A011). To address the needs for more towards the wider

angular field, Tamron spearheaded the development of SP 15-30mm f/2.8 Di VC USD, a fast ultra-wideangle zoom lens with the image stabilization feature. The lens was showcased at the Tamron booth at Photokina 2014, September 16- 21, 2014 in Cologne, Germany.

Leica announces New X-Series and D-Lux cameras

Leica Camera introduced a new X camera, the Leica X (Typ 113),

featuring a Leica Summilux 23 MM f/1.7 ASPH lens and larger sensor. The Leica X features an expanded video function with full HD quality. It also offers an optional handgrip and extensive range of manual settings. The camera features a 16 MP APS-

C-Format CMOS Sensor. The closest shooting distance is 0.2m. The camera is capable of capturing full-HD quality video at a resolution of 1920 x 1080 pixels and 30 full frames per second in MP4 format. Leica also announced the compact D-Lux (Typ 109) camera, with a 24-75mm equivalent, f/1.7-2.8 zoom and a Four Thirds sensor.

Imag

e: L

eica

X (

Typ

11

3)

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NEWS International

20 Smart Photography October 2014 www.smartphotography.in

On September 5, 20145, Sony Corp. released a new mirrorless

interchangeable lens camera, the Alpha 5100 in Japanese markets. It will be released

soon in global markets as well. Sony claims that the camera has the world’s smallest ILC with super-fast autofocus and pro-quality pictures. The Alpha 5100 features a fast hybrid AF with 179 focal plane phase-detection AF points, and a touch shutter

release. It features a 24 MP APS-C size Exmore CMOS sensor, a BIONZ X processor, a 180 degrees tiltable 3-inch touch

enabled LCD monitor. It can also shoot full HD videos, and offers One-touch image and movie sharing with NFC and Wi-Fi connectivity. The Alpha 5100 measures 109.6x62.8x35.7, and weighs 283g including battery and Memory Stick Pro Duo.

Sony launches ‘World’s Smallest ILC’ Alpha 5100

Fujifilm to launch X30 Premium Compact Digital Camera

Nikon Announces Speedlight SB-500Nikon India announced the launch of the new Speedlight SB-500. It is compact, portable and lightweight. The SB-500 runs on AA-size batteries. It also packs a high-performance LED light, making it ideal for recording video in the dark, or to provide additional natural light for close-up still shooting.

The Speedlight SB-500 weighs 273g (with batteries). The flash head tilts up to 90° and rotates horizontally

180° to the left or right. It includes an LED light with an output of approximately 100 lux, which has three output levels (Low, Mid, High).The SB-500 supports Nikon’s Creative Lighting System, adaptable to both i-TTL flash and manual flash control, and is also capable of operating as a remote flash in Advanced Wireless Lighting. The Nikon Speedlight SB-500 will be available by the end of September 2014 for Rs.16,950.

Ricoh Imaging Co. announced that it will launch a new compact lightweight D-SLR camera, the Pentax K-S1, from late September. The camera

features a user-friendly interface to attract mid-level customers who are used to a mobile interface and is looking for something similar

in a D-SLR. Operation is carried out with a back-lit LED selection dial, four-way navigation and a 3-inch LCD without the knobs and buttons found on traditional SLRs.

The KS1 has a 20MP CMOS sensor without optical low-pass filter, a high speed image processing engine called ‘Prime MII’, built-in shake reduction, high-speed AF utilizing SAFOX Ixi+ sensor and a shutter speed of up to 1/6000 sec allowing a maximum of 5.4fps sequential shots.

Fujufilm Corp. announced the launch of a new Fujifilm X30 premium compact digital camera. The third generation X30 is to replace the X20, featuring an innovative viewfinder with new functions and improvements. The X30 has the same lens, processor and 12 MP sensor as the X20, plus a tilting 3-inch LCD and Wi-Fi for the same price of US$600. The X30 features the newly developed Real Time Viewfinder, a large 2/3-inch X-Trans II sensor with no optical low pass filter, EXR Processor II image processing engine and the mew ‘Classic Chrome’ film simulation mode. The Auto-focusing has a start-up tome of 0.5 sec and shutter time lag of 0.01 sec. High speed continuous shooting is possible at the speed of 12fps in full resolution. It features a Fujinon 28-112mm f/2.0 4x manual barrel zoom lens with 11 glass elements in 9 groups, including three aspherical lens elements and two ED lens elements.

The Classic Chrome film simulation mode delivers muted tones and deep colour reproduction. This technology is a result of the expertise cultivated through the development of photographic films over the past 80 years.

Ricoh to launch Pentax K-S1 D-SLR

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22 Smart Photography October 2014 www.smartphotography.in

NEWS Business

Xiaomi was a relatively obscure Chinese domestic Smartphone maker till last year, but Xiaomi’s

sales today have surpassed those of Samsung and Lenovo. It is now the top domestic player in China’s domestic market. Xiaomi has become the fifth largest Smartphone maker in the world. To lure customers, the company focuses on offering special software that customers cannot get with other Android devices. It offers a customized

version of Android called Miui, which customers can help design, by giving feedback online. The company sells Smartphones at nearly the same cost it incurs to buy and assemble the materials or components. To make money, Xiaomi focuses on selling apps, games and special Android themes as well as internet services. For marketing, the CEO Lei Jun runs festivals to show appreciation to the so-called Mi fans.

According to a market research company, BCN, Canon grabbed the No.1 share for the first 7 months of 2014 by 4.15% as compared to the 38.7% taken by Epson, which had occupied the top spot for four years. Introducing these new products, Canon aims to get the top share for the whole year. Brother Industries is trying to catch up, with a

13.5% share for this period.

Shipments in Japan for 2014 are expected to be about 5.71 million units, and the world shipments to be 66.41 million units according to IDC, a research company in the USA. It expects the Japanese market to remain level, and the global market to rise.

Nikon Corp. announced that sales dropped by 26% year-on-year to 177.4 billion Yen (US$1.739 billion) for the first quarter of 2014, ending on June 30. Operating profit plunged by 42% to 3.5 billion Yen (US$34.3 million), while net profit shrank by 17% to 3.6 billion Yen (US$35.3 million). The company attributed the poor performance to sluggish sales of digital cameras and steppers for both, semiconductor chip and LCD panel manufacturing.

In the Imaging Business Unit, sales

fell by 28.2% to 134.7 billion Yen and operating profit dropped by 18.4% to 11.8 billion Yen. The company sold 1.1 million units of interchangeable lens cameras (down by 30.6%), 1.16 million interchangeable lenses (down by 28.1% and 1.78 million compact cameras (down by 42.9%). Sales in the Precision Equipment Business dropped by 31% to 23.5 billion Yen, posting an operational loss of 2.5 billion Yen. The Instrument Business sales rose by 8.4% to 12.4 billion Yen with an operational loss of 1.7 billion Yen.

Xiaomi now fifth largest Smartphone maker

Canon Aims for top share in

Japanese IJ Printer market

Nikon posts drop in Revenue

and Profit for First Quarter

Olympus Posts record

Net Profit for April-JuneOlympus Corp. announced a net profit of 8.1 billion Yen for the April-June 2014 period, a record high for this particular quarter. For the same period in 2013, the company had suffered a loss of 1.8 billion Yen. Sales rose 5% year-on-year to 167 billion Yen, and operating profit went up by 84% to 15 billion Yen. A good performance by the Medical business pushed up sales and profit.

Sales of the Imaging product segment dropped by 20.5% to 19.8 billion Yen, and the operating loss was 2.2 billion Yen. This was mainly due to increased promotional expenses for mirrorless models and B-to-B operations. Sales of mirrorless models rose by 22% to 11.1 billion Yen, while compact model sales dropped by 78% to 5.1 billion Yen. Sales in Europe rose 70% centering on OM-D series, in the Americas they rose by 10%. In Asia, the sales were slow. Interchangeable lens sales increased by 40% and the company will boost their professional-use interchangeable lens line-up from the second quarter.

Weak Camera Sales in

Europe make Nikon

cut Profit Forecast Nikon Corp. downgraded its net profit forecast for the fiscal year ending in March 2015 to 38 billion Yen (US$372 million) down by 19% year-on-year, mainly due to low sales of digital cameras in the key European market. The company had earlier predicted a net profit of US$441 million. Operating profit will possibly decline by 16% to US$520 million rather than rise up, undershooting the latest average market projection of US$596 million.

The primary cause is the lacklustre performance of the mainstay camera business. Nikon now expects to sell just 5.05million interchangeable lens cameras in fiscal 2014, 350,000 lesser than its previous forecast. It has lowered the earlier estimates of interchangeable lenses from 7.5 million units to 7.1 million, and from 9 million compact cameras to 7.5 million units—a 33% year-on-year drop.

Around 30% of Nikon’s camera sales are in Europe. Sales were weak especially in Germany and Russia. Sales of interchangeable lens cameras fell 31% to 1.1 million units, owing to weak demand in Japan, Europe and the US. The drop was sharper than rival Canon’s 19% decrease.

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NEWS National

24 Smart Photography October 2014

On September 1, 2014 Transcend Information, Inc. launched produced the rugged series—

The StoreJet 25H3/StoreJet 25M3 portable hard drive and the JetFlash 810 (USB3.0)/ JetFlash V70 (USB 2.0) pen drives.

These are designed to protect the drives

from physical damage that can harm them, and can result in the loss of precious data. The special designed rubber enclosure can avoid the storage device from slipping. It’s also shock-proof and can absorb drop impact. The Transcend Rugged series is sturdy, robust, durable, safe to use and has a three-stage shock protection system which is extra thick (suspension), reinforced(hard

casting) and anti-slip(rubber enclosure). According to the company, it meets U.S. military drop-test standards that include drop test, temperature test, vibration test and pressure test. It has a durable anti-shock rubber outer case and an advanced internal hard drive suspension system. To know more, log on to http://in.transcend-info.com/

Transcend launches Rugged Hard

Drives and USB Flash Drives in India

SanDisk launches 4K

Enabled Cards in India

Konica Minolta

revamps its call

centres with

state-of-the-art

technology

On September 17, 2014, SanDisk Corporation launched two new products, the SanDisk Extreme PROmicroSDXC UHS-I 64 GB card and the SanDisk Extreme PRO SDXC UHS-I memory card 512 GB card. These cards have been created keeping in mind the current 4k Ultra High Definition (3840x2160p) video trend.

The SanDisk Extreme PRO microSDXC UHS-I 64GB card offers transfer speeds of up to 95MB/s

It also features Class 10 and UHS Speed Class 3 (U3) ratings, which are recommended by the SD Association for 4K Ultra HD video capture. “Features like 4K Ultra HD video recording, which were once only available on high-end devices, have quickly gained popularity and adoption,” Rajesh Gupta, Country Manager India, SanDisk Corporation. “There is no doubt 4K Ultra HD is a game-changer and we are committed to enabling the

next generation of video capture and sharing.” The SanDisk Extreme PRO microSDHC/microSDXC UHS-I cards are available worldwide in

capacities of 32GB and 64GB and range in pricing from Rs.4900 and Rs.9700.

“The 512GB SanDisk Extreme PRO SDXC UHS-I card is a tremendous advancement that enables professionals to reliably store more content on a single card than ever before,” said Gupta. The card offers write speeds up to 90 MB/s and UHS Speed Class 3 (U3) recording speed for high resolution, true colour and stutter-free 4K Ultra HD video. It also has transfer speeds of up to 95 MB/s. This card is temperature-proof, water-proof, shock-proof, and X ray-proof. It is made for professionals and comes

with a RescuePRODeluxe data recovery software download offer, for reviving accidentally deleted images. The 512 GB Extreme PRO SDXC UHS-I card will be available for Rs.51,990. It is also available in the capacities of 256 GB and 128 GB.

With the objective to reach greater customer satisfaction, Konica Minolta has revamped its call centres in India with global standard equipment and state of the art technology. For better accessibility, the company has added another additional emergency number 0120-4975100 (30 Hunting Lines) with the existing Toll Free No. 1800- 419- 0277. Apart from the call centre, Konica Minolta has designed a customer portal (http://csp.kmbs.co.in) which would enable customers to register their service or toner requirements directly through the portal without calling the call centre.

“Our priority has always been our customers, and to deliver the best to them and our services and products reflects our commitment towards the customers” stated Mr. Balakrishnan EGM Konica Minolta India. The call centre will be functional 24x7 with trained and professional executives.

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www.smartphotography.in October 2014 Smart Photography 25

Epson announces 3LCD Touch-Enabled Interactive Projector in India

On September 17, 2014, Epson announced the world’s first 3LCD interactive projector that features

finger-touch capabilities. The EB-595Wi is designed for office use and in schools, for classroom discussions.

In addition to operation using interactive pens, the EB-595Wi allows for operation by

touching the screen with a finger. This includes opening and closing of files, page scrolling, moving and expanding objects and annotation, giving users an easy control over their presentations and even allowing them to make PC-free annotations literally at the touch of a finger. The EB-595Wi incorporates these new features to existing functions such as Multi-PC projection, iProjection and the PC-less interactive functionality. Epson’s ultra-short throw projection addresses problems like shadow interference and obstruction. The printer needs only 47cm to project an 80-inch

screen.

Announcing the launch, Mr. Samba Moorthy, Director - Sales and Marketing, Epson India, said, “As leaders in the projector segment, we have always introduced products that have been game changers in the industry. We are pleased to announce the launch of the world’s first finger touch interactive, ultra-short-throw

projector that will address the requirements of our customers in the education segment. With the EB-595Wi, students can maximize their learning through technology in classrooms.”

The EB-595Wi is also capable of Multi-PC Projection, allowing up to 50 terminals to be connected while a host PC plays moderator, selecting media from up to 4 terminals to be projected simultaneously. Wireless projection is also an option, with the Epson iProjection application for both iOS and Android. This feature supports various files and allows for presentation from any Smart device. Epson has also launched its line of Pen Interactive Projector – the EB 595WI & the Ultra Short Throw Projector the EB 585W. Epson launched all these projectors today at InfoComm India 2014.The EB-575Wi costs Rs.110,399. The EB-585W and EB-595Wi cost Rs.1,10,799 and Rs.1,54,199 respectively.

Samsung Announces Club Samsung 2.0On September 17, 2014, Samsung Electronics Co. Ltd. announced the launch of Club Samsung 2.0, a digital entertainment storefront that includes music, movies, videos and mobile TV under its MSC (Media Solutions Center) division. The application provides easy access to content even in an offline mode.

Commenting on the launch, Mr. B.D. Park, President and CEO, Samsung South West Asia said, “With this launch, we reaffirm our leadership in customer-centric innovation, which is at the core of all the product development that we undertake. The new offering from our Media Solutions Center (MSC) division will not only provide unparalleled user experience but will set a new standard in the mobile entertainment space.”Commenting on the launch, Mr. Tarun Malik, Director of Media Solutions Center-South West Asia, Samsung Electronics, said, “We have invested significant resources and efforts in ensuring that Club

Samsung 2.0 delivers a world-class experience to our customers. Whether it’s the single hand operation or the ability to play online and offline content at one place, there are a lot of features that will excite our customers. ”

Using the Samsung account sign-on, customers can take their profiles with them across devices. Upto 5 devices are supported through a single user ID that spans Smartphone, Tablets and TVs. The ‘Discovery feature lets users select a playlist according to mood, era, language

or genre and auto updates the playlist when fresh content is added to the store. The app supports content in Hindi, Punjabi, Bengali, Tamil, Telugu, Kannada, Malayalam, Marathi and Gujarati. Club Samsung 2.0 has a unified player for all offline and online content. The new media player allows multi-tasking such as synchronized browsing, social sharing and comments. It provides recommendations and supports minimized version for both audio and video formats, according to bandwidth.

Club Samsung 2.0 is compatible with14 Samsung devices currently, and is available for download starting September 30, 2014 from the Galaxy App Store.

Image: Shraddha Kapoor and Shahid Kapoor at the launch of Club Samsung 2.0

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NEWS National

26 Smart Photography October 2014

Canon introduces DreamLabo 5000 printer in Kochi

Canon India Pvt. Ltd. introduced its stellar product DreamLabo

5000, a commercial inkjet printer in the city of Kochi, Kerala. The move will help to further build Canon’s presence in the South-Asian market.The press announcement event was attended by Mr. Takao Hada, Group Executive, Commercial Inkjet Product Group, Canon Inc. Tokyo, Mr. Kensaku Konishi, President & CEO, Canon South and South-east Asia, Mr. Kazutada Kobayashi, President and CEO, Canon India Pvt. Ltd. and Dr. Alok Bharadwaj, Executive Vice President, Canon India Pvt. Ltd. along with Mr. E.M. Wilson and Mr. E.N. Vinod of Edathadan Digital Press, Kochi. Mr. Kazutada Kobayashi, President and CEO, Canon India, said at the unveiling, “We are delighted to introduce the DreamLabo 5000 in Kochi. After its grand success in Bangalore, this was a natural step towards expansion. The DreamLabo 5000 is a robust product that aims to revolutionize wedding photography in India. A marriage in the family is an important occasion where everything from invitations, venue and decor to food is planned meticulously. Finally there is a product that would ensure to keep the memories as vibrant and fresh for years to come. With this product, we hope to fulfil a cherished dream for the entire family and are confident that it would carve a niche for itself in the market.”

Edathadan Digital Press, a premium photo lab is the first to purchase and install

DreamLabo 5000 in Kochi. Edathadan Digital Press will position the premium print version as HD prints.

Elaborating on the announcement, Dr. Alok Bharadwaj, Executive Vice President, Canon India, said, “Over the years, photo-capturing technology has grown by leaps and bounds. In order to keep up with these advances, India is undergoing a massive transition from the conventional analogue and silver halide technology to digital photo printing. In fact, out of the Rs. 3300 crore commercial photo printing market in India, nearly 20% percent is digital, which is about Rs. 700 crore. With growing customer expectation, there is an enormous scope for creating value in this space. DreamLabo 5000 serves to do exactly this. Since the lion’s share of India’s commercial photography print industry comes from wedding and travel photography, DreamLabo 5000 specifically targets the needs of these professional photographers. We have got extremely encouraging feedback from Bangalore and hope to replicate the same success in Kochi.”“Canon is looking at capturing 10% of digital photo album print space in India in the next three years. South India, especially Kerala will be a big driver towards this goal.” He further added.

Leveraging and extending Canon’s existing inkjet technology, which it has successfully deployed through its PIXMA desktop printers range, the DreamLabo 5000

features a newly developed high-density print head, enabling over 300 mm wide printing output. Incorporating Canon’s FINE (Full-photolithography Inkjet Nozzle Engineering) technology, the print head enables the printing of high-quality photos and detailed text to support a variety of output, from premium photo albums, photo books, photo calendars, photo collages and other merchandise to high-quality POD items, such as bespoke brochures.DreamLabo 5000 provides a high quality alternative to the traditional silver halide technology. The wide print head delivers high-speed One-Pass printing, requiring only a single pass of the printing paper while the print head remains in a fixed position. When used in combination with the automatic double-sided printing function, the DreamLabo 5000 is capable of printing approximately 1000 pages of A4 size content and 2300 pages of 4x6-inch size content per hour. The system also attains high productivity by enabling paper and ink tank replacement during printing, supporting the extended operation time required for production printers. DreamLabo 5000 uses a seven-colour dye-based ink system. Employing image processing technology that makes use of the full range of Canon’s unique inkjet printing colour gamut, the new printer enables the output of photo images with a level of colour representation which surpasses that of conventional silver halide. The retail price of DreamLabo 5000 in India is approximately Rs.4.5 crore.

Shoots and Shoots Photography Academy, based in Delhi is organizing a Pushkar MelaTour. The academy offers two batches, one from Oct 24 – 26 and the second from November 3 – 6, 2014. The students and ex-students of the academy will get discounted rates on the tours. To find out more, log on to www.ssacademy.in.

Entries for the 2014 international Travel Photographer of the Year awards (TPOTY) close on October 1st. Entry is via image upload to www.tpoty.com or by submitting prints, and HD Video category entries are via DVD. Amateur and professional photographers of all ages and from all countries have plenty of themes and options to choose from. There are some great prizes to be won, and the winning photographers will also have their shots displayed at an exhibition in 2015.

Shoots and Shoots Photography Academy organizes Pushkar Tour

2014 International Travel Photographer of the Year Awards

Page 27: Smart Photography - October 2014 In

www.smartphotography.in October 2014 Smart Photography 27

Seiko Epson Corporation President and CEO, Minoru Usui, was in India recently to share the market statistics of the printer

market in India and the company’s vision for the Indian market. Usui, incidentally, is the inventor of Epson’s flagship technology, the Micro-Piezo print head.

The CEO expressed optimism at the way the printer market in India is growing. While Epson India’s turnover in FY2013 was Rs.8840 Million, it is projected to touch Rs.10,000 Million in FY 2014. The total printer market in India is of 3.1 million units, which translated to Rs.22,880 Million in revenue terms. This is expected to grow to 3.4 million units (Rs.25,883Million) in FY2014.

The most interesting development that the Indian market has witnessed, is the decline of inkjet single function, DMP and laser single function printers. Inkjet multifunction devices grew 19 percent, and Inkjet printers are making strong inroads into laser market by offering greater value to SOHO and SMBs.

Epson, which has traditionally been number one in dot matrix and bill printers, has now emerged number one even in inkjet printers in terms of value.

“Epson has been focussing much on emerging markets like India, and this is clearly reflected in our long-range corporate vision,” said Usui. For this, we had to change our basic approach, which, for a long time, was to design

a product and then create a market for the same. Now we first assess the customer need and then develop products accordingly. This has rewarded Epson quite well. Expectations of the consumers in emerging markets is very different from those of developed countries. Here the key requirement is the perceived value for money in terms of both cost per Page (CPP) as well as total cost of ownership (TCO), and laser printers were perceived as having the lowest CPP and TCO (attained only through refills). Other considerations are high print quality, good speed, energy saving and low environmental impact.

This made Epson realise that a robust technology already existed, but it had to be approached differently. Thus emerged InkTanks, made possible only by Epson’s advanced Micropiezo technology, which is difficult to implement in thermal inkjet printers. InkTank systems offer high quality with Micropiezo-based printing technology, it is easily refillable without the inconvenience and expense of ink cartridges, and it facilitated high volume printing of 4,000 pages from a single ink bottle. CPP is just 12 paise for B&W prints and 25 paise for colour prints. And unlike lasers, L & M (InkTank system) printer series consume very low power.

The first InkTank printer was launched in January 2011, and was immediately accepted by SOHO and commercial customers. Now it is being accepted by corporates, enterprise and home rapidly. This is clear from the CMR

Data 2014, which shows Epson’s market share in 2013 as 44% against 39 percent in 2012, making it no.1 in A4 inkjet market share.

Sharing the vision for the Indian printer market, SM Ramprasad, DGM, Consumer Products, Epson India, said that the overall printer market is expected to grow from Rs. 22,880 Million in 2013 to Rs 33,000 Million in 2017. With a very wide range of InkTank printers including single and multi-function, B&W, Photo, and Signage printers, Epson India is ready to build on the initial success and make deeper inroads to the office and corporate printing sectors. “We aim to capture 15 to 20 percent of the office laser printer market by 2017 and ultimately we want everything to be printed by Epson,” he said. Also present at the interaction were Toshiyuki Kasai, President and N Sambamoorthy, Director, Sales and Marketing, Epson India. Epson also showcased its wearable technology initiative, the BT-100 See-Through Mobile Viewer.

Epson Regains Market Lead with

InkTank System

Image: CEO Minoru Usui

On September 9, 2014,Canon launched its 10th Canon Image Square (CIS) in Mumbai. The company intends to grow its retail business by setting up exclusive Canon Image Squares across the country to engage with existing as well as new customers to for better services. Taking the tally to 114 CIS stores in 59 cities across India, Canon India plans to have 150 stores by the end of the year.

The all new Canon Image Square at

Waterfield Road, Bandra was inaugurated by Mr. Vikesh Ramchandani, West Regional Business Head, Canon India. The store is equipped with latest products and advanced technology facilities to cater to a growing base of Canon customers in the state. In addition, products and accessories such as printers, camera bags, charge, tripod etc. are also available there. The Canon Image Square in Bandra, in association with its long-time partner Realtime IT Concepts

Pvt Ltd., promises to provide its customers the ultimate in imaging and printing solutions with extended services. The Brand store will conduct free photography sessions for children on weekends to foster its relationship with customers and encourage the art of photography. Moreover, every customer who purchases a D-SLR will be given one complimentary sessions to enable them to make optimum use of their camera.

Canon strengthens its retail footprints in Maharashtra

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NEWS National

28 Smart Photography October 2014

Indian Academy offers training to amateur and professional photographers through a wide range of courses. The Academy will be

holding their annual photography exhibition. This will showcase the talents of their students by displaying pictures of their recent tour to Ladakh, and other indoor and outdoor pictures taken by them. The Exhibition will be inaugurated by Shri Rohinton Mehta, well-known photographer and Technical Editor of Smart Photography. It will be open to public on all the days from 10:30 a.m. – 7:30 p.m. from October 18 to 20, 2014. The Indian Academy can be contacted at the telephone number +9122-2613-4481.

Indian Academy Photo Exhibition

India Weaved in Frames (IWIF), a series of photography contests organised by Immagine, a Non Profit Organisation and promoters of a Facebook group by the same name, concluded with the announcement of the winners by eminent photographer Raghu Rai. Biswajit Patra from Kolkata won the first prize, while Rajesh Kumar Singh from Varanasi and Subin Pullazhy from Thrissur bagged the second and third places respectively.

The series consisted of 29 individual competitions themed on every Indian state. Three entries were selected from each contest by a noted photographer from the respective state, and the final winnners were selected from these winners. The contest received 1813 entries in all. The winners will be felicitated in a function at the Kerala Lalithakala Academy on

November 5, 2014. An exhibition of the 87 winning images will be conducted from November 6 – 9, at the same premises. The exhibition is dedicated to under privileged children and it will be inaugurated by 29 children (representing the 29 states) from an orphanage.

The winner of the series will be awarded with Rs. 10,000 and a plaque of merit. Immagine is also planning to publish a photo book featuring the 87 photographs and contribute a major portion of the revenue for the empowerment of under-privileged children. For details about the exhibition and works of Immagine, visit www.facebook.com/immaginers and www.immagine.co.in.

India Weaved in Frames

Praveen Purohit Image: Winner, Biswajit Patra

Yogesh Chavan

97 Art & Ideas is an organisation solely devoted in promoting art. Internationally, photography and video are the new contemporary genres of art. That’s why 97 Art & Ideas has ventured into the world of photography and believes that creativity starts at its roots. Launching a platform for amateur photographers gives them the opportunity to enter the world of art.

The exhibition organized by them from September 12 – 14, 2014 was held at Coomarswamy Hall (in the premises of Chatrapati Shivaji Maharaj Vastu Sangrahalay - previosuly known as Prince of Wales Museum), Colaba showcased the works of 20 participants. More than 250 images were on display. For some of the participants, this

was their very first effort and it was very heartening to see some really beautiful images. The exhibition was the brain child of Jyotika Karve and Yogesh Chavan, both of whom are graduates from Sir J. J. Institute of Applied Art, Mumbai.

97 Art & Ideas showcases Mumbai Photographers Club Exhibition

Page 29: Smart Photography - October 2014 In

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INTERVIEWSKAUSHIK BHATIA

VINCENT VERSACE

For the very best techniques, advice and images from the world of photography,

look no further than Smart Photography magazine - India’s biggest photography

magazine.

From reviews on SLRs, Compacts and Smartphones to advice and tips on

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with EVERYTHING you require to capture the best possible shots.

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and keeps you informed of the latest photo gear launches.

Smart Photography Magazine is the fi rst choice for photographers looking to take

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Page 30: Smart Photography - October 2014 In

PICTURE OF THE MONTH

1. Th e picture has to be horizontal.

2. Kindly ensure that the longer side should measure atleast 17 inches, at 300ppi.

3. Low resolution images will not be accepted.

4. We do not check images on online galleries.

5. Kindly ensure complete contact/address details are provided. Winners will have

to collect their prize from SP’s Mumbai offi ce or send an authorised representative

to do so.

6. Please make sure that your picture does not have your name/logo on it.

A NOTE TO OUR READERS

Page 31: Smart Photography - October 2014 In

PICTURE OF THE

MONTHWe are sure that all of you have

a few pictures that you think are

prize worthy. It happens very

oft en 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 qualifi es, 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 identifi ed, we’ll need

a model release

c. Th e picture should not have been

printed elsewhere (magazine

newspaper, or off ered to any

publication)

d. Mark the entry as “Picture of

the Month” and rename the fi le

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)

[email protected]

WIN!MK 393 PD

Tripod

Sponsored by:

Photograph by

Milind Shirsat

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KALEIDOSCOPE Finally, a platform for budding photographers

to exhibit their talent and GET NOTICED!

www.smartphotography.in34 Smart Photography October 2014

Seema Chaubey has worked for top MNCs and is an alumnus of the prestigious IIM Calcutta. She is

passionate about photography and her pictures have been featured in some of the noteworthy photography exhibitions.

Hailing from Varanasi, Seema now lives in Mumbai. She takes every opportunity to capture the diversity of India through her lens. Portraits and nature photography are

her forte. She uses photography as a real and powerful way of communicating with people.

A qualified professional with Masters in Physical Chemistry, Diploma in Graphics Design and EPBM from IIM Calcutta, she has carved out a niche for herself in the competitive world of photography in Mumbai. Enthused by the support, advice and demand of well-wishers and clients, she co-founded “Nostalgia Photography”, an enterprise which covers wedding photography. Today, it is a leading wedding photography brand in Mumbai and is featured in online matrimony portals like Myshaadi.in and Sayshadi.com.

She also has her own Facebook page and webpage, under the name Seema Chaubey Photography to display some of her works.

Seema Chaubey, Mumbai

Following Passion

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Tiny Toes Camera: Canon EOS-1D X

Aperture : f/2.7; Shutter speed: 1/320sec.; ISO: 2000

Hold my Hand Camera: Canon EOS 5D

Mark III; Aperture : f/2.8; Shutter speed: 1/3200sec.;

ISO: 1250

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Reading Together Camera: Canon 5D MarkIII; Lens 70-200@200mm; Aperture : f/2.8; Shutter speed: 1/4000sec.; ISO: 640

News Buff Camera: Canon 5D MarkIII; Lens 70-200@90mm;

Aperture : f/2.8; Shutter speed: 1/1000sec.; ISO: 200

Following the Herd Camera: Canon 5D MarkIII; Lens 70-200@200mm; Aperture: f/2.8; Shutter Speed:1/2500s; ISO 500,

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The Bride Camera: Canon 1Dx;Lens 70-200@140mm; Aperture : f/2.8; Shutter speed: 1/160sec.; ISO: 2500

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October 2014 Smart Photography 39

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SHOWCASE

40 Smart Photography October 2014 www.smartphotography.in

Navaneeth

Unnikrishnan

mostly likes to

capture the Milky

Way and distant

galaxies and nebulaes

across the infinite

sky. Most of his works are

found at www.facebook.com/navaneethunnikrishnanphotography1 As told to Tanika Godbole

THE SKY AND BEYOND

Third Quarter Moon

I am an Electronics and Communication student studying in Karnataka.

My home town is Chombala, Vadakara, in the Calicut district of Kerala. I started photography two years ago with the help of YouTube tutorials and articles written by professional photographers. I love macro

and landscape photography, but my interest in astrophotography began a year ago when I saw the Milky Way galaxy (the galaxy in which we are), shining in the sky after rainfall, which cleared the dust. All I can say about astrophotography is that it’s easy to pick up, but takes a lifetime to master. At that time, I had

no idea how to photograph the night sky but still I gave it a try on my D-SLR, and was amazed with the result I got. A long exposure gives more detail to the image, which you cannot see with your eyes.

Space and astronomy was always of great interest to me,

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October 2014 Smart Photography 41www.smartphotography.in

Waxing Gibbous Moon

Andromeda Galaxy

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SHOWCASE

42 Smart Photography October 2014 www.smartphotography.in

Lagoon Nebula (M8)

Milkyway Panorama

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October 2014 Smart Photography 43www.smartphotography.in

but taking up a career in that area was not possible, since I am really bad in mathematics. I searched the internet for articles on night sky photography, and found plenty of them. Luckily, my house is a little far away from big town areas, and has very little pollution, which was ideal for night sky photography. The question that I’m asked very often about my pictures is, “I’ve never seen anything like this in the sky before. Is this real?” Yes, this is real. The further you move away from cities the lesser the pollution is, and you get to see the beauty of the night sky. After a while I came to find an article about deep sky photography just using

a D-SLR and a tripod, and an image processing method called stacking. I was amazed at the possibilities, and experimented myself. I connected with astrophotographers via social media networks and exchanged ideas, with satisfying results. I upgraded from using a 300mm lens to a telescope. Deep sky photography doesn’t require a high end D-SLR. I use one of Canon’s inexpensive models, the 1100D. Deep sky images cannot be shot in a single photo; you need dozens of images with a long exposure.These must be stacked later using software specifically designed for astrophoto stacking. A high ISO could create a lot of noise, which can later be cleared through

other techniques. Several people wonder whether my pictures are NASA images. They’re just D-SLR images. It is all about pushing your camera to its limits. You need a lot of patience to photograph these beautiful sights, and a lot of time to process them too.

Every time I upload a photo of deep sky and starscape on social networks, people ask how they are taken, and say they would like to learn. I take workshops on photographing the night sky. I’ve learned most of the photography and post-processing through YouTube tutorials and experimentation.

Triangulum Galaxy (M33)

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IF I WERE YOUE-mail your images at [email protected]

www.smartphotography.in44 Smart Photography October 2014

The RocketThis picture of a model rocket is sent to us by Sanjay Kumar Acharya from Rourkela, Odisha. He wants to know if and how the picture could be improved.

The exposure meter within the camera measures the brightness of the scene and always tries to make the scene/subject middle tone. In this picture, the meter has turned the bright sky into a middle tone; the areas which were darker than the sky have become even darker. The rocket is also leaning a bit to the right.

So what would I have done if I were you? Knowing how the exposure

Rohinton Mehta,Technical Editor, Smart Photography

Our Imaging ExpertNo one can take a picture that everyone likes. But, almost every picture can have scope of improvement. Often, we are not our best critics, 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.

Camera: Nikon D5200; Lens: Nikon 18-105mm; Aperture: f/6.3; Shutter speed: 1/160 sec; ISO: 200

Edited Image 1 Edited Image 2

Original Image

meter works, I would have given more exposure, which would have avoided/reduced the overall darkening of the scene. I would also have taken care that the camera was not tilted to one side. Further, I would have also tried vertical framing.

Since we can’t go back in time, I have used Photoshop to correct the mistakes; using Levels has corrected the underexposure; the picture has been cropped and the slight tilt has been taken care of using the Crop Tool. Finally, a very slight sharpening has been applied.

Snowy MountainsSubho Saha is a language teacher, a traveller and reader of Smart Photography. He wants to know how this photo could be improved.

The built-in exposure meter within the camera reads the brightness of

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Camera: Canon EOS 550D; Lens: EF-S 18-55mm f/3.5-5.6 IS II;

Aperture: f/5.6Shutter speed: 1/800 sec;

ISO: 200

light reflected from the subject and unless compensated for, tries to turn the subject into a mid-tone. In this case, the snow covered mountain has reflected lot of light and due to this, the exposure meter has been fooled into underexposing the foreground. With subjects like this, generally, we take two exposures (using a firm tripod) using identical aperture – one for the bright snow and the other for the darker foreground. Later on, using an image editing program like Photoshop, we blend the two images together to achieve enough detail in the highlights as well as the shadows.

Now that we cannot go back in

the shadow region, toned down the clipped highlights in the snow and finally, sharpened the image. And yes, I cropped a part of the sky. This places greater emphasis on the main element in the subject – the snow-clad mountains.

time and re-shoot the picture, the only solution is to use an image editing program and lighten the foreground area. In Photoshop, I have used the Shadows/Highlights Tool to open up the shadows, slightly increased the contrast in

Edited Image

Original Image

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IF I WERE YOUE-mail your images at [email protected]

www.smartphotography.in46 Smart Photography October 2014

SeascapeKiran Rana has recently started with photography. He loves to do landscapes. He photographed this seascape using a mobile phone camera somewhere in Kerala and wants to know if and how the picture could be improved.

Well Kiran, this is a good effort but the picture is on the lighter side and the horizon line is too close to the centre of the image. I am happy that you have not placed the sun in the dead center as most beginners do.

Using the Multiply Blending Mode in Photoshop, I made the picture a bit deeper in tone and re-composed the picture. I think it looks much better now.

To use the Multiply Blending Mode, you first make a copy of the Background in the Layers panel (PS 1) and then use the drop-down menu (PS 2) and select Multiply. If the picture gets too dark for your liking, use the Opacity slider in the Layers panel to adjust the density.

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). 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, working on them is difficult, and hence they may be rejected.

Edited Image

Camera: Samsung S3 mobile phone; Aperture: f/2.6;

Shutter speed: 1/ 180 sec; ISO: 100

Original Image

Printscreen 2 Printscreen 1

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Which is better?Is it better to use a cable release or wireless remote release or is it better to use exposure delay or self-timer?

Yashoda, via email

All the four methods of releasing the shutter have only one purpose in mind – to trip the shutter without causing any camera movement during the actual exposure. With a cable-release, if you are not careful, you could still jerk the camera. Hence it is the last of the four methods I would use.

If you have a wireless remote release for your camera, I think that would be the best solution. When using the exposure delay mode (if the camera has this feature), the reflex mirror flips out of the way (and stays there) as soon as you press the shutter release button and the shutter opens approximately 1 second later. This gives some time for the mirror vibration to die down.When using the self-timer (which can often be set to 2-10 second delay) the camera functions in the normal way, but the shutter fires after the set delay. Hence to sum up, here is my order of preference:1. Wireless remote release2. Exposure delay3. Self-timer4. Cable release

Did you know...

Ronnie has

over 35 years of

experience in

photography?

In fact, he has

taught several

thousand photo-

enthusiasts

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!

too expensive. Will it be okay if I were to buy the 50mm f/1.8 instead? I use a Nikon and need the lens for landscape and general photography.

Anand Railkar, Pune

To the best of my knowledge, there are four 50mm Nikon lenses available today. They are:AF Nikkor 50mm f/1.4D (MRP Rs.19,800)AF Nikkor 50mm f/1.8D (MRP Rs. 6,550)AF-S Nikkor 50mm f/1.4G (MRP Rs. 35,250)AF-S Nikkor 50mm f/1.8G (MRP Rs. 15,200)

You haven’t mentioned which Nikon

We regularly get requests to suggest a camera or a lens. While some do their preliminary

homework, most don’t. It is important for you to do some spadework and narrow down

your options before writing in to us. You also need to give us an idea of what genre of

photography you are interested in and how much you are willing to spend. We would then be

in a better position to evaluate your query and suggest suitable gear. We have received one

such ‘homework-done’ request from a reader who has narrowed down his choice but wants

to know if the extra amount that he would spend is justifiable or not. The questions he has

asked are relevant to every reader. Read on...

Q&AAsk Uncle Ronnie

There is yet another method to avoid the loss of critical sharpness due to the slapping of the reflex mirror. If your camera allows it, after focussing and metering, use the Mirror Lock-up function. Now trip the shutter. With the mirror up, the view through the viewfinder will be blocked, so a tripod is recommended. Some cameras also permit the use of mirror lock-up along with a 2-second self-timer.

When using any tripod, you must still be careful when releasing the shutter: s-q-u-e-e-z-e, don’t jab !

Which 50mm?I like to use a 50mm normal lens. My friends suggest that I buy the 50mm f/1.4 lens but I find that

AF Nikkor 50mm f/1.8D AF Nikkor 50mm f/1.4D

AF-S Nikkor 50mm f/1.8G AF-S Nikkor 50mm f/1.4G

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Q&AAsk Uncle Ronnie

48 Smart Photography October 2014 www.smartphotography.in

costlier ones but unless you print really large, you may not notice the real difference.

RX 100 III or Panasonic FZ 1000?These days we hear a lot about the Sony RX100 III and the Panasonic FZ1000. What’s your take on this?

Alfred Menezes, Goa

Some guys just love to start a war, don’t they?Considering the key specifications, both the above mentioned models are excellent.

As you can see, certain features are better in one or the other. Theoretically speaking, the shorter zoom lens of the Sony may be sharper; the faster Sony lens can definitely be advantageous in low-light shooting. On the other hand, the Panasonic offers a better zoom range and wider range of shutter speeds. The Sony is much lighter and smaller and hence easier to lug around. So, it finally boils down to your personal requirement. You can read our review of the FZ1000 elsewhere in the magazine.

Panasonic FZ1000 Sony RX100 III

Sensor size 1”-type (13.2 x 8.8mm) 1”-type (13.2 x 8.8mm)

Lens 25-400mm equivalent 24-70mm equivalent

Max. Aperture F/2.8-4 F/1.8-2.8

Viewfinder resolution 2,359,000 dots 1,440,000 dots

LCD 3” (Fully articulated) 3” (Tilting)

LCD resolution 921,000 dots 1,228,800 dots

Min/Max shutter speeds 60-1/16,000 sec 30-1/2000 sec

Max. Burst speed 12fps 10fps

Exp. Compensation +/- 5 stops +/- 3 stops

WB bracketing No Yes

Weight 831g 290g

Size Larger Much smaller

We have not done a side-by-side comparison at the time of this writing.

body you use, hence I cannot really recommend. AF Nikkors do not have a autofocus motor in them; to use a AF Nikkor lens, the camera body needs to have the autofocus motor (but you can focus manually).AF-S Nikkors have a autofocus motor in them; hence these lenses can be used on Nikon bodies that have AF motors or not.

So, in case your Nikon body has an autofocus motor, the cheaper alternative is to go in for the AF-S Nikkor 50mm f/1.8G (MRP Rs. 15,200) or the AF Nikkor 50mm f/1.8D (MRP Rs. 6,550). I personally use a AF Nikkor 50mm f/1.8D and find it quite good. For landscape photography, you will probably close down the aperture to f/8 or f/11 and at these apertures, this lens performs very well. For general photography (and at wider apertures) this lens may not be as good as the

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ND filter ratingsI wish to purchase a neutral density filter but I do not understand the filter ratings. For example, if the filter says ND8, does it mean that it will block 8 stops of light?

Srikant Wagh, via email

An ND8 filter will block 3 stops of light. For your convenience, here is a chart you can copy and keep with you.

A Question on MeteringI am using a Nikon D7000 with 18-105 kit lens. If I use spot/centre-weighted metering for a composition where my subject is framed as per the rule of thirds, will the metering be correct as the subject is not in the centre of the frame? Is there a setting where I can decide where exactly in the frame I want to meter as we do

Canon EOS 7D Mark IIHow much better in performance is the Canon 7D Mark II compared to the earlier version?

Ramakant Shah, Mumbai

Please wait till we get our hands on one. It does promise to be better in many respects.

High priced lencesSome lenses today (like the Zeiss Otus series, the Art-series from Sigma, Leica lenses) are priced atrociously high. Do such lenses justify the cost? Would they be really very much sharper?

Alfred, via email

Please see it this way: you could buy a car for rupees 4-5 lakhs or you could buy one for 50 lakhs or more. Both will take you from point A to point B. So why the cost difference? You pay for the extra safety features, cutting-edge technology, better material, and of course the brand name. Similar is the case with lenses.

Coming to your query about “would they be really very much sharper”, yes, they are sharper. But at the same time, unless your shooting technique is top-notch, unless you use a high-end camera body, and your subject is steady, you may not notice the difference. And one more thing – would you know where to look for, for minute differences?

for focussing? In the camera settings for centre-weighted metering I could see the options of choosing the radius of the metering area. If I could change the position of the spot/centre weighted metering the issue will resolved I believe.Please give your expert opinion.

Suvankar Das, Pune

1) “If I use spot/centre-weighted metering for a composition where my subject is framed as per the rule of third, will the metering be correct as the subject is not in the centre of the frame?”Yes, the metering could be incorrect.

2) “Is there a setting where I can decide where exactly in the frame I want to meter as we do for focussing?”Yes, when using the spot meter in the D7000, the user can select the AF point of his choice (page 96 of the User’s Manual). The same area (under the AF point) will be the metering area. 

3. “ If I could change the position of the spot/centre weighted metering the issue will resolved I believe.”Correct.

Another way when using the spot meter is to focus on the required element in the frame (using the central point) and then re-compose the frame while keeping the shutter release half-pressed. Take the shot when your framing is right.

Alternately, go to Custom Setting f5 (page 232 of the User’s manual) and enable ‘AE Lock (Hold)’. The exposure will lock when you press the AE-L/AF-L button and will stay locked until you press the button a second time or the exposure meter turns off. Now you can take the exposure metering from any area you want, compose the frame to your needs, and then press the shutter release button to take the shot.

Filter Density Reduces light by (number of stops) ND2 0.3 1ND4 0.6 2ND8 0.9 3ND16 1.2 4ND32 1.5 5ND64 1.8 6ND128 2.1 7ND256 2.4 8ND500 2.7 9ND1000 3.0 10

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MASTERCRAFTSMAN Mital Patel

www.smartphotography.in52 Smart Photography October 2014

Mital Patel is a Commercial Art graduate who loves nature. He loves capturing the beauty of nature, and specializes in bird

photography. You can find his work at www.500px.com/mitalpatel

As told to Tanika Godbole

SEARCHING THE SKIES

Where were you born and raised?I was born and raised in Ahmedabad, Gujarat.

What invoked your interest in photography? Do you work as a photographer full-time?Photography was on my mind when I was pursuing my Commercial Art degree in Ahmedabad during the 90s. Later, in 2004, I happened to start photography along with my commercial art work. In 2008, I came across a person who had been bird-watching for years. This is how I initially started bird-watching and photography. Since then, I do all my wildlife photography with him, and we have been extensively travelling across various parts of India. We work as a team now in our wildlife journey. We came across more like-minded people, and formed a group called WildArt (www.facebook.com/wildart.in).

Yes, I do work as full-time photographer. I also run a company which has been serving the hospitality industry, making 360 degree panorama and virtual tours since 2004, and have done more than 400 hotel shoots in India.

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© M

ital

Pat

el &

Tea

m W

ild

Art

Demoiselle Crane

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MASTERCRAFTSMAN Mital Patel

www.smartphotography.in54 Smart Photography October 2014

You capture a wide range of activities of birds. How do you manage to capture that?For avian photography, the most important thing is to study the subject you capture. The more you involve yourself in studying the subject’s behaviour, the better your

photography gets. Patience is the key factor and plays a major role in photographing them.

Does bird and wildlife photography involve a lot of planning?Well, if you really are into bird-

watching, you don’t need a lot of planning. If you are new, you must have the patience to study them before you venture into photographing them.

Name some of your favourite locations to shoot at.

Blue Tailed Bee-eater

© M

ital

Pat

el &

Tea

m W

ild

Art

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I would love to go there, as far as I can.

You also do landscape, street and commercial photography. What genre do you enjoy the most?This is a difficult question, and hard to answer. Being an artist,

I usually love to experiment with all the genres, depending on the situation and availability of the frame I shoot, with whatever gear I have in hand. I am one crazy shooter. I would say I love all types of photography, but if you ask me to choose one specific area, I

As my favourite subjects are birds, especially shore birds, I love to go to coastal areas. Narara Marine Life Sanctuary (Jamnagar, Gujarat) is my favourite spot for waders. There are lots of places I have been to, and many more I wish I can go to. In fact wherever there are birds,

Black-tailed Godwit

Western Reef heron

© M

ital

Pat

el &

Tea

m W

ild

Art

© M

ital

Pat

el &

Tea

m W

ild

Art

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MASTERCRAFTSMAN Mital Patel

www.smartphotography.in56 Smart Photography October 2014

© M

ital

Pat

el &

Tea

m W

ild

Art

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would say the winged wonders attract me the most.

Is there any interesting incident that happened while shooting that you’d like to share?There are lots, but I find this one the most interesting. My birding partner Kunan Naik and I were wandering, looking for waterfowls. The water level was about 4 feet and we walked about 200 metres in freezing cold water to reach to spot at 5 am. We waited for the sun to rise, and we were shivering in the freezing cold water. But at the same time, looking at the carpet of waterfowl in front of us was thrilling. It made us forget how cold it was. All of a sudden, two Mallard ducks, one male and one female, flew in front of us and landed. This was the best part, since we had regularly been visiting this place for about 4 years to capture these ducks, but somehow had never been able to do that. Their roosting zone was in the middle of lake, which was unapproachable. On that day, we saw the beautiful Mallard ducks in golden sunrise, and could photograph with Canon 800mm with 1.4x TC attached.

What would you advice beginners in the field of photography?Nowadays, there are lots of newbies entering wildlife photography, and going to the nearest sanctuaries and parks with their D-SLR basic kits. I would love to advice them to first get a pair of binoculars, and study before approaching these feathered friends. They are really sensitive about our presence, and going too close may harm their privacy. Occasionally they allow you to come close. But one must not disrupt them, since they might be in the process of breeding or nesting. This is where guidance and knowledge is required to save nature for the future generations.

Gadwall

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MASTERCRAFTSMAN Mital Patel

www.smartphotography.in58 Smart Photography October 2014

Lesser Flamingo

Common Kingfisher

© M

ital

Pat

el &

Tea

m W

ild

Art

© M

ital

Pat

el &

Tea

m W

ild

Art

Page 59: Smart Photography - October 2014 In

ISSUE 7

VOLUME 10

OCTOBER 2014

RS.125

SUBSCRIBER’S COPY

INTERVIEW MITAL PATEL PROFILE NAVANEETH UNNIKRISHNAN

REVIEWS: CANON EF-S 10-18MM F/4.5-5.6 IS STM ● CANON EF 16-35MM F/4L IS USM ● AF-S NIKKOR 16-35MM F/4G ED VR

INDIA’S NUMBER 1 IMAGING MAGAZINE! PHOTO FEATURE

Waari Pilgrimage

INDIA

EXCLUSIVE

REVIEW

PANASONIC

FZ1000

ISS

UE 7 | V

OLU

ME 10 | O

CTO

BER

2014

115

LEARNINGSETTING UP YOUR D-SLR

POSTCARDS FROM LAHORE

LET’S PHOTOGRAPH A WRISTWATCH

TRAVELOGUE

AUSCHWITZ

16 page EPOSN supplement with October 2014 issue.

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PHOTO FEATURE Waari

60 Smart Photography October 2014 www.smartphotography.in

Dr. Amit Bidwe

I am an orthopaedic surgeon by profession. Photography is my passion, and portrait photography

is something that always amazes me. I do not have any professional training in portraiture and I’m learning through practice, and making my own mistakes.

I learn something about photography from everywhere, from Ansel Adams to Smart Photography. I consider Mr. Sandesh Bhandaare, a well-known photographer as my Guru. He has published a photography book on the Waari pilgrimage. Aft er seeing that book, my camera insisted that I attend it. Th erefore I added ‘Waari’ in my list of Th ings To Do for 2014.

Waari is the pilgrimage walk from Alandi, Dehu till Pandharpur. It is normally a 15-20 days’ spiritual journey. I wasn’t very sure that I could walk so much. Besides, taking leave from my medical responsibilities was also not easy. Th en I decided to attend one day of this beautiful journey.

Waari is an old tradition, almost 800 years old. A few lakh people walk the 250 kms, be it rain or sunshine. Th eir togetherness is beyond religion, cast, and money. One God binds them together. On the same day, Saint Tukaram’s palakhi (similar to doli) starts its journey from Dehu, and Saint Dyaneshwar’s palakhi starts from Alandi. Th ey meet in Pune and then take diff erent routes to fi nally reach their destination in Pandharpur.

On 21st June, a Saturday morning, a

Waari

Balancing

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Pit Stop

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Beats

Take a Break Beautiful Smile

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friend and I went to Pimpari. Saint Tukaram’s Palakhi was passing through the old Mumbai highway. I joined them there. Everyone was singing bhajans and abhangs. I took out my camera and was trying to take few shots. But taking photos in midst of thousands of people was making me somewhat uncomfortable. To my surprise, my fellow waarkaris (those who attend the Waari are called as waarkari) helped me come out of my discomfort. My friend assisted me in capturing the mood of Waari. I even met my old friend there, who was going till the final destination.

It was a divine experience. I didn’t even notice how the time flew. After walking for two hours, I realized walking can be fun when it is done with a purpose. After seeing the happiness on the crowd’s faces and singing spiritual songs together, you become a part of the crowd unknowingly. Devotion is a feeling that can’t be expressed. That day, I experienced it!

On the way, there were few people, organizations giving free food and services. Some of them even doing the foot massage. At lunch time I could take photos suitably. Some

of them even asked me to take their photo.

Few notable experiences:All the people, including illiterate, used to ask me, “Which newspaper are these photos for?”

A lady was hesitating while I was taking a group picture with her in it. When I asked her why she was hesitant, she clearly told me, ‘I don’t have money to give you.’ When I told her its free, she blushed and asked me to click a nice photo of her.

A few 8-10 year old kids asked me to

Music on the way

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Soulful Eyes Set for the Walk

Seeking Shelter

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take their photo. When I turned to say bye, they innocently said to me, ‘don’t delete our photos, please.’

her in the newspaper. My amateur photographer tag would have disappointed her, so I didn’t tell her about that.

I saw lot of photographers during the journey. We used to smile looking at each other. I also made a few friends during the short trip. They were educated, yet wore the traditional dhoti and topi. I asked them to take the last shot for the day, with me wearing the topi. The serenity that it shows on my face is very rare. At the end of the trip, in spite of the long walk, my legs weren’t paining. But my heart was full of pain.

An old women was very much interested in getting her picture taken. I asked why so, and she told me that her family will see

Packing up Glimpses

Intense Gaze

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Auschwitz Remembering the WW-II Holocaust

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Ajay Sood is an accomplished travel photographer and a

travelogue writer. He has been covered as Mastercraftsman in

Smart Photography (May 2012). He was on the jury of Canon

Photomarathon 2012. He is also an assignment photographer for

National Geographic Traveller.

Besides mentoring photography workshops, he leads photo-tours,

and contributes travelogues and features to various publications.

Ajay has a passion for capturing the sights, sounds and stories of places he visits. He

has travelled across India extensively, and to over 20 countries across the globe. His

27 years in the communication industry have been his training ground, leading to his

deep understanding of the visual medium, reflected in his unique compositions.

This photo-feature is my humble homage to the people of various nationalities who were murdered in cold blood by Nazis during the World War-II Holocaust all around Eastern Europe.

I have grown up seeing movies woven around this theme—Warsaw Story, The Pianist,

Schindler’s List, Odessa file, The Boy in the Striped Pajamas and many more. I have read about the Holocaust extensively, both in magazines as well as in novels. As a photographer, I have also been through thousands of images of the Holocaust and its sites. As a result, somewhere deep down, I had a desire to visit the biggest Holocaust site of all—The Auschwitz.

Last month, this desire was finally fulfilled. I visited Poland on a photography trip and apart from visiting Warsaw and Krakow, I specially made time to visit Auschwitz. Unlike my other photo-trips, this time I stayed away from any preparation or specific study, as I wanted my psyche to confront an unprejudiced experience. It is almost like not reading the review of an eagerly awaited movie, because of fear that the review might expose the plot.

I drove from Krakow to Auschwitz, a neat little town with a population of just over 40,000. I chose a country road and avoided the Expressway. The distance of about 65 kilometers gave me more than a glimpse of the Polish countryside,

which was as beautiful, as is most of Europe.

Upon reaching Auschwitz, I realised that it is no longer referred to as a concentration camp, but is now a well-maintained memorial and museum. Another fact I learned was that Auschwitz consists of not just one concentration camp, but three—Auschwitz-I (Auschwitz), Auschwitz-II (Birkenau) and Auschwitz-III (Monowitz)—each approximately 3 - 4 kilometers from the other. As surprising as it may sound, this 10 sq. km. area accounted for the slaughter of anything from 1.5 to 5 million human beings, 85% of those being Jews.

I reached Auschwitz-I at 8.30 a.m. This gave me 2 advantages—no entry fee (from 8 a.m. to 10 a.m., people are allowed in for free) and no queue (upon returning to Krakow, I heard horror stories of people being in the entry queue for over 2 hours). From a photography perspective, it also meant that I was able to get shots without too many tourists in them.

Not knowing what to expect, I just started following a few people with guides. The entire place was extremely organised, with a

Ajay Sood (Travelure)Travel Photographer/Photo-educator

Guard Tower outside the electrified fence

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Fence around the barracks

Entrance - Work Means Freedom A Veritable Mountain of Suitcases. The prisoners were allowed to bring one suitcase each when they were brought to Auschwitz

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An Architectural Model of a massive Gas Chamber at Auschwitz-II (Birkenau)

During Roll Calls in inclement weather, the SS guards used to take shelter in these booths, while the prisoners would stand outside Prisoner’s Uniform, complete with the Prisoner Number sewn on the pocket

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Incinerators in the Gas Chamber

Shoes of the Victims, till as far as the eye can see

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solitary entry gate that led me into a complex with rows of warehouse-like buildings—approximately 25 of them. The entry gate arch displayed 3 words in German— ‘Arbeit Macht Frei’ —which ironically translates to ‘Work means Freedom’. For an instant, the images of how ‘free’ the inmates of this concentration camp were, danced in front of my eyes.

It was pure chance that the first building I ended up in was the Gas Chamber. Thousands of prisoners

shot or gassed, but not before their hair was shaven off for using as yarn for woollens; their gold teeth were extracted and their valuables stripped.’

As if in a daze, I moved from one building to another. In each, some reminder of the ghastly Holocaust faced me—its scale and magnitude evident in the exhibits I was witnessing. Each building had 3 floors; each floor had a narrow aisle in the middle and the sides had glass-

were gassed to death here. The building had 2 incinerators, which were used to mass-burn the dead bodies. All of a sudden, I found that my mood had turned sombre.

Walking around, I started reading the fact-boards in the premises. Let me share the essence of one such board– ‘The plunder of human beings was complete. Healthy ones were chosen for a slow death through over-work, exhaustion and starvation; while the others were straightaway

Sign to warn prisoners not to step beyond this point

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PHOTO FEATURE Auschwitz

72 Smart Photography October 2014 www.smartphotography.in

encased remembrances. There was a building full of victims’ hair; another full of their clothes and even more buildings with suitcases, artificial limbs, spectacles, hair-brushes, tooth-brushes, shoes, toys and other belongings.

There were thematic photo-exhibitions on the murder of Jews, Poles, Romas, Simtis, etc. There were also touching descriptions under the images like ‘This woman weighed 64 kilograms when brought to Auschwitz; weighed a mere 25 kilograms when this image was shot’. There were terrible stories of one Dr. Mengele—a psychotic man who conducted half-baked and brutal medical experiments on children, in particular, twins.

When I couldn’t take it any more, I decided to step out. One thing I wanted to see was the rail track that used to bring the prisoners to Auschwitz. Upon enquiring, I found that it was in Auschwitz-II (Birkenau), and promptly made my way there.

Here was the notorious ‘Hell’s Gate’ or ‘Gate of Death’. The entrance had an arch through which the train would enter the camp. When the prisoners disembarked, they would get sorted as either healthy or weak. The healthy ones were taken to the barracks (akin to horse-stables) while the weak (women, children, elderly people) would either be shot on the spot, or taken to one of the 3 gas chambers built to murder, and then incinerate them.

Paucity of time didn’t allow me to visit Monowitz. But I had seen enough. In both, Auschwitz as well as Birkenau, I saw a lot of Jews. I could understand that for them, it was almost a pilgrimage. They were there in hoards, to pay homage to their ancestors who had faced the worst.

If you ever get a chance, do visit this solemn place, which has the power of bringing you face-to-face with the barbarism of humans, against humans.

Gate of Death or Hell’s Gate from the inside. The trains would bring the prisoners in, through these rail tracks

A Group of Jews visiting the memorial to pay respects to the victims

A Look Inside the Camp Barrack

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Lea

rnin

gs74Setting Up Your D-SLR

80Postcards From Lahore

90Let’s Photograph a Wristwatch

LEARNING Understanding Photography

www.smartphotography.in www.smartphotography.in October 2014 Smart Photography 7574 Smart Photography October 2014

Setting Up Your D-SLR

speed of 1/15 sec do? Unfortunately, no! Regardless of focal length it is very difficult to handhold a camera steadily at shutter speeds slower than 1/60. Hence, you must always use a shutter speed which is the faster of the two - either 1/60 sec or a shutter speed as per the thumb rule.

Aperture: This is the size of the hole in the diaphragm of your lens and is defined by f/ numbers. It is important that you remember this topsy-turvy convention in photography– small (that is, narrow) apertures are represented by large f/ numbers and wide apertures by small f/ numbers.

When you focus on a subject, not only will it be sharp but there will also be a zone of sharpness that starts little before the subject and extends beyond the subject. This zone is called Depth of Field (or DOF). Wide apertures give your images shallow DOF and narrow apertures give deep DOF. Thus, you need to adjust the aperture based on the DOF you want.

Release mode: Also called Drive mode by some manufacturers, this will dictate how the camera behaves when you press the shutter release. In the single- shot mode, the camera takes a picture and then stops even if you keep the shutter release pressed. In the Continuous mode, it continues to take pictures, one after another so long as you keep the shutter release pressed.

Exposure Modes: These are set up with the mode dial (Picture 10). There are several modes available including the so called “Scene” modes. However, to get the best out of your D-SLR, I suggest you use only the Aperture Priority or the Shutter Priority modes. These are indicated by the letter A and S on the mode

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 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 [email protected]

dial). They are also called Av and Tv by some manufacturers (Canon for example). The A (or Av) mode allows you to set the aperture and the camera sets the shutter speed based on the available light. In the S or Tv mode, you can set the shutter speed and the camera in turn sets the aperture. Aperture Priority (A) and Shutter Priority (S) modes are often called “semi-automatic” modes. Both have their uses as you will see.

Exposure Compensation: Many experts may be telling you differently but modern cameras do a better job than us photographers in determining the exposure! However, an important point for you to remember is that all camera meters are calibrated to medium tone. So, a camera will err when a scene is not medium toned. Examples are high key (predominantly light tones, Picture 2) and back-lit scenes as well as low-key (predominantly dark tones, Picture 3) scenes. Without appropriate compensation all these will be rendered in medium tone.

In Aperture Priority or Shutter Priority modes, you cannot alter the exposure by changing the aperture or shutter speed respectively, since when you alter one of these the other will change in step to keep the exposure the same! To change exposure, you must use the exposure compensation button (Picture 4) which is present

on all D-SLRs. You can use this button along with the command dial and give the compensation in either positive or negative direction. You can also specify how much compensation (in stops), you want to give.

Metering mode: While several metering modes are available, just use one that is most versatile – called Matrix or Evaluative. This works fine 95% of the time and when it does not, you can use exposure compensation to get the desired result.

ISO Control: Often you may want a narrow aperture to get a deep depth of field (DOF) or a faster shutter speed for stopping action. However, narrow apertures and fast shutter speeds both cut down the amount of light entering the camera. If the ambient light is not sufficient then you may not get the

aperture or shutter speed you want. If this is the case, you can increase the sensitivity of the camera to light by increasing the ISO to get the needed aperture and shutter speed. Increasing the ISO will reduce the image quality by adding noise but this is a price you need to pay to avoid blurry pictures! Many cameras now also offer what is called an Auto ISO mode. When you use this mode, the ISO will be set automatically by the camera to keep the aperture or shutter speed you want. ISO can be set by using the dedicated ISO button or through the shooting menu (Picture 5).

AF (Autofocus) Area: D-SLRs have several AF points. You can choose any AF point (Manual AF point selection) and the camera will focus on the

Ashok Kandimalla

There it is in front of you – that shiny box with your dream toy –a new D-SLR! You are

all excited to start using it. Holding off the urge to use it immediately, you follow the advice of Smart Photography and read the user manual or at least the Quick Start guide. So, you now know the basic controls. Next, you want to take a portrait or perhaps a close-up photograph of a flower. How do you setup the various parameters of your D-SLR to get the best results? Unfortunately, this will not be explained in the manual. Using the so called scene modes (those little icons on the mode dial) means handing over all the control to your D-SLR. It is like buying a Ferrari and driving it at 50kmph – meaning that you are grossly under-utilizing your wonder toy. Is there a way out?

Yes! Smart Photography, knowing your problems brings to you this short guide to help you setup your camera quickly. However, remember that this is not a substitute but rather a supplement to your manual.

Picture 1: Mode dial of a D-SLR.

Picture 4: Exposure Compensation button.

Picture 3: Here a minus 2 stop compensation was given to record this low key image properly.

First let us look at the various parameters that you need to set. Once we are done with this, we can look at the specific settings based on the type of photograph you would like to take.

Shutter speed: The most fundamental requirement is that your picture must be sharp. Apart from correct focus, this can only be assured with a certain minimum shutter speed called the ‘hand-holdable shutter speed’. The rule of thumb for this is - the shutter speed should be equal to or faster than the reciprocal of the effective focal length of your lens. (The effective focal length for Canon’s APS-C size sensor cameras is 1.6x the marked focal length; the effective focal length for Nikon’s APS-C size sensor cameras is 1.5x the marked focal length; for full-frame models, the effective focal length is the same as the marked focal length).

As an example, with an APS-C sensor camera, if you are using a lens of focal length 50mm, the shutter speed must be 1/80 sec (Canon) or 1/75 sec (Nikon) or faster. So, if you are using a focal length of 10mm, will a shutter

Picture 2: A high key scene. In cases like this you need to give some positive exposure compensation. Without that, the photograph will be rendered medium toned and will be darker than the subject. An exposure of plus 2 stops was used.

LEARNING

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Postcards From

Lahore

Passing through the treasure islands of Mumbai – the pavements at King’s Circle

and Hutatma Chowk, where book vendors keep loads of books and magazines for sale, one really doesn’t know which interesting or rare book one may come across. This is what exactly happened as I was taking an evening stroll through King’s Circle. A beautiful face on the cover page of what seemed to be a glossy magazine or a catalogue caught my eye. The model was well styled and draped. At a first glance it seemed to be an Indian face. Instinctively I picked it and started browsing through the pages. It was full of fashion features one after the other, shot in an excellent manner, at different locations around the globe. It was a treat to my eyes. Technically perfect and aesthetically on par or I can say even a step above many international magazines. Every shoot seemed well planned, well coordinated, perfectly styled and the pains taken behind every shot could be seen through the detailing in the work. This publication from Pakistan introduced me to the fashion, modeling and photography industry existing there.

roped them as the marketing consultants for their brand.

Proud of Pakistani native art, they are clear in their thought process that the fashion and media there should not necessarily be influenced by the West. They have won two Lux Style Awards for Best Photographers along with 9 consecutive nominations, and 2 nominations for best Stylist. They are also into producing and directing ad films.

Besides being photographers they are good stylists and offer these services too. Having established their own style of photography, they opened a new testament of the fashion industry there; today they dare to dream and do have plans of starting their own modeling agencies, to join the film industry and conduct photography workshops for the next generation.

There is a lot to learn from the duo. Let us have a word with them and analyze their work in detail.

Dilip: Tell us something about yourselves. What made you take this line as your profession? Did you have any art background or was it simply a new field – the road not taken?

Shani: Guddu and I have done our Bachelors and then the Masters in Fine Arts with Communication Design as major from the Institute of Art and Design, Punjab University. Photography has been a major throughout the studies. Like many other youngsters, we too had lot of passion and ideas to do something for our country. We found a huge gap in global image quality and the

Having crossed over 20 active years in commercial photography,

Dilip Yande says his forte is Fashion and Portrait photography. He

believes variety is the spice of life, and to keep himself motivated

he does a lot of tabletop as well. For Dilip, names like Rembrandt,

Renoir, Gauguin, Picasso, Turner, Monet are household names

because of his childhood that was spent in a lineage of fine arts. This

‘fine art’ reflects in his work because he feels that there is always

a little bit of ‘you’ in everything one does. Having shot for many

advertising agencies, juried a few competitions, mentored many

workshops, and guided many photographers in their formative years,

for Dilip, photography is just another way to romance his first love –

art. He may be contacted at [email protected].

quality in our country, so we picked up that point as a start-up line way back in 2005.

Dilip: Did other forms of art like painting, sculpture, poetry, classical music or anything else influence you in your work? Or was it the work of some photographer which you admired the most that left a mark on your mind?

Shani: Well, for us inspiration comes from all directions. Yes, all forms of visual art has always been source of ideas, but our main inspiration were old classic art movements. We love to change our style every year, just to give a break to ourselves and keep on enjoying our work. So we adapt one art movement every year into photographic visuals. Like we have done Surrealism, Cubism, Renaissance, Baroque, Arabesque, Digital Art, Pop Art, Romanticism and lots of others as well. Along with the art movement, nature has been a great inspiration, as we believe that there is no other core source of inspiration than nature. Talking about photographers, the style of Paolo Roversi was quite inspiring in the beginning years.

Dilip: How would you like to define fashion or fashion photography in general and the scene there in Lahore?

Shani: Fashion in Pakistan is very fine and has its own class especially when one talks about ‘eastern fashion’. People are really open to new silhouettes and textures. At this moment we have our own fashion forecasts and definitions. Every year this is always as per international standards, maintaining its own ‘native incorporation’. The way ‘fashion’ itself has its own ‘style’ within its spectrum, fashion photography also carries a similar feature. Fashion photographers in Pakistan try a lot to play with our native wear ‘Shalwar Kameez’ and since there is very less skin showing it becomes a difficult product to shoot in terms of making it visually attractive. It leaves less room for contours of the body to be exhibited

which attract a normal viewer. But despite of this challenge we try our best to produce new creative ideas, sticking to the native style, so as to keep our industry in a contemporary mode, and compete with western imaging.

Dilip: I have seen a lot of local magazines form your country on the Net – amazing work! How does the industry function there? Do you think it is easy for any new talents to get an entry? Out here, the magazines have editors, art directors, creative directors, fashion stylists, fashion coordinators, photo editors in their team. Sometimes it feels like ‘too many cooks spoil the broth.’ What is the scene out there?

Shani: There are always few conflicts when you work in bigger teams but here in Pakistan everyone has particularly learnt to respect the space of every artist as a collaborative creation. Seniors are very open to give space to new talents and even collaborate with them. Everyone takes it as a mission to structure the industry on solid grounds and keep building it further. On the other side, this business requires new ideas, so collaborating with new talent gives freshness to every brand.

Generally a photographer is a jack-of-all-trades. I mean, out here most of them are stylists, art directors, fashion coordinators by themselves. Somehow that gives them a total control on the visual but less margin for more experimentation or going wilder. At ‘Guddu and Shani’ we

love to work with bigger teams and productions. With specialists, contributing in their scopes. Ultimately that improvises the quality of work.

Dilip: When you shoot for any designer or a boutique or a brand, are the advertising agencies necessarily involved in the shoots?

Shani: Most of the time no, but some times we work with other agencies as well. Due to our Masters degree in communication design and advertising, we have been running our own advertising agency named Guddu Shani Adverto. The agency has been taking care of some big brands like Sana Safinaz, Nishat Linen, Crossroads etc. Guddu Shani Adverto is the only special services advertising agency in this country that is specialized in fashion marketing and advertising.

Dilip: How much liberty is given to the photographers out there? Are they supposed to give the creatives too or just execute a given concept?

Dilip Yande

What was noticeable was the liberty given to the photographers.

It was here in a way, that I came across these young turks of fashion photography – Shahnawaz (Shani) and Shumaila (Guddu) – more famous as Guddu and Shani (pic a) from Lahore, Pakistan. A husband and wife team, who both have done their Bachelors and then Masters in Fine Arts with Communication Design as major, from Institute of Art and Design, Punjab University- Lahore. In my opinion, they are true definitions of what ‘designers’ should be! They were the pioneers of digital textile printing in Pakistan and have designed their own collections. They were the ones who introduced the concept of ‘wearable art’ in which one finds miniature paintings on dresses designed by them. Influenced by the artist and designer Gustav Klimt, they have designed dresses and features that display this influence in their formative years. A multi- talented duo, they have their own advertising agency and have handled many brands of the fashion industry, specially the most quality conscious brand like Sana Safinaaz who have

Pic a

LEARNING

90 Smart Photography October 2014 October 2014 Smart Photography 91www.smartphotography.in www.smartphotography.in

Let’s Photograph a Wristwatch

cone over it. The cone should have a large base to allow the light from under the glass sheet to hit the paper cone and reflect back on to the wristwatch. Place the light source under the glass.

ShootUsing a suitable macro lens, take the shot through the opening at the top of the cone. The light from underneath will hit the insides of the paper cone and reflect back on to the wristwatch. It may be necessary to alter the height/base of the cone.

Rohinton Mehta

In Smart Photography (June 2014), we introduced you to a couple of ways to photograph

watches. This time we provide you with yet another method, which is classic as well as simple but effective.

What will you need?• A wristwatch of course!• A sheet of glass• White paper

Camera with Macro Lens

Transparent

Glass Table

Light Source

White Paper Cone

Black Felt

12

6

93

• Black felt or felt-paper• Light source, continuous or flash

PreparationUsing the white sheet of paper, make a cone and cut the top of the cone (see photo).

On a sheet of glass, place a small piece of the black felt/felt paper (about 8” square) in the center. Position the wristwatch on the black felt/felt paper and place the

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LEARNING Understanding Photography

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Setting Up Your D-SLR

speed of 1/15 sec do? Unfortunately, no! Regardless of focal length it is very difficult to handhold a camera steadily at shutter speeds slower than 1/60. Hence, you must always use a shutter speed which is the faster of the two - either 1/60 sec or a shutter speed as per the thumb rule.

Aperture: This is the size of the hole in the diaphragm of your lens and is defined by f/ numbers. It is important that you remember this topsy-turvy convention in photography– small (that is, narrow) apertures are represented by large f/ numbers and wide apertures by small f/ numbers.

When you focus on a subject, not only will it be sharp but there will also be a zone of sharpness that starts little before the subject and extends beyond the subject. This zone is called Depth of Field (or DOF). Wide apertures give your images shallow DOF and narrow apertures give deep DOF. Thus, you need to adjust the aperture based on the DOF you want.

Release mode: Also called Drive mode by some manufacturers, this will dictate how the camera behaves when you press the shutter release. In the single- shot mode, the camera takes a picture and then stops even if you keep the shutter release pressed. In the Continuous mode, it continues to take pictures, one after another so long as you keep the shutter release pressed.

Exposure Modes: These are set up with the mode dial (Picture 10). There are several modes available including the so called “Scene” modes. However, to get the best out of your D-SLR, I suggest you use only the Aperture Priority or the Shutter Priority modes. These are indicated by the letter A and S on the mode

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 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 [email protected]

Ashok Kandimalla

There it is in front of you – that shiny box with your dream toy –a new D-SLR! You are

all excited to start using it. Holding off the urge to use it immediately, you follow the advice of Smart Photography and read the user manual or at least the Quick Start guide. So, you now know the basic controls. Next, you want to take a portrait or perhaps a close-up photograph of a flower. How do you setup the various parameters of your D-SLR to get the best results? Unfortunately, this will not be explained in the manual. Using the so called scene modes (those little icons on the mode dial) means handing over all the control to your D-SLR. It is like buying a Ferrari and driving it at 50kmph – meaning that you are grossly under-utilizing your wonder toy. Is there a way out?

Yes! Smart Photography, knowing your problems brings to you this short guide to help you setup your camera quickly. However, remember that this is not a substitute but rather a supplement to your manual.

First let us look at the various parameters that you need to set. Once we are done with this, we can look at the specific settings based on the type of photograph you would like to take.

Shutter speed: The most fundamental requirement is that your picture must be sharp. Apart from correct focus, this can only be assured with a certain minimum shutter speed called the ‘hand-holdable shutter speed’. The rule of thumb for this is - the shutter speed should be equal to or faster than the reciprocal of the effective focal length of your lens. (The effective focal length for Canon’s APS-C size sensor cameras is 1.6x the marked focal length; the effective focal length for Nikon’s APS-C size sensor cameras is 1.5x the marked focal length; for full-frame models, the effective focal length is the same as the marked focal length).

As an example, with an APS-C sensor camera, if you are using a lens of focal length 50mm, the shutter speed must be 1/80 sec (Canon) or 1/75 sec (Nikon) or faster. So, if you are using a focal length of 10mm, will a shutter

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dial). They are also called Av and Tv by some manufacturers (Canon for example). The A (or Av) mode allows you to set the aperture and the camera sets the shutter speed based on the available light. In the S or Tv mode, you can set the shutter speed and the camera in turn sets the aperture. Aperture Priority (A) and Shutter Priority (S) modes are often called “semi-automatic” modes. Both have their uses as you will see.

Exposure Compensation: Many experts may be telling you differently but modern cameras do a better job than us photographers in determining the exposure! However, an important point for you to remember is that all camera meters are calibrated to medium tone. So, a camera will err when a scene is not medium toned. Examples are high key (predominantly light tones, Picture 2) and back-lit scenes as well as low-key (predominantly dark tones, Picture 3) scenes. Without appropriate compensation all these will be rendered in medium tone.

In Aperture Priority or Shutter Priority modes, you cannot alter the exposure by changing the aperture or shutter speed respectively, since when you alter one of these the other will change in step to keep the exposure the same! To change exposure, you must use the exposure compensation button (Picture 4) which is present

on all D-SLRs. You can use this button along with the command dial and give the compensation in either positive or negative direction. You can also specify how much compensation (in stops), you want to give.

Metering mode: While several metering modes are available, just use one that is most versatile – called Matrix or Evaluative. This works fine 95% of the time and when it does not, you can use exposure compensation to get the desired result.

ISO Control: Often you may want a narrow aperture to get a deep depth of field (DOF) or a faster shutter speed for stopping action. However, narrow apertures and fast shutter speeds both cut down the amount of light entering the camera. If the ambient light is not sufficient then you may not get the

aperture or shutter speed you want. If this is the case, you can increase the sensitivity of the camera to light by increasing the ISO to get the needed aperture and shutter speed. Increasing the ISO will reduce the image quality by adding noise but this is a price you need to pay to avoid blurry pictures! Many cameras now also offer what is called an Auto ISO mode. When you use this mode, the ISO will be set automatically by the camera to keep the aperture or shutter speed you want. ISO can be set by using the dedicated ISO button or through the shooting menu (Picture 5).

AF (Autofocus) Area: D-SLRs have several AF points. You can choose any AF point (Manual AF point selection) and the camera will focus on the

Picture 1: Mode dial of a D-SLR.

Picture 4: Exposure Compensation button.

Picture 3: Here a minus 2 stop compensation was given to record this low key image properly.

Picture 2: A high key scene. In cases like this you need to give some positive exposure compensation. Without that, the photograph will be rendered medium toned and will be darker than the subject. An exposure of plus 2 stops was used.

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area that is overlapped by the chosen point. You can also ask the camera to choose an AF point automatically. While this may be okay for a grab shot (like in street photography) the camera may choose an AF point other than what you want! So, be careful if you are using this mode. When you are photographing action, you need to keep the AF point on the moving subject. There are several modes available that help you to track the subject and also change the AF point itself. These modes are called by different names like 3D Tracking, Auto Select AF, etc.

AF (Autofocus) Mode: This defines the way the autofocusing mechanism works. Most cameras offer three AF modes as follows:AF - Single: Here the AF is activated by half pressing the shutter release. Once focus is achieved, the focus locks. The shutter will only release if the focus is achieved. It is best suited for static subjects.

AI Servo, also called AF - Continuous: This mode is for moving subjects. Here the camera will focus continuously, tracking the moving subject so long as you keep the shutter release half-pressed. It is important that you remember that the shutter can be released whether or not the subject is in focus. This could occasionally result in out-of-focus images.

AF- Auto: This mode is capable of automatic switching of AF mode. Here the camera switches the AF mode from AF-Single to AF-Continuous if it detects subject movement.  

Picture 5: The Auto ISO option in the “Shooting Menu”.

Picture Controls: Also called Picture Styles, these are presets that control parameters like contrast, saturation, brightness, etc., when processing JPEG image files. The usual presets that camera manufacturers provide are Standard (general purpose), Vivid (for vibrant colours), Neutral (for accurate rendering of colours and for post-processing), Landscape (for bright colours with emphasis on green) and Portraits (for accurate skin tones). You can choose the appropriate one through a dedicated button or the shooting menu.

White Balance: This deals with neutralizing the colour of the light source to give correct colours. I suggest that you use the “Auto” setting and leave it there. You can set the White Balance for a specific light but if you change the light source and then you forget to change the White Balance you could get bad colour casts which will be very difficult to remove.

Note: Auto White Balance has its limitations and may not work perfectly under every lighting condition, though for most beginners – who anyway shoot during daytime – the AWB works decently.

File format and File Size: These two together define the image quality. I strongly recommend that you always use Raw format though it involves an extra processing step. Raw format records a lot more information than JPEG and it is invaluable when photographing images with high brightness range. Raw format also allows accurate White Balance correction. If you do not want to process Raw files in immediate future, then use Raw + JPEG mode so that if and when you want to process Raw files, you will still have them. Also, use maximum number of pixels your camera can record (after all you have paid for it). This is called the “Large” option. Choose also, the least compression for JPEG files. This setting is called “Fine”. Together, “Large + Fine” give the best image quality. Only if you are running out of space and/or if you want to photograph rapid action, you should record image with smaller

number of pixels (called “Small” option) and higher compression called “Basic”. Remember that Small+Basic gives a small file size at the expense of image quality. So, use this only along with Raw option. Also, size and compression options are usually applicable to JPEG image files only.

Those are the parameters that you need to set. With that introduction you are now ready to setup your D-SLR. The first step is to decide on the type of photographs you want to take - is it portraiture, night/low light photography, close-up / macro, sports, action, wildlife, landscape, etc. It is not that you need to limit yourself to one or some of these. What is important is that you need to appreciate that the camera settings needed to optimally use your camera for each of these is different. Hence, you need to setup your camera accordingly. For each case we will look at the important characteristics that make a good photograph of that genre and then detail the camera settings to help achieve them.

Portraits: In a portrait, the subject must be sharp and the background must be blurry (less sharp) compared to the subject. To achieve this, it is necessary you use an aperture of f/4 or wider to get a narrow DOF. When you talk to a person you look at his or her eyes. For the same reason and since a portrait communicates with the viewer, the eyes in the portrait must be the sharpest (Picture 6). To achieve this you need to choose “Manual AF point selection” method. This will enable you to select an AF point of your choice. After this, make sure that the chosen AF point overlaps the eye closest to the camera. If you leave the AF point selection to the camera (Automatic AF point selection), it may select an AF point which may not overlap the eye. This will cause the camera to focus on a place other than the eye, thus ruining the portrait. Another important point in portraiture is the capture of expression. You will agree that a natural expression of a person when he is relaxed is much better to look at than a stiffly posed portrait. Also,

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natural expressions change rapidly. So, you need to use continuous frame advance where images are captured by the camera so long as you keep the shutter release button pressed. Later you can always delete those images which are not good. As you can expect “Portrait” Picture Control/Style will be most suited for portrait photography as this gives best skin tones.

Street/Candid: This needs rapid action on part of the photographer to capture what many call the “decisive” moment. You will probably not have time to choose the AF point or carefully compose (Picture 7). You should be ready to execute a grab shot. For this it is best to have the AF point selection in ‘auto’ and a moderate aperture (like f/5.6) for adequate DOF to compensate for any focusing errors. Since you will not be sure whether the subject will be static or moving, you can use AF - Auto and continuous release mode to capture action. Use a fast enough shutter speed of around 1/250 to freeze action.

Action / sports / wildlife: Examples

of fast action are birds-in-flight, speeding animals like deer running, cars moving at high speeds, running athletes, etc. In all these cases you need a fast shutter speed of at least 1/1000 to freeze action (Picture 8). Since you will be probably using a telephoto lens of focal length of 300mm or greater, this fast shutter speed will have the double benefit of preventing handshake. One point working in your favour is that action photography does not require large DOF. So, you can use a wider aperture and this will help you to use a faster shutter speed as well. If your lens is not fast enough to give the shutter speed you need, then you need to raise the ISO. Due to these reasons it is best you use Shutter

Priority or Tv mode with Auto ISO. You will also need to capture images continuously and the AF system should track the moving subject. Hence you should use continuous release and AF - Continuous mode. Also, large file sizes slow down the camera. So, in case you are using Raw + JPEG, you can choose a Small JPEG with Basic compression since you also have a Raw file for maximum quality. However, if you are using JPEG alone, you must still use Large and Fine options to record with highest image quality.

Landscapes: A photograph when viewed on a monitor or as a print is “flat”, having only two dimensions – width and height. However, our eyes

Picture 6: The eyes must be the sharpest in a portrait!

Picture 8: You need a fast shutter speed to freeze action like this. You need to raise the ISO if the light is not enough. Here a shutter speed of 1/5000 sec was used with an ISO of 1000.

Picture 7: A candid capture. In grab shots like this you may not have the time to choose an AF Point.

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see the world in three dimensions – width, height and depth. Hence, in landscape photography it is important that you create an illusion of depth. This is done with the help of an optical property called “perspective”. Due to perspective, objects that are close to our eyes appear large compared to objects that are far away (Picture 9). Hence, this property can be used to create the feeling of depth by keeping a foreground object in the

speed and narrow aperture – demand that ambient light is very high. If this is not the case you need to use a high enough ISO or use a tripod. Night / Low Light Photography: First disable your flash! A flash is good only for about 10 to 15 feet and will work great if the subject is small and is within that distance (like a person in a room). However if you are photographing a monument at night or in general a night scene (Picture 11), the subject is bound to be more than 10 feet away and flash is just useless! Use Aperture Priority and set the widest possible aperture (lowest f/ number) available on your lens to allow maximum light. Even then you are likely to get a shutter speed that would be slow to handhold. The best “setting” is to use a tripod or failing which, the alternate solution is to use a high enough ISO to get a reasonable hand-holdable shutter speed. This may force you to use a very high ISO (much higher than what you would use for landscape or macro shot) thus degrading the image. Night and low light images often have very high brightness range (pools of bright light with several dark areas) and it is best to use the Raw format.

Confused with so many parameters to set? Don’t worry. Table 1 gives the needed information in a concise form and will serve as a handy reference. Treat the contents as guidelines rather than rules.

composition. Since you now have objects that are near and far and since all of them have to be in sharp focus, you need a large DOF. So, use Aperture Priority and set a narrow aperture (f/8 to f/16). Recall that narrow apertures allow less light to reach the imaging sensor. If the ambient light is not high enough, this will force you to use a slow shutter speed which is not hand-holdable. The best solution is really not a camera setting but to use a tripod as this will allow a slow shutter speed and yet get highest image quality. However, if you can’t use a tripod then the solution is to increase the ISO. You can use auto ISO setting or set ISO manually high enough to get a hand-holdable shutter speed. Remember that high ISO will reduce image quality but in this case you really don’t have an option. Landscapes often have very high brightness range (sun-lit areas and shadows). It is also expected that landscape images should have maximum details. For these two reasons it is best you use the Raw format.

Close up / Macro Photography: This genre of photography involves high magnification (Picture 10). In these cases, the shutter speed as suggested by the thumb rule does not suffice. It is better to use as high a shutter speed as possible (around 1/500 or higher). Also at high magnifications, DOF will be miniscule (only a few milli-metres). Hence, you need to use narrow apertures like f/11. These two requirements– high shutter

Picture 9: The foreground rock creates a sense of depth. You need a large DOF to keep both foreground and background in focus. This was achieved by using an aperture of f/8 here.

Picture 10: This photograph was taken with a macro lens. Though an aperture of f/11 was used you can see that the DOF is still very shallow.

Picture 11: To capture this night scene handheld, an ISO of 3200 was used to get an adequate shutter speed.

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The parameters that you need to set may look daunting. However, they follow logic and are strictly based on the type of photograph (say a landscape) you want to take. Once you know that and its characteristics that need to support it (for example, a landscape needs large DOF), the settings needed can easily be determined. Till you get to that, which we hope will be soon, you can use Table 1 as a guide. Also what you read in this article is equally applicable to CSCs (Compact System Cameras) too!

CONCLUSION:

Further reading: This article assumes that you know certain basics regarding cameras, lenses,

exposure, DOF, etc. If you would like to brush up the fundamentals, Smart Photography

recommends the eBook “Basics of Photography” available at http://www.magzter.com/books/Basics-Of-Photography

Table 1

Type of Photograph

Parameter Portrait / Street / Candid

Sports / Action / Wildlife

Landscape Close up / Macro Low Light / Night

Exposure Mode Aperture priority / Av Shutter priority / Tv Aperture priority / Av Aperture priority / Av Aperture priority / Av

Shutter speed (1) Will be set by camera. Min. handholdable shutter speed is needed. For Street / Candid 1/250.

1/1000 sec. Will be set by camera. Min. handholdable shutter speed is needed.

Will be set by camera. Min. shutter speed of 1/500 is needed.

Will be set by camera. Min. handholdable shutter speed is needed.

Aperture f/4 for portraits and f/5.6 for street.

Will be set by camera.

Aperture of f/8 for adequate DOF.

Aperture of f/11 for adequate DOF.

As wide as your lens permits due to low light.

Release mode or Drive mode

Continuous Continuous Single Single Single

Exposure Compensation

Use exposure compensation if needed.

Use exposure compensation if needed.

Use exposure compensation if needed.

Use exposure compensation if needed.

Use exposure compensation if needed.

ISO Lowest ISO (Auto or manual) to get a hand-holdable shutter speed.

Lowest ISO (Auto or manual) to get a shutter speed of 1/1000 sec.

Lowest ISO to get a hand-holdable shutter speed @ f/8. Or use a tripod.

Lowest ISO to get a shutter speed of 1/500 sec speed @ f/11. Or preferably use a tripod.

Lowest ISO (Auto or manual) to get a hand-holdable shutter speed.

AF Area Mode Single. For Street / Candid photography for grab shots you can use or auto selection of AF point.

Multi point (with auto tracking) after selecting the first point - the center point. This mode is called 3D Tracking by Nikon and Auto Select AF by Canon).

Single point manual selection.

Single point manual selection.

Single point manual selection.

AF mode (2) AF- Single or AF - Auto

AF- Continuous AF-Single AF- Single AF- Single

Release Mode Focus priority / Release priority for Street.

Release Priority Focus priority Focus priority Focus priority

Picture Control / Style

Portrait Standard Landscape or Vibrant

Landscape or Vibrant

Standard

File format and file size (3)

Raw or Raw + JPEG (L+ F)

JPEG (L + F) or Raw + JPEG (S+B)

Raw or Raw + JPEG (L+F)

Raw or Raw + JPEG (L+F)

Raw or Raw + JPEG (L+F)

(1) Minimum hand-holdable shutter speed is faster of the two - 1/60 sec or a shutter speed as per the thumb rule of 1 / (1.5x or 1.6x focal length of lens)

(2) AF - Single is called AF - S (Nikon) or One Shot (Canon). AF - Continuous is called AF - C (Nikon) or AI – Servo (Canon). AF - Auto is called AF - A (Nikon) and AI – Focus (Canon).

(3) L= Large, S= Small, F=Fine and B=Basic

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Postcards From

Lahore

Passing through the treasure islands of Mumbai – the pavements at King’s Circle

and Hutatma Chowk, where book vendors keep loads of books and magazines for sale, one really doesn’t know which interesting or rare book one may come across. This is what exactly happened as I was taking an evening stroll through King’s Circle. A beautiful face on the cover page of what seemed to be a glossy magazine or a catalogue caught my eye. The model was well styled and draped. At a first glance it seemed to be an Indian face. Instinctively I picked it and started browsing through the pages. It was full of fashion features one after the other, shot in an excellent manner, at different locations around the globe. It was a treat to my eyes. Technically perfect and aesthetically on par or I can say even a step above many international magazines. Every shoot seemed well planned, well coordinated, perfectly styled and the pains taken behind every shot could be seen through the detailing in the work. This publication from Pakistan introduced me to the fashion, modeling and photography industry existing there.

roped them as the marketing consultants for their brand.

Proud of Pakistani native art, they are clear in their thought process that the fashion and media there should not necessarily be influenced by the West. They have won two Lux Style Awards for Best Photographers along with 9 consecutive nominations, and 2 nominations for best Stylist. They are also into producing and directing ad films.

Besides being photographers they are good stylists and offer these services too. Having established their own style of photography, they opened a new testament of the fashion industry there; today they dare to dream and do have plans of starting their own modeling agencies, to join the film industry and conduct photography workshops for the next generation.

There is a lot to learn from the duo. Let us have a word with them and analyze their work in detail.

Dilip: Tell us something about yourselves. What made you take this line as your profession? Did you have any art background or was it simply a new field – the road not taken?

Shani: Guddu and I have done our Bachelors and then the Masters in Fine Arts with Communication Design as major from the Institute of Art and Design, Punjab University. Photography has been a major throughout the studies. Like many other youngsters, we too had lot of passion and ideas to do something for our country. We found a huge gap in global image quality and the

Having crossed over 20 active years in commercial photography,

Dilip Yande says his forte is Fashion and Portrait photography. He

believes variety is the spice of life, and to keep himself motivated

he does a lot of tabletop as well. For Dilip, names like Rembrandt,

Renoir, Gauguin, Picasso, Turner, Monet are household names

because of his childhood that was spent in a lineage of fine arts. This

‘fine art’ reflects in his work because he feels that there is always

a little bit of ‘you’ in everything one does. Having shot for many

advertising agencies, juried a few competitions, mentored many

workshops, and guided many photographers in their formative years,

for Dilip, photography is just another way to romance his first love –

art. He may be contacted at [email protected].

Dilip Yande

What was noticeable was the liberty given to the photographers.

It was here in a way, that I came across these young turks of fashion photography – Shahnawaz (Shani) and Shumaila (Guddu) – more famous as Guddu and Shani (pic a) from Lahore, Pakistan. A husband and wife team, who both have done their Bachelors and then Masters in Fine Arts with Communication Design as major, from Institute of Art and Design, Punjab University- Lahore. In my opinion, they are true definitions of what ‘designers’ should be! They were the pioneers of digital textile printing in Pakistan and have designed their own collections. They were the ones who introduced the concept of ‘wearable art’ in which one finds miniature paintings on dresses designed by them. Influenced by the artist and designer Gustav Klimt, they have designed dresses and features that display this influence in their formative years. A multi- talented duo, they have their own advertising agency and have handled many brands of the fashion industry, specially the most quality conscious brand like Sana Safinaaz who have

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quality in our country, so we picked up that point as a start-up line way back in 2005.

Dilip: Did other forms of art like painting, sculpture, poetry, classical music or anything else influence you in your work? Or was it the work of some photographer which you admired the most that left a mark on your mind?

Shani: Well, for us inspiration comes from all directions. Yes, all forms of visual art has always been source of ideas, but our main inspiration were old classic art movements. We love to change our style every year, just to give a break to ourselves and keep on enjoying our work. So we adapt one art movement every year into photographic visuals. Like we have done Surrealism, Cubism, Renaissance, Baroque, Arabesque, Digital Art, Pop Art, Romanticism and lots of others as well. Along with the art movement, nature has been a great inspiration, as we believe that there is no other core source of inspiration than nature. Talking about photographers, the style of Paolo Roversi was quite inspiring in the beginning years.

Dilip: How would you like to define fashion or fashion photography in general and the scene there in Lahore?

Shani: Fashion in Pakistan is very fine and has its own class especially when one talks about ‘eastern fashion’. People are really open to new silhouettes and textures. At this moment we have our own fashion forecasts and definitions. Every year this is always as per international standards, maintaining its own ‘native incorporation’. The way ‘fashion’ itself has its own ‘style’ within its spectrum, fashion photography also carries a similar feature. Fashion photographers in Pakistan try a lot to play with our native wear ‘Shalwar Kameez’ and since there is very less skin showing it becomes a difficult product to shoot in terms of making it visually attractive. It leaves less room for contours of the body to be exhibited

which attract a normal viewer. But despite of this challenge we try our best to produce new creative ideas, sticking to the native style, so as to keep our industry in a contemporary mode, and compete with western imaging.

Dilip: I have seen a lot of local magazines form your country on the Net – amazing work! How does the industry function there? Do you think it is easy for any new talents to get an entry? Out here, the magazines have editors, art directors, creative directors, fashion stylists, fashion coordinators, photo editors in their team. Sometimes it feels like ‘too many cooks spoil the broth.’ What is the scene out there?

Shani: There are always few conflicts when you work in bigger teams but here in Pakistan everyone has particularly learnt to respect the space of every artist as a collaborative creation. Seniors are very open to give space to new talents and even collaborate with them. Everyone takes it as a mission to structure the industry on solid grounds and keep building it further. On the other side, this business requires new ideas, so collaborating with new talent gives freshness to every brand.

Generally a photographer is a jack-of-all-trades. I mean, out here most of them are stylists, art directors, fashion coordinators by themselves. Somehow that gives them a total control on the visual but less margin for more experimentation or going wilder. At ‘Guddu and Shani’ we

love to work with bigger teams and productions. With specialists, contributing in their scopes. Ultimately that improvises the quality of work.

Dilip: When you shoot for any designer or a boutique or a brand, are the advertising agencies necessarily involved in the shoots?

Shani: Most of the time no, but some times we work with other agencies as well. Due to our Masters degree in communication design and advertising, we have been running our own advertising agency named Guddu Shani Adverto. The agency has been taking care of some big brands like Sana Safinaz, Nishat Linen, Crossroads etc. Guddu Shani Adverto is the only special services advertising agency in this country that is specialized in fashion marketing and advertising.

Dilip: How much liberty is given to the photographers out there? Are they supposed to give the creatives too or just execute a given concept?

Pic a

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Shani: It works both ways. In advertorial or editorial photography, photographers are totally free to do their stuff but of course as per a pre-decided mood, while in commercial or advertising photography most of the time photographers have to follow the mood boards and points decided in pre-production meetings.

Dilip: I read that Sana Safinaaz, a major brand of apparels have appointed you as a consultant in their firm. If so, how do you feel being patted in this way and your relations with such clients, and the pains you took in understanding the brand?

Shani: As mentioned above Guddu Shani Adverto takes care of all advertising work for Sana Safinaz. We have been taking care of the brand since 2005. So it’s sort of our baby that developed with passage of time and followed our development strategies and vision of Sana Safinaz. We do complete image consultancy and I serve the brand as executive brand manager and plan everything related to marketing and advertising from strategic development to execution.

Dilip: Does the advertising industry or the fashion industry have any passing fads as far as the equipment are concerned? Like in India, about 20 years back they wanted every photographer to shoot on a 4X5 large format or a medium format, even if the pic was to be printed 2 inches in size, then it was the ‘Hose-master lighting’, followed by cross- processing and now it is the 22 mega pixels and the ‘Para’. Or is the photographer the captain of the ship?

Shani: The photographer is the captain of the ship and is generally well aware of what to use for required results. I have never heard of any client dictating about the lighting equipment. But during pre-production meetings with advertising agency’s art directors, there are discussions about the equipment to make sure that results are technically as per media requirement.

Dilip: I have seen your indoor and

outdoor works. Both are of high standards. I have observed clever use of wide-angles while shooting fashion, specially the low angles. Which lens do you use for this? Or generally which are your favorite lenses for fashion?

Shani: Thanks a lot for your appreciation. For wide-angles sometimes I use a Canon 16-35mm and sometime a Canon 24-70mm. I don’t believe in using any particular lenses as a style. Every lens is used for a different meaning when we have to use them for transformation of our ideas into visual language. So lenses are always selected as per the theme and subject.

Dilip: I have noticed strong compositions, excellent understanding of colour, and use of graphic elements in the background. Can you say something about this? How do you visualize it?

Shani: We have a standard workflow. We try pre-visualizing every shoot and making a complete mood board. That helps a lot specifically to define the whole harmony of the shoot. I normally sketch my ideas on my Galaxy Note. For compositions and colour balance we follow fundamental concepts that we learnt from the very first year of our art education, like principles of design, elements of art, colour theory etc. While we follow the very basic rules, with experience, we get the power to break them with more confidence.

Dilip: Do any clients there still point at the ‘West’ as the final authorities of fashion statements, like Milan or Paris or have they accepted the fact that Asians could be no less?

Shani: We cannot deny the fact that Milan and Paris strongly influence fashion all over the world but our native garment is so different than in the West that you cannot really follow them. But any sort of inspiration creates amazing fusion of both sides and makes our garment look more contemporary.

Dilip: Photography as an art is also

mostly associated with western artists. We think that you have developed your very own style for ‘eastern side of fashion photography’ business. What do you think?

Shani: I think you have judged it very well as this has been a major mission throughout our photography career. Many people have complimented us with this statement. We can’t deny the fact that our inspirations are also from the West but it was a huge struggle of day and night to come up with our very own style of photography to best fit with our sort of garments while not making any compromises on creativity and distinctive ideas.

Dilip: Looking at your work if I make a statement that fashion is not the art of revealing a body but the art of covering a body, would you agree? (hahaha…)

Shani: Hahaha… I always say that it’s so easy to make a visual attractive, creative and visually powerful when there are no or less clothes! As showing skin makes it naturally more attractive and then technically, the fall of light creates nicer tonal range, and amazingly good looking contours on skin. But its very difficult to make your visuals when you have fully covered body. Again it’s been a sort of mission to prove the world that creativity isn’t dependent on revealing human body; we can still do creative lighting, fun concepts and create amazingly attractive visuals with fully covered bodies.

Dilip: What would be your advice to the next breed of photographers in India and your country?

Shani: First advice is to always work hard with consistency. Second most important thing is to develop your own style and techniques to show the world that this region also has its own creative power and art is not a monopoly of the West. Come up with fine artistic ideas and fuse them with commercial approach in advertising so that creativity reaches the masses.

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Critical Analysis and Art

Appreciation-Readers, let me analyze their works for you, as to what gives them an edge above the others. This would also teach you how to read art.

Pics b1, 2, 3- I have chosen 3 pics from this feature. One may observe the yellow plank of wood common in the 3 pics. This has acted as the common thread for the feature. In Pic b1, if one observes in detail, the lines of force are converging at the centre of the picture, the horizon lines, the fall/pattern of the cloth, the design on the cloth all indirectly point to the centre, where this flat yellow square has been positioned. A glow-through lighting has once again caused a vignette on the yellow plank, graduating from the centre towards its periphery. The model has been cleverly posed that even her hands act as indirect pointers once again converging towards the centre. The picture is an excellent design in itself. Pic b2 is shot on the same location as b1, but in this case the attention of the viewer gets locked on the face of the model and the accessories. The visible single eye of the model, strongly staring at the viewer becomes a further locking point which again is more at the centre of the image. The negative space that has been left by keeping the yellow plank totally blank at one side has worked wonders. The upper half of the pic has shades of grey (clouds) while the lower half has shades of green grass. The model is wearing solid masses of bright colors with balanced complementary colour schemes. The cobalt blue frill around the neck, once again makes it a centre-weighted picture. In Pic b3, the sides of the lines of the wooden plank, makes your eye travel again to the centre of the picture. The wet mud that has been transformed from her shoes on to the plank, give the feeling of brush strokes on a canvas, at the same time makes you feel that the model has possibly been dragged from left to right, once again this suggestive movement is heading towards the centre of the image.

Pic c- One can see that two pieces of land have been divided by a canal of water. The opposite bank is full of greenery and suggestively a very fertile land. The other one seems to be arid in

Pic b1

Pic b2

Pic b3

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nature, one can see the dry branches of a fallen tree and there are no leaves on it at all. The model has been posed very naturally and the design on the dress can be seen and understood. On her dress one may observe a pattern of brown dry leaves. The colour scheme is very ‘earthy’. One should study how the photographer has taken the call about what dresses of which pattern to shoot against which backgrounds. Nothing has been left to chance.

Pic d1, 2- In this series of pictures they have made use of a vintage car as a prop in a very unique way. One may find heavily painted trucks in the north of India as well as

Pic d1 Pic d2

Pic c1

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in Pakistan – this subject of ‘truck art’ is a topic in itself. But in this case the photographer and the stylist seem to have decided to take the inspiration from this truck art and use it over the

vintage car. If one observes closely, the design on the car is very close to the marble inlay work that one may find in ancient Mogul monuments and what is classified as Islamic

art. Pic d1 is largely dominated by the greens, the painted car and the yellowish dots resembling bulbs at the back side. The model’s attire gives the suggestion of a wedding. The hair has been handled in a very excellent and unusual manner. The pose of the model, the needed visibility of the dress and the detailing done in deciding the hairstyle shows the meticulous planning that is required in such shoots. In pic d2 the lighting has been done in a slightly dramatic manner and the photographer has even handled the background well by creating those spots through lighting. The colour of the umbrella is very similar to the border of the dress.

Pic e 1, 2, 3- In this feature the model was draped with the same cloth and which has acted as the background and foreground of the shot. One can say that she has been drenched in this ‘splash’ of turquoise blue. The photographer has kept the blue cast on her face and this has added to the beauty of the shots, making it more natural, giving a feel of an outdoor shot. Pic e1 is again a centre-dominated shot. The slightly parted pink lips symbolize that she is waiting for someone. The messy hair and the slight blurry motion in the foreground suggest a strong wind – as if she is standing near a sea shore. The earrings have been well selected and stand out against her hair. If one observes the pattern on the cloth, it is similar to that of sea waves. Pic e2 is once again a well-composed shot, in which the woman seems to be staring at the infinite. In pic e3 the model has been shot through the fabric; she can be seen holding the cloth in her hand. The picture is giving the feel of a shot that was taken from a camera placed under the water. In the right hand side corner below, one may see the faint image of a traditional boat being rowed by oarsmen. Thus establishing a subtle relation as to what she was looking at initially. This detailing I feel is the master-stroke of the photographer. The picture is a very impressionistic one.

Pic f1- This is a very stylized and sophisticated shot. The walking stick, the heels of the stilettos, the plates on

Pic e1

Pic e2

Pic e3

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her dress act as strong lines of force in the picture. The body language of the model is amazing and has been so well posed that it defines all that was needed. The old European feel has been rightly represented through her hair. The background used and the lighting gives the picture the feel of a painting of the Renaissance period.

Pic g1- This time the model has not been accessorized at all. Thus making her dress the centre of attraction. This indirectly shows the command the photographer and the stylist have over the subject. A delicate model, wearing a delicate pattern with a delicate print of paisley has been posed well against a very rough worn-out brick wall. As I have always pointed out earlier in my articles, contrast works. Further, the photographer has chosen such a spot that it has a hint of a wooden window shutter on the left. This stops

your eyesight from leaving the area of the picture and pulls your attention back to the dress and the model. The shades of the lace are complementing the shade of the wall.

Pic h1- A clever use of a wide-angle lens can be seen in this picture. Once again the lines of force meeting at a common point and being used as a graphic element of the background has complemented ‘the show’ in all ways. The orange dress of the model against the blue sky is a complementary colour scheme and hence has worked well. There is action and motion in her

Pic f1 Pic g1

Pic h1

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dress, while the background is very solid and ‘still’. This makes the picture further appealing.

Pic i 1, 2- This series was a game of bright psychedelic colours. The focus is more on styling. As can be seen in pic i 1, the clever use of safety pins as an accessory shows the offbeat thinking of the photographer and the stylist. Pic i 2 has been dominated by squares and rectangles. The model has been posed in a very different way and positioned in such a manner that a differently coloured tile in the foreground cleverly complements with the squares in the background. This

geometric repetition has added value to the picture. A small addition of yellow frame sunglasses has given the finishing touch to the picture.

Pic j 1- The photographer has chosen a slanted angle for his camera, usually termed as ‘dutch angle’ in cinematography. The wide-angle lens shows the expanse of the paddy field. The blue sky peeping through the clouds has balanced the picture well. In this picture, you may see that no foot-wear has been used, the model hence seems to be enjoying the nature at her fullest and not posing for a shot, but the dress can be well made out. The flowers in her hand has added value to the picture.

Pic k – This is a good example of digital imaging done by them in 2007. The pre-production, the on-set lighting, and the post-production has been handled very well.

Pic l 1, 2, 3- The model has posed with a live elephant. One has to remember that an elephant is all about strength and royal feel. The dress thus chosen for the shoot is a very expensive and upmarket attire. The heavy work of gold in this dress defines its ‘royal look’. The model has been thoughtfully accessorized only in the neck and with a golden mask. Especially if you observe this golden mask in the close-ups, one may find it to be similar to the golden head-gears

Pic i2

Pic i1 Pic j1

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mounted on elephants in festivals of Kerala or found through the old pictures of Maharajas riding their elephants.

Pic m 1, 2- These are examples of dramatic lighting and a very bohemian styling. These fashion

shots are all about clever and heavy layering of accessories on the model’s body. Here again the photographer has played well with complementary colour schemes.

Pic n 1, 2 - These are conceptual masterpieces shot by the photographer. In pic n 1, the model is wearing a very loose saffron outfit. She is shown as a stylized ‘fakir’ in penance, standing on a worn-out wooden stool, balancing on just

Pic k

Pic l2 Pic l3

Pic l1

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one foot. There is no agony seen on the face of the model while posing for such a difficult stance. Wooden beads resembling ‘rudraksha ‘ beads can be seen around her neck. The background is typically a deserted one and is as messy as it should be. The hairdo is very interesting and signifies the holy ash being smeared above her forehead. The model is shown holding a wavy wooden magical wand in her hand and this is the master stroke in the picture. In pic n 2 the continuity of the hair-do has been carried ahead, except that the shade of the hair has been changed to match the border of the dress. The photographer has opted for a solid patch of white colour at the back of the models face. This has changed the look of the picture

totally. Such sense of composition and detailing is very rare and needs to be acquired. One hand of the model is hidden, while the other has been painted in white and shade of vermillion which is the same shade on the border of the dress. Such artistic philosophy is what sets this picture and their work apart from the rest.

What has been showcased here is just a tip of an iceberg. I have tried to bring a spectrum of their work to you. This would tell you as to how much detailing goes in planning a good shot. I would firmly say that Guddu Shani are not just creative geniuses, and excellent stylists or ace photographers, but ‘Guddu Shani’ is a cult in itself.

Pic m1

Pic n1

Pic m2

Pic n2

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Let’s Photograph a Wristwatch

Rohinton Mehta

In Smart Photography (June 2014), we introduced you to a couple of ways to photograph

watches. This time we provide you with yet another method, which is classic as well as simple but effective.

What will you need?• A wristwatch of course!• A sheet of glass• White paper

Camera with Macro Lens

Transparent

Glass Table

Light Source

White Paper Cone

Black Felt

12

6

93

• Black felt or felt-paper• Light source, continuous or flash

PreparationUsing the white sheet of paper, make a cone and cut the top of the cone (see photo).

On a sheet of glass, place a small piece of the black felt/felt paper (about 8” square) in the center. Position the wristwatch on the black felt/felt paper and place the

Page 91: Smart Photography - October 2014 In

We, at Smart Photography, are dedicated to guide you at every stage of your

photography career and help you make informed choices. And this dedication is

what makes us stand out from the rest of the pack!

TELL US YOUR STORY! WRITE TO...

TUTORIALSBUILDING AN ARCHITECTURAL

PHOTOGRAPH (INTERIORS)PIN-UP PHOTOGRAPHY

10 HOW TO TIPS

ISSUE 6VOLUME 10

SEPTEMBER 2014

RS.125

SUBSCRIBER’S COPY

INTERVIEW SAPNA REDDY PROFILE DIGWAS GH

REVIEWS: NIKON D810 ● BENQ PG2401 PT ● SONY CYBER-SHOT RX100 III

INDIA’S NUMBER 1 IMAGING MAGAZINE!

HEAD-TO-HEADMACRO LENSES FOR CANON

FULL-FRAME CAMERAS “I switched to

Smart Photography because it gives

better guidance to hobbyists...”

- Joseph Kiny, Smart Photography reader from Mumbai

e-mail: [email protected]

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92 Smart Photography October 2014 www.smartphotography.in

cone over it. The cone should have a large base to allow the light from under the glass sheet to hit the paper cone and reflect back on to the wristwatch. Place the light source under the glass.

ShootUsing a suitable macro lens, take the shot through the opening at the top of the cone. The light from underneath will hit the insides of the paper cone and reflect back on to the wristwatch. It may be necessary to alter the height/base of the cone.

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Rev

iew

s

94Bridge Camera ReviewPanasonic Lumix FZ1000

100Lens ReviewCanon EF 16-35mm

f/4L IS USM

Change in Rating SystemSmart 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 RankingsRecommended ......................................... 75-80%Best Buy .........................................81% and above

D-SLR CAMERAS

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

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

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

PerformanceAutofocus .................................................... (out of 5)Metering ...................................................... (out of 5)Noise control ........................................... (out of 5)Distortion/Sharpness .......................... (out of 5)LCD/Viewfi nder..................................... (out of 5)Auto White Balance ........................... (out of 5)

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

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

LENSES

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

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

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

PerformanceAutofocus .................................................... (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)

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

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

COMPACT CAMERAS

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

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

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

PerformanceAutofocus .................................................... (out of 5)Metering ...................................................... (out of 5)Noise control ........................................... (out of 5)Distortion/Sharpness .......................... (out of 5)LCD/Viewfi nder..................................... (out of 5)Auto White Balance ........................... (out of 5)

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

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

102Lens ReviewCanon EF-S 10-18mm

f/4.5-5.6 IS STM

104Lens ReviewAF-S NIKKOR 16-35mm F/4G ED VR

106Smartphone ReviewGionee Elife S5.5 109First Look

Samsung Galaxy Tab S

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BRIDGE CAMERA Review Panasonic Lumix FZ1000

www.smartphotography.in94 Smart Photography October 2014

Superzoom King! Rohinton Mehta

Bridge cameras are positioned between point-and-shoot cameras and D-SLRs and as

such they are very much in demand for their ease of handling and their usual super-long zoom lenses. Panasonic introduced their much-sought-aft er FZ200 (25-600mm equivalent Leica-designed lens with a fast f/2.8 aperture throughout) somewhere in the middle of 2012. As good as the camera is (it is still available), a limitation according to guys like us, is the small imaging sensor (6.17 x 4.55mm). Now comes the FZ1000. Th e zoom range has been shortened (25-400mm equivalent), the Leica-designed lens is now slightly slower (f/2.8-4), but autofocus with the FZ1000 is approximately 275% faster and the imaging sensor is now comparatively much larger at 13.2 x 8.8mm (almost 4 times larger). Th is means larger photosites, which result in larger pixels, which in turn off er better

control in digital noise especially at higher ISO sensitivities, along with better dynamic range. So let’s see how Panasonic’s fl agship 16x Bridge camera – the Lumix FZ1000 – fares on our test bench...

Design and Build QualityBy design, the FZ1000 is a Bridge (Prosumer) camera, using a non-interchangeable 25-400mm (16x) equivalent zoom lens. Th e build quality is very good (a bit lower than its nearest competitor, the Sony RX100 III, but at the same time, the FZ1000 does not have the issue of exposed connecting cable that we reported on the RX100 III in the September 2014 issue). Th e outer body is made with engineering plastic. Th e camera is quite large and weighs 830g including the battery.

Key FeaturesTh e FZ1000 is a 20 megapixel (eff ective) Bridge camera with a

` 62,000

✓ Camera ✓ Battery pack ✓ Battery charger ✓ Lens hood ✓ Lens cap ✓ USB cable ✓ Accessory shoe cover ✓ Shoulder strap ✓ Soft ware DCD ✓ Warranty card

Inside the Box

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Aperture: f/5.0 Shutter Speed: 1/640sec . ISO: 400

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ISO 400

ISO 1600

ISO 6400

ISO 800

ISO 3200

ISO 12800

NOISE

Leica DC Vario-Elmarit, 25-400mm equivalent zoom lens. It incorporates a 1” Type (13.2 x 8.8mm) High-sensitivity MOS imaging sensor backed by Panasonic’s tried and tested Venus Engine image processor. Th e camera can shoot in Raw as well

as Raw+JPEG, off ering a maximum resolution of 5472 x 3648 pixels. Pictures can be shot in 4:3, 3:2, 16:9 and 1:1 aspect ratio. Th e camera body incorporates a hybrid 5-axis optical image stabilizer for still images as well as video. A well-designed

hand-grip makes the camera very comfortable to hold.

Various AF modes are available – Single, Continuous, Face Detect, Live View, Focus-Tracking, Multi-area, Contrast-detect, Center and Selective single point. Manual focussing is possible. 49 focus points are available. Th e camera off ers 3 metering modes: Multi, Center-weighted and Spot. Th e lens has a minimum focussing distance of 30 cm (< 12”), while in macro mode it can focus as close as 3 cm. Th e FZ1000 has an electronic viewfi nder (4:3 aspect ratio) with 100% coverage (resolution 2,359,000 dots) and a fully articulated 3” LCD with a resolution of 921,000 dots. Th e LCD does not off er touch-screen facility.

Apertures on the FZ1000 range from F/2.8-8 (W); F/4-8 (T), whereas shutter speeds range from 60 sec-1/4000 sec (Mechanical shutter); 1-16,000 sec (Electronic shutter). Shooting modes are P, A, S, M,

SharpnessAperture: f/4.0 Shutter Speed: 1/50sec. ISO:100

JPEG CompressionJPEG, Normal Quality, 100% (5.4 MB)

JPEG, Fine Quality, 100% (10.4 MB)

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self-timer and interval-timer. An accessory shoe (hot-shoe) and a stereo microphone is provided. The FZ1000 offers a built-in flash with a maximum range of 13.5m (W) or 9.5m (T) when set to Auto ISO. An optional dedicated flash (DMW-FL580L) with built-in LCD video light is available. ISO sensitivity ranges between Auto, 125-12,800 but can be expanded to equivalents of 80-25,600.

If you download the Panasonic Image App, you can use a Smartphone or a Tablet to remotely control your FZ1000’s zoom, set focus and shoot, and instantly upload/share your images on social media. By simply touching your FZ1000 to an NFC-enabled Smartphone or Tablet, or by scanning the QR code, you can start the in-built Wi-Fi and transfer your images. And by utilizing the GPS log of a Smartphone or Tablet, you can add location information to the shared images.

Movie, Custom 1 & 2, Scene (25 scenes), Art Filters and intelligent Auto. Exposures can be compensated by +/- 5 stops and bracketed up to +/- 3 stops. White Balance cannot be bracketed. The FZ1000 can shoot at a maximum burst rate of 12fps. The Leica-designed zoom lens is constructed from 15 elements in 11 groups which include 4xED and 5xAsperical lens elements. The zoom can be operated using a ring that surrounds the lens or by operating the zoom lever (with 5 possible zoom speeds) on the top plate. On the left side of the lens (as when viewing through the lens), is a switch that controls the lens ring between zooming and manual focus. Below it is the switch for the 5-axis image stabilizer. The FZ1000 offers 5 Function buttons that, depending on the mode – Recording or Playback – can be customised by the user. The lens has thread for 62mm filters.

On the top left of the camera is a dial for drive mode that allows you to select between single shot, continuous, exposure bracketing,

The FZ1000 allows you to create vertical or horizontal panoramas. A variety of Filter Effects can also be added for expressive photography.

VideoThe FZ1000 is capable of recording 4K QFHD (Quad Full High Definition) video where the horizontal resolution is approximately 4000 pixels (3840 x 2160, 30 fps in MP4) as against the 1080 pixel vertical resolution (1920 x 1080) in a Standard 1080p video. This results in a much higher image quality as compared to the Standard video. According to Panasonic, one should use a card rated as UHS Speed Class 3 when recording 4K video. It is possible to capture an 8-megapixel still image from the video footage. A stereo zoom microphone reduces zoom noise and an Auto Wind Cut feature stops most of the wind noise.

ErgonomicsThe FZ1000 is very easy to operate and the user interface is very friendly. The controls seem to be the right places. The zoom can be operated

Aperture: f/5.6 Shutter Speed: 1/250sec

. ISO: 800

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BRIDGE CAMERA Review Panasonic Lumix FZ1000

www.smartphotography.in98 Smart Photography October 2014

using the zoom ring around the lens or using the rocker switch surrounding the shutter release button. The lens extends quite a bit when you zoom out to the maximum focal length (400mm equivalent), but the lens barrel does not rotate, making it easy to use PL or Graduated Neutral Density filter. As you zoom, the viewfinder shows the equivalent focal length. Individual eyesight correction dioptre is to the left of the electronic viewfinder, which is a pleasure to use. If you have a trigger-happy index finger, it would do well to have an extra battery with you.

PerformanceThe Panasonic FZ1000 delivers superb image quality, thanks to its excellent Leica DC Vario-Elmarit zoom lens, combined with its Venus Engine processor (identical to the one used in its flagship Micro Four Thirds GH4) and the large (compared to compacts and most other bridge cameras) imaging sensor. Autofocussing is very fast, aided by Panasonic’s DFD (Depth From Defocussing) technology. According to Panasonic, “It instantaneously calculates the distance to the subject by evaluating 2 images with different sharpness levels. As a result, ultra high-speed AF of approx. 0.09 sec (wide-end) / approx. 0.17sec (tele-end) is achieved”. The 25-400mm equivalent zoom lens retains its sharpness even at the 400mm end,

Effective pixels : 20.1 megapixels

Imaging sensor/size : High-sensitivity MOS sensor, 1” Type (13.2 x 8.8mm)

Lens : Leica DC Vario-Elmarit, 25-400mm equivalent

Aperture range : Still: F/2.8-8 (W); F/4-8 (T)

Motion Picture: F/2.8-11 (W); F/4-11 (T)

Image stabilizer : Hybrid O. I. S. 5-axis (except for 4K and high-speed video recording)

Focus range : 30 cm – infinity (W) / 100 cm - infinity (T)

3 cm-infinity (W) / 100 cm-infinity (T) when using AF

Macro / MF / Intelligent Auto / Motion Picture

Focus : AFS (Single), AFF (Flexible), AFC (Continuous), MF

(Manual) Normal / AF Macro / Macro Zoom, Quick AF

On / Off (on in Intelligent Auto), Low Light AF, AF/AE

Lock Button, AF Area Select, AF Tracking, Eye Sensor AF

Focus : Peaking, One Shot AF (Set the Fn button in custom

menu to AF-ON)

Shutter speed : Still: 60 sec-1/4000 sec (Mechanical shutter);

1-16,000 sec (Electronic shutter)

Viewfinder : OLED Live View Finder

File Format : Still: JPEG, Raw; Motion Picture: AVCHD, MP4

Recording modes : Intelligent Auto, P, A, S, M, Creative Video,

Custom 1 & 2, Scene, Creative Control

Video : 4K: 3840 x 2160 pixels, 30p

HD Video: 1920 x 1080, 60p to 1280 x 720, 30p

STD Video: 640 x 480, 30p

High Speed Video: 1920 x 1080, 30p

Video recording time : AVCHD: 130 min (FHD/60p); 135 min (FHD 60i)

MP4: 110 min (4K/30p); 130 min (FHD/60p)

Dimensions (W x H x D) : 136.8 x 98.5 x 130.7mm

Weight : 831g with battery and card

KEY SPECIFICATIONS

The Superzoom/Bridge camera category is one section of the compact camera market that is under no danger. Predictably, all the major manufacturers have a superzoom in their range. With the FZ1000, Panasonic is now the king of the superzooms. Currently, there is no competing camera that can come close to the FZ1000. Go for it!

VERDICT

PLUS• Good build quality• Excellent image quality for a camera with a 1” Type sensor• Excellent video quality

MINUS• Lens cap design could have been better• Battery life limited

84%FINAL SCORE

Design and Build Quality 16/20

Key Features 18/20

Ergonomics 18/20

Performance

Autofocus 4/5

Metering 4/5

Noise Control 4/5

Sharpness 4/5

LCD/EVF 5/5

Auto W/B 4/5

Sub-Total 25/30

Value for Money 7/10

something that most long-zoom lenses don’t do well.

There was no perceptible time lag between the pressing of the shutter release button and the actual exposure. When set to exposure bracketing, the burst speed was extremely fast. The camera is capable of firing at 12 frames per second! The FZ1000 has a native print size of 18.24 x 12.16 inches at 300ppi. At 25% screen size, images were usable at all the rated ISOs, though ISO 6400 was slightly noisy and ISO 12800 did show more noise. At 50% screen size, images were okay up to ISO 3200, though ISO 3200 images were slightly soft, possibly due to excessive noise reduction within the camera. At 100% screen size, images shot at 1600 and above were noisy.

Video quality was outstanding. We did not try the 4K video since we do not have a 4K TV but the ‘normal’ video quality left us spellbound.

Value for MoneyPanasonic India is yet to introduce the FZ1000 in the Indian market and therefore there is no guide price. In Europe, it retails for around 800 Euros or 750 Pounds including value added tax. Without tax, this would translate to around Rs.62,000. At or around this price, the FZ1000 is fair to good value. Expect prices to ease as supply improves.

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LENS REVIEW Canon EF 16-35mm f/4L IS USM

100 Smart Photography October 2014 www.smartphotography.in

Trimmed to Size Sujith Gopinath

While amateur photographers aim for the longest reach in terms of zoom,

professionals aim to extend the shorter end of the zoom range and accommodate a wide-angle lens. Th is is especially true for landscape or interior photographers who need that extra ‘width’ for maximum eff ect. But wide-angle lenses are very expensive, if you consider fast lenses, and you need a bit of extra skills to handle a wide-angle. Th e Canon EF 16-35mm f/4L IS USM is an aff ordable version of the EF 16-35mm f/2.8L II USM lens for full-frame cameras.

Design and Build QualityBeing an L-series, this lens carries the mark of excellence and fi ne workmanship. Th e outer barrel is made of rugged quality engineering plastic. Th ough normal plastics, in general, are considered inferior to metals, these toughened plastics have better strength-to-weight ratios, making the material lighter yet as strong as metals. Th e fact that these composite materials are used in the construction of modern fi ghter aircraft s, is proof of its tensile strength. Composites are also better at cushioning impact in case it is accidentally dropped.

ErgonomicsTh e Canon 16-35mm lens is very comfortable to hold and operate. Th e rubber grips on the zoom and focus rings make operaion eff ortless. Th e lens is made for Full-Frame bodies and it balanced well with the Canon 6D body that we used for the tests. Since this lens features internal focussing, the lens barrel does not extend while focussing or zooming, and neither does the front element rotate.

PerformanceTh e Canon 16-35mm lens autofocussed very fast on the Canon 6D we used for the tests. Focussing was precise and the AF operation was near-silent (only the photographer could hear it). We did not observe any fl are or chromatic aberration at the wide-angle end in strong against-the-light shots. However, we could see lateral chromatic aberration while photographing dark text on white paper in the studio. Th is is common for most wide-angle lenses. Sweet spot of the lens was found to be f/5.6, and the lens produced the best sharpness from f/4 to f/8. Sharpness deteriorated from the centre to the peripheries.

✓ Canon EF 16-35mm f/4 lens ✓ Front and Back caps ✓ Lens Case ✓ Lens Hood ✓ Literature

Inside the Box

` 77,995

Key FeaturesTh e Canon 16-35mm features, as expected from an L-series lens, is packed with professional features. It can be used with both full-frame and APS-C bodies. Th e lens has a maximum aperture of f/4 and a minimum aperture of f/22. It is constructed with 16 elements in 12 groups including three aspherical and two UD (Ultra-low Dispersion) lens elements to reduce aberrations. It also uses special coatings to reduce fl are and ghosting. Th e lens features a 9-blade circular aperture that produces pleasing bokeh. Focussing is through a ring-type Ultrasonic Motor (USM), which assists with internal focussing. With this feature, the lens dimensions do not change while focussing. Th e lens focusses as close as 28cm and provides a diagonal angle of view from 108º10’ to 63º. Canon claim that the Image Stabilisation system provides up to four stops advantage in handheld shots.

Th e lens has a fi lter size of 77mm. It has a rubber ring to prevent water and dust from seeping into the camera through the lens mount. Th is lens weighs approximately 615g and has dimensions of 82.6 (dia) x 112.8mm.

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October 2014 Smart Photography 101www.smartphotography.in

Aperture: f/7.1 Shutter Speed: 1/400sec ISO: 800

Mah

esh

Red

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The lens produced barrel distortion till 24mm, along with some irregular (moustache) distortion. It also produced prominent darkening of corners at the wide-angle end throughout the aperture range. The

6D did not have the lens correction data for the lens, and hence the peripheral illumination correction and chromatic aberration correction could not be enabled for this lens. Optical Image Stabilisation

81%Design and Build Quality 18/20

Key Features 18/20

Ergonomics 17/20

Performance

Autofocus 5/5

Sharpness 3/5

Distortion Control 3/5

Aberrations 4/5

Darkening 3/5 of Corners

Extra Features 4/5

Sub-Total 22/30

Value for Money 6/10

FINAL SCORE

The Canon 16-35mm f/4L IS USM lens offers a very useful range for landscape photographers and those in search for a wide-angle lens with a good zoom range, that does not burn a hole through their pockets. This is ideal for landscapes because the darkening of corners and distortion are less likely to be seen in landscapes.

VERDICT

PLUS• Superior build quality• Fast Autofocus• Comfortable to use• Good flare control

MINUS• Heavy darkening of corners• Prominent distortion

Focal Length : 16-35mm

Maximum Aperture : f/4

Minimum Aperture : 22

Lens Construction : 16 elements in 12 groups

No. of Diaphragm Blades : 9

Diagonal Angle of View : 108°10’ - 63°

Focus Adjustment : Inner focus system

Drive System : Focusing cam system by ring USM drive

Water or dust-resistance : Yes

Distance Scale : Yes

Maximum Magnification (x) : 0.23

Closest Focusing Distance : 0.92 ft. / 0.28m

Filter Size : 77mm diameter

Max. Diameter x Length : 82.6 x 112.8mm

Weight : 615g

SPECIFICATIONS

performed well as claimed by Canon, and the lens coatings did not introduce any unwanted cast.

Value for MoneyThe Canon 16-35mm f/4L IS USM lens retails at an MRPof Rs.77,995. This looks competitive for a lens with this range and specifications.

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LENS REVIEW Canon EF-S 10-18mm f/4.5-5.6 IS STM

102 Smart Photography October 2014 www.smartphotography.in

Th e Budget Wide-angle Sujith Gopinath

one UD element that helps reduce chromatic aberration throughout the zoom range. The lens is designed with large diameter and aspherical elements to reduce the aberrations. Canon claim that the Image Stabilisation (IS) system provides up to four stops advantage over non-IS lenses in terms of shutter speed. The lens is coated with special materials to provide good colour balance and reduce flare and ghosting.

The lens has a 7-blade circular aperture for soft and pleasing bokeh. The AF system employs rear focusing for high speed autofocus. It also features full-time manual focus adjustments, which allows manual focus even when the lens is in AF mode. The lens provides a diagonal angle of view of 107°30’ to 74°20’. It has a filter size of 67mm (dia) and the closest focus distance is 0.22m. The lens weighs 240g and has dimensions of 74.6mm (dia) x 72.0mm.

ErgonomicsThe 10-18mm lens is compact and lightweight. Both the zoom and focus rings have rubber grips, which make them easy to rotate. The broad zoom ring is at the back, while the narrower focus ring is at the front. The focus ring rotates freely even in AF mode since the lens allows full-time manual focussing. The body balanced well with the EOS 600D that we used for the tests. Since this lens can be mounted only on APS-C type bodies,

✓ EF-S 10-18mm f/4.5-5.6 IS STM lens ✓ Front and Back caps ✓ Warranty card ✓ Lens literature

Inside the Box

` 20,995

For someone without deep pockets, a wide-angle lens is like sour

grapes, with most of them falling beyond the reach of his budget. This is why you should look at the new EF-S 10-18mm f/4.5-5.6 IS STM,

a comparatively inexpensive wide-angle option for APS-C type camera bodies. We would

consider this a step in the right direction from Canon.

Design and Build QualityThe EF-S 10-18mm is essentially

an amateur lens, and hence we can see some compromise in the material used for construction. The outer body is made of engineering plastic, which

makes the lens light and easy to lug around. It has a plastic mount,

which is less resilient to wear and tear than its metal counterparts. We do not consider these essentially as negatives because an amateur, affordable wide-angle lens is essentially a compromise in one way or the other.

Key FeaturesThe Canon EF-S 10-18mm is designed for APS-C bodies and provides an equivalent focal length of 16 to 29mm on these cameras. It is compact and lightweight and incorporates a stepping motor (STM) along with a newly-designed focus mechanism to provide smooth and quiet continuous AF, especially during video recording. The lens has a total aperture range of f/4.5-22 (W) and f/5.6-29 (T). It features 14 elements in 11 groups including

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Aperture: f/11.0 Shutter Speed: 1/40sec ISO: 400

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the lens features only the white square alignment mark to mount it on the body (full-frame lenses and bodies have raised red dots for alignment).

PerformanceThe Canon 10-18mm lens performed well in our tests. Autofocus was fast, silent and precise. We did not observe any focussing sound during movie playback, thanks to the STM. Focussing was fast even during video recording. The lens focussed well even under reasonably low light. Images appeared sharp out of the box. And the sweet spot was found to be around f/5.6 to 8. Sharpness deteriorated from centre to the edges as expected, especially at the wide-angle end.

We observed prominent darkening of corners at the wide-angle end at all apertures. Slight flare was also observed, but we did not notice any chromatic aberration. The lens produced barrel distortion from 10 to 14mm.

Value for MoneyThe Canon EF-S 10-18mm f/4.5-5.6 IS STM lens retails at an MRP of Rs.20,995. At this price, the lens is very good value for money.

The EF-S 10-18mm lens is aimed at amateur photographers who are keen on buying an affordable wide-angle lens for their APS-C bodies to augment the capabilities of the kit lens. The STM offers fast and silent focussing, making it ideal for wide-angle motion pictures. This is indeed a great value-for-money product.

VERDICT PLUS• Fast and silent AF• Great price• Lightweight• Image Stabilisation

MINUS• Plastic lens mount• Not the best in peformance

Focal Length : 10-18mm

Maximum Aperture : 1:4.5-5.6

Lens Construction : 14 elements in 11 groups

Diagonal Angle of View : 107°30’ - 74°20’

Focus Adjustment : Rear focus system

Closest Focusing Distance : 0.22m

Filter Size : 67mm diameter

Max. Diameter x Length : 74.6 x 72.0mm

Weight : 240g

SPECIFICATIONS

82%Design and Build Quality 16/20

Key Features 18/20

Ergonomics 17/20

Performance

Autofocus 4/5

Sharpness 4/5

Distortion Control 3/5

Aberrations 4/5

Darkening 3/5 of Corners

Extra Features 4/5

Sub-Total 22/30

Value for Money 9/10

FINAL SCORE

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LENS REVIEW AF-S NIKKOR 16-35mm F/4G ED VR

104 Smart Photography October 2014 www.smartphotography.in

A Less Expensive Alternative

Rohinton Mehta

The AF-S Nikkor 16-35mm f/4G ED VR is the fi rst full-frame Nikon ultra-wide-angle

zoom to off er Vibration Reduction (VR II). Introduced in early 2010, it is a less expensive alternative to the Nikon 17-35mm f/2.8 lens.

Design and Build QualityTh e AF-S NIKKOR 16-35mm F/4G ED VR lens is a G-type lens (does not have an aperture ring; apertures are controlled from a compatible body). Th e lens is very well built and off ers some degree of protection against dust and moisture. Th e zoom ring is towards the body. Rubberised grips cover the zoom ring as well as the manual focussing ring. Th e lens is quite heavy at 680g and has 77mm size fi lter thread.

Key FeaturesTh e AF-S Nikkor 16-35mm f/4G ED VR is designed for full-frame Nikon cameras. It off ers a fi eld view of 107-63 degrees on full-frame and 83-44 degrees on DX (APS-C) size sensor cameras. On DX bodies, it off ers an equivalent focal length of 24-52mm. It’s version II VR (Vibration Reduction) lets you use you can conveniently use graduated

ND fi lter or CPL fi lter is an added advantage. Th e manual override possibility during AF may not be that important to some users due to the extensive depth of fi eld provided by this lens.

PerformanceTh e AF-S Nikkor 16-35mm f/4G ED VR lens is very sharp in the center at all apertures but slightly ‘soft er’ at the corners, especially at the wide settings. Th is can be easily taken care of in post-processing. We felt that the lens off ered the sharpest

✓ Lens ✓ Bayonet-type lens hood (HB-23) ✓ Lens pouch (CL-1120) ✓ Front and rear lens caps

Inside the Box

` 103,600

shutter speeds approximately 4-stops slower while still retaining acceptable image sharpness. Th e lens is constructed with 17 elements in 12 groups that includes 2 ED glass elements, 3 aspherical elements and Nano Crystal Coat which helps to reduce fl are and ghosting. Th e lens has weather sealing and is equipped with a Silent Wave Motor (SWM) for quick and extremely quiet autofocussing.

Th e lens is marked at 16, 20, 24, 28 and 35mm settings and has two focus modes – Autofocus with manual override (M/A) and Manual (M). Th e lens has internal focussing as well as zooming, which means that the overall length of the lens does not alter while focussing or zooming. Th e front element does not rotate, making it convenient ot use CPL or graduated ND fi lters.

ErgonomicsTh e lens is quite large in size and heavy too (for a wide-angle zoom), but it is lighter than Nikon’s 14-24mm f/2.8 and 17-35 f/2.8 zoom lenses and hence (comparatively) easier to lug around. Th e fact that

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Aperture: f/8.0 Shutter Speed: 1/800sec ISO: 1000

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images at and around the 24mm focal length, whereas the ‘sweet-spot’ was between f/8-11. One would think that VR is not really necessary for such a wide-angle zoom lens but all the same, it does help; you will notice the diff erence (with and without VR) when you enlarge the images to 100%, especially those shot at slow shutter speeds. Th e Nano coat helps to control fl are and ghosting though fl are was visible in against-the-light shots that included the sun. Chromatic aberrations could be seen

while pixel-peeping but again this can be corrected in post-processing. Darkening of corners was observed at all apertures at the 16mm setting.

Th e lens exhibited strong barrel distortion at the widest focal length setting of 16mm and continued to do so till 23mm, though the degree of distortion lessened gradually. Due to this the lens may not be ideal for architectural photography. Th e distortion will not be a problem if you primarily shoot landscapes or

81%Design and Build Quality 18/20

Key Features 17/20

Ergonomics 16.5/20

Performance

Autofocus 4/5

Sharpness 5/5

Distortion Control 3.5/5

Aberrations 3.5/5

Darkening 3.5/5 of Corners

Extra Features 3/5

Sub-Total 22.5/30

Value for Money 7/10

FINAL SCORE

A less expensive alternative to the Nikon 17-35mm f/2.8 lens. Th e 16-35mm f/4.0 is ideal for those who do not need the low light capabilities of the 17-35mm f/2.8 lens. Th e 17-35mm is very sharp and will serve perfectly well.

VERDICT

PLUS

• Very sharp images• Very good build quality• Quick AF (but that would also depend on the body)

MINUS

• Barrel distortion between 16 - (approx) 23 mm• Heavy• Expensive

Lens construction : 17 elements in 12 groups (2 ED glass elements,

3 aspherical elements and Nano Crystal Coat)

Aperture range : F/4-22

Closest focusing distance : 0.28m at all focal lengths

Max. reproduction ratio : 0.25x (at 35mm setting)

Filter size : 77mm

Dimensions (D X L) : 82.5 x 125 mm

Weight : 680g

SPECIFICATIONS

street scenes, or shoot architectural subjects between say, 24-35mm settings.

Value for

MoneyTh e AF-S Nikkor 16-35mm f/4G ED VR is available at an MRP of Rs.1,03,600. Yes, it is expensive at this price but if image sharpness is your priority, this lens fi ts the bill.

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SMARTPHONE Review Gionee Elife S5.5

106 Smart Photography October 2014 www.smartphotography.in

Hidden Dragon... Sujith Gopinath

No other debutant in the Indian Smartphone market has, in my opinion,

has turned so many heads with their bold and classy television commercial. The Gionee Elife S5.5 debuted by taking a dig at other players in the market, emphasising its position as the slimmest smartphone in the world, and revealing its high-end features including a metal body. Needless to say that we have been impatiently waiting to review the device in Smart Photography. Finally, we got

` 22,999

✓ Gionee Elife S5.5 Smartphone ✓ Headset ✓ Data Cable ✓ User Manual ✓ Screen protector ✓ Carrying case

Inside the Box

with Android 4.2 Jellybean, which can be updated to KitKat. The Smartphone sports 16 GB internal storage and does not support expansion of memory using a memory card. The phone uses a single micro SIM and has 2GB RAM. The Elife S5.5 uses a 5-inch, Amoled Capacitive multi-touch screen with a maximum resolution of 1920 x 1080 dots. The display has a native resolution of 480 dpi. The multi-touch feature can detect up to five touch points simultaneously. The device features Wi-Fi, Wi-Fi tethering, FM Radio, GPS/A-GPS, Bluetooth, proximity sensor, accelerometer, and motion sensor, but does not support NFC and Infrared communication.

The Gionee S5.5 specifications do not reveal much about the camera features, but it is quite exhaustive for a Smartphone. The main camera is 13.0 megapixels, while the front camera is 5.0 megapixels. On the first look at the interface, the camera might look quite subdued, but a tiny

our hands on the S5.5, and here’s what we feel about it.

Design and Build QualityThe Gionee Elife S5.5 is the slimmest Smartphone in the world at 5.55mm thickness, and feels very rugged. The device has a single piece contruction with an integrated battery and has a thin and rugged metal bezel. Both the front and back surfaces are of Corning Gorilla Glass 3. The device projects a stylish design.

Key FeaturesThe Gionee S5.5 uses MediaTek MT6592 chipset and octa-core processor in ARM Cortex-A7 architecture, each core clocked at 1.6 GHz supported. It is supported by an ARM Mali 450 MP GPU. The device runs on Android operating system and is shipped

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Aperture: f/2.4 Shutter Speed: 1/180sec. ISO: 100

button on the lower right corner brings up the professional menu, which provides access to a host of advanced features. There is an on-screen dial similar to a camera’s mode dial. This provides five options—Auto, Sport, Night, HDR, and Panorama. There are two more dials for Capture mode and Self-timer. Capture modes available are Normal, Touch, V-sign, and Smile. In the V-sign mode, the camera captures the image when somepne puts up a ‘V’ sign. The Self-timer dial lets you set it to Close (off ), 2 sec, 5 sec, and 10 sec. Then there are four sliders similar to the volume controls on a media player. These are for Size (Resolution), White Balance, EV (Exposure compensation), and ISO. You can select the

resolution from 4 to 13 megapixels. White Balance can be st to Auto, Cloudy, Fluorescent, Daylight, and Incandescent. Exposure can be compensated up to +/-3 EV in 1 EV steps. ISO settings are Auto and ISO 100 to 1600. The camera also offers Face detection, Geo-tagging, Level meter, and Auto scene mode. In case, you get the settings wrong and want to start over, there is a reset button that comes handy. Th camera has an LED flash (or light, rather) that can be used for low-light close-ups.

Apart from the regular camera application, the phone also has a built-in app called CharmCam. This can be called your fun studio, where you can apply various built-in effects to the photographs

you click. This is a good idea to minimise the chances of inadvertently applying a funny face to a serious photograph. The features include Live Filters, Stamps, PPT (to capture a presentation), Tracks (for movng objects), Face beauty, Makeup, Best face, and Eraser (you can erase any element from the photograph).

The Gionee S5.5 is powered by a 2300 mAh Li-Polymer battery pack (integrated). The device weighs 133g and has dimensions of 145.1 x 70.2 x 5.55mm.

ErgonomicsThe Elife S5.5 uses a highly customised interface, but regular Android users will not have any difficulty in using the phone. The

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SMARTPHONE Review Gionee Elife S5.5

108 Smart Photography October 2014 www.smartphotography.in

quite sharp out-of-the-box. The camera captured stunning macro and natural light images. Metering worked as expected. Auto White Balance performed well, providing desirable results under natural light. Images shot under Fluorescent light had a distinct blue cast, but this could be easily removed while post-processing. Native images had a print size of 14 x 10.4 inches at 300 ppi. At 25 percent of this

interface is quite user-friendly and there are many ways to customise the interface. Images on the screen appeared crisp, comparable to any high-end Smartphone.

PerformanceThe Gionee S5.5 performed very well in our tests. The device was fast and handled high-graphic applications very well. Though the device had average battery life, it might improve with a few charge-discharge cycles.

The S5.5 secured a score of 29,044 on AnTuTu benchmarking software, placing it sixth behind the LG G2, and the hardware proved very stable, going by the stability test. With the CPU at full load, temperatures varied between 33 and 35 degree Celsius. The device never overheated, unlike some other high-performance Smartphones.

Coming to the camera, the S5.5 performed remarkably well. Autofocus was fast and precise. The camera captured minute details very well. Images were

Platform : MTK

Chipset : MT6592

Operating System : Android

OS version : 4.2 Jellybean (Kitkat OTA available)

No of SIM Cards : Single Sim

External Storage : Not supported

ROM : 16GB

RAM : 2GB

GSM Operating Bands : GSM850/900/1800/1900

WCDMA Operating Bands : WCDMA 900/1900/2100 MHz

USB support : Yes

Bluetooth : Yes

Browser : Yes

Video Calling through Network : Yes

Video Calling through Internet : Yes

Wi-Fi : Yes

Wi-FI Tethering : Yes

GPS / a-GPS : Yes

HDMI : No

LAN Port (Ethernet) : No

NFC : No

Infrared : No

Display type : Amoled

Display Size (inches) : 5.0

Display Ratio : FHD

Screen Resolution (Pixels) : 1920×1080

TP Technology : Capacitive

Touch Type (Single / Multi) : Multi

Size (HxWxD) : 145.1×70.2×5.55mm

Weight : 133g (with battery)

Battery Capacity : 2300mAh

Battery type : Li-Polymer

Other features : E-mail (POP + Exchange), Motion Sensor, G sensor

(Auto Rotation), Proximity Sensor, Accelerometer, Compass

Browser Type and name : UC browser

Headset connector : 3.5mm ear jack

FM Radio : Yes

FM Recording : Yes

Music Player : Yes

Audio Recorder : Yes

Video Player : Yes

Loudspeaker : Yes

Camera Front : 5.0 Megapixel

Main Camera : 13.0 Megapixel

Camera Features : Auto Focus, Face Detection, Smile Shutter, Flash/Light,

Image editor, Video Recorder

Streaming Audio/Video : No

Video Player formats : avi,3gp,mp4

KEY SPECIFICATIONS

PLUS• Rugged build quality• Slimmest in the world• Premium hardware features• Superlative performance

MINUS• Debutant in the market88%FINAL SCORE

Design and Build Quality 19/20

Key Features 17/20

Ergonomics 17/20

Performance 17/20

Value for Money 18/10

The Gionee Elife S5.5 is truly a high-end Smartphone that performs like a champ. The sleek and trendy phone is ruggedly built and provides excellent performance. At the listed price, this is great value for money.

VERDICT

screen size, images were free of noise up to ISO 400. Thereafter, we observed slight noise at ISO 800, and ISO 1600 was certainly noisy. Viewed at 50 percent, images remained noise-free up to ISO 200, while ISO 400 showed slight (almost imperceptable) noise. At 100 percent view, we observed noise at all levels, but ISO 100 could be used in a crunch. We would consider this good performance.

Value for MoneyThe Gionee Elife S5.5 retails at an MRP of Rs.22,999. Looking at the hardware configuration, stylish design and matching performance, this is good value for money.

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A Useful Addition Sujith Gopinath

Smart Photography has been reviewing Smartphones for quite some time, but Tablets

have been kept out of our pages since they are too bulky to be a serious photography gadget. Though we haven’t changed our mindset regarding the utility of tabs for photography, we still consider them convenient replacements for laptops in displaying your photographic portfolio, playing back videos, and as an emergency retouching tool. Though the 10-inch tablets impress with their large screen sizes, the smaller versions are more convenient. Manufacturers are increasingly realizing the importance of this and now Samsung is all set to woo the market with the powerful Galaxy Tab S 8.4.

Key FeaturesSamsung has released the Galaxy Tab S in two sizes, 10.5 and 8.4 inches. While the 10.5 essentially has a landscape orientation (broader) to mimic laptops, the 8.4 suits handheld operation with its portrait orientation (narrower). We received the 8.4 version, and were impressed by its features. The Galaxy Tab S 8.4 features a dotted design at the back, identical to the Galaxy S5 Smartphone. It is slim and lightweight at 294g, making it easy to carry around. Its Super AMOLED display supports 94 percent of Adobe RGB colour gamut for better colour reproduction and offers 100000:1 contrast ratio. The adaptive display automatically adjusts the colour gamut, sharpness and contrast of the screen to suit the content you are viewing. This feature works on Gallery, Camera, Internet, Video,

FIRST LOOK Samsung Galaxy Tab S

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FIRST LOOK Samsung Galaxy Tab S

110 Smart Photography October 2014 www.smartphotography.in

Google Playbook, VT call, and UI.

Samsung has carried over the fingerprint scanner from the S5 to this device. This enhances the security of the Tab S. However, it could fail in certain situations such as wet or sweaty hands. Another attraction in the Tab S is the Multi Window feature, which allows you to perform multiple tasks simultaneously on the screen. SideSync 3.0 is another featrure embedded in this tab, which allows you to view your Smartphone’s screen and control it using Wi-Fi Direct. This allows you to make and receive calls on the Tab S. If you like to carry your work around, the device supports Remote PC, with which you can remotely access your PC or Mac on the tab, provided the computer is turned on. For web conferencing, the Tab S also comes pre-installed with Cisco WebEx.

Hardware and Specs The Galaxy Tab S 8.4 runs on Google Android platform, and comes with the KitKat version pre-installed. The display has a resolution of 2560 x 1600 (WQXGA) and can display 16 Million colours. It uses an Exynos 5 Octa 5420 chipset with a Quad-core Cortex 1.9GHz, and a Cortex 1.3GHz processor working side-by-side, supported by a Mali-T628 MP6 GPU. The device has 3GB RAM and 16GB

ROM (Internal memory). The memory can be expanded up to 128GB using a micro SD card. The tab features a main camera with an 8.0MP CMOS sensor and a front camera with a 2.1MP CMOS sensor. The maximum video resolution is 1920 x 1080 at 30fps. The tab also features proximity sensor, geomagnetic sensor, hall sensor, gyro sensor, accelerometer, and RGB sensor. The Tab S supports videos of MP4, M4V, 3GP, 3G2, WMV, ASF, AVI, FLV, MKV, and WEBM formats and audio files of MP3, M4A, 3GA, AAC, OGG, OGA, WAV, WMA, AMR, AWB, FLAC, MID, MIDI, XMF, MXMF, IMY, RTTTL, RTX, and OTA formats. The tab can connect with the Galaxy Gear Smartwatch using the Gear Manager. The Tab S features Wi-Fi and GSM, and you can make and receive calls just like any Smartphone.

First ImpressionsThough we did not conduct a thorough review of the photography features of the Galaxy Tab S, the experience was very good. The camera was quite useful, though it did not have any advanced features. We wouldn’t recommend using a tablet for serious photography, but this can come handy in case of an emergency. Video playback was excellent, though we would like the speakers to be louder. Sound quality improved with the

OS : Android

Display : Super AMOLED 21.28 cm

Resolution : 2560 x 1600 (WQXGA)

Colour Depth : 16M

Processor : 1.9GHz, 1.3GHz

CPU Type : Octa-Core

RAM : 3GB

Internal Memory : 16GB

External Memory Support : MicroSD (Up to 128GB)

Video Recording Resolution : FHD (1920 x 1080)@30fps

Main Camera : CMOS 8.0 MP

Front Camera : CMOS 2.1 MP

Main Camera Flash : Yes

Main Camera Auto Focus : Yes

Video Format : MP4, M4V, 3GP, 3G2, WMV, ASF, AVI,

FLV, MKV, WEBM

Audio Format : MP3, M4A, 3GA, AAC, OGG, OGA, WAV,

WMA, AMR, AWB, FLAC, MID, MIDI,

XMF, MXMF, IMY, RTTTL, RTX, OTA

Gear Manager : Yes

S-Voice : Yes

Display : 21.28 cms

SIM size : Micro-SIM (3FF)

Location Technology : Glonass, GPS, Beidou

Earjack : 3.5mm Stereo

SPECIFICATIONS

headphones. The multi-window feature is quite useful if you need to work with multiple files at the same time, especially for comparative work.

Samsung has quoted a ‘Best Buy’ price of Rs.37,800, though the MRP is slightly higher. The Galaxy Tab S is available at all major showrooms.

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READERS CAN CHECK THE ENTIRE BUYER’S GUIDE,

THAT FEATURES SPECS AND PRICES OF

D-SLRS, ILCCS, DIGITAL COMPACTS AND LENSES VIDE LINK

http://www.smartphotography.in/buyers-guide

Page 112: Smart Photography - October 2014 In

Buyers’ Guide - Digital SLRs

112 Smart Photography October 2014 www.smartphotography.in

Effective Pixels : 18 MillionSensor Type : CMOS, 22.3 x 14.9mmSupported File Type : JPEG, RAW (14 bit)Exposure Modes : Program AE, Shutter- priority AE, Aperture- priority AE, Manual

Metering Modes : Centre-weighted, EvaluativeLCD Monitor : 3.0-in. approx. 460,000 dots TFTISO Equivalence : ISO 100 - 6400Shutter Speed : 30 – 1/4000 secStorage Type : SD/SDHC/SDXCWeight : 480g (with battery)

Price: Rs. 27,995 (Body only)

Sensor Type/Size : CMOS sensor (35.9 x 24.0 mm)Effective Pixels : 24.3 million Supported File Formats : NEF (RAW)/JPEGISO Equivalence : ISO 100-6400 in steps of 1/3 or 1/2 EV Exposure Modes : Auto; scene; programmed

shutter-priority auto (S); aperture-priority auto (A); manual (M) Metering Modes : Matrix, Center-weighted, SpotShutter Speeds : 30 sec to 1/4000 sec LCD Monitor/ Dots : 3.2-inch/ approx. 921k-dot Storage Type : SC/SDHC/SDXCWeight : 850 g

Price: Rs. 1,29,950 (Body only)

Sensor Type/Size : CMOS (22.3 x 14.9mm)Effective Pixels : Approx. 18.00MPSupported File Formats : RAW/JPEGISO equivalence : Auto, 100, 200, 400, 800, 1600, 3200, 6400, 12,800, 25,600

Exposure Modes : Program AE , Shutter- priority AE, Aperture-priority AE, Manual exposure Metering Modes : Evaluative, Partial, Spot, Center- weighted averageShutter Speeds : 30 sec to 1/4000 LCD Monitor/ Dots : 3.0-inch/1.04 million dots Storage Type : SC/SDHC/SDXCWeight : 407g

CANON EOS 100DSensor Type/Size : CMOS sensor (22.5 x 15.0mm)Effective Pixels : Approx. 20.20MPSupported File Formats : RAW/JPEGISO equivalence : Auto, 100, 200, 400, 800, 1600, 3200,

6400, 12800 (25600 with boost) Exposure Modes : Program AE , Shutter-priority AE, Aperture-priority AE, Manual exposure, Bulb exposure Metering Modes : Evaluative, Partial, Spot, Center- weighted averageShutter Speeds : 30 sec to 1/8000 sec LCD Monitor/ Dots : 3.0-inch/1.04 million dotsStorage Type : SC/SDHC/SDXCWeight : 675 g

CANON EOS 70DSensor Type/Size : CMOS sensor (22.5 x 15.0mm)Effective Pixels : Approx. 18MPSupported File Formats : RAW/JPEG/ RAW + JPEG ISO equivalence : ISO100 - ISO12800Exposure Modes : Program AE, Shutter-priority AE,

Aperture-priority AE, Manual exposure Metering Modes : Evaluative, Partial, Spot, Center-weighted averageShutter Speeds : 30 sec to 1/4000 sec LCD Monitor/ Dots : 3.0-inch/1.04 million dotsStorage Type : SC/SDHC/SDXCWeight : 675 g

CANON 700D

Price: Rs. 43,995 (body only) Price: Rs. 79,995 (body only) Price: Rs. 43,995

Sensor Type/size : CMOS, 35.8mm x 23.9mm Effective pixels : Approx. 20.2 million Supported File formats: JPEG, RAW (14- bit, Canon original), RAW+JPEG Metering Modes : Evaluative metering (315

zones), Partial, Spot, Center-weighted Exposure Modes : Program AE for movie shooting, Manual exposureISO equivalence : 100-25600 (expansion possible to ISO 50, ISO 51200 and 102400) Shutter Speeds : 1/4000 to 30 sec. LCD Monitor/ Dots : 3.0-inches, 1,040,000 dotsStorage Type : SD card, SDHC card, SDXC memory cardWeight : 680g (Body only)

Sensor Type/size : Full Frame 36 x 24 mm CMOS Effective Pixels : 18.1 millionFile Formats : RAW /JPEG Metering Modes : Multi, Center- weighted, Average, Spot Exposure Modes : Program AE, Shutter priority AE, Aperture

priority AE, Manual ISO Equivalence : 100-51200 (50, 102400 and 204800 with boost) Shutter Speed : 30 sec-1/8000 sec.White Balance : Auto, Daylight, Shade, Cloudy, Tungsten, White Fluorescent light, Flash, Custom (up to 5), Color Temperature (Kelvin) LCD Monitor : 3.2 inches/ 1040000 pixels Storage Type : Compact Flash (Type I or II), UDMA compatible Weight : 185g

Sensor Type/size : CMOS, Full frame 36 x 24 mm Effective Pixels : 22.3 millionSupported File Formats : JPEG (Exif 2.3 [Exif Print] compliant) RAW: RAW, sRAW1, sRAW2 (14bit, Canon original RAW 2nd edition)

Metering Modes : Multi, Center-weighted, Spot, Partial Exposure Modes : Auto+ Program AE, Shutter priority AE, Aperture priority AE Manual (Stills and Movie), Custom (x3) ISO Equivalence : 100-25600 (50-102400 in expanded mode) Shutter Speed : 30 sec - 1/8000 sec White Balance : Auto, Daylight, Shade, Cloudy, Tungsten

WB, Color temperature LCD Monitor/Dots : 3.2-inch, 1,040,000 dots Storage Type : Compact Flash Type I (UDMA compatible), SD/SDHC/SDXC Weight : 950 gms

CANON EOS 6DCANON EOS-1D X CANON EOS 5D MARK III

Price: Rs. 1,32,995 (body only)Price: Rs. 4,55,995 (body only) Price: Rs. 2,17,995 (body only)

CANON EOS 1200D NIKON D610

Price: Rs. 4,19, 950 (Body only)

Effective Pixels : 16.2 MillionSensor Type : 36.0 x 23.9 mm CMOSSupported File Type : JPEG, RAW (12 or 14 bit), TIFFExposure Modes : Program with

(P); shutter- priority (S);

aperture-priority (A); manual (M)Metering Modes : Matrix, Centre-weighted, SpotLCD Monitor : 3.2-in., approx. 921k-dot (VGA) TFT ISO Equivalence : ISO 200 – 25,600 (Expandable to 409,600)Shutter Speed : 30 – 1/8000 secStorage Type : XQD and Type I CF (x2)Weight : 1350g (with battery and card)

NIKON D4s

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Buyers’ Guide - Digital SLRs

October 2014 Smart Photography 113www.smartphotography.in

Effective Pixels : 24.93million Sensor Type : 35.9mm, x24.0mm CMOSSupported File Type : JPEG, RAW (12 or 14 bit)Exposure Modes : Auto, Scene, Special Effects, Program with

(P); shutter-priority (S); aperture-priority (A); manual (M)Metering Modes : Matrix, center-weighted, or highlight-weightedLCD Monitor : 3.2-inch, approx.1229k-dot tilting TFTISO Equivalence : 100-12800 (expandable to 51,200)Shutter Speed : 30 – 1/4000 secStorage Type : SD/SDHC/SDXC (Dual Slots)Weight : 840g (with battery and card)

NIKON D750

Price: TBA

NIKON D810Effective Pixels : 37.09 MillionSensor Type : 35.9mm, x24.0mm CMOS Supported File Type : JPEG, RAW (12 or 14 bit), TIFFExposure Modes : Program with

(P); shutter- priority (S); aperture-priority (A); manual (M)Metering Modes : Matrix, Centre-weighted, SpotLCD Monitor : 3.2-inch, approx.1229k-dot TFT ISO Equivalence : 64-12800 (Expandable to 51,200)Shutter Speed : 30 – 1/8000 secStorage Type : CF (Type I, UDMA compliant), SD/SDHC/ SDXC (dual slot)Weight : 980g (with battery and card)

Effective Pixels : 24.2 MillionSensor Type : 23.5 x 15.6 mm CMOS sensorSupported File Type : JPEG, RAW (12 bit)Exposure Modes : Auto, Programmed

program (P); shutter-priority

auto (S); aperture-priority auto (A); manual (M); scene, special effectsMetering Modes : Matrix, Centre-weighted, SpotLCD Monitor : 3-in., approx. 921k-dot (VGA) TFT ISO Equivalence : ISO 100-12800 (Expandable up to 25,600)Shutter Speed : 30 to 1/4000 secStorage Type : SD/SDHC/SDXC memory cardWeight : 460g (with battery and card)

NIKON D3300

Price: Rs. 29,450 (Body only)Price: Rs. 1,99,950 (Body only)

Effective pixels : 24 millionSensor Type : 23.5 x 15.6 mm CMOSSupported File Types : JPEG, RawExposure Modes : iAuto, Program, Aperture priority, Shutter priority, Manual, SceneMetering Modes : Multi, Centre- weighted, Spot

LCD Monitor : Fully articulated 3-inch, 1,229,000-dot TFTISO Equivalence : SO 100-25600Shutter Speed : 30 to 1/8000 secStorage Type : SD/ SDHC/SDXC, Memory Stick Pro Duo/ Pro-HG DuoWeight : 647 g

SONY SLT A77 II

Price: Rs. 84,990 (Body only)

NIKON DF NIKON D7100Effective Pixels : 16.2 million Sensor Type : 36.0 x 23.9 mm CMOS Supported File Type : JPEG, RAW (12 or 14 bit), TIFFExposure Modes : Programmed

program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M) Metering Modes : Matrix, Centre-weighted, SpotLCD Monitor : 3.2-in., approx. 921k-dot (VGA)ISO Equivalence : ISO 100 - 12800 (Expandable to 204,800) Shutter Speed : 30 to 1/4000 secStorage Type : SD/SDHC/SDXC memory cardWeight : 765g (including battery and card)

Effective pixels : 24.1 millionSensor size/type : 23.5x15.6mm, CMOSMetering modes : Matrix, Center-weighted, SpotExposure modes : A, P (with Flexible P), S, M

ISO equivalent : 100-6400, extended up to 25,600 Shutter speeds : 30-1/8000sec, plus BulbLCD monitor : 3.2”, 1,228,800 dotsStorage type : SD, SDHC, SDXCWeight : 675g, body only

Price: 1,64,950 (Body only) Price: Rs. 79,450 (Body only)

Price: Rs. 48,995 (Body only)Price: Rs. 85,365 (Body only)

Sensor Type/Size : APS-C sensor (23.7 x 15.7mm )Effective Pixels : 16.3 MP ISO Equivalence: Auto, 100 to 51600, in 1, 1/2, 1/3 EV steps Supported File Formats : RAW (PEF, DNG), JPG (EXIF 2.30), DCF Exposure Modes : AF.A (auto), AF.S

(single, w focus lock, focus/shutter priority selectable), AF.C (continuous, w focus/FPS priority selectable), ManualMetering Modes : Center-Weighted Average, Spot Shutter Speeds : 30 sec to 1/8000secLCD Monitor/ Dots : 3.2-inch/1037k-dotStorage Type : SD/SDHCWeight : 649 g

Sensor Type/Size : CMOS sensor (23.5 x 15.6mm )Effective Pixels : 23.35 MP ISO Equivalence : Auto: ISO 100-51200 (1, 1/2, 1/3 steps), Auto ISO range selectableSupported File Formats : RAW (PEF, DNG),

JPG (EXIF 2.30), DCF Exposure Modes : Green, Hyper Program (P), Sensitivity Priority (Sv), Shutter Priority (Tv), Aperture Priority (Av), Shutter and Aperture Priority (Tav), Metered Manual (M), Bulb, X-SpeedMetering Modes : Multi, Center-weighted, SpotShutter Speeds : 30 sec to 1/8000secLCD Monitor/ Dots : 3.2-inch/1037k-dotStorage Type : SD/SDHC/SDXC Weight : 799 g

PENTAX K50PENTAX K3

Sensor Type/Size : CMOS sensor (23.5 x 15.6 mm)Effective Pixels : 24.2 million Supported File Formats : NEF (RAW)/JPEGISO Equivalence : Auto, 100 - 12800 (25600 with boost) Exposure Modes : Auto; programmed

program (P); shutter-priority auto (S); aperture-priority auto (A); manual (M); scene modes; special effects modes Metering Modes : Matrix, colour Matrix, Center-weighted, SpotShutter Speeds : 30 sec to 1/4000 sec LCD Monitor/ Dots : 3.2-inch, approx. 1037k-dot Storage Type : SC and UHS-I compliant SDHC/SDXCWeight : 480 g

NIKON D5300

Price: Rs. 49,450 (Body only)

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FUJIFILM X-E2 FUJIFILM X-M1FUJIFILM X-T1

Price: Rs. 1,09,999 Price: Rs. 47,999 Price: Rs. 91,999 (Body only)

FUJIFILM X-A1 OLYMPUS OM-D E-M5

Price: Rs. 44,999 (with 16-50mm lens) Price: Rs. 66,990 (Body only) Price: 44,990 (with 14-42mm lens)

Price: Rs. 39,990/-

OLYMPUS PEN E-PL5

PANASONIC DMC GF5

Price: Rs. 1,05,000 (Body only)Price: TBA

OLYMPUS OM-D E-M1OLYMPUS PEN E-PL7

Effective Pixels : 16.1 million Seensor Size/ Type : 17.3 x 13 mm, CMOS Metering Modes : Multi, Center-weighted, Spot ISO : Auto (200 - 1600), 100, 200, 400, 800, 1600, 3200, 6400, 12800 Exposure Modes : P, A, S, M , Bulb, Time, i- Auto, Scene Modes, Art Filter ISO equivalence : Auto ISO 200 - 25600 (customis able, default ISO 200 – 1600), Manual ISO 200 - 25600 in 1/3 or 1 EV ISO stepsShutter Speeds : 60-1/4000 secLCD Monitor/ Dots : 3-inch, 460,000 dotsStorage Type : SD/SDHC/SDXC Weight : 279g (body only)

Effective Pixels : 12.10 Megapixels Sensor Type/Size : Live MOS Sensor Metering Modes : Intelligent Multiple / Center Weighted / Spot Exposure Modes : Program AE / Aperture Priority AE / Shutter Priority AE / Manual ISO Equivalence : Auto, 160, 200, 400, 800, 1600, 3200, 6400, 12800 Shutter Speed : 60 sec - 1/4000 sec LCD Monitor : 3-inch, 920,000 dotsStorage Type : SD/SDHC/SDXC Weight :267 gms

Sensor Type/Size : CMOS sensor (17.3 x 13 mm) Effective Pixels : 16MPISO equivalence : 100-25600 in 1/3EV or 1EV increments Supported File : JPEG/RAW (ORF)/ MPOExposure Modes : Auto/Program, Shutter Priority, Aperture priority, Manual,

Metering Modes : Multi, Center-weighted, SpotShutter Speeds : 60 sec to 1/8000 secLCD Monitor/ Dots : 3-inch 1037 k-dotStorage Type : SD/SDHC/SDXC , Eye-FiMovie : MPEG-4 AVC/H.264/Motion JPEGWeight : 497 g

Effective Pixels : 16.1 million Sensor Type : 4/3 Live MOS Sensor Supported File Type : RAW, JPEG Exposure Modes : iAuto, P, A, S, M, Bulb, Time, Scene select, Art FilterMetering Modes : Digital ESP, Centre-weighted average, SpotLCD Monitor : Approx.1037k-dot, 3.0-inch tiltingISO Equivalence : ISO 100 - 25600 Shutter Speed : 60 – 1/4000 secStorage Type : SDHC, SDXC, UHS-I compatible Weight : Approx. 357g with battery and Memory card

Effective Pixels : 16.3 millionSensor Type : 23.6mm x 15.6mm CMOSSupported File Type : JPEG, RawExposure Modes : Program, Shutter priority, Aperture priority, ManualMetering Modes : Multi, Spot, AverageLCD Monitor : 3.0-inch, Approx. 920K-dot Tilt type TFTISO Equivalence : ISO200 – 6400 expandable to ISO100-25600Shutter Speed : 30 to 1/4000 sec., BulbStorage Type : SD/SDHC/SDXC (UHS-I)Weight : Approx. 330g (including battery and memory card)

Effective Pixels : 16.1 millionSensor Type/Size : Sensor Size/Type: 4/3 Live MOS Sensor Metering Modes : Multi Center-weighted, Spot Exposure Modes : i Auto, P: Program AE (Program shift can be performed) ISO Equivalence : UTO: ISO 200 - 25600 (customizable, Default 200-1600) / Manual ISO 200 - 25600, 1/3 or 1 EV steps selectable Shutter Speeds : 11/4000 - 60 sec. (1/3, 1/2, or 1EV steps selectable.)Bulb: default setting 8min. (1/2/4/8/15/20/25/30 min. LCD Monitor/Dots : 3.0-inch tilting OLED monitor Approx. 610,000 dots Storage Type : SD/SDHC/SDXC Weight : 425 gms (excluding battery)

Effective Pixels : 16.3 millionSensor Type : 23.6mm x 15.6mm X-Trans CMOSSupported File Type : JPEG, RawExposure Modes : Program, Shutter priority, Aperture priority, ManualMetering Modes : Multi / Spot / AverageLCD Monitor : 3.0-inch, approx. 1,040K-dotISO Equivalence : ISO 200 – 6400 (Expandable up to ISO 100-25600)Shutter Speed : 30 to 1/4000 sec; BulbStorage Type : SD/ SDHC/ SDXCWeight : Approx. 350g (including battery and memory card)

Sensor Type/Size : APS-C X-Trans CMOS (23.6mm x 15.6mm)Effective Pixels : 16 MP ISO equivalence : Auto / ISO 200 - 6400Supported File Formats : RAW/JPEGExposure Modes : Advanced SR AUTO, Program AE, Shutter Priority, Aperture Priority, Manual, Custom, Portrait, Landscape, Sport, SP, Adv., AUTOMetering Modes : Multi, Average, SpotShutter Speeds : 30 sec to 1/4000 secLCD Monitor/ Dots : 3.0-inch Type 920K-dot Storage Type : SD/SDHC/SDXC (UHS-I) Weight : 330 g

Effective Pixels : 16.3 million Sensor Type : 23.6mm x 15.6mm X-Trans CMOSSupported File Type : JPEG, RAWExposure Modes : Program, Shutter priority, Aperture priority, ManualMetering Modes : Multi / Spot / AverageLCD Monitor : 3.0-inch, approx. 1,040K-dot, Tilt typeISO Equivalence : ISO 200 - 6400 (Extended up to ISO 100-51200)Shutter Speed : 30 to 1/4000 sec., BulbStorage Type : SD/SDHC/SDXC (UHS-II)Weight : Approx. 440g (including battery and memory card)

Buyers’ Guide - ILCCs (Mirrorless)

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SONY NEX - 7

Price: Rs. 79,990 (with 18-55mm lens)

SONY NEX-6

Price: Rs. 45,990 (with 16-50mm lens)

Price: Rs 59,990 Price: Rs. 86,363 (only body)

Price: Rs.34,900 Price: Rs.94,990 (Body only) Price: Rs.1,54,990 (Body only)

Price: Rs.1,24,990 (Body only)

Price: 48,900 (with 18-55mm lens)

PANASONIC DMC G6 PANASONIC DMC-GH3

SAMSUNG NX1000 SONY ALPHA 7 SONY ALPHA 7S

SONY ALPHA 7R

SAMSUNG NX 300

Sensor Type/Size : CMOS sensor (17.3 x 13 mm) Effective Pixels : 16 MPISO equivalence : Auto / 160, 200, 400, 800, 1600, 3200, 6400, 12800, 25600 (Extended)Supported File : RAW/JPEG/MPO Video: MPEG4/AVCHDExposure Modes : Program AE / Aperture Priority AE / Shutter Priority AE / ManualMetering Modes : Intelligent Multiple / Center Weighted / Spot Shutter Speeds : 60 sec to 1/4000 secLCD Monitor/ Dots : 3.0-inch Type 1036k-dotStorage Type : SD/SDHC/SDXC Weight : 390 g

Effective Pixels : 16.05 million Sensor Size/ Type : 17.3 x 13.0 mm, Live MOS Sensor Metering Modes : Intelligent Multiple / Spot Exposure Modes : Program AE/Aperture Priority AE/Shutter Priority AE / Manual ISO equivalence : Auto / Intelligent ISO / 200 - 12800 (Changeable to 1/3, 1 EV step) (Extended ISO125 - less under 200, ISO more over 12800 - 25600 available) (Up to ISO3200 in Auto) Shutter speeds : Still Images: 1/4,000 - 60 and Bulb and Motion Images: 1/16,000 - 1/30 LCD monitor/ Dots : 3 inch, 614K dots Storage Type : SD/ SDHC/ SDXC Weight : 460 g

Effective Pixels : 20.3 megapixels Sensor Type/Size : APS-C type CMOS, 23.5 x 15.7 mm Metering Modes : Multi, Center-weighted, Spot Exposure Modes : Program, Aperture Priority, Shutter Priority, Manual, Lens Priority, Magic, cene, Movie, Wi-Fi ISO Equivalence : Auto, 100, 200, 400, 800, 1600, 3200, 6400, 12800 (1 or 1/3EV step) Shutter Speed : 30 sec - 1/4000 sec LCD Monitor : 3-inch, 921,000 dots Storage Type : SD/SDHC/SDXC Weight : 222 gms

Effective Pixels : 24.3 millionSensor Type : 35.8×23.9mm, “Exmor” CMOSSupported File Type : JPEG, RawExposure Modes : iAUTO, Superior Auto, P, A, S, M, Sweep Pano, SceneMetering Modes : Multi-segment, centre-weighted, spotLCD Monitor : 3.0-type wide TFT with 921,600 dotsISO Equivalence : ISO100 to 25600Shutter Speed : 30 – 1/8000 secStorage Type : SD Type/Memory Stick TypeWeight : Approx. 474 g with battery and card

Effective Pixels : 12.2 millionSensor Type : 35.6×23.8mm, “Exmor” CMOS Supported File Type : JPEG, RawExposure Modes : iAUTO, Superior Auto, P, A, S, M, Sweep Pano, MovieMetering Modes : Multi-segment, centre- weighted, spotLCD Monitor : 3.0-type TFT 921,600 dotsISO Equivalence : ISO 100-409,600Shutter Speed : 30 to 1/8000 secStorage Type : SD Type/Memory Stick TypeWeight : Approx. 489 g

Effective Pixels : 36.4 millionSensor Type : 35.9×24.0mm, “Exmor” CMOS Supported File Type : JPEG, RawExposure Modes : iAUTO, Superior Auto, P, A, S, M, Sweep Pano, MovieMetering Modes : Multi-segment, centre- weighted, spotLCD Monitor : 3.0-type wide type TFT with 921,600 dotsISO Equivalence : ISO100 to 25600 Shutter Speed : 30 to 1/8000 secStorage Type : SD Type/Memory Stick TypeWeight : Approx. 465 g with battery and memory card

Effective pixels : 20.3 Million Sensor size/type : 23.5 x 15.7mm CMOSFile formats : JPEG, RawMetering modes : Multi, Centre-weighted, SpotExposure modes : Smart Auto, P, A, S, MISO equivalent : 100-25,600Shutter speeds : 30-1/6000 secLCD monitor : 3.31 inch AMOLED with TouchStorage type : SD, SDHC, SDXCWeight : 284 g (without battery)

Effective pixels : Approx. 24.3 megapixels Sensor type : APS-C type (23.5x15.6mm), “Exmor” APS HD CMOS sensor Metering Modes : Multi / Center / Spot selectable Exposure Modes : Programmed AE (iAUTO, P), Aperture priority (A), Manual (M), 3D Sweep Panorama, Anti Motion BlurISO equivalence : AUTO (ISO100-1600), ISO100 to 16000 selectable Shutter Speed : 1/4000 to 30 sec, Bulb LCD Monitor/ Dots : 7.6 cm (3.0-type) wide type TFT, 921,600 dots Storage Type : Memory Stick PRO Duo / PRO-HG Duo and SD/SDHC/SDXC card Weight : Approx. 291g

Buyers’ Guide - ILCCs (Mirrorless)

Effective pixels : 16.1 million approx.Sensor size/ type : 23.5 X 15.6mm, CMOS sensor Metering modes : Multi-segment, Center-weighted, Spot Exposure modes : iAUTO, Superior Auto, Programmed AE (P), Manual (M), Sweep Panorama ISO equivalence : Still images: Auto (ISO 100-3200), Selectable (ISO 100-25600) Movies: Auto (ISO 100-3200) Shutter Speed : Still images: 1/4000 to 30s (Bulb). Movies: 1/4000 to 1/4 (1/3 steps) up to 1/60 in AUTO mode (up to 1/30 in Auto slow shutter) LCD Monitor/ Dots : 3.0 inch, 921,600 dots Storage Type : Memory Stick PRO Duo™, PRO-HG Duo™, SD, SDHC, SDXC memory card Weight : 287 g

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Lens manufacturers use diff erent suffi xes to identify certain lens characteristics. Here they are, along with simple explanation (wherever required) of how they help.

Rohinton Mehta

Lens Nomenclature Guide

CANONDO : Diff ractive Optics: Special lens elements that reduce colour aberrations to the minimum, thus improving image quality.EF : Denotes that the lens is designed for full-frame cameras EF-S : Denotes that the lens is designed for APS-C camerasIS : Image Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure.L : ‘Luxury’-series lens: Canon’s high-end, professional lenses.

NIKONAF-S : Denotes that the lens is using a Silent Wave Motor: For fast and quiet autofocusCRC : Close Range Correction: Allows lenses to focus closer, while still maintaining good sharpness. Th is is done using a ‘fl oating lens element’ design. Generally used in macro and wide-angle lenses. D : Distance information passed on to the camera body: Helps to provide more accurate exposuresDX : APS-C camera lensFX : Full-frame camera lensED : Extra Low Dispersion glass element: Corrects for chromatic aberrationsG : Lens without aperture ring; aperture is controlled from the camera bodyN : Nano Crystal Coat: Greatly reduces fl are due to internal refl ections of light.IF : Internal focussing: Instead of moving all the elements further away or closer to the fi lm/sensor to focus, IF lenses move only certain internal elements. Th is allows for much faster focussing.RF : Rear Focussing: Similar to IF but only the rear group of elements move to focus the lens.

OLYMPUSED : Low Dispersion glass element: Corrects for chromatic aberrations

PANASONICOIS : Optical Image Stabilizer: Helps to eliminate/reduce blur caused by camera movement during exposure.Mega OIS : Mega Optical Image StabilizerPower OIS : Power Optical Image Stabilizer: A superior design of Mega OIS.ED : Low Dispersion glass element: Corrects for chromatic aberrations

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SIGMAAPO : Apochromatic lens element: Corrects for chromatic as well as spherical aberrationsASP : Aspherical lens element: Corrects chromatic aberrationsDC : APS-C camera lensDG : Full-frame camera lensHSM : Hyper Sonic Motor: Internal motor, for fast and quiet autofocusOS : Optical Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposureRF : Rear Focussing: Only the rear group of elements move to focus the lensEX : ‘Excellent’ series lens

TAMRONAD : Anomalous Dispersion element: Eliminates lateral chromatic aberrationUSD : UltraSonic Silent DriveASL : Aspherical lens element: Corrects chromatic aberrationsDi : Digitally integrated: Full-frame camera lens designed for digital camerasDi-II : Digitally integrated: APS-C camera lens HID : High Index Dispersion glass element: Special glass for improving optical performanceLD : Low Dispersion glass: Corrects for chromatic aberrationsIRF : Internal Rear Focussing: Only the rear group of elements move to focus the lensVC : Vibration Correction: Helps to eliminate/reduce blur caused by camera movement during exposurePZD : Piezo Drive: Internal motor, for fast and quiet autofocus

TOKINAAT-X : ‘Advanced Technology Extra’- range of lensesPRO : Professional lensSD : Super-low Dispersion element: Corrects chromatic aberrations

PENTAXSDM : Sonic Direct-drive Motor: Internal motor, for fast and quiet autofocusDA : APS-C camera lens

SONYDT : APS-C camera lens

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GLOSSARY

118 Smart Photography October 2014 www.smartphotography.in

Terms used in photography can often confuse a photographer, especially a beginner. Here is a list of photographic jargon, with as-simple-as-possible explanations.

Rohinton Mehta

Sensor Buffer Memorycard

APS-C: Describes a imaging sensor size or a camera using this size of sensor.

APS-C stands for Advance Photo System, type C . Sensor size 15.7 x 23.7mm approximately. Varies slightly between manufacturersAperture: Set of metal blades that control the amount of light entering a lens (same as Diaphragm)AVCHD: Advanced Video Coding High Definition. A format for digital recording and playbackAF Sensor: A sensor used in achieving autofocus

Buffer: Temporary storage of data before the images are written to the memory card

Bridge camera: Describes a camera that fits between a compact and a D-SLR. Also known as Prosumer cameraBallhead: (Used on a tripod). Performs similar functions as a pan and tilt head but uses a central ball as a pivot to allow for camera movementsBattery Grip: A device that attaches to the base of a D-SLR. The battery grip, not only provides better grip for vertical shooting, but uses extra batteries to supply power to the camera when the camera battery dies down. In some cases, it helps to increase the frames-per-second firing rateBurst mode: A camera mode that allows continuous firing

Barrel distortion: The outward bulging of straight lines in the centre of the frame due to lens imperfectionBit: Refers to a binary digit – the smallest unit of computer data, either 0 or 1Bit depth: A measure of the number of possible colours/tones in an image. Our images are basically formed using the three primary colours (also known as channels), red, green and blue. JPEG files are 8-bits per channel (which is the same thing as 24-bit. When we say 24-bit, we should not say “per channel”). Raw files can be 12-bits per channel or 14-bits per channel, that is 36-bit or 42-bit respectivelyBracketing: A method of taking three or more shots in succession (using different exposures), with a hope that at least one of them will be accurate. We also bracket when shooting for HDR imaging. Bracketing could also be for White Balance and ISO

J

36mm

APS-C

23.7mm

FullFrame

24mm

15.7

mm

argonPhotographic

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CCD/CMOS: Types of imaging sensors. CCD stands for Charged Coupled Device. CMOS stands for Complementary Metal-Oxide SemiconductorCompact camera: Describes a small, point-and-shoot type of cameraCenter-weighted meter: One of the in-built exposure meter that places greater emphasises on the central area of the frame. The user generally has the choice of selecting the area (8, 12, 20mm circle at the center) Circular Polariser (CPL): A polarising filter designed to be used with digital cameras (as well as certain film cameras). A CPL prevents secondary polarisation of light at the reflex mirror, thereby preventing exposure/focussing error.Contrast-detection AF: A system of autofocussing wherein the camera uses contrast as the basis of evaluating correct focusChromatic Aberration: The inability of all the three primary colours (Red, Green, Blue) to focus on the same plane. This manifests itself in the form of colour fringing at the edges and is most noticeable against high-contrast elements in the pictureClipping: Overexposing of highlights. Underexposing of shadows.Crop factor: A factor by which the focal length of a lens needs to be multiplied to get the equivalent focal length of a full frame 35mm sensorClose-up lens/filter: A magnifying glass that is attached to the front of a lens to make the lens focus closer. The magnifications are described by the term ‘dioptre’. Eg. +1, +2, +3 etc.

CMYK: Cyan, Magenta, Yellow, Black. These are the colours used in books/magazines printingColour temperature: A measure of the colour of light.

D-SLR: Digital Single Lens Reflex camera. An interchangeable lens camera that uses a reflex mirror for viewingDiaphragm: Set of metal blades that control the amount of light entering a lens (same as Aperture)Depth-of-field: The zone of sharpness in a photo.DOF Preview Button: A button on the camera that allows you to visually check the depth-of-field.Dynamic Range: The range of brightness that can be captured by a film or digital imaging sensor. This range is much lower than the dynamic range of our eyesDigital zoom: In-camera electronic enlargement of the central area of a frame. Use of digital zoom should be avoided if high image quality is required. The same effect can be achieved during post-processing, by cropping an area and enlarging itDPI: Dots Per Inch. A measure of print resolutionDiffuser: (1) A camera filter that softens an image (generally used with portraits). (2) Any material that softens the light from a ‘hard light source’ like the sun or a flashgun. Placed between the light source and the subject

Exposure meter: A light-meter that recommends the aperture and shutter speed for a given lighting condition. An exposure meter can be built into the camera or can be an external hand-held variety. To use any light meter, you first need to set the ISO sensitivity.EVF: Short form of Electronic View FinderEvaluative meter: One of the in-built exposure meter that divides the frame into various segments and based on thousands of pre-set exposures built into the camera’s memory, selects a suitable exposure depending on the lighting conditions and the set ISO sensitivity. Also known as Segmented/Matrix meterFrame rate: A measure of how many frames a camera can fire in one secondFlare: Image degrading, unwanted reflection of light within the lensFull-frame: Denotes a camera/imaging sensor that is the same size as a 35mm film (24 x 36mm)Focal plane: Describes the location of the film/imaging sensor within the cameraFocal plane shutter: A type of shutter used in SLRs/D-SLRs. This shutter is placed in front of the film/sensor.Focal length: In a simple convex lens (a magnifying glass for example) and with light coming from infinity – the

Focal Length

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GLOSSARY

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distance between the vertical centre of the lens and the point where the light rays meet. Focal length tells us how much of the scene will be covered by the lens and what the magnification will beFirmware: A downloadable software offered by the camera manufacturer. Generally used to upgrade/improve on a camera’s performanceFilter: (As applicable to a camera) A thin glass/plastic or gelatine placed in front of the lens to modify the colour/quality/quantity of light entering the lens

H.264: A standard for video compressionHardware: (In terms of computers) The physical elements that make up a computer systemHDR Imaging: High Dynamic Range Imaging. A technique of extending the dynamic range beyond the normal capacity of the imaging sensor. Three (or more) shots are taken from various areas of the scene (one from the shadows, one from the highlights and one from the mid-tones) and then combined in a computer program to create a picture with good detail in shadows as well as highlights. HDR technique is used when the lighting contrast is very high.Histogram: A graph showing the

distribution of tones in an image. The horizontal axis shows the gradation of tones from the darkest to the left, to the brightest at the right. The vertical axis shows how many pixels are there in any particular tone.

HSB: Hue, Saturation, Brightness. The standard colour model for adjusting colour in image editing programs

Intervalometer: A device that allows you to automatically take pictures at fixed intervalsIS: Image Stabilizer– a feature that eliminates/reduces the effect of hand-shake (Originally a Canon Moniker)ILCC: Interchangeable Lens Compact Camera. Describes a mirror-less digital camera with interchangeable lenses, Incident Light Meter: A hand-held light meter that reads the amount of light incident to (falling on) the subject. (see image, Exposure meter)Interpolation: (As related to digital imaging) The act of introducing new elements (pixels) in an image

JPEG: Joint Photographic Experts Group – a compressed (data losing) file formatJitter: Another way to describe the effects of hand-shake

Kelvin: A unit of measurement of colour temperature based on absolute zero.

Lateral CA: Chromatic aberration in which all the colours are in focus in the same plane but are not placed along the optical axis Longitudenal CA: Chromatic aberration in which different colours do not focus at the same pointLeaf shutter: A type of shutter used in rangefinder cameras. Situated between the lens elements

Linear Polariser (PL): A polarising filter designed to be used with film cameras that do not use a ‘light-splitter’ in the exposure metering systemLive View: A camera feature that allows the LCD to be used as a viewfinderLCD: Liquid Crystal Display – the display (monitor) at the rear of digital camerasLuminosity: Brightness of colour, without considering hue or saturation LZW: An option while saving TIFF files. LZW compresses the file size without loss of data. LZW actually stands for – Lempel – Ziv – Welch, the names of three persons who devised it

Matrix meter: See Evaluative meterMulti-segmented meter: See Evaluative meterMicro Four Thirds: A sensor format jointly created by Kodak, Olympus and

Panasonic. Sensor size approx. 13 x 17mmMOV: A common multi-media format for saving movies and other video films.Macro lens: A special lens designed for life-size (1:1) photographyMemory card: The removable module within a digital camera, that stores the imagesMid-tone: Average tone. Neither too dark or too light; an in-between tone

Noise: The digital equivalent of film grain. Noise is caused mainly due to underexposure.Normal lens: A lens having a focal length equivalent to the diagonal of the given format

36mm

Micro Four Thirds

17mm

FullFrame

24mm

13m

m

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Optical Viewfinder: The normal viewing device in a camera, through which you view and frame a subject. It uses optical glass as opposed to Electronic Viewfinder that uses electronic circuitry to boost the information within

Pan and Tilt head: A camera support used along with a tripod, that allows the camera to be tilted (up/down) and panned sideways. It is different from a ‘ball-head’ in that it uses separate levers to control the pan and tiltPerspective Control/Tilt-Shift lens: A special lens designed for correcting perspective distortionPolariser: A filter that cuts off polarised light from entering the lens. This filter, when used correctly, has the ability to darken blue sky, cut reflections from water, glass, painted metal, wood, paper etc.Phase-detection AF: A method of autofocussing that splits the image in two and compares the images for similar light intensity patternsPerspective: The size relationship between the foreground, mid-ground and background objects in a photo.Pin cushion distortion: The inward pulling of straight lines in the centre of the frame due to lens imperfection.Prosumer camera: Same as Bridge cameraPartial metering: Found mostly in Canon cameras, roughly 10-15% of the

frame is measured in the centre.Pixel: The building block of any digital image; the smallest unit of any digital image. Short form of Picture ElementPlug-in: A software designed to supplement a computer program’s performance or features. Generally created by third partiesPPI: Pixels Per Inch. A measure of image resolution (applies to images on the computer screen)

Raw: Refers to the data received directly from the imaging sensor, without any image parameters applied to itReflected Light meter: A light meter that reads the amount of light reflected from a subject. Light meters built into cameras are reflected light meters.RGB: The primary colours (Red, Green, Blue) of the additive colour systemRAID: Redundant Array of Independent Disks. A stack of hard disks, functioning as oneReflector: Any material that can reflect some light back onto a subjectResampling: The act of increasing or decreasing the resolution of an image by interpolation

Sensor: (Imaging Sensor): Digital equivalent of film.Spot meter: One of the in-built exposure meter that reads a very small area of the frame (typically 3-5% area). External, hand-held 1-degree spot meters are also available.Softbox: A type of light modifier, generally used with studio lights

Software: A computer program that instructs a computer what to do, when to do and how to do

TIFF: Tagged Image File Format – a lossless file formatTelephoto lens: A lens having an angle-of-view narrower than that of a Normal lens (Eg. 70, 85, 100, 200, 300mm etc)Teleconverter: A lens that fits between the camera body and the main lens. Its job is to increase the focal length, thereby offering a larger image

Umbrella: A light modifier in the shape of an umbrella

VR: Stands for Vibration Reduction – a feature that eliminates/reduces the effect of hand-shake

White Balance: A process of getting rid of colour casts. White objects should appear white in prints (there could be several reasons why that may not be so). Once white objects appear white, all other colours appear without any colour castsWide-angle lens: A lens having an angle-of-view greater than that of a Normal lens (Eg. 35, 28, 24, 20mm etc)

X-sync speed: Shutter speeds compatible with electronic flash

Zoom lens: A lens having multiple focal lengths

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SPRecommends

122 Smart Photography October 2014 www.smartphotography.in

Canon PowerShot G7X

With a 1-inch Type 20.2-megapixel BSI CMOS sensor, the PowerShot G7 X is

expected to deliver superior image quality

in this category of compact cameras. It has a 24 – 100mm

equivalent f/1.8 – 2.8 lens along with Wi-Fi and NFC capabilities.

Canon PowerShot SX60 HS

The 16.1 megapixel PowerShot SX60 HS boasts 65X optical

zoom equivalent to 21 to 1365mm, believed

to be the longest zoom range in the

world for a compact in this category.

It provides 6.4fps continuous shooting, Full HD 60p videos and Wi-Fi and NFC

connectivity.

Panasonic Lumix FZ1000

Th e latest entrant from the Panasonic stables, the 20.1-megapixel

FZ1000 uses a 1-inch high sensitivity MOS Sensor. It has an impressive LEICA

DC VARIO-ELMARIT 27-432mm equivalent f/2.8 - 4.0 lens constructed

with 5 Aspherical and 4 ED elements. It provides

a HYBRID O.I.S, 4K video recording and a shutt er speed range of

1-1/16000 sec.

Panasonic Lumix DMC TZ40

Th e TZ40 is the successor to the TZ30 in Panasonic’s popular

TZ (Travel Zoom) series. Featuring the

fi rst ever 18.1 MP MOS sensor, a 24-480mm F/3.3-6.4 lens, and a 3” touch screen, the

camera, with its Leica lens, ensures optimum

picture quality, and overall results are

impressive.

Fujifi lm Finepix X100s

Th e Fujifi lm Finepix X100s comes with a 16 MP APS-C size CMOS sensor, paired with a 35mm equivalent f/2 lens and a 2.8” LCD screen. Th e X100’s noise control and

hybrid viewfi nder are very impressive, and it produces pleasing pictures with good

accuracy.

Sony Cyber-shot RX10

Featuring a 24-200mm f/2.8 lens, the 20.2 megapixel RX10 is powered by a 1.0-inch type Exmor R BSI CMOS sensor,

supported by a BIONZ X image processing engine. Th e camera

has an Optical Image Stabilisation system and a high-resolution OLED

Truefi nder EVF.

Nikon Coolpix P7800

Th e Coolpix 7800 is Nikon’s top

professional compact. It features a 12.2 megapixel 1/1.7-

inch Type CMOS sensor, a 28-200mm f/2.0-4.0 lens, a 3” articulated LCD

monitor and an EVF. Overall, the Coolpix 7800 produces very good results, with an

impressive Auto White Balance system.

Sony Cyber-shot DSC RX1

Th e RX 1 is the world’s fi rst compact camera with a full frame 24.3 MP CMOS sensor. It

has a Carl Zeiss Sonnar 35mm f/2 lens that can be switched to

macro mode. Th ere is a built in 3” LCD screen.

Anyone wanting a compact camera that produces high quality results should look at

the RX1.

Nikon Coolpix P600

Th e Coolpix P600 is a 16.1-megapixel super-zoom camera with 60x

optical zoom equivalent to 24-1440 mm. Th is

features Optical Vibration Reduction

along with Wi-Fi connectivity. Th e lens is constructed with 4

ED and 1 super ED lens elements for superior

image quality.

Sony Cyber-shot DSC RX100 M3

Th e RX100 M3 features a bright f/1.8-2.8 ZEISS Vario-Sonnar 24-70mm

equivalent lens. Th e camera has a 20.1MP

Exmor R CMOS sensor and a bright and

clear built-in EVF with ZEISS T coating and

high resolution OLED display. It also features a 3.0-inch, multi-angle X-tra Fine LCD along with NFC and Wi-Fi.

Compact Cameras

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PHOTOGRAPHY INSTITUTE

PHOTOGRAPHY INSTITUTE

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Kenko Introduces SMART Filter SLIM Series

affecting the color balance of the scene

speed instead of reducing the aperture

Reduce the amount of light

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PHOTO PRODUCTS AND ACCESORIES

PHOTO PRODUCTS AND ACCESORIES

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PHOTOGRAPHY INSTITUTE

PHOTO PRODUCT AND ACCESSORIES

PHOTO PRODUCT AND ACCESSORIES

By Prof. Kirit Parikh Ex. Lecturer of Sir J.J.School of Art Mumbai.

PHOTOGRAPHY TRAINING INSTITUTE (ONE TO ONE)

INDIAN ACADEMYCell : 99694 09575MATUSHREE, PLOT NO.43, GONSALVES STREET, OPP.RAILWAY CROSSING,VILE PARLE(EAST). MUMBAI - 400057 Email: [email protected] / indianacademyphoto.com

Hobby Course (Duration- 1 Week)Advance Course (Duration- 2 Mths)Proffessional Course (Duration-4 mths) Master Proffessional Course

(Duration-12 mths)Batches (MON to THUR OR WEEKENDS)

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Complete Theory with practical knowledge,

(Both Outdoor & Indoor), special classes for

kids, youngsters,housewives, executives,

senior citizensand professionals. Flexible timings & days for all courses.

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PHOTO PRODUCT AND ACCESSORIES

ALBUMS

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TIDBITS

146 Smart Photography October 2014 www.smartphotography.in

25YEARS OF DIGITAL!

In 2014, the digital era in photography completes 25 years. Th ese 25 years have

seen the industry undergo a complete metamorphosis and a speedy revolution. Yet it has emerged stronger, more vibrant and ready for the next 25 years.

It actually all started in 1987 when Th omas Knoll, a University of Michigan student devised an image processing program initially called Display and now known to all of us as Photoshop. Th omas Knoll works with Adobe and is still actively involved in Photoshop’s continuing development.

Th e fi rst camera to be available commercially was the Dycom model 1 which went on to sale in 1990. It used a CCD sensor with a resolving power of .09 MP. Th e Dycom was expensive and due to poor image quality, it was a commercial failure. It, however, was the forerunner of a trend that was set to take the world by storm.

Th e fi rst real digital camera was the digital SLR from Kodak which was called the Kodak DCS100. Kodak used a Nikon F3 body and fi tted it with a 1.3MP CCD sensor. Th e DCS 100 was a pioneering camera but its heavy weight and high cost restricted its commercial success.

Th e digital camera that eff ectively shook up the imaging world was the Nikon D1. Introduced in 1999 and based on the Nikon F5, the D1 off ered a 2.74 MP sensor along with an ability to shoot 4½ frames per second continuously. It also accepted all Nikon F mount lenses and was the fi rst digital SLR to shoot JPEG. With the D1, Nikon knocked Kodak off the digital SLR market.

As the idea of digital photography became more and more feasible, the smaller Japanese companies started to look at digital imaging from scratch. Olympus had exited the SLR business aft er its attempts with autofocusing misfi red. With digital, Olympus saw a fresh opportunity and designed a digital SLR from scratch. In the process, Olympus introduced the Four Th irds imaging system and lens mount. Th e sensor used by Olympus was an 18mm x 13.5mm sensor and this sensor enabled cameras to be lighter and smaller than was possible before. Olympus’ E-1, introduced in 2003, was its fi rst eff ort. Th e Four Th irds idea was quickly adopted by other camera manufacturers like Panasonic and the Micro Four Th irds system was born.

Th e Olympus E-1 was expensive; it was left to Canon to shake the digital world with the EOS 300D. Introduced in 2004 with a view

to bringing digital photography within the reach of the mass market, the EOS 300D had a 6.3MP CMOS sensor along with a 1.8” LCD screen. It was a big commercial success. Canon later followed up with the EOS 5D in 2005 which off ered the market a professional digital SLR. Th e 5D sported a 12.8MP and had a 2½” LCD.

Th e next big thing in digital photography was the launch of the Lumix DMC G1 in 2008 by Panasonic. A relative newcomer to photography, Panasonic was the fi rst company to realise that in digital photography there was no need for a pentaprism and mirror; thereby, the camera body could be designed to make it smaller and lighter without sacrifi cing build quality. Th e G1 came with a 12.1 MP sensor and introduced a smaller Micro Four Th irds lens. Today, the Micro Four Th irds system is the leader in mirrorless cameras with the likes of both Olympus and Panasonic supporting it.

In 2008, Nikon launched the D90 which was the fi rst digital SLR to record high defi nition video. Soon thereaft er, in 2010, Sony introduced a single lens translucent camera (SLT). In simple terms, Sony replaced the SLR’s standard fl ip mirror with a fi xed semi transparent one. Th e

fi rst camera to feature SLT was the Sony Alpha 55.

In late 2013, Sony again shook the digital world with the world’s fi rst mirrorless camera equipped with a full frame sensor. Th e Sony Alpha 7 came in three versions - the normal 7 with a 24.3MP sensor, the 7R with a 36.4 MP and the 7S with a 12MP sensor. Th e 7 series were equipped with Sony’s fast Bionz X processor.

Other innovations during the digital era include:

1) Th e introduction of Eye Control Focusing (the EOS 5)

2) Th e launch of the world’s fi rst optical stabilized lens for SLRs by Canon with the EF 75mm - 300mm f4/5.6 IS USM in 1995

3) Th e launch of the Compact Flash memory card by SanDisk in 1994

4) Th e introduction of the Light Phase digital back by Phase 1

5) Th e launch of the camera phone, starting with the N90 from Nokia in 2005.

6) Th e launch of the Samsung Galaxy in 2012 as the fi rst camera in the world with an Android based operating system.

Th e last 25 years have been very eventful. Any bets for the next 25?

TIDBITS

H. S. Billimoria

Canon EOS 300DKodak DCS100 Nikon D1 Panasonic Lumix G1

Sony a7R

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