CAMERA AND GEARS

Photography Lesson 11 : Colour Temperature ( Kelvin )

2008-01-17T02:15:00.000-08:00

Light is not always what it seems. Our eyes are very forgiving, so when we move from place to place everything seems normal in terms of colour. So, for example, when moving from a bright daylight environment to a room lit by a candle all that will appear to change, to the naked eye, is the light level. Yet record these two situations using colour film and the first will have a blue hue and the latter will come out with a heavy orange cast. This is because our brain can quickly adjust to the changes, making white appear white, whereas film is balanced for one particular colour and anything that deviates from this will produce a colour cast.

The colour variation is referred to as the colour temperature and is measured in degrees Kelvin. The scale ranges from the flame of a candle at around 1900K to deep blue sky at around 10,000k as illustrated by this diagram.

The light source is listed next to the degrees in Kelvin, both set against the colour of the light at each level.

You will notice that the colour next to the Average noon daylight (5500K) is white. This is the colour temperature that colour film is balanced to which means that when shooting using daylight film the photograph will record white objects as white and all the colours in an image will appear natural on the film. If you shoot in conditions that measure a higher temperature the photo will start to become bluer and shoot in conditions below the 5500 temperature and they will increase in orange.
The colours here don't just relate to daylight conditions artificial light also introduces a colour cast. With fluorescent lights this is often green and with tungsten lighting it will be yellow, while flash can be slightly blue.

If you own a camcorder or digital camera you may have read about the white balance control. Most digital cameras have an automatic colour balance. This will look at a scene and if it thinks the colour is too blue it compensates to make it natural by adding a red shift to the colours recorded. Likewise if it sees an orange scene it will increase the blue content. This

With film cameras you would have to use colour correction filters to compensate.

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Colour control filters are broadly split up into two categories: colour conversion and light balancing filters. The strong colour conversion filters are in the 80 and 85 series and are used for large colour changes while weaker lighting balance filters fit in the 81 and 82 series and are used for making small colour adjustments.

Film	Kelvin	Illumination	Kelvin	Filter	Colour	Exposure
Daylight	5500K	Tungsten House lights	3200K	80A	Dark Blue	1 1/3
Daylight	5500K	Tungsten Photofloods	3400K	80B	Dark Blue	1
Daylight	5500K	Tungsten Clear flash bulbs	3800K	80C	Dark Blue	1
Daylight	5500K	Daylight Shade under blue sky	7500K	81EF	Straw	2/3
Daylight	5500K	Daylight Shade partly cloudy sky	7000K	81D	Straw	1/3
Daylight	5500K	Daylight Shade under daylight	6500K	81C	Straw	1/3
Daylight	5500K	Daylight overcast	6000K	81A	Straw	1/3
Tungsten A	3400K	Daylight	5500K	85	Orange	1
Tungsten B	3200K	Daylight	5500K	85B	Orange	1
Tungsten	3800K	Daylight	5500K	85C	Orange	1
Tungsten B	3200K	Tungsten lights 100W	2900K	82B	Pale blue	1/2
Tungsten B	3200K	Tungsten Photofloods	3400K	81A	Straw	1/2
Tungsten A	3400K	Tungsten lights 100W	2900K	82C	Pale Blue	2/3
Tungsten A	3400K	Tungsten Clear flash bulbs	3800K	81C	Straw	2/3

The table above shows the film you are using in column 1 and the colour it's balanced to is in column 2. Column 3 is the light conditions you are shooting in and column 4 is the colour temperature of the light. Column 5 is the filter necessary to make the photo look natural and column 6 is its colour. The final exposure column shows the exposure increase that's necessary to adjust for the strength of the filter. This is automatically adjusted by the camera's through-the-lens metering.

Some typical color temperatures are:

1500 K		Candlelight
2680 K		40 W incandescent lamp
3000 K		200 W incandescent lamp
3200 K		Sunrise/sunset
3400 K		Tungsten lamp
3400 K		1 hour from dusk/dawn
5000-4500 K		Xenon lamp/light arc
5500 K		Sunny daylight around noon
5500-5600 K		Electronic photo flash
6500-7500 K		Overcast sky
9000-12000 K		Blue sky

The other type of light you will come across, usually in offices, factories and kitchens, is the fluorescent tube which gives off a green colour when daylight film is used. To correct this you need to use a magenta filter, known as an FL-D (Fluorescent daylight) or FL-W (Fluorescent white) depending on the tubes used. This photograph shows the typical characteristics.

With a digital camera things are far less complicated. Just point and shoot with the camera set to auto. If there's a colour cast when you preview the photograph delete and reshoot using the relevant manual white balance settings. Some cameras also have a fully manual setting where you point the camera at something that should be white. The camera measures the colour reflected from this and adjusts to make the subject white which corrects the colour.

You also don't have to correct colour at all. Rules can be broken. Adding a blue filter when using daylight film can produce landscapes with added mood, especially when shot at dawn or dusk. While the 81 series are often used to warm up skin tones in many situations.

Some situations can be extremely tricky to correct. Take this interior. The window light is stronger than the interior tungsten light. So you get a mixture of colours to worry about. If a blue filter had been added to correct the yellow the stairs and floor would have gone blue. Professionals get round many shots like this by placing huge sheets of lighting gel over windows (yellow in this case) to balance the daylight with the interior light. They then use camera filters to correct the colour cast. I feel in this example leaving the natural colours to affect the film in their own way has worked and I wouldn't want it any other way.

Professionals also use colour meters to measure the light acurately. We have a guide to these here.

You can often correct a colour cast using your image editing program's channels or colour balance control, but that's another article!

Tip
The filters can even be used to unusual effect with flash by placing one colour over the lens and a correcting colour over a flash. Then when a photo is taken the flash illuminated subject will look natural while the background will take on a colour cast.

Photography Lesson 10 : Rear Sync Flash

2008-01-12T08:07:00.000-08:00

SLOW SYNC FLASH / REAR SYNC FLASH

One camera function that can be a lot of fun to play with (and that can get you some interesting results) is slow sync flash.

Low Light Photography Options

When shooting with a subject in low light situations you generally have two options; either to shoot with a flash or to shoot with a slow shutter speed.

1. Flash - When shooting in low light with a flash in auto mode your camera will choose a relatively fast shutter speed. This means that your subject will be well lit and that if it is moving it will be frozen and as a result will be sharp. The problem with this is that it can also leave your subject lit up too brightly and can leave it’s background looking very dark as there is not enough time for the camera to collect any ambient light.

2. Slow Shutter Speed - The other option is to turn your flash off and shoot with a longer shutter speed in order to collect enough available light from the image to get a well exposed shot. This can be an effective technique if you’re shooting landscape or environmental shots where everything is nice and still - however if you’re shooting a moving subject it means you’ll get motion blur which could ruin your shot.

Both of the above options are legitimate technique but both have their weaknesses. Another options to consider is slow sync flash.

What is Slow Sync Flash?

Slow Sync Flash is a function found on many cameras that tells your camera to shoot with both a longer shutter speed as well as firing the flash. This means you get the best of both worlds above and can both get a relatively sharp shot of your main subject as well as get some ambient light from the background and foreground.

Some cameras allow you to access slow sync flash manually and set exposure length and flash strength but on many compact cameras there is a little less control given and it’s presented as an automatic shooting mode, often called ‘night mode’ or even ‘party mode’ where the camera selects the slower shutter speed and flash strength for you.

Rear and Front Curtain Sync

If your camera gives you some manual control when it comes to slow sync flash you might find yourself presented with two options called ‘rear curtain sync’ and ‘front curtain sync’.

These two modes sound a little technical but to put it most simply they are the way in which you choose when to fire your flash during the longer exposure.

Rear Curtain Sync - this tells your camera to fire the flash at the end of the exposure. ie when you press the shutter your lens opens up and starts collecting light and just before it closes the flash will fire to light up and freeze your main subject (see the card shot to the left for an example where you’ll see the card trail ending in a nice crisp shot of the card).

Front Curtain Sync - this tells your camera to fire the flash at the start of the exposure. ie when you press the shutter, the flash will fire immediately and the shutter will remain open afterwards capturing ambient light.

You might not think there’s much difference between these modes but when you’re photographing a moving subject it can have a real impact. You’ll find many action/sports photographers will use Rear Curtain Sync when shooting with a panning technique.

Tripod or Handheld?

When using either slow synch in either mode (or in the automatic ‘night mode’ you will want to consider whether or not to use a tripod. Traditionally when shooting with longer shutter speeds it is accepted that a tripod is essential in order to stop any camera movement. Even the steadiest of hands will not be able to stop a camera moving over even a 1 or 2 second exposure. So if you want to eliminate blur from your cameras movement definitely use a tripod (and consider a shutter release cable).

However in some circumstances hand holding your camera while using slow sync flash can lead to some wonderful effects. For example if you’re at a wedding or party and are out on the dance floor the results can be great at capturing the mood of a night with those you’re photographing largely frozen by the flash but the lights on the dance floor blurred from you moving your camera during the shot.

Of course hand held techniques won’t work with every situation so experiment with both methods at different shutter speeds and by using both rear and front curtain sync and find the best methods for your particular situation.

Tips 1 : How to check Shutter Count?

2007-10-29T02:07:00.000-07:00

What is shutter count? Shutter Count is the quantities of shutter we've been pressing and it shows us how many shots we've taken with the camera.

How to check the shutter Count?

Here's some link for you to check :-

( FOR NIKON USER )

http://scent.org/cgi-bin/exif.cgi

http://regex.info/exif.cgi/

( FOR OLYMPUS E-500 USER )

Turn camera on
Open card door.
Press Play(green arrow on e1) and ok together

Press up down left and right
Press shutter button
Press up
press right.

R = shutter releases (it shows the number of shutter releases the camera had so far)

( FOR CANON USER )

the shutter actuation count for the Canon EOS series is not included in any output file.

It can presumably be read from the camera somehow by a facility only had by authorized Canon service centers.

If you need any assistance , please feel free to drop some comment!

Photography Lesson 9 : Metering Control

2007-10-16T03:28:00.000-07:00

Spot metering

With spot metering, the camera will only measure a very small area of the scene (between 1-5% of the viewfinder area). This will typically be the very centre of the scene, but some cameras allow the user to select a different off-center spot, or to recompose by moving the camera after metering. A few models (including the Olympus OM-4 and Canon T90) support a Multi-Spot mode which allows multiple spot meter readings to be taken of a scene that are averaged. Both of those cameras and others also support metering of highlight and shadow areas.

Spot metering is very accurate and is not influenced by other areas in the frame. It is commonly used to shoot very high contrast scenes. For example, if the subject's back is being hit by the rising sun and the face is a lot darker than the bright halo around the subject's back and hairline (the subject is "backlit"), spot metering allows the photographer to measure the light bouncing off the subject's face and expose properly for that, instead of the much brighter light around the hairline. The area around the back and hairline will then become over-exposed. Spot metering is a method upon which the zone system depends.

Center-weighted average metering

In this system, the meter concentrates between 60 to 80 percent of the sensitivity towards the central part of the viewfinder. The balance is then "feathered" out towards the edges. Some cameras will allow the user to adjust the weight/balance of the central portion to the peripheral one. One advantage of this method is that it is less influenced by small areas that vary greatly in brightness at the edges of the viewfinder; as many subjects are in the central part of the frame, consistent results can be obtained.

Average metering

In this metering mode the camera will use the light information coming from the entire scene and averages for the final exposure setting, giving no weighting to any particular portion of the metered area.

Partial metering

This mode meters a larger area than spot metering (around 10-15% of the entire frame), and is generally used when very bright or very dark areas on the edges of the frame would otherwise influence the metering unduly. Like spot metering, some cameras can use variable points to take readings from, (in general autofocus points), or have a fixed point in the centre of the viewfinder. Partial metering is found mostly on Canon cameras.

Multi-zone metering

Honeycomb Metering ona Dynax 5D. The AF point was set to the eye of the toy; the camera has been able to produce a good exposure, by not being fooled by the strong back lighting of the out of focus areas.

This mode is also called matrix, evaluative, honeycomb, segment metering, or esp — (electro selective pattern) metering on some cameras. This metering mode was first introduced by the Nikon FA, where it was called Automatic Multi-Pattern metering. On a number of cameras this is the default/standard metering setting. Here the camera measures the light intensity in several points in the scene, and then combines the results to find the settings for the best exposure. How they are combined/calculated deviates from camera to camera. The actual number of zones used varies wildly, from several to over a thousand. However performance should not be concluded on the number of zones alone, or the layout. In general, the most advanced metering is found on single-lens reflex cameras.

Many manufacturers are less than open about the exact calculations used to determine the exposure. A number of factors are taken into consideration, including the following: Autofocus (AF) point, distance to subject, areas in focus or out of focus, colours/hues of the scene, and backlighting. Multi-zone tends to bias its exposure towards the autofocus point being used (whilst taking into account other areas of the frame too), thus ensuring that the point of interest has been exposed for properly. A database of many thousands of exposures is pre-stored in the camera, and the processor can use a selective pattern to determine what is being photographed.

Some cameras allow the user to link or unlink the autofocus and metering, and allow the option of locking exposure once AF confirmation is achieved, AEL, (auto-exposure lock). Using manual focus, and on many compacts/bridge cameras, the AF point is not used as part of the exposure calculation, in such instances it is common for the metering to default to a central point in the viewfinder, using a pattern based off of that area. There is considerable variation from different manufacturers as to how multi-zone metering is implemented, and even from the same maker in their model range, and how much "priority" is given to the AF point itself. Some "Scene" modes, such as sunset, sports, night exposures etc, also often affect the calculations of this metering pattern.

However, some photographers may be uncomfortable with multi-zone metering. This tends to stem from a lack of clarity about "how" the camera reacts in certain situations. The design concept behind multi-zone is to reduce the need to use exposure compensation.

Some users have problems in wide-angle shots with high contrast, due to the large area which can vary greatly in brightness. It is important to understand that even in this situation, the focus point can be critical to the overall exposure.

Photography Lesson 8 : How to compose your Photo?

2007-10-15T01:37:00.000-07:00

Composing Your Picture

We all, at times, fall victim to selective seeing. We look at a scene and we pay close attention to the main subject, failing to really see what is behind or in front of it. If there are elements within the frame that do not add to the picture, the chances are great that they are detracting from it by diverting the viewers attention away from the main subject.

After few years in photography, when I see a subject that I think has possibilities, I automatically look at the background and the foreground. If they are not to my liking I will go out of my way to change my shooting position, either getting down lower, up higher, or to the side.

By getting the camera low and using the sky as a background the composition was kept simple and the picture has much more impact because there are no distractions.

For the picture of the street clown I politely asked him to move to a spot a few feet away that had a dark background and I used tight framing to further increase impact. Doing these simple things will improve your photographs immensely. I realize the photographer cannot always do these things but should try to do them whenever possible.

Reducing unused space in the photograph is another way to improve it. In the picture of the old saw and barn almost every pixel is taken up with the subject with very little to divert the viewers gaze away from what I intended them to see.

There are times though, that having space around your subject suits the picture very well, as in this photograph of a glass of tea and its shadow taken on my front porch. But the composition was kept very simple and balanced and no distractions were allowed.

Keeping your picture uncluttered and simple in its message is just one way, along with accurate focus, the rule of thirds, and correct exposure...of getting that extra WOW! in your shots.

Give "keep it simple" a try and I think you'll be amazed at how much improvement you'll see. More improvement than buying the latest camera or a new lens, more than just about any one thing you can do.

It really is very simple!

Photography Lesson 7 : Choose your own Focal Length

2007-10-15T01:36:00.000-07:00

Creative use of focal length

Focal length indicates whether a lens is wide angle, telephoto or anywhere in between.

Generally speaking, using wide angle is ideal for shooting scenes such as land and city landscapes, group photos and room interiors. For portraits, a mid-range focal length is a good choice. Long telephoto lengths are ideal for photographing wildlife and distant subjects.

Focal length as a creative tool

Focal length selection can be used creatively when composing a shot, beyond simply getting more or less of a scene into the frame. The focal length you choose plays an important role in composition and the "feel" of an image.

Wide angle effectively exaggerates distance and shrinks distant subjects. Telephoto compresses distance without shrinking distant subjects.

For example, if you were to take two shots of a landscape with an object in the foreground such as tree, rock or flower, etc. and an object such as a mountain in the background using a wide angle and then a telephoto, they would look very different though framed in the LCD (or viewfinder) in a similar way.

Selecting a focal length to achieve the effect you want can be just as important as selecting the right aperture and shutter speed. Focal length can also be used to vary the emphasis on an object/subject.

Photography Lesson 6 : What is EV?

2007-10-15T01:24:00.001-07:00

Exposure Value (EV)

A cameras metering system can be fooled when taking pictures where large areas of a scene are very bright, very dark or contain strong contrast. To help prevent a photo from under or over exposure, adjust Exposure Values (EV).

Exposure values, represented by numbers with a plus or minus in front of them, override settings automatically selected by a cameras exposure mode. When the main subject is darker than the background, increase exposure value. If the subject is much lighter than the background, decrease exposure value.

For overexposed subjects (too light), decrease EV.

For underexposed subjects (too dark), increase EV.

Suggested Exposure Value settings

Bright sunlight coming over the back of you when taking a photo: -0.3 or -0.7 EV compensation
For shots with strong light coming behind the subject (back lit): +0.7 or +1.0 EV
Scene with bright sun and/or backlighting: 0 to +2 EV
Snow, beach or highly reflected water: +2/3 to 2 EV
Close-up of white or yellow flower: +1/3 to +1-2/3 EV
Dimly lit night sky: 0 to +2 EV
Land or seascape taken just prior to dusk: -2/3 to 0 EV
Very dark or black objects: -1 1/3 to -2/3 EV

Photography Lesson 5 : ISO Setting

2007-10-15T01:19:00.000-07:00

Adjusting ISO

Digital cameras are usually set by default to automatic ISO. The camera automatically sets the ISO according to light conditions: the brighter the light, the lower the ISO; the lower the light, the higher the ISO.

Many users prefer to manually adjust the camera's sensitivity to light. It gives them some control over the amount of noise that may appear in an image. In some cases, you can avoid using the flash by increasing the ISO.

ISO and Noise

On many consumer digital cameras, selecting an ISO number above 100 produces little visible noise. Test each ISO number under a variety of lighting conditions until you become familiar with the noise your camera produces at each setting.

If images are noisy, noise reduction programs do an effective job at eliminating some of it, though fine detail may be sacrificed.

Low ISO settings	High ISO settings
ISO 50-100	ISO 200 and above
More light needed	Less light needed
Less noise	Increased noise
More image detail	Less image detail
Larger aperture +/or longer shutter speed	Smaller aperture +/or faster shutter speed

When deciding whether or not to use an high ISO number, keep in mind that the visual presence of noise is often barely noticeable when images are reduced in size for printing and/or viewing on a computer.

Sample Chart of ISO Setting :-

AUTO ISO - digital camera automatically sets the ISO speed according the the brightness of the scene, increasing or decreasing the sensitivity. User has no control over which ISO number is used.

ISO 50 - 80 - for taking photos in bright light; excellent for close-ups, landscape, and portraits. Produces fine detail and image quality.

ISO 100 - for extra sensitivity with little, if any, reduced image quality.

ISO 200 - cloudy and overcast days. Acceptable image quality, with some visible noise.

ISO 400 and above - suitable for indoor photography whether or not a flash is used. Useful for "stop-action" and sports photographs. Most compact digital cameras produce high to very high image noise.

P/S : Changing ISO also changes the aperture and shutter speed.

Photography Lesson 4 : AE/AF LOCK

2007-10-15T01:15:00.000-07:00

AE-Lock & AF-Lock

Digital cameras are set to default to lock focus and exposure together when the shutter release button is pressed halfway. Some digital cameras have a feature to lock focus and exposure independently.

AF-Lock: controlling focus

Gain more control over where the camera focuses when you depress the shutter-release button half-way. Say you want to focus on the subject that is off to one side in a scene. Move your digital camera so the focus area indicator is on the subject. Then press the shutter-release button down half way to lock focus. While holding the button in this position, recompose and then fully depress the button to take your shot. This helps ensure that the main subject is in sharp focus rather than a random object selected by the camera.

AE-Lock: controlling exposure

Obtaining better exposed photos in difficult lighting situations involves moving the camera to the main area you want properly exposed. It should of equal distance as the subject since the shutter-release button controls focus too. For example, if you want to capture detail in an area that would otherwise come out dark, lock exposure on the area, recompose and press the shutter-release button all the way down.

Sample of Auto Exposure Lock:-

Photography Lesson 3 : Shutter Speed

2007-10-13T03:33:00.000-07:00

Here is a quick list of shutter speeds starting from slowest upwards, what they can be used for and the probable result:

• 30 seconds or more - Great for night shots where you want the illumination of the city lights to glow brightly, or to get the effect of milky smooth water from a waterfall at dusk or dawn. If you keep the shutter open for a couple of hours and directed at the night sky, you should end up seeing star trails on your image as the Earth rotates.

• 1 second - If you are at a wedding reception or a dance and want a spooky but nice effect, try this. Have your flashgun charged and switched on to auto, set your cameras shutter speed to 1 second and aperture to approximately f.8. Take some shots whilst moving the camera about and the effect of the flash will "freeze" your subject, but the long shutter speed will give some amazing background effects from the lights.

• 15th/30th/sec - If you have image stabilisation on your lens, this is about the absolute limit that you can hand hold a shot. But using a tripod, this speed will give you a small aperture creating large depth of field and is good for dusky or dawn landscapes. These speeds are also good for panning shots of moving objects such as cars. Panning creates a feeling of speed with motion blur as the background blurs while the subject stays in focus.

• 60th-250th/sec - Anything in this range is good for everyday general photography. In normal light, these speeds should give sufficient depth of field from the aperture setting for most subjects, whilst allowing you to hand hold your camera without causing camera shake.

• 1000th-8000th/sec - These speeds, if your camera has them, will freeze most objects in their tracks. You can get really experimental here and keep your eyes open for fast subjects that you can practice on! You will need either bright sunshine, a high ISO (400/800/1600), or fast lens (f2.8/1.4) to be able to shoot at these speeds whilst exposing correctly.

I have given some examples below, of shots with shutter speeds ranging from 6 seconds to 4000th/sec. Don't be afraid to really experiment as if you are "digital" it won't cost you a penny extra!

Slow Shutter Speeds

Fast Shutter Speeds

Photography Lesson 2 : What is DOF?

2007-10-12T21:17:00.000-07:00

So how does depth of field (DOF) work?

It's all to do with how much light enters your camera and the type of lens that you use. Basically, there are 3 factors that determine the depth of field in your images;

• Focal length of the lens

To put it simply, the shorter the focal length, the greater the DOF (or more of the image will be sharp). I.e., 16mm = More in focus, 400mm = less in focus. When I do a lot of interior work with an ultra wide angle, I generally use f8 or f11 as I know this will suffice for the image quality I need with this lens.

• Distance between camera and subject

If you photograph your subject sitting on a wall about 20-30 meters away or more, and using a wide angle or standard lens, you can almost guarantee that a lot of your image will be in focus whatever the aperture (within reason). However, bring the subject closer to say 2 meters, and the camera will focus on the subject but will more than likely throw the background into blurred oblivion.

• Aperture setting

The aperture setting has the largest factor in determining the depth of field of your images. Just remember that f4, 3.5 or 2.8 (or bigger) will have shallow or little DOF whereas F8, 11, 16 or smaller, will have greater DOF. This is particularly true if you are doing close up work, a large aperture close up will have very little in focus.

To illustrate these points, have a look at these 2 pictures. I was testing the Sigma 105mm Macro lens and wanted to check the sharpness at close quarters. The shot on the left was taken by dropping a small amount of milk into a larger container.

The camera was on a tripod and I used 2 studio lights closely positioned, and pre-focussed on the point where I would drop the milk.

Because I was using a telephoto lens and working extremely close, plus the fact that the lights were bright and also close, I needed a very small aperture. In this case, all the way closed at F36! It has to be said that even with this small aperture, parts of the background were blurred. I am told this is due to "diffraction" of the light when you stop down too much, so f16 is normally enough for good, sharp pictures. Also note that a telephoto combined with macro leaves little room for error as the depth of field is at its smallest.

I was pleased with the result but I must point something out to digital camera users at this point.

The smaller the aperture you use (especially this small), the more "specs" of dust will appear on your images. This image was literally covered in them before I cleaned it up. It is a good way of testing your sensor for dust, but don't be too put off by this, it is quite normal and is easily fixed using a good editor and cloning/healing brush. If you are unsure of what you are doing please do not try and clean the sensor yourself, you may damage it and they cost a bit! Go to a reputable dealer/cleaner and get it done.

Otherwise, there are many safe ways of cleaning the sensor yourself...just do a Google search for "camera sensor cleaning" for more information.

For the second shot, the leaf was brought inside, rain water and all, and set up in a similar way. This time, however, I used natural low lighting which meant that with an aperture of F29, I needed 30 seconds to make the correct exposure. Remember that when you open or close the aperture, you or the camera has to adjust the shutter speed to compensate. If you close the aperture right down for good depth of field, check the shutter speed as it may become slow and non-hand holdable.

Lastly, this image shows the other extreme. I used a Canon EF 50mm standard lens to get this shot of Max. You can see that the background is completely out of focus with virtually no depth of field. In fact the depth of field is so shallow that even though his head is only slightly turned, one eye is in focus and the other isn't!

This is because this particular lens has a maximum F-stop of just 1.4 and this was taken at that aperture. I like this effect and use it a lot for portraits. It draws your eye to theirs with no other distractions.

So when you are out and about next, instead of setting the camera to auto, experiment with depth of field and get a bit creative. Used in the right context a large or very shallow DOF can be very effective.

Depth-of-field refers to how much of a photo is sharp in front and back of where you focus on the main subject. DOF is primarily controlled by aperture size though other factors come into play such as the focal length of the lens.

More (deep) DOF

Deep depth of field means that all or most of the picture is in focus from front to back. It is often used for capturing subjects in the distance, such as in landscape scenes. The further away your camera is from the subject, the greater the depth of field. Higher f-stop numbers obtained by using smaller apertures produce deep depth of field. Short focal lengths (when lens is set at wide angle) help increase depth of field.

Less (shallow) DOF

Less depth of field means a subject is in focus but objects in front and behind it appear out of focus. Less DOF is often desired when taking portrait, close-up and macro shots. Lower f-stops (larger apertures) decrease DOF. Long focal lengths (zooming in) produce less DOF. With a digital camera, you can also make the background appear out of focus by placing the subject close to the camera and having the background far away.

If you can't manually control aperture, use portrait mode for shallow depth of field. For deep depth of field, use infinity mode.

Photography Lesson 1 : Reversal Closeup

2007-09-19T23:43:00.000-07:00

Feeling bored and wanna play more with your portraiture lens? Lately i found this Nikon BR-2A Reversal Closeup Photography are quite nice and cost-saving. Instead of throwing your cash for the original Macro Lens ( which cost more than RM2k ) , you can use your 50mm f1.8 / f1.4 for some closeup photography.

A list of lenses can be mount with Nikon BR-2A ( 52mm filter thread )

Guideline - Lens : Magnification Ratio

* Nikkor AF 20mm f2.8 : 3.4X
* Nikkor AF 24mm f2.8 : 2.5X
* Nikkor AF 28mm f2.8 : 2.0X
* Nikkor AF 35mm f2 : 1.4X
* Nikkor AF 50mm f1.4 : 1/1.1X
* Nikkor AF 50mm f1.8 : 1/2X
* Micro Nikkor AF 60mm f2.8 : 1/1.2X

Things you need to have :-

1 x Nikon D40x camera body ( any digital slr body also can - Nikon brand )

1 x Nikon BR-2A Adapter Ring

1 x Nikon 50mm f1.8 AF lens

Steps on attaching the lens to the body :

Gently apply this BR-2A adapter to the front mount of the 50mm f1.8. Nikon BR-2A are meant for 52mm filter thread. Doesn't require to be tighten as you will find difficulty to remove it.

Screw the BR-2A to the Nikon camera body by anti clockwise.

It would be fully manual focus and you can choose not to focus it as the focusing ring would be in another way round. Aperture setting would be at the front part. Remember , your camera body setting must be with M mode.

If you choose F2.8 or F1.8 as your aperture, you can see some of bokeh around the subject.

Tadaaaa~~!! Here's the result captured by the lens with adapter :

USED EQUIPMENT

2007-05-31T03:38:00.001-07:00

Item 1 : Nikkor 300mm F2.8 AF-S VR ED ( NANO TECHNOLOGY )

Comes With :

1 x lens unit
1 x lens carbon fiber hood
1 x lens pouch
1 x lens bag
1 x box
1 x tripod collar
1 x warranty card ( unfill )

Condition : Like New

Price : RM 14,900

Photo Of Item :

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CAMERA AND CAMCORDER

2007-05-31T03:37:00.001-07:00

UNDERWATER EQUIPMENT

2007-05-31T01:04:00.000-07:00

TRIPOD / MONOPOD / HEAD

2007-05-31T01:03:00.001-07:00

BENRO BALLHEAD

Universal Quick Release System
The Benro Universal Quick Release System has been designed with the same specifications as the Arca-Swiss system. It is compatible with the Arca-Swiss, Kirk Enterprise or similar designed quick release systems.

Patent Quick Release Safety Lock A spring loaded safety lock pin prevents accidental removal of the camera, should the main lock be loosened. Removing the camera from the ball head requires the release of the safety lock as well as loosening the main lock.

360-degree Panning
Accurate panoramas can easily be stitched together using the graduated panning scale. Pan movements can be securely locked in place with the pan lock knob.

Locking and Drag Control
The locking knob and the drag adjustment are separate to avoid accidental mis-use. Drag adjustment is quick and responsive.

Model	Ball D (mm/")	LBH (mm)	Weight (kg/lbs)	Load Capacity (kg/lbs)
KB-0	∮36/1.4	4.09X2.52X3.94	0.4/0.9	8/17.6
KB-1	∮44/1.7	4.25X2.83X4.21	0.54/1.2	12/26.4
KB-2	∮54/2.1	4.45X3.23X4.69	0.76/1.7	18/39.6
KB-3	∮64/2.5	4.65X3.62X5.08	0.98/2.2	25/55.0

Benro Camera Head KB-0

Benro Camera Head KB-1

Benro Camera Head KB-2

Model	Ball D (mm/")	LBH (mm)	Weight (kg/lbs)	Load Capacity (kg/lbs)
KS-00	∮26/1.0	98X56X92	0.18/0.4	4.5/9.9
KS-0	∮36/1.4	104X64X100	0.41/0.8	8/17.6
KS-1	∮44/1.7	108X72X107	0.56/1.2	12/26.4
KS-2	∮54/2.1	113X82X119	0.76/1.7	18/39.6

Benro Camera Head KB-3

Benro Camera Head KS-2

BENRO CARBON FIBER (M-SERIES) TRIPODS

The M-series carbon fiber tripods are the prefect blend of reliable performance and good value. Utilizing 2nd generation carbon fiber manufacturing technology, the M-series is the ideal choice for D-SLR cameras. The 6-layer 3-D tube technology ensures that the M-series offers the strength and rigidity necessary for reliable performance.

Adjustment Leg Angles

Benro tripods provide adjustable leg angle stops. Each leg can be set to the desired angle (24, 55 or 80 degrees) for convenience and flexibility. Low angle shooting is also possible by pulling out the sliding stops and setting each leg to the lowest angle stop.

Patented dust resistance rubber grips

Benro's innovatively designed rubber locking grips offer a unique function not found on any other brand. The rubber grips are firmly attached to each threaded locking collar. Once the locking collar is in its fully locked position, the rubber grip completely covers and seals and gap between the threads and the outside elements. The rubber seal prevents dust, sand, dirt and water from entering into the threaded area and causing costly damage. Disassembling and reassembling each tripod leg is avoided because the leg threads are protected from the outdoors.

Closed Foam Grip

The closed foam grip is made from NBR (Nitrile Butadiene Rubber) giving a comfortable and firm grip. On cold days, the cold resistant NBR acts as an insulator between the cold tripod leg and your hand.

Reversible Center Column

The center column can be quickly inverted, offering more flexibility to meet your needs for different shooting angles. The grooved-design of the column eliminates unwanted column rotation.

Stainless Steel Spike or Rubber Feet

To fit different ground surface, the rubber feet can be removed to fix metal spikes. Rubber feet give excellent protection to the smooth floor, while spikes ensure better soil holding capacity, especially useful for outdoor work.

Column Knob with Wing-Nut

The wing nut column-locking knob ensures smooth and quick operation when adjusting the height of the center column is necessary.

Spirit Level and Compass

Outdoors, the spirit level helps hold the horizon easily, while the compass is always ready to provide you with correct directions.

Hook

An increase of stability can be realized by hanging extra weight on the hook, which is more practical for outdoor activities.

Tripod Bags

Benro bags are made of top quality materials, providing good protection to your tripod and head.

Model No	Sections	Max.Height (mm/ ")	Normal Height (mm/")	Min.Height (mm/ ")	Folded Height (mm/ ")	Weight (kg/lbs)	Max.Load Capacity (kg/lbs)
M-057 n6	3-sec	1430/56.3	1195/47.0	310/12.2	550/21.7	1.07/2.4	4/8.8
M-058 n6	4-sec	1425/56.1	1185/46.7	310/12.2	475/18.7	1.12/2.5	4/8.8
M-157 n6	3-sec	1475/58.1	1260/49.6	310/12.2	595/23.4	1.39/3.1	5/11.0
M-158 n6	4-sec	1490/58.7	1270/50.0	310/12.2	510/20.1	1.43/3.2	5/11.0
M-257 n6	3-sec	1610/62.4	1405/55.3	310/12.2	650/25.6	1.68/3.7	8/17.6
M-258 n6	4-sec	1540/60.6	1325/52.5	310/12.2	540/21.3	1.7/3.7	8/17.6

Carbon Master Tripod M-057 n6

Details:
◎Max.Tube Diameter :	22mm/0.87″
◎Max .Height :	1430mm/56.3″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1195mm/47.0″
◎Weight :	1.07kg/2.4 lbs
◎Load Capacity :	4kg/8.8 lbs

Carbon Master Tripod M-058 n6

Details:
◎Max.Tube Diameter :	22mm/0.87″
◎Max .Height :	1425mm/56.1″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1185mm/46.7″
◎Weight :	1.12kg/2.5 lbs
◎Load Capacity :	4kg/8.8 lbs

Carbon Master Tripod M-157 n6

Details:
◎Max.Tube Diameter :	25mm/0.98″
◎Max .Height :	1475mm/58.1″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1260mm/49.6″
◎Weight :	1.39kg/3.1 lbs
◎Load Capacity :	5kg/11.0 lbs

Carbon Master Tripod M-158 n6

Details:
◎Max.Tube Diameter :	25mm/0.98″
◎Max .Height :	1490mm/58.7″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1270mm/50.0″
◎Weight :	1.43kg/3.2 lbs
◎Load Capacity :	5kg/11.0 lbs

Carbon Master Tripod M-257 n6

Details:
◎Max.Tube Diameter :	28mm/1.1″
◎Max .Height :	1610mm/62.4″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1405mm/55.3″
◎Weight :	1.68kg/3.7 lbs
◎Load Capacity :	8kg/17.6 lbs

Carbon Master Tripod M-258 n6

Details:
◎Max.Tube Diameter :	28mm/1.1″
◎Max .Height :	1540mm/60.6″
◎Min .Height :	310mm/12.2″
◎Normal Height :	1325mm/52.2″
◎Weight :	1.7kg/3.7 lbs
◎Load Capacity :	8kg/17.6 lbs

CARBON FIBER (C-SERIES) TRIPODS

The C-series carbon fiber tripods are the first choice for professional photographers. They offer the ultimate strength, lightest weight, fast action and reliable performance demanded by Pros worldwide. The C-series n6 adopts Benro's latest 2nd generation 8-layer carbon fiber tube technology which is 40% stronger than the 1st generation carbon fiber tubes and current competitive brands.

2nd GENERATION CARBON FIBER TUBE

The 1st generation of BENRO carbon fiber tubes utilized a pull and compression manufacturing technique. With a tube wall thickness of 1.5mm, it provided strength, rigidity, vibration reduction and anti-twisting characteristics that rivaled the best tripods in the business. Upon its release into the market, the 1st generation carbon fiber tripods became very popular amongst professional photographers and serious advanced amateurs.

Employing its strong research and development team, Benro utilizes the latest technology and manufacturing procedures to achieve superior quality products. Benro was the first company to develop and apply 2nd-generation carbon fiber tube technology. The new tubes are 1.0mm in thickness yet perform with the highest intensity of strength and rigidity. They achieved this amazing increase in overall strength by incorporating the latest rolling and compression manufacturing technique. The 2nd generation carbon fiber tubes offer the same strength, rigidity, vibration reduction and anti-twisting characteristics that the 1st generation (1.5mm thick tubes) at 30% less weight. The tripod overall weight is reduced by 15% as compared to the 1st generation carbon fiber tripods.

Compared with today’s top competitive carbon fiber tripods, Benro’s 2nd-generation carbon fiber tubes are 40% stronger in load pressure and 80% stronger laterally. In total Benro carbon fiber tripods are 60% stronger that all current competitive brands. The 2nd generation carbon fiber tubes also perform much better under high impact. Utilizing more fibers and less epoxy, Benro eliminated the brittleness and easily crushed tubes of the competitor design. Independent laboratory testing results indicated that, the intensity of competitive carbon fiber tubes had a breaking point of 84.4kgs, while that of the Benro 2nd-generation carbon fiber tube reached an amazing pressure of 134.1kgs). Presently, Benro holds the top position for offering the strongest, highest intensity carbon fiber tube technology within a tripod design in all global markets.

Model No	Sections	Max.Height (mm/ ")	Normal Height (mm/")	Min.Height (mm/ ")	Folded Height (mm/ ")	Weight (kg/lbs)	Max.Load Capacity (kg/lbs)
C-057 n6	3-sec	1420/55.9	1185/46.6	310/12.2	540/21.3	1.02/2.2	4/8.8
C-058 n6	4-sec	1415/55.7	1175/46.3	310/12.2	465/18.3	1.07/2.4	4/8.8
C-157 n6	3-sec	1465/57.7	1250/49.2	310/12.2	585/23.0	1.32/2.9	5/11.0
C-158 n6	4-sec	1480/58.3	1260/49.6	310/12.2	500/19.7	1.36/3.0	5/11.0
C-257 n6	3-sec	1600/63.0	1395/54.9	310/12.2	640/25.2	1.60/3.5	8/17.6
C-258 n6	4-sec	1530/60.2	1315/51.8	310/12.2	530/20.9	1.62/3.6	8/17.6
C-357 n6	3-sec	1725/67.9	1565/61.6	260/10.2	720/28.3	2.3/5.0	10/22.0
C-358 n6	4-sec	1735/68.3	1575/62.0	260/10.2	610/24.0	2.28/5.0	10/22.0
C-457 n6	3-sec	1840/72.4	1680/66.1	260/10.2	770/30.3	2.96/6.5	12/26.4
C-458 n6	4-sec	1845/72.4	1685/66.3	260/10.2	655/25.8	2.94/6.5	12/26.4

OPTICAL SCOPES

2007-05-31T01:02:00.000-07:00

MEMORY AND STORAGE

2007-05-30T23:09:00.003-07:00

High Performance Photo & Video

SanDisk professional products are designed for serious professional photographers who demand the fastest, most rugged, and most durable memory cards on the market. Professional photographers who work under less than ideal conditions expect more from a flash memory card. More speed. More performance. More reliability. SanDisk’s professional products deliver everything you want plus a whole lot more! And all of our Extreme® III and Ultra® II products are backed by a lifetime limited warranty.*

SanDisk Cruzer® Contour™ USB Flash Drive

The flagship of SanDisk USB flash drives, Cruzer Contour features a sleek and stylish black glossy design. It also includes an innovative sliding USB connector that retracts into the body. The sliding USB connector eliminates the need for caps and protects the connector. The Cruzer Contour also features a lifetime limited warranty. Available in 4GB and 8GB, Cruzer Contour is a high performance USB drive.

Also includes U3 technology so you can carry your files and software on a secure USB drive. You can have your wallpaper, preferences, favorites, profiles, and more - everything you need for a familiar computing experience on any PC, wherever you go. Additional software includes Skype, CruzerSync™, Avast, SignupShield and HP Photosmart.

SanDisk Cruzer® Micro USB Flash Drive

Cruzer™ Micro now ships with U3 smart™ technology. Co-Invented by SanDisk, U3 technology gives you the ability to carry your files AND your software on a secure USB drive. You can have your wallpaper, preferences, favorites, profiles, and more - everything you need for a familiar computing experience on any PC, wherever you go.

Includes Skype™ exclusively on all Cruzer Micro and Cruzer Titanium USB flash drives. Make voice and video calls from PC to PC anywhere in the world.

Cruzer Micro allows you to easily carry and transfer key documents, pictures, music and video clips from one computer to another. The new retractable USB port eliminates the need for caps and protects your USB connector.

WE SELL ALL KINDS OF SANDISK MEMORYCARD AND USB FLASH DRIVE

266x CompactFlash Card

The impressive 266X CompactFlash memory card has extreme transfer rate and superior quality to meet the need of high-end devices. Transcend’s 266X CompactFlash card comes in various capacities.

120x CompactFlash Card

Extremely Fast 120X Ultra-Performance Data Transfer and Enormous 2GB - 8GB Memory Capacities, make Transcend's 120X CompactFlash Memory Cards the Perfect choice for your High-End Digital Equipment.

80x CompactFlash Card

Ultra 80X CompactFlash memory cards are the best choice for use in high-resolution digital cameras and other high-performance devices.

WE SELL ALL KINDS OF TRANSCEND MEMORYCARD AND USB FLASH DRIVE

LENS AND TELECONVERTER

2007-05-30T23:09:00.001-07:00

TELEPLUS / KENKO EXTENSION TUBE ( FOR MACRO PURPOSE )

AUTOFOCUS ENABLED ( NIKON AF and CANON AF )

Extension tubes are designed to enable a lens to focus closer than its normal set minimum focusing distance. Getting closer has the effect of magnifying your subject (making it appear larger in the viewfinder and in your pictures). They are exceptionally useful for macro photography, enabling you to convert almost any lens into a macro lens at a fraction of the cost while maintaining its original optical quality.
The DG extension tubes have no optics. They are mounted in between the camera body and lens to create more distance between the lens and film plane. By moving the lens father away from the film or CCD sensor in the camera, the lens is forced to focus much closer than normal. The greater the length of the extension tube, the closer the lens can focus.
It contains three tubes of different length, a 12 mm, 20 mm, and 36 mm, which can be used individually or in any combination to obtain the desired magnification. Kenko also makes a DG UNITUBE 12 mm or 25 mm which can be purchased individually.
TELEPLUS Auto Focus extension tubes are designed with all the circuitry and mechanical coupling to maintain auto focus and TTL auto exposure with most Canon, Nikon, and Minolta lenses given there is enough light to activate the cameras AF system properly.

TAMRON TELECONVERTERS ( AF ENABLED )

	1.4X	2X
Model	020 series	122/220 series
Lens Construction (Groups/Elements)	4/4	4/4
Coating	Multiple Layer	Multiple Layer
Maximum Magnification	1.4X the mag ratio of original lens	2X the mag ratio of original lens
Filter Diameter	---	---
Length	0.7in. (18.8mm)	1.0in. (26mm)
Maximum Barrel Diameter	Ø2.6in. (66.5mm)	Ø2.6in. (66.7mm)
Accessory	Case	Case
Mount	Canon, Minolta, Nikon, Pentax	Canon, Minolta, Nikon, Pentax
Note: All our AF tele-converters for Canon EOS are also compatible with Canon EOS "IX" camera for APS system.

FILTER / HOOD / CAP / RING

2007-05-30T23:08:00.000-07:00

DRY CABINET / DRY BOX / DRY AGENT

2007-05-30T23:05:00.000-07:00

BATTERY AND CHARGER

2007-05-30T23:00:00.000-07:00

BAG AND STRAP

2007-05-30T22:54:00.000-07:00

CAMERA AND CAMCORDER

2007-05-30T18:04:00.001-07:00