Canon's new full frame Digital SLR, the Canon EOS 6D features an all new 20.2 megapixel full-frame CMOS sensor, and has impressed many with it's high specification and competitive price point. Previously users of the Canon EOS 5D Mark II, looking to upgrade, had to choose whether to invest in the more expensive Canon EOS 5D Mark III priced at around £2300, whereas now they can purchase the Canon EOS 6D for around £1599, and also benefit from built in GPS and Wi-Fi.
Canon EOS 6D Features :
The Canon EOS 6D is one of the smallest full-frame digital SLRs available and offers low light focusing with an 11-point autofocus system, that is responsive down to -3EV, sensitive enough to operate under moonlight. With a 20.2 megapixel sensor the camera offers ISO 50 to ISO102400 when using the ISO expansion feature.
The Canon EOS 6D has a completely new 20.2 megapixel full-frame CMOS sensor, which sits neatly in between the 18.1 megapixel sensor in the Canon EOS 1D X and the 22.3 megapixel sensor in the Canon EOS 5D Mark III in terms of resolution, but not price, and combined with a DIGIC 5+ processor should deliver noise performance levels somewhere in between these two cameras.
Key Features :
• Full-frame 20.2 Megapixel CMOS sensor
• 97% view optical viewfinder
• 3.0inch screen, 1040k dot
• 11-point AF sensitive down to -3EV
• GPS records your location
• Wi-Fi file transfer and remote control
• Full-HD 1080p video, Max ISO 12800, expandable to 25600
• ISO100 - ISO25600, expands to ISO50 - ISO102400
• ±5 stop exposure compensation and ±3-stop auto exposure bracketing
• 4.5fps continuous shooting
• Magnesium Alloy front and rear body covers, polycarbonate top cover
• Weather sealed body - to same standard as EOS-1N
• Multiple exposure, HDR mode
• In camera RAW image processing
• DIGIC 5+ image processor
• EOS integrated sensor cleaning system
• AF Microadjustment
Canon EOS 6D Handling :
Handling - The Canon EOS 6D feels quite light when first picked up and thanks to a relatively thin body front front to back, feels quite compact, particularly if you're used to using a larger full-frame camera. The camera has a deep hand grip with rubber where needed, with a good sized rubber grip at the rear for your thumb, as well as rubber on the left of the camera to aid two handed grip. The camera has a locking mode dial, which means you have to press the centre button before turning it, and the on/off switch can be found underneath. The top LCD can be lit up with the press of the light button.
Image courtesy of Canon.
The Canon EOS 6D is one of the smallest full frame Digital SLRs available, and weighs just 680g body only, while the nearest competitor, the Nikon D600 weights 850g. The 6D is noticeably smaller than the Canon EOS 5D Mark III, as shown above, and also smaller than the Nikon D600, although the D600 does feature a built in flash.
Menus – The Canon EOS menus are clearly laid out with each section colour coded and will be familiar to anyone who's used Canon's recent Digital SLRs. There are a large number of settings and options, which may mean it's a good idea to spend some time reading the manual, although the camera has hidden a number of custom settings instead of giving you direct access to them. To quickly get access to options, you simply press the Q button, and a control panel is shown on the rear screen.
You can set the auto ISO mode so that you control the ISO range available as well as the slowest shutter speed used by the camera before it boosts the ISO setting. It works well and can give you additional confidence that a fast enough shutter speed will be used. Another useful feature for anyone shooting a lot of images is the ability to rate your images on a scale of one to five on screen.
Wi-Fi Connectivity - The camera can be connected to your current Wi-Fi network, or alternatively a direct Wi-Fi connection can be made from the smartphone to the camera. Connection options include: connecting to another Wi-Fi camera, EOS utility, Wi-Fi printer, upload to Web service, view the images on a DNLA compatiable TV, or using the EOS Remote app - available here - you can connect the 6D to an Android phone or tablet or iPhone / iPad.
The app lets you use the phone as a live view remote control adjusting Av/Tv/ISO and exposure when in the correct mode on the camera, as well as check focus. You can view images - where you can also rate them on your phone, and transfer images to the phone (max size: S2 (1920 x 1280) JPEG). As the app uses the live view mode of the camera, focusing is quite slow, and the remote app adds a slight delay.
Battery life - Battery life is rated at 1090 shots according to Canon / CIPA test results, we were able to take over 700 shots before the battery went flat - this was after using live view and Wi-Fi quite a lot and the battery life should be longer if you use Wi-Fi/GPS and live view as little as possible. A battery grip is available if you wish to extend the battery life.
Speed - We took a number of shots to test the camera's responsiveness, from switch on to first photo, shot to shot, focusing speed etc. We take a number of shots and then use the average to ensure accurate and consistent tests, making it easy to compare with other cameras.
"Max. Approx. 4.5fps. (speed maintained for up to 1250 images (JPEG)¹²or 17 images (RAW))³ (with UHS-I card)²"
Tested with a Sony UHS-I 94mb/s U:1 card. Focus speed is very quick, and shutter response is excellent, although live view focusing is much slower. Shot to shot speed and switch on time is also very good.
Silent shooting single shot or continuous shooting is available, and this makes the shutter sound noticeably quieter, as shown in the video above, although there is no noticeable shutter release or focus delay as a result, there is a slowdown of continuous shooting to 3fps.
Canon EOS 6D Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
Sample Photos - The Canon EOS 6D is capable of producing excellent images in a variety of conditions with particularly pleasing skin tones and colour reproduction. Dynamic range is good with detail in both bright and shadow areas despite the difficult shooting conditions.
Lens Performance - Detail is good in photos whether using the 24-70mm f/4 L IS USM lens at the wide or telephoto end. The camera and lens produce reliable focus, however, as with other full-frame cameras, care needs to be paid to focus when shooting wide-open as the shallow depth of field could cause problems if the camera focuses on the wrong area. The Canon 24-70mm f/4 L IS USM lens has a macro switch on the side that allows the lens to focus extremely closely when fully zoomed, with the subject just 4cm away from the front of the lens.
ISO Noise Performance - The Canon EOS 6D has ISO100 to ISO25600, which is expandable to ISO50 - 102400. Images are virtually noise free at ISO50, 100, 200, 400, 800 and 1600, with a very slight increase in chroma noise at ISO3200. There is also a very slight loss of detail at ISO3200. There is a more noticeable increase in noise at ISO6400, with the slight loss of detail again, however images are still very impressive.
Canon EOS 6D Digital SLR Review
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Labels:
canon eos 6d
Canon's new full frame Digital SLR, the Canon EOS 6D features an all new 20.2 megapixel full-frame CMOS sensor, and has impressed many with it's high specification and competitive price point. Previously users of the Canon EOS 5D Mark II, looking to upgrade, had to choose whether to invest in the more expensive Canon EOS 5D Mark III priced at around £2300, whereas now they can purchase the Canon EOS 6D for around £1599, and also benefit from built in GPS and Wi-Fi.
Canon EOS 6D Features :
Key Features :
• Full-frame 20.2 Megapixel CMOS sensor
• 97% view optical viewfinder
• 3.0inch screen, 1040k dot
• 11-point AF sensitive down to -3EV
• GPS records your location
• Wi-Fi file transfer and remote control
• Full-HD 1080p video, Max ISO 12800, expandable to 25600
• ISO100 - ISO25600, expands to ISO50 - ISO102400
• ±5 stop exposure compensation and ±3-stop auto exposure bracketing
• 4.5fps continuous shooting
• Magnesium Alloy front and rear body covers, polycarbonate top cover
• Weather sealed body - to same standard as EOS-1N
• Multiple exposure, HDR mode
• In camera RAW image processing
• DIGIC 5+ image processor
• EOS integrated sensor cleaning system
• AF Microadjustment
Canon EOS 6D Handling :
Image courtesy of Canon. The Canon EOS 6D is one of the smallest full frame Digital SLRs available, and weighs just 680g body only, while the nearest competitor, the Nikon D600 weights 850g. The 6D is noticeably smaller than the Canon EOS 5D Mark III, as shown above, and also smaller than the Nikon D600, although the D600 does feature a built in flash.
Menus – The Canon EOS menus are clearly laid out with each section colour coded and will be familiar to anyone who's used Canon's recent Digital SLRs. There are a large number of settings and options, which may mean it's a good idea to spend some time reading the manual, although the camera has hidden a number of custom settings instead of giving you direct access to them. To quickly get access to options, you simply press the Q button, and a control panel is shown on the rear screen. You can set the auto ISO mode so that you control the ISO range available as well as the slowest shutter speed used by the camera before it boosts the ISO setting. It works well and can give you additional confidence that a fast enough shutter speed will be used. Another useful feature for anyone shooting a lot of images is the ability to rate your images on a scale of one to five on screen.
Wi-Fi Connectivity - The camera can be connected to your current Wi-Fi network, or alternatively a direct Wi-Fi connection can be made from the smartphone to the camera. Connection options include: connecting to another Wi-Fi camera, EOS utility, Wi-Fi printer, upload to Web service, view the images on a DNLA compatiable TV, or using the EOS Remote app - available here - you can connect the 6D to an Android phone or tablet or iPhone / iPad. The app lets you use the phone as a live view remote control adjusting Av/Tv/ISO and exposure when in the correct mode on the camera, as well as check focus. You can view images - where you can also rate them on your phone, and transfer images to the phone (max size: S2 (1920 x 1280) JPEG). As the app uses the live view mode of the camera, focusing is quite slow, and the remote app adds a slight delay.
"Max. Approx. 4.5fps. (speed maintained for up to 1250 images (JPEG)¹²or 17 images (RAW))³ (with UHS-I card)²"
Tested with a Sony UHS-I 94mb/s U:1 card. Focus speed is very quick, and shutter response is excellent, although live view focusing is much slower. Shot to shot speed and switch on time is also very good.
Silent shooting single shot or continuous shooting is available, and this makes the shutter sound noticeably quieter, as shown in the video above, although there is no noticeable shutter release or focus delay as a result, there is a slowdown of continuous shooting to 3fps.
Canon EOS 6D Performance : Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
Sample Photos - The Canon EOS 6D is capable of producing excellent images in a variety of conditions with particularly pleasing skin tones and colour reproduction. Dynamic range is good with detail in both bright and shadow areas despite the difficult shooting conditions.
Lens Performance - Detail is good in photos whether using the 24-70mm f/4 L IS USM lens at the wide or telephoto end. The camera and lens produce reliable focus, however, as with other full-frame cameras, care needs to be paid to focus when shooting wide-open as the shallow depth of field could cause problems if the camera focuses on the wrong area. The Canon 24-70mm f/4 L IS USM lens has a macro switch on the side that allows the lens to focus extremely closely when fully zoomed, with the subject just 4cm away from the front of the lens.
ISO Noise Performance - The Canon EOS 6D has ISO100 to ISO25600, which is expandable to ISO50 - 102400. Images are virtually noise free at ISO50, 100, 200, 400, 800 and 1600, with a very slight increase in chroma noise at ISO3200. There is also a very slight loss of detail at ISO3200. There is a more noticeable increase in noise at ISO6400, with the slight loss of detail again, however images are still very impressive.
In this article I have tried to give a glimpse of review of very known Pentax DSLR K-5 II. The K-5 II is an updated version of the highly regarded K-5. The first half of nearly identical twins from Pentax. The K-5 IIs, its sibling without anti-aliasing filter, will be reviewed soon. On the face of it, we have here an identical camera to the original K-5, so we need to explore what improvements have been made, whether or not the upgrade would be sufficient for existing K-5 users and whether or not this new model will tempt new purchasers into the Pentax system. The K-5 was an Editor's Choice, so the new model has much to live up to and exceed, if it can.
Features of Pentax K-5 II :
The K-5 II is an APS-C DSLR with a Sony sensor, well tried and tested, using 16.28MP. It utilises the well established Pentax K mount, opening up the possibility of using almost any Pentax lens ever made. Via adapters, this backwards compatibility can extend back to even the 1950s Asahiflex lenses and of course the ubiquitous M42 screw mount lenses of the Spotmatic era, albeit with some limitations. Looking more to the present, there is a wide range of current Pentax AF lenses, with new offerings on the way to broaden the repertoire even more.
In-body shake reduction (SR) can be used with any lens or accessory and is proven already to bring a 3 stop or more advantage. Weather resistance to body and many lenses means all-weather use. The magnesium alloy shell is rugged and feels solid and dependable, but still within a remarkably compact package. Live View and Movie Mode plus a wide array of image style options round out a very complete and professional specification. An impressive 7fps is also available when needed.
Remarkable low light performance was a feature of the K-5, so we shall see how the K-5 II compares. The upgraded AF module is also an area of interest. Will this be a dramatic or just a subtle improvement of the original K-5?
Key Features :
- 16.28 megapixel APS-C sensor
- Pentax KAF2 bayonet mount
- In-body Shake Reduction
- Glass Pentaprism with 100% field of view
- 3 inch LCD monitor with 921,000 dots
- Live View with Contrast Detection and Phase Matching AF
- SAFOX X AF module sensitive to -3EV
- Weather Resistant construction
- Magnesium alloy shell
- 7fps maximum frame rate
- ISO range 100 to 12,800, expandable to 80 to 51,200
- Full HD Movie Mode
- 17 Digital filters
- PEF and DNG RAW formats
- Premium JPEG Quality level
Pentax K-5 II Handling :
From opening the package it is evident that all the components have been well put together. The quality of finish on all the items, be it the camera, the battery, the charger, is very high. Switches operate firmly and smoothly, with no play. Access doors seal closed with precision. The lens operates without any feeling of sloppiness.
In terms of ergonomics I have used many cameras, but have always come back to Pentax. The old advertising slogan “Simply hold a Pentax” rings as true today as it did when the Spotmatic was released in 1964. Controls are comfortable and well placed, and overall it is an efficient product that feels good in the hands.
The one small design feature that has been left unchanged but could do with improvement is the card access door. This is quite cramped and can be awkward, making removal of the SD card potentially tricky. However, it does get easier with practice, but a little more room would be a considerable improvement. This is really the only niggle in what is basically an excellent ergonomic design.
The menu system is logical and works just fine. It is easy to use and has consistent and reliable logic throughout. The display is clear and if we should be in any doubt an explanation of any particular setting is displayed on screen.
Battery life, using the same Dli90 battery as the K-5, is quoted at approx. 740 images with 50% flash usage and 980 with no flash. 440 minutes of movie playback is also quoted. These figures are using the CIPA standard at under 23C. In this test after two intensive days of use, the battery indicator still reads fully charged, so the implication is that battery life will not be a problem.
- Shutter Response - 0.05 secs
- Focus/Shutter Response (Wide) - 0.65 secs (1.9s in live view)
- Focus/Shutter response (Full-Zoom) - 0.75 secs (2.4s in live view)
- Switch on Time to Taking a Photo - 0.5 secs
- Shot to Shot without Flash - 0.2 secs
- Shot to Shot with Flash - 1.15 secs
- Continuous Shooting - 7 fps
- Continuous Shooting - Flash 1 fps
- Continuous Shooting - RAW 8 fps
Start up of the camera is virtually instantaneous. By the time the finger has moved from the on switch to the shutter release, everything is ready to go. Shutter response is slick and aided by a predictable meter on position and smooth release.
In speed tests the K-5 II easily exceeds the quoted specification. I managed 32 JPEGs before the buffer was filled and 26 RAW images, compared to the quoted 30 and 20 respectively.
Pentax K-5 II Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
Pentax K-5 II Sample Photo :
Close Up Shade | 0.4 sec | f/16.0 | 40.0 mm | ISO 200
The field test included some atrocious weather, but of course the weather resistance means that we can just carry on and still shoot images with complete freedom. This is one of the major advances in recent DSLR design because of the freedom it brings in rugged conditions.
Exposure is very similar to the original K-5 and my preference is to permanently set -0.3EV compensation. This gives perfect results, especially when using center weighted metering. Matrix metering is equally consistent, offering a slightly lighter end result, but many photographers may prefer to take control of the decision making themselves. Spot metering is also accurate and very useful for especially spot-lit subjects.
Exposure compensation can be used where necessary and is conveniently accessed by a dedicated button. Generally, the amount of correction needed is quite modest using all the provided metering patterns. There is no tendency to over-expose and lose the highlights, in part due to accurate metering and in part due to a wide dynamic range.
Focusing is possibly marginally faster than the K-5, but there seems to be very little in it. What does seem remarkable is that focus can now be achieved in virtual darkness, even when the subject is dark itself. These are conditions where manual focusing would be beyond most eyes, so it is quite an achievement. In brighter light, focusing is fast and accurate. In LV mode, there also seems to have been an improvement in focusing speed.
Some shots may benefit from Distortion Correction and Lateral Chromatic Aberration Correction. Provided this sort of feature does not become an excuse for short cuts in lens design, both these are to be welcomed. They work well. Architectural subjects can be rendered with straight edges. Colour fringing can be impressively removed from, for example, branches silhouetted against a bright sky.
HDR in camera is a convenient way to try this technique without purchasing stand alone programs, although the effect available is limited. The various options have adjustable parameters themselves, so the range of options is vast.
Video - Movie mode works well, with a mono microphone built in and a jack provided for a stereo mike. Quality seems good and the microphone does not seem to pick up too much camera noise. Panning is smooth and the zooming action of the lens is also smooth enough to prevent any glitches in the picture.
Value for Money :
New introductions usually arrive at a high price that settles down after a while. This is the price we pay for being an early adopter of new technology. In this case, both the K-5 II and the K-5 IIs seem to have been brought in at quite a competitive price level from the start. This is exceptionally good value.
However, for existing Pentax users who own the K-5 the value in an upgrade is far less clear. There is an improvement in some areas of performance, as noted, but these are not major steps for what is basically already a superb camera.
For users new to Pentax the value for money is without any doubt. This is a very fine piece of kit that performs well and reliably. It builds upon an already excellent record, giving us a very competitive price and the double value of an established design with any glitches already ironed out. The K-5 II can hold its head high amongst the alternatives - alternatives include the weather sealed Sony Alpha A77, and non-weather sealed Nikon D5200, both with 24 megapixel sensors.
Pentax K-5 II Verdict :
The Pentax K-5 II is a rugged, magnesium alloy bodied, weatherproof, well designed and high quality camera with a kit zoom that is really very good indeed, and provides a package that looks very exciting against its rivals. It is more compact, arguably slicker in operation and provides the highest standards at a relatively low price level. There's not much to dislike, so the K-5 can be totally recommended.
The only caveat that remains is that, while stocks last, the original K-5 still offers most of what the K-5 II can do, and that may well be a better option in terms of cost if the low light AF performance improvement is not an issue. Prospective buyers may be well advised to move quickly on that option, before it is gone and no longer a decision to be made.
Pentax K-5 II Pros :
- Excellent image quality
- Rugged weather sealed construction
- Compact body and lenses
- Fast operation
- Glass penta-prism viewfinder
- Improved Live View
- Backwards lens Compatibility
- In body shake Reduction
- Low noise levels
- Excellent Value for Money
- Low light AF
- Wide selection of built in effects and filters
- Outstanding Color Reproduction
- DNG RAW format
Pentax K-5 II Cons :
- Not full frame
- Fewer lenses in range than Nikon and Canon
- Live view focus and shutter response slow
Pentax K-5 II DSLR Review
Full View
Labels:
pentax k5 II
In this article I have tried to give a glimpse of review of very known Pentax DSLR K-5 II. The K-5 II is an updated version of the highly regarded K-5. The first half of nearly identical twins from Pentax. The K-5 IIs, its sibling without anti-aliasing filter, will be reviewed soon. On the face of it, we have here an identical camera to the original K-5, so we need to explore what improvements have been made, whether or not the upgrade would be sufficient for existing K-5 users and whether or not this new model will tempt new purchasers into the Pentax system. The K-5 was an Editor's Choice, so the new model has much to live up to and exceed, if it can.
Features of Pentax K-5 II :
The K-5 II is an APS-C DSLR with a Sony sensor, well tried and tested, using 16.28MP. It utilises the well established Pentax K mount, opening up the possibility of using almost any Pentax lens ever made. Via adapters, this backwards compatibility can extend back to even the 1950s Asahiflex lenses and of course the ubiquitous M42 screw mount lenses of the Spotmatic era, albeit with some limitations. Looking more to the present, there is a wide range of current Pentax AF lenses, with new offerings on the way to broaden the repertoire even more.
In-body shake reduction (SR) can be used with any lens or accessory and is proven already to bring a 3 stop or more advantage. Weather resistance to body and many lenses means all-weather use. The magnesium alloy shell is rugged and feels solid and dependable, but still within a remarkably compact package. Live View and Movie Mode plus a wide array of image style options round out a very complete and professional specification. An impressive 7fps is also available when needed.
Remarkable low light performance was a feature of the K-5, so we shall see how the K-5 II compares. The upgraded AF module is also an area of interest. Will this be a dramatic or just a subtle improvement of the original K-5?
In-body shake reduction (SR) can be used with any lens or accessory and is proven already to bring a 3 stop or more advantage. Weather resistance to body and many lenses means all-weather use. The magnesium alloy shell is rugged and feels solid and dependable, but still within a remarkably compact package. Live View and Movie Mode plus a wide array of image style options round out a very complete and professional specification. An impressive 7fps is also available when needed.
Remarkable low light performance was a feature of the K-5, so we shall see how the K-5 II compares. The upgraded AF module is also an area of interest. Will this be a dramatic or just a subtle improvement of the original K-5?
Key Features :
- 16.28 megapixel APS-C sensor
- Pentax KAF2 bayonet mount
- In-body Shake Reduction
- Glass Pentaprism with 100% field of view
- 3 inch LCD monitor with 921,000 dots
- Live View with Contrast Detection and Phase Matching AF
- SAFOX X AF module sensitive to -3EV
- Weather Resistant construction
- Magnesium alloy shell
- 7fps maximum frame rate
- ISO range 100 to 12,800, expandable to 80 to 51,200
- Full HD Movie Mode
- 17 Digital filters
- PEF and DNG RAW formats
- Premium JPEG Quality level
From opening the package it is evident that all the components have been well put together. The quality of finish on all the items, be it the camera, the battery, the charger, is very high. Switches operate firmly and smoothly, with no play. Access doors seal closed with precision. The lens operates without any feeling of sloppiness.
In terms of ergonomics I have used many cameras, but have always come back to Pentax. The old advertising slogan “Simply hold a Pentax” rings as true today as it did when the Spotmatic was released in 1964. Controls are comfortable and well placed, and overall it is an efficient product that feels good in the hands.
The one small design feature that has been left unchanged but could do with improvement is the card access door. This is quite cramped and can be awkward, making removal of the SD card potentially tricky. However, it does get easier with practice, but a little more room would be a considerable improvement. This is really the only niggle in what is basically an excellent ergonomic design.
The menu system is logical and works just fine. It is easy to use and has consistent and reliable logic throughout. The display is clear and if we should be in any doubt an explanation of any particular setting is displayed on screen.
Battery life, using the same Dli90 battery as the K-5, is quoted at approx. 740 images with 50% flash usage and 980 with no flash. 440 minutes of movie playback is also quoted. These figures are using the CIPA standard at under 23C. In this test after two intensive days of use, the battery indicator still reads fully charged, so the implication is that battery life will not be a problem.
- Shutter Response - 0.05 secs
- Focus/Shutter Response (Wide) - 0.65 secs (1.9s in live view)
- Focus/Shutter response (Full-Zoom) - 0.75 secs (2.4s in live view)
- Switch on Time to Taking a Photo - 0.5 secs
- Shot to Shot without Flash - 0.2 secs
- Shot to Shot with Flash - 1.15 secs
- Continuous Shooting - 7 fps
- Continuous Shooting - Flash 1 fps
- Continuous Shooting - RAW 8 fps
Start up of the camera is virtually instantaneous. By the time the finger has moved from the on switch to the shutter release, everything is ready to go. Shutter response is slick and aided by a predictable meter on position and smooth release.
In speed tests the K-5 II easily exceeds the quoted specification. I managed 32 JPEGs before the buffer was filled and 26 RAW images, compared to the quoted 30 and 20 respectively.
Pentax K-5 II Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
In speed tests the K-5 II easily exceeds the quoted specification. I managed 32 JPEGs before the buffer was filled and 26 RAW images, compared to the quoted 30 and 20 respectively.
Pentax K-5 II Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review, photos and product ratings.
Pentax K-5 II Sample Photo :
The field test included some atrocious weather, but of course the weather resistance means that we can just carry on and still shoot images with complete freedom. This is one of the major advances in recent DSLR design because of the freedom it brings in rugged conditions.
Exposure is very similar to the original K-5 and my preference is to permanently set -0.3EV compensation. This gives perfect results, especially when using center weighted metering. Matrix metering is equally consistent, offering a slightly lighter end result, but many photographers may prefer to take control of the decision making themselves. Spot metering is also accurate and very useful for especially spot-lit subjects.
Exposure compensation can be used where necessary and is conveniently accessed by a dedicated button. Generally, the amount of correction needed is quite modest using all the provided metering patterns. There is no tendency to over-expose and lose the highlights, in part due to accurate metering and in part due to a wide dynamic range.
Focusing is possibly marginally faster than the K-5, but there seems to be very little in it. What does seem remarkable is that focus can now be achieved in virtual darkness, even when the subject is dark itself. These are conditions where manual focusing would be beyond most eyes, so it is quite an achievement. In brighter light, focusing is fast and accurate. In LV mode, there also seems to have been an improvement in focusing speed.
Some shots may benefit from Distortion Correction and Lateral Chromatic Aberration Correction. Provided this sort of feature does not become an excuse for short cuts in lens design, both these are to be welcomed. They work well. Architectural subjects can be rendered with straight edges. Colour fringing can be impressively removed from, for example, branches silhouetted against a bright sky.
HDR in camera is a convenient way to try this technique without purchasing stand alone programs, although the effect available is limited. The various options have adjustable parameters themselves, so the range of options is vast.
Video - Movie mode works well, with a mono microphone built in and a jack provided for a stereo mike. Quality seems good and the microphone does not seem to pick up too much camera noise. Panning is smooth and the zooming action of the lens is also smooth enough to prevent any glitches in the picture.
Value for Money :
New introductions usually arrive at a high price that settles down after a while. This is the price we pay for being an early adopter of new technology. In this case, both the K-5 II and the K-5 IIs seem to have been brought in at quite a competitive price level from the start. This is exceptionally good value.
However, for existing Pentax users who own the K-5 the value in an upgrade is far less clear. There is an improvement in some areas of performance, as noted, but these are not major steps for what is basically already a superb camera.
For users new to Pentax the value for money is without any doubt. This is a very fine piece of kit that performs well and reliably. It builds upon an already excellent record, giving us a very competitive price and the double value of an established design with any glitches already ironed out. The K-5 II can hold its head high amongst the alternatives - alternatives include the weather sealed Sony Alpha A77, and non-weather sealed Nikon D5200, both with 24 megapixel sensors.
Pentax K-5 II Verdict :
The Pentax K-5 II is a rugged, magnesium alloy bodied, weatherproof, well designed and high quality camera with a kit zoom that is really very good indeed, and provides a package that looks very exciting against its rivals. It is more compact, arguably slicker in operation and provides the highest standards at a relatively low price level. There's not much to dislike, so the K-5 can be totally recommended.
The only caveat that remains is that, while stocks last, the original K-5 still offers most of what the K-5 II can do, and that may well be a better option in terms of cost if the low light AF performance improvement is not an issue. Prospective buyers may be well advised to move quickly on that option, before it is gone and no longer a decision to be made.
Pentax K-5 II Pros :
Exposure is very similar to the original K-5 and my preference is to permanently set -0.3EV compensation. This gives perfect results, especially when using center weighted metering. Matrix metering is equally consistent, offering a slightly lighter end result, but many photographers may prefer to take control of the decision making themselves. Spot metering is also accurate and very useful for especially spot-lit subjects.
Exposure compensation can be used where necessary and is conveniently accessed by a dedicated button. Generally, the amount of correction needed is quite modest using all the provided metering patterns. There is no tendency to over-expose and lose the highlights, in part due to accurate metering and in part due to a wide dynamic range.
Focusing is possibly marginally faster than the K-5, but there seems to be very little in it. What does seem remarkable is that focus can now be achieved in virtual darkness, even when the subject is dark itself. These are conditions where manual focusing would be beyond most eyes, so it is quite an achievement. In brighter light, focusing is fast and accurate. In LV mode, there also seems to have been an improvement in focusing speed.
Some shots may benefit from Distortion Correction and Lateral Chromatic Aberration Correction. Provided this sort of feature does not become an excuse for short cuts in lens design, both these are to be welcomed. They work well. Architectural subjects can be rendered with straight edges. Colour fringing can be impressively removed from, for example, branches silhouetted against a bright sky.HDR in camera is a convenient way to try this technique without purchasing stand alone programs, although the effect available is limited. The various options have adjustable parameters themselves, so the range of options is vast.
Video - Movie mode works well, with a mono microphone built in and a jack provided for a stereo mike. Quality seems good and the microphone does not seem to pick up too much camera noise. Panning is smooth and the zooming action of the lens is also smooth enough to prevent any glitches in the picture.
New introductions usually arrive at a high price that settles down after a while. This is the price we pay for being an early adopter of new technology. In this case, both the K-5 II and the K-5 IIs seem to have been brought in at quite a competitive price level from the start. This is exceptionally good value.
However, for existing Pentax users who own the K-5 the value in an upgrade is far less clear. There is an improvement in some areas of performance, as noted, but these are not major steps for what is basically already a superb camera.
For users new to Pentax the value for money is without any doubt. This is a very fine piece of kit that performs well and reliably. It builds upon an already excellent record, giving us a very competitive price and the double value of an established design with any glitches already ironed out. The K-5 II can hold its head high amongst the alternatives - alternatives include the weather sealed Sony Alpha A77, and non-weather sealed Nikon D5200, both with 24 megapixel sensors.
Pentax K-5 II Verdict :
The Pentax K-5 II is a rugged, magnesium alloy bodied, weatherproof, well designed and high quality camera with a kit zoom that is really very good indeed, and provides a package that looks very exciting against its rivals. It is more compact, arguably slicker in operation and provides the highest standards at a relatively low price level. There's not much to dislike, so the K-5 can be totally recommended.
The only caveat that remains is that, while stocks last, the original K-5 still offers most of what the K-5 II can do, and that may well be a better option in terms of cost if the low light AF performance improvement is not an issue. Prospective buyers may be well advised to move quickly on that option, before it is gone and no longer a decision to be made.
Pentax K-5 II Pros :
- Excellent image quality
- Rugged weather sealed construction
- Compact body and lenses
- Fast operation
- Glass penta-prism viewfinder
- Improved Live View
- Backwards lens Compatibility
- In body shake Reduction
- Low noise levels
- Excellent Value for Money
- Low light AF
- Wide selection of built in effects and filters
- Outstanding Color Reproduction
- DNG RAW format
- Not full frame
- Fewer lenses in range than Nikon and Canon
- Live view focus and shutter response slow
Executing with all your Efforts to Capture Light :
Photography is the art of recording light. In order to record light you need to know how to tell your camera how much light to record. Understanding Photography Exposure allows you to give correct instructions to your camera. After all, your camera is just a tool, you are the artist.
There are several items that a photographer uses to control light.
* Shutter Speed
* Aperture
* Film Speed
* Light Meter
Once you understand what each of these items are, it is time to pull them together to create a properly exposed image. It does bear noting that "properly exposed" refers to the exposure the photographer intended. Sometimes the photographer wants to underexpose and image or overexpose it. Proper exposure depends on the intentions of the photographer.
Proper exposure is created by using various combinations of film speed, shutter speed, and aperture. The photographer then checks the light meter to confirm that these combinations will result in the desired light reaching the film or sensor.
Film speed is almost always the first factor that is determined. With film cameras, the film speed is determined by what film you use. In a digital camera, the camera or photographer chooses a film speed equivalent to use in a given situation. The chosen film speed tells the light meter how much light the film requires to create an image.
After a film speed is chosen, the photographer considers the subject and environment of the photograph in order to determine if depth of field (controlled by aperture) or motion control (controlled by shutter speed) is more important to the image. Occasionally there are subjects where both motion control and depth of field are equally important, or the dominant concern can change quickly.
Is Motion Control(MC) or Depth of Field (DOF) More Important?
* Landscapes - DOF
* Sports - MC
* Posed Portraits - DOF
* Nature Photography - DOF & MC
* Photojournalism - DOF & MC
* Architecture - DOF
Once a photographer knows which factor they feel is most important, they set that factor first. For example, a photographer wishes to take a photograph of a meadow with mountains in the background. The photographer wants a large depth of field so aperture is the most important factor in that case. The photographer then sets a small aperture(large depth of field) using the F-Stop guides on his/her camera. After setting the aperture, the photographer looks at the light meter reading and either increases or decreases the shutter speed to move the light meter needle into the center of the scale.
If this shutter speed is below the focal length of the camera lens or below 1/60th of a second, the photographer must do one of two things:
* Reconsider the setting combination
* Use a tripod (or other support) to steady the camera
In cases where the shutter speed is the most important factor, the photographer's choices are further limited. For example, a photographer wanting to photograph a car race sets shutter speed first. Then aperture is set in accordance with the light meter reading. Sometimes there is not enough light available to gain a proper exposure with the desired shutter speed at any aperture.
In this case, the photographer has the following options:
* Reconsider the setting combination
* Use a higher film speed
The bottom line in setting exposure combinations is to know what setting to change in order to use another setting that you "must" have for the image you wish to capture. There is no set right or wrong combination for any image. Every time you take an image the lighting/subject situation changes slightly and setting changes are required to compensate for those changes. You may be able to shoot football images with settings of 400 ISO, f8, 1/250 second on one day and the next day (due to uniform color or cloudy skies) you must shoot with 800 ISO, f4.5, 1/90 second. Use your light meter to know when your settings allow enough light to enter the camera to capture an image.
Understanding Photography Exposure for DSLR Camera
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dslr exposure,
photography exposure
Executing with all your Efforts to Capture Light :
There are several items that a photographer uses to control light.
* Shutter Speed * Aperture
* Film Speed * Light Meter
Is Motion Control(MC) or Depth of Field (DOF) More Important?
* Landscapes - DOF
* Sports - MC * Posed Portraits - DOF
* Nature Photography - DOF & MC
* Photojournalism - DOF & MC
* Architecture - DOF
* Reconsider the setting combination
* Use a tripod (or other support) to steady the camera
In this case, the photographer has the following options:
* Reconsider the setting combination
* Use a higher film speed
Photography is the art of recording light. In order to record light you need to know how to tell your camera how much light to record. Understanding Photography Exposure allows you to give correct instructions to your camera. After all, your camera is just a tool, you are the artist.
* Shutter Speed * Aperture
* Film Speed * Light Meter
Once you understand what each of these items are, it is time to pull them together to create a properly exposed image. It does bear noting that "properly exposed" refers to the exposure the photographer intended. Sometimes the photographer wants to underexpose and image or overexpose it. Proper exposure depends on the intentions of the photographer.
Proper exposure is created by using various combinations of film speed, shutter speed, and aperture. The photographer then checks the light meter to confirm that these combinations will result in the desired light reaching the film or sensor.
Film speed is almost always the first factor that is determined. With film cameras, the film speed is determined by what film you use. In a digital camera, the camera or photographer chooses a film speed equivalent to use in a given situation. The chosen film speed tells the light meter how much light the film requires to create an image.
After a film speed is chosen, the photographer considers the subject and environment of the photograph in order to determine if depth of field (controlled by aperture) or motion control (controlled by shutter speed) is more important to the image. Occasionally there are subjects where both motion control and depth of field are equally important, or the dominant concern can change quickly.
* Landscapes - DOF
* Sports - MC * Posed Portraits - DOF
* Nature Photography - DOF & MC
* Photojournalism - DOF & MC
* Architecture - DOF
Once a photographer knows which factor they feel is most important, they set that factor first. For example, a photographer wishes to take a photograph of a meadow with mountains in the background. The photographer wants a large depth of field so aperture is the most important factor in that case. The photographer then sets a small aperture(large depth of field) using the F-Stop guides on his/her camera. After setting the aperture, the photographer looks at the light meter reading and either increases or decreases the shutter speed to move the light meter needle into the center of the scale.
If this shutter speed is below the focal length of the camera lens or below 1/60th of a second, the photographer must do one of two things:
* Use a tripod (or other support) to steady the camera
In cases where the shutter speed is the most important factor, the photographer's choices are further limited. For example, a photographer wanting to photograph a car race sets shutter speed first. Then aperture is set in accordance with the light meter reading. Sometimes there is not enough light available to gain a proper exposure with the desired shutter speed at any aperture.
* Reconsider the setting combination
* Use a higher film speed
The bottom line in setting exposure combinations is to know what setting to change in order to use another setting that you "must" have for the image you wish to capture. There is no set right or wrong combination for any image. Every time you take an image the lighting/subject situation changes slightly and setting changes are required to compensate for those changes. You may be able to shoot football images with settings of 400 ISO, f8, 1/250 second on one day and the next day (due to uniform color or cloudy skies) you must shoot with 800 ISO, f4.5, 1/90 second. Use your light meter to know when your settings allow enough light to enter the camera to capture an image.
What is Depth of Field (DoF) ?
Depth of Field is the amount of your image before and beyond your focus point that will be in focus. Depth of field tells you whether or not your subject and background can be sharply focused at the same time.
Depth of field is determined by several factors:
* Aperture/F-Stop
* Lens
* Subject Distance
While the camera can actually only focus on one tiny point in space, the depth of field determines how much of the image is in "acceptable focus" to the human eye.
In subjects such as landscapes, a large depth of field is often desired so that the entire scene appears to be in focus. With subjects such as portraits, a small depth of field is often used to blur the background and reduce distractions from the main subject of the image.
The Effect of Aperture/F-Stop on Depth of Field :
Aperture describes an adjustable opening inside your camera lens that controls the amount of light striking the film. As the size of the aperture changes, the angle of light striking the film also changes. It is this angle change, much like eyeglasses change the angle of the light, that creates changes in depth of field.
Aperture is measured by F-Stop on your camera controls. F-Stop settings represent a ratio derived from the size of the lens opening and focal length. Aperture has historically been confusing for new photographers (and some established photographers) because of the apparent conflict in description. A small F-Stop is a large aperture opening and a large F-Stop is a small aperture opening. Because a smaller aperture limits the amount of light entering the lens, a large F-Stop also requires more light to properly expose an image.
A simpler way to remember the relationship between F-Stop/Aperture and Depth of Field is:
Large F-Stop = Large Depth of Field = More Light Needed
Small F-Stop = Small Depth of Field = Less Light Needed
This means that larger F-Stops, such as F11, will require slower shutter speeds and produce images with larger depths of field. Smaller F-Stops, such as F4, will allow faster shutter speeds and produce images with shallower depths of field.
The Effect of Aperture/F-Stop on Depth of Field:
The focal length of your lens plays a big part in determining the depth of field (DOF) for your images. Think of your lens strength as a limiting factor for your aperture capabilities. The higher the magnification factor, the smaller the depth of field will be, even with large F-Stop settings.
Depth of Field Progression for a 70-300mm Lens
* 70mm = largest DOF
* 100mm = large DOF
* 200mm = small DOF
* 300mm = smallest DOF
This effect is especially pronounced in macro photography where close proximity to the subject and high focal lengths result in depths of field that are sometimes less than an inch.
The Effect of Subject Distance on Depth of Field :
Much like lens strength, subject distance, plays a big part in determining the possible size of depth of field. The closer you are to your focal point, or subject, the less depth of field is possible. To illustrate this effect, hold your hand at arm's length in front of your face. Even when focusing on your hand you can probably see a good bit of the surrounding environment in reasonably clear focus. Slowly move your hand towards your face until you reach the half-way point. Notice how much less of the area surrounding your hand is in focus. Continue moving your hand towards your face until it is as close as your eyes can focus on it. Very little of the area surrounding your hand can now be seen.
This same effect occurs with your camera lens. This effect, combined with high magnification factors, results in the tiny depth of fields seen in macro photography. It also makes the huge depths of field in many expansive landscapes possible when using a lower magnification factor lens.
What is Depth of Field
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Labels:
depth of field,
dof
What is Depth of Field (DoF) ?
Depth of field is determined by several factors:
* Aperture/F-Stop
* Lens
* Subject Distance
The Effect of Aperture/F-Stop on Depth of Field :
A simpler way to remember the relationship between F-Stop/Aperture and Depth of Field is:
Large F-Stop = Large Depth of Field = More Light Needed Small F-Stop = Small Depth of Field = Less Light Needed
The Effect of Aperture/F-Stop on Depth of Field:
Depth of Field Progression for a 70-300mm Lens
* 70mm = largest DOF
* 100mm = large DOF
* 200mm = small DOF
* 300mm = smallest DOF
The Effect of Subject Distance on Depth of Field :
Depth of Field is the amount of your image before and beyond your focus point that will be in focus. Depth of field tells you whether or not your subject and background can be sharply focused at the same time.
* Aperture/F-Stop
* Lens
* Subject Distance
While the camera can actually only focus on one tiny point in space, the depth of field determines how much of the image is in "acceptable focus" to the human eye.
In subjects such as landscapes, a large depth of field is often desired so that the entire scene appears to be in focus. With subjects such as portraits, a small depth of field is often used to blur the background and reduce distractions from the main subject of the image.
Aperture describes an adjustable opening inside your camera lens that controls the amount of light striking the film. As the size of the aperture changes, the angle of light striking the film also changes. It is this angle change, much like eyeglasses change the angle of the light, that creates changes in depth of field.
Aperture is measured by F-Stop on your camera controls. F-Stop settings represent a ratio derived from the size of the lens opening and focal length. Aperture has historically been confusing for new photographers (and some established photographers) because of the apparent conflict in description. A small F-Stop is a large aperture opening and a large F-Stop is a small aperture opening. Because a smaller aperture limits the amount of light entering the lens, a large F-Stop also requires more light to properly expose an image.
Large F-Stop = Large Depth of Field = More Light Needed Small F-Stop = Small Depth of Field = Less Light Needed
This means that larger F-Stops, such as F11, will require slower shutter speeds and produce images with larger depths of field. Smaller F-Stops, such as F4, will allow faster shutter speeds and produce images with shallower depths of field.
The focal length of your lens plays a big part in determining the depth of field (DOF) for your images. Think of your lens strength as a limiting factor for your aperture capabilities. The higher the magnification factor, the smaller the depth of field will be, even with large F-Stop settings.
* 70mm = largest DOF
* 100mm = large DOF
* 200mm = small DOF
* 300mm = smallest DOF
This effect is especially pronounced in macro photography where close proximity to the subject and high focal lengths result in depths of field that are sometimes less than an inch.
Much like lens strength, subject distance, plays a big part in determining the possible size of depth of field. The closer you are to your focal point, or subject, the less depth of field is possible. To illustrate this effect, hold your hand at arm's length in front of your face. Even when focusing on your hand you can probably see a good bit of the surrounding environment in reasonably clear focus. Slowly move your hand towards your face until you reach the half-way point. Notice how much less of the area surrounding your hand is in focus. Continue moving your hand towards your face until it is as close as your eyes can focus on it. Very little of the area surrounding your hand can now be seen.
This same effect occurs with your camera lens. This effect, combined with high magnification factors, results in the tiny depth of fields seen in macro photography. It also makes the huge depths of field in many expansive landscapes possible when using a lower magnification factor lens.
During almost every discussion with me, I have often questioned by my pals, what must to carry for the amateur photographers with DSLR. This instantly gave me an opportunity to write tips for all newbie as a piece of advice and to make their each trip memorable and not to miss any single moment with the toolkit rather I would say accessories to carry with your camera. There are certain moments that we missed just because of that missing right accessory at that particular moment. Photography is not about taking great photos but to take photos with great sense and at a perfect timing.
The basic necessity, such as memory cards and camera bags are just the tip of the iceberg when it comes to the suite of accessories DSLR owners depend on. And that goes for casual, amateur photographers, GWC (guys with cameras), and professionals. No matter you are freshly owned or a prospective DSLR owner, these are the must carry accessories that you'll want to pick up as you build your photographer's arsenal. Below mentioned are the top tips for accessories to be carry at all times.
1. Extra batteries :
The first and foremost is to have an extra pairs of batteries as this one's a no-brainer, but a newbie often ignore the importance of an extra battery. Thing is, you never want to be on vacation, at a photo shoot, or otherwise shooting photos when your battery bar morphs into a blinking red. The good news is that you can often find reliable off-brand backup batteries from Web sites like Amazon, Best Buy, or B&H Photo. When you skip the brand names (like official Canon or Nikon batteries), you can save as much as 50 percent. Just grab the battery that came with the camera, ‘Google’ the model number and read customer reviews to find out which backup battery is most suitable for your camera.
Carrying a travel charger or simple battery charger is also advisable when you are traveling and having an opportunity to recharge your batteries for having extra hours of backup.
2. Cleaning kit :
Capturing the real time shots you must blend with the nature and local environment which can possibly affect to your camera life. Keeping this in mind the second most important tool in your accessory is keeping your cleaning kit handy at all times. Whether you use a UV filter or just go commando, you should always have these things in your camera bag:
• Microfiber cloth for wiping away fingerprints and smudges
• A dust-blower for gently shooing away flecks of dirt and dust
• A cleaning pen and brush combo for precise, fingerprint-free lens cleaning
3. A Monopod or Tripod :
Choosing over monopod or tripod everybody has their own views according to its usage, though buying tripod over monopod is always a great decision as Tripod is a key to crisp images, self-portraits, long exposures, and low-light shooting. There are, however, so many types of tripods to choose from. For starters, look for a lightweight, carbon fiber tripod with a tall height and the ability to rotate vertically for the portrait shots.
From setting up a photo booth at a party to shooting photos of products or handmade items, a tripod can be a truly versatile tool. This handy guide to buying tripods does a great job of helping you narrow down which tripod is right for you. (Even you can make your own string tripod.)
4. Additional Lens :
There are some times when you get surprises as nature is full of them and do not have the proper lens to capture the event or that fraction of time going with the wind. There might be some logic in jumping with one parachute but photography isn’t that similar with paragliding and keeping additional lens is utmost important as there are several chances of macro shots during landscape photography or getting a view of landscape while doing portrait in open land. Staying alert at all times is a sign of good photographer and it rewards you back by giving you wonderful surprising shots while capturing pre-planned photo shoot.
Only thing to remember is that prepare yourself for unexpected and think out of the framework if you really want to distinguish your “Art work” rather than taking photos.
5. Camera Case :
I am not trying to be a photography guru or some but giving some tips out of my own experiences that improved my habits and learnt lessons by losing some incredible moments with some potentially awesome captures. It seems too obvious to recommend, but even newbie bent on protecting the DSLRs will postpone this necessary purchase. Even if you think your camera will mostly be hanging on your arm or around your neck, you still need a camera case.
Make sure you always think about what needs to travel with you. Extra batteries, memory cards, card readers, filters, extra lenses, and your cleaning kit will each need a cubby in your bag. Once you know what needs to be stored, you'll have a better idea of what kind of bag or backpack you'll need. Go for one that has lots of padding and external protection, so that your equipment is safe from the outside in.
6. External Hard Drive :
I shall certainly add this last but not least “must have” accessory in your kit. If you're used to the small file sizes point-and-shoot cameras produce, get ready for a big change as DSLRs produce much larger file types, especially when you're taking advantage of shooting in super high-resolution, raw, or HD video formats.
To accommodate the storage needs of these large files, purchase an external hard drive. The exact capacity will depend on how much shooting you plan to do, but I always err on the side of safety, so if you can, go for at least 1TB of storage. Here are some recommendations for the best portable hard drives. Once you've set up your hard drive, immediately establish a system for organizing your photos and videos so that you'll know exactly where to find any given photo in a pinch. I am sure you definitely will thank me later.
DSLR Photographers’ Must Carry Accessories
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photography accessories
During almost every discussion with me, I have often questioned by my pals, what must to carry for the amateur photographers with DSLR. This instantly gave me an opportunity to write tips for all newbie as a piece of advice and to make their each trip memorable and not to miss any single moment with the toolkit rather I would say accessories to carry with your camera. There are certain moments that we missed just because of that missing right accessory at that particular moment. Photography is not about taking great photos but to take photos with great sense and at a perfect timing.
The basic necessity, such as memory cards and camera bags are just the tip of the iceberg when it comes to the suite of accessories DSLR owners depend on. And that goes for casual, amateur photographers, GWC (guys with cameras), and professionals. No matter you are freshly owned or a prospective DSLR owner, these are the must carry accessories that you'll want to pick up as you build your photographer's arsenal. Below mentioned are the top tips for accessories to be carry at all times.
1. Extra batteries :
The first and foremost is to have an extra pairs of batteries as this one's a no-brainer, but a newbie often ignore the importance of an extra battery. Thing is, you never want to be on vacation, at a photo shoot, or otherwise shooting photos when your battery bar morphs into a blinking red. The good news is that you can often find reliable off-brand backup batteries from Web sites like Amazon, Best Buy, or B&H Photo. When you skip the brand names (like official Canon or Nikon batteries), you can save as much as 50 percent. Just grab the battery that came with the camera, ‘Google’ the model number and read customer reviews to find out which backup battery is most suitable for your camera.
Carrying a travel charger or simple battery charger is also advisable when you are traveling and having an opportunity to recharge your batteries for having extra hours of backup.
2. Cleaning kit :
Capturing the real time shots you must blend with the nature and local environment which can possibly affect to your camera life. Keeping this in mind the second most important tool in your accessory is keeping your cleaning kit handy at all times. Whether you use a UV filter or just go commando, you should always have these things in your camera bag:
• Microfiber cloth for wiping away fingerprints and smudges
• A dust-blower for gently shooing away flecks of dirt and dust
• A cleaning pen and brush combo for precise, fingerprint-free lens cleaning
3. A Monopod or Tripod :
Choosing over monopod or tripod everybody has their own views according to its usage, though buying tripod over monopod is always a great decision as Tripod is a key to crisp images, self-portraits, long exposures, and low-light shooting. There are, however, so many types of tripods to choose from. For starters, look for a lightweight, carbon fiber tripod with a tall height and the ability to rotate vertically for the portrait shots.
From setting up a photo booth at a party to shooting photos of products or handmade items, a tripod can be a truly versatile tool. This handy guide to buying tripods does a great job of helping you narrow down which tripod is right for you. (Even you can make your own string tripod.)
4. Additional Lens :
There are some times when you get surprises as nature is full of them and do not have the proper lens to capture the event or that fraction of time going with the wind. There might be some logic in jumping with one parachute but photography isn’t that similar with paragliding and keeping additional lens is utmost important as there are several chances of macro shots during landscape photography or getting a view of landscape while doing portrait in open land. Staying alert at all times is a sign of good photographer and it rewards you back by giving you wonderful surprising shots while capturing pre-planned photo shoot.
Only thing to remember is that prepare yourself for unexpected and think out of the framework if you really want to distinguish your “Art work” rather than taking photos.
5. Camera Case :
I am not trying to be a photography guru or some but giving some tips out of my own experiences that improved my habits and learnt lessons by losing some incredible moments with some potentially awesome captures. It seems too obvious to recommend, but even newbie bent on protecting the DSLRs will postpone this necessary purchase. Even if you think your camera will mostly be hanging on your arm or around your neck, you still need a camera case.
Make sure you always think about what needs to travel with you. Extra batteries, memory cards, card readers, filters, extra lenses, and your cleaning kit will each need a cubby in your bag. Once you know what needs to be stored, you'll have a better idea of what kind of bag or backpack you'll need. Go for one that has lots of padding and external protection, so that your equipment is safe from the outside in.
6. External Hard Drive :
I shall certainly add this last but not least “must have” accessory in your kit. If you're used to the small file sizes point-and-shoot cameras produce, get ready for a big change as DSLRs produce much larger file types, especially when you're taking advantage of shooting in super high-resolution, raw, or HD video formats.
To accommodate the storage needs of these large files, purchase an external hard drive. The exact capacity will depend on how much shooting you plan to do, but I always err on the side of safety, so if you can, go for at least 1TB of storage. Here are some recommendations for the best portable hard drives. Once you've set up your hard drive, immediately establish a system for organizing your photos and videos so that you'll know exactly where to find any given photo in a pinch. I am sure you definitely will thank me later.
Photography can be fun and exciting if you have a little knowledge about it and you follow certain basic rules. We have already had a glimpse for a beginners introduction to wide angle lens in our previous post. In photography, wide angle lens can be a powerful tool for exaggerating the depth and relative size in a photo. Apparently, it is considered as one of the most difficult types of lenses to understand how to make use of it. Through this post I will try to dispel some common misconceptions and will discuss the techniques to get the total benefits of the unique characteristics of a wide angle lens.
Synopsis :
A lens is generally considered to be "wide angle lens" when its focal length is less than around 35 mm (on a full frame; see camera lenses: focal length & aperture). This translates into an angle of view which is greater than about 55° across your photo's widest dimension. The definition of ultra-wide is a little fuzzier, but most agree that this realm begins with focal lengths somewhere around 20-24 mm and less. On a compact camera, wide angle is often when you've fully zoomed out, however ultra-wide is usually never available without a special lens adapter.
Regardless, the key concept is this: the shorter the focal length, the more you will tend to notice the unique effects of a wide angle lens.
What makes a wide angle lens unique? A common misconception is that wide-angle lenses are primarily used for when you cannot step far enough away from your subject, but yet still want to capture all of this subject in a single camera frame. Unfortunately, if one were to only use it this way they'd really be missing out. In fact, wide angle lenses are often used for just the opposite: when you want to get closer to a subject!
So, let's take a closer look at just what makes a wide angle lens unique:
• Its image encompasses a wide angle of view
• It generally has a close minimum focusing distance
Although the above characteristics might seem pretty basic, they result in a surprising range of possibilities. The rest of this page focuses on techniques for how to best use these traits for maximal impact in wide angle photography.
Wide Angle Perspective :
Obviously, a wide angle lens is special because it has a wide angle of view — but what does this actually do? A wide angle of view means that both the relative size and distance is exaggerated when comparing near and far objects. This causes nearby objects to appear gigantic, and far away objects to appear unusually tiny and distant. The reason for this is the angle of view.
Even though the two cylinders above are the same distance apart when photographed with each lens, their relative sizes are very different when one fills the frame with the closest cylinder. With a wider angle of view, further objects therefore comprise a much lower fraction of the total angle of view.
A misconception is that a wide angle lens affects perspective, but strictly speaking, this isn't true. Perspective is only influenced by where you are located when you take a photograph. However, in practical use, wide-angle lenses often cause you to move much closer to your subject — which does affect perspective.
This exaggeration of relative size can be used to add emphasis and detail to foreground objects, while still capturing expansive backgrounds. If you plan on using this effect to full impact, you'll want to get as close as possible to the nearest subject in the scene.
However, one needs to take extra caution when photographing people. Their nose, head or other features can become greatly out of proportion if you are too close to them when taking the photo. This proportionality is in part why narrower focal lengths are much more common for traditional portrait photography.
Regardless, don't be afraid to get much closer! This is where wide angle really shines. Just take extra care with the composition though; extremely close objects can move a lot inside the image due to camera movements of even a fraction of an inch. It can therefore become quite difficult to frame subjects the way you want.
Converging Verticals :
Whenever a wide angle lens is pointed above or below the horizon, it will cause otherwise parallel vertical lines to appear as if they are converging. Any lens does this — even telephoto lenses — it's just that a wider expanse of converging lines is visible with a wide angle lens. Further, with a wide angle lens, even small changes in composition will alter the location of the vanishing point by a large amount — resulting in a big difference in how sharply lines seem to converge.
Although converging vertical lines are generally avoided in architectural photography for the above reasons, one can also sometimes use these to their advantage:
Wide angle lens always used to capture the towering trees in a way that makes them appear to be enveloping the viewer. A big reason for this is that they look as if they are coming from all directions and converging in the middle of the image — even though they are actually all parallel to one another.
Similarly, the architectural photo to the right was taken close to the door in order to exaggerate the apparent height of the chapel. On the other hand, this also gives the unwanted appearance that the building is about to fall over backwards.
The only ways to reduce converging verticals are to either :
• Aim your camera closer to the horizon, even if this means that you'll capture a lot of ground in addition to the subject (which you can crop out later)
• Get much further from your subject and use a lens with a longer focal length
• Use Photoshop or other software to distort the photo so that vertical lines diverge less
• Use a tilt/shift lens to control perspective.
Interiors & Enclosed Spaces :
A wide angle lens can be an absolute requirement in enclosed spaces, simply because one cannot move far enough away from their subject to get all of them in the photo (using a normal lens). A common example is photography of interior rooms or other indoor architecture. This kind of photography is also perhaps the easiest way to make the most of a wide angle lens — in part because it forces you to be close to the subject.
Polarizing Filters :
Using a polarizing filter should almost always be avoided with a wide angle lens. A key trait of a polarizer is that its influence varies depending on the angle of the subject relative to the sun. When you face your camera 90° from where the sun is coming from, you will maximize its effect; similarly, whenever you face your camera directly away from or into the sun, you will minimize the effect of a polarizer.
With an ultra-wide angle lens, one edge of your image frame might be nearly facing the sun, whereas the opposing edge might be facing 90° away from the sun. This means that you will be able to see the changing influence of your polarizer across a single photo, which is usually undesirable.
Managing Light Across a Wide Angle :
A common hurdle with wide angle lenses is strong variation in the intensity of light across an image. Using an ordinary exposure, uneven light can make some parts of the image over-exposed, while also leaving other parts underexposed — even though our eye would have adjusted to this changing brightness as we looked in different directions. One therefore needs to take extra care when determining the desired exposure.
For example, in landscape photography the foreground foliage is often much less intensely lit than the sky or a distant mountain. This often results in an over-exposed sky and/or an under-exposed foreground. Most photographers therefore use what is called a graduated neutral density (GND) filter to overcome this uneven lighting.
In the example above, the GND filter partially obstructed some of the light from the bright sky, while also gradually letting in more and more light for positions progressively lower in the photo. At the bottom of the photo, the GND filter let in the full amount of light. Move your mouse over the image above to see what it would have looked like without a GND filter. Also take a look at the tutorials on camera lens filters and high dynamic range (HDR) for additional examples.
A wide angle lens is also much more susceptible to lens flare, in part because the sun is much more likely to enter into the composition. It can also be difficult to effectively shield the sides of the lens from stray light using a lens hood, since this hood cannot also block any of the image-forming light across the wide angle of coverage.
Wide Angle Lenses & Depth of Field :
Note that nowhere in this page is it mentioned that a wide angle lens has a greater depth of field. Unfortunately, this is another common misconception. If you are magnifying your subject by the same amount (meaning that they fill the image frame by the same proportion), then a wide angle lens will give the same* depth of field as a telephoto lens.
Technical Note: for situations of extreme magnification, the depth of field may differ by a small amount. However, this is an extreme case and is not relevant for the uses discussed in this page. See the tutorial on depth of field for a more detailed discussion of this topic.
The reason that wide angle lenses get the reputation of improving depth of field is not because of any inherent property with the lens itself. It's because of how they're most often used. People rarely get close enough to their subject to have them fill the same amount of the frame with a wide angle lens as they do with lenses that have narrower angles of view.
How to Photography using Wide Angle Lens - Tutorial
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Photography can be fun and exciting if you have a little knowledge about it and you follow certain basic rules. We have already had a glimpse for a beginners introduction to wide angle lens in our previous post. In photography, wide angle lens can be a powerful tool for exaggerating the depth and relative size in a photo. Apparently, it is considered as one of the most difficult types of lenses to understand how to make use of it. Through this post I will try to dispel some common misconceptions and will discuss the techniques to get the total benefits of the unique characteristics of a wide angle lens.Synopsis :
A lens is generally considered to be "wide angle lens" when its focal length is less than around 35 mm (on a full frame; see camera lenses: focal length & aperture). This translates into an angle of view which is greater than about 55° across your photo's widest dimension. The definition of ultra-wide is a little fuzzier, but most agree that this realm begins with focal lengths somewhere around 20-24 mm and less. On a compact camera, wide angle is often when you've fully zoomed out, however ultra-wide is usually never available without a special lens adapter.
Regardless, the key concept is this: the shorter the focal length, the more you will tend to notice the unique effects of a wide angle lens.
What makes a wide angle lens unique? A common misconception is that wide-angle lenses are primarily used for when you cannot step far enough away from your subject, but yet still want to capture all of this subject in a single camera frame. Unfortunately, if one were to only use it this way they'd really be missing out. In fact, wide angle lenses are often used for just the opposite: when you want to get closer to a subject!
What makes a wide angle lens unique? A common misconception is that wide-angle lenses are primarily used for when you cannot step far enough away from your subject, but yet still want to capture all of this subject in a single camera frame. Unfortunately, if one were to only use it this way they'd really be missing out. In fact, wide angle lenses are often used for just the opposite: when you want to get closer to a subject!
So, let's take a closer look at just what makes a wide angle lens unique:
• It generally has a close minimum focusing distance
Although the above characteristics might seem pretty basic, they result in a surprising range of possibilities. The rest of this page focuses on techniques for how to best use these traits for maximal impact in wide angle photography.
Wide Angle Perspective :
Obviously, a wide angle lens is special because it has a wide angle of view — but what does this actually do? A wide angle of view means that both the relative size and distance is exaggerated when comparing near and far objects. This causes nearby objects to appear gigantic, and far away objects to appear unusually tiny and distant. The reason for this is the angle of view.
Even though the two cylinders above are the same distance apart when photographed with each lens, their relative sizes are very different when one fills the frame with the closest cylinder. With a wider angle of view, further objects therefore comprise a much lower fraction of the total angle of view.
Even though the two cylinders above are the same distance apart when photographed with each lens, their relative sizes are very different when one fills the frame with the closest cylinder. With a wider angle of view, further objects therefore comprise a much lower fraction of the total angle of view.
A misconception is that a wide angle lens affects perspective, but strictly speaking, this isn't true. Perspective is only influenced by where you are located when you take a photograph. However, in practical use, wide-angle lenses often cause you to move much closer to your subject — which does affect perspective.
This exaggeration of relative size can be used to add emphasis and detail to foreground objects, while still capturing expansive backgrounds. If you plan on using this effect to full impact, you'll want to get as close as possible to the nearest subject in the scene.
However, one needs to take extra caution when photographing people. Their nose, head or other features can become greatly out of proportion if you are too close to them when taking the photo. This proportionality is in part why narrower focal lengths are much more common for traditional portrait photography.
Regardless, don't be afraid to get much closer! This is where wide angle really shines. Just take extra care with the composition though; extremely close objects can move a lot inside the image due to camera movements of even a fraction of an inch. It can therefore become quite difficult to frame subjects the way you want.
Converging Verticals :
Whenever a wide angle lens is pointed above or below the horizon, it will cause otherwise parallel vertical lines to appear as if they are converging. Any lens does this — even telephoto lenses — it's just that a wider expanse of converging lines is visible with a wide angle lens. Further, with a wide angle lens, even small changes in composition will alter the location of the vanishing point by a large amount — resulting in a big difference in how sharply lines seem to converge.
Although converging vertical lines are generally avoided in architectural photography for the above reasons, one can also sometimes use these to their advantage:
Wide angle lens always used to capture the towering trees in a way that makes them appear to be enveloping the viewer. A big reason for this is that they look as if they are coming from all directions and converging in the middle of the image — even though they are actually all parallel to one another.
Similarly, the architectural photo to the right was taken close to the door in order to exaggerate the apparent height of the chapel. On the other hand, this also gives the unwanted appearance that the building is about to fall over backwards.
The only ways to reduce converging verticals are to either :
Similarly, the architectural photo to the right was taken close to the door in order to exaggerate the apparent height of the chapel. On the other hand, this also gives the unwanted appearance that the building is about to fall over backwards.
The only ways to reduce converging verticals are to either :
• Aim your camera closer to the horizon, even if this means that you'll capture a lot of ground in addition to the subject (which you can crop out later)
• Get much further from your subject and use a lens with a longer focal length
• Use Photoshop or other software to distort the photo so that vertical lines diverge less
• Use a tilt/shift lens to control perspective.
Interiors & Enclosed Spaces :
A wide angle lens can be an absolute requirement in enclosed spaces, simply because one cannot move far enough away from their subject to get all of them in the photo (using a normal lens). A common example is photography of interior rooms or other indoor architecture. This kind of photography is also perhaps the easiest way to make the most of a wide angle lens — in part because it forces you to be close to the subject.
Polarizing Filters :
Using a polarizing filter should almost always be avoided with a wide angle lens. A key trait of a polarizer is that its influence varies depending on the angle of the subject relative to the sun. When you face your camera 90° from where the sun is coming from, you will maximize its effect; similarly, whenever you face your camera directly away from or into the sun, you will minimize the effect of a polarizer.
With an ultra-wide angle lens, one edge of your image frame might be nearly facing the sun, whereas the opposing edge might be facing 90° away from the sun. This means that you will be able to see the changing influence of your polarizer across a single photo, which is usually undesirable.
Managing Light Across a Wide Angle :
A common hurdle with wide angle lenses is strong variation in the intensity of light across an image. Using an ordinary exposure, uneven light can make some parts of the image over-exposed, while also leaving other parts underexposed — even though our eye would have adjusted to this changing brightness as we looked in different directions. One therefore needs to take extra care when determining the desired exposure.
For example, in landscape photography the foreground foliage is often much less intensely lit than the sky or a distant mountain. This often results in an over-exposed sky and/or an under-exposed foreground. Most photographers therefore use what is called a graduated neutral density (GND) filter to overcome this uneven lighting.
In the example above, the GND filter partially obstructed some of the light from the bright sky, while also gradually letting in more and more light for positions progressively lower in the photo. At the bottom of the photo, the GND filter let in the full amount of light. Move your mouse over the image above to see what it would have looked like without a GND filter. Also take a look at the tutorials on camera lens filters and high dynamic range (HDR) for additional examples.
A wide angle lens is also much more susceptible to lens flare, in part because the sun is much more likely to enter into the composition. It can also be difficult to effectively shield the sides of the lens from stray light using a lens hood, since this hood cannot also block any of the image-forming light across the wide angle of coverage.
Note that nowhere in this page is it mentioned that a wide angle lens has a greater depth of field. Unfortunately, this is another common misconception. If you are magnifying your subject by the same amount (meaning that they fill the image frame by the same proportion), then a wide angle lens will give the same* depth of field as a telephoto lens.
Technical Note: for situations of extreme magnification, the depth of field may differ by a small amount. However, this is an extreme case and is not relevant for the uses discussed in this page. See the tutorial on depth of field for a more detailed discussion of this topic.
The reason that wide angle lenses get the reputation of improving depth of field is not because of any inherent property with the lens itself. It's because of how they're most often used. People rarely get close enough to their subject to have them fill the same amount of the frame with a wide angle lens as they do with lenses that have narrower angles of view.
The knowledge of photography makes you experienced and not your time spent in this respective discipline. How many photos you have taken is not important but which of your photo has got recognition is utmost important. I don’t call myself as a photographer as I will be learner all my life. I am best at random photography and always keep my mind running towards thinking of new perspective when I am about to take a shot. Many a times, I have been asked for my favorite or the best photo amongst I have taken so far and that makes me speak nothing else but telling them, “my Next One”.
I personally believe that you don’t get any bragging right until and unless you have achieved any award for your work as it’s not merely recognition but an honor of appreciation of your hard-work. When I was off to take this photo, it was one of a routine hike of mine in the tribal area and was not so sure for taking any great portrait. All of a sudden I have seen this old man sitting on a stairs of a building with an intention to earn though his absolute skill of playing musical instrument looks like saxophone which inspired me to name it tribal saxophone. When I captured this photo I had no big plan for receiving great comments and appreciation on 500px and yet another gesture of clicking for my collection.
Taking picture is one of my hobbies and I have developed it as I age, without any vested interest. After seeing my pics one of my friends reckon me to join 500px.com as it’s the best place for photographers to get exposure to their work. I had a very thought to get to know other photographers and learn from them, I too joined the site and started posting my pictures there. I did post Tribal Saxophone there and I started to get comments from visitors about this portrait which made me feel great about my work. One day I have come to know that my photo has been selected by the editors and having been awarded by Editors Choice which was a great honor for me that made me share this capture through my blog here.
Tribal Saxophone Awarded by Editor’s Choice on 500px
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tribal saxophone
The knowledge of photography makes you experienced and not your time spent in this respective discipline. How many photos you have taken is not important but which of your photo has got recognition is utmost important. I don’t call myself as a photographer as I will be learner all my life. I am best at random photography and always keep my mind running towards thinking of new perspective when I am about to take a shot. Many a times, I have been asked for my favorite or the best photo amongst I have taken so far and that makes me speak nothing else but telling them, “my Next One”.
I personally believe that you don’t get any bragging right until and unless you have achieved any award for your work as it’s not merely recognition but an honor of appreciation of your hard-work. When I was off to take this photo, it was one of a routine hike of mine in the tribal area and was not so sure for taking any great portrait. All of a sudden I have seen this old man sitting on a stairs of a building with an intention to earn though his absolute skill of playing musical instrument looks like saxophone which inspired me to name it tribal saxophone. When I captured this photo I had no big plan for receiving great comments and appreciation on 500px and yet another gesture of clicking for my collection.
Taking picture is one of my hobbies and I have developed it as I age, without any vested interest. After seeing my pics one of my friends reckon me to join 500px.com as it’s the best place for photographers to get exposure to their work. I had a very thought to get to know other photographers and learn from them, I too joined the site and started posting my pictures there. I did post Tribal Saxophone there and I started to get comments from visitors about this portrait which made me feel great about my work. One day I have come to know that my photo has been selected by the editors and having been awarded by Editors Choice which was a great honor for me that made me share this capture through my blog here.
Basic understanding of Aperture :
Aperture is one of the most confusing aspects of photography for amateur photographers also some old time professionals. In truth, it does not have to be a confusing. The aperture is an adjustable opening inside the camera lens that works very similar the iris in your eye.
When the aperture opens wide (like your eye dilating), more light is allowed through the lens to expose the film. When the aperture is narrow (like your pupil in bright light), less light reaches the film. This works in conjunction with shutter speed and film speed to determine the total amount of light that reaches the film. Aperture size also affects depth of field.
How to measure an Aperture :
Aperture is measured using F-Stops. F-Stop numbers represent a fractional formula representation of the amount of light allowed to pass through the aperture. In simpler terms, F-Stop numbers get bigger as the aperture gets smaller, just like shutter speed numbers get bigger as the time the shutter is open gets smaller. Each increasing F-Stop number roughly represents a halving of the light reaching the film. As the aperture closes, more of a scene will come into focus as well.
Relation of F-Stop with Light and Depth of Field :
• Big F-Stop Number = More Light Needed = Larger Depth of Field
• Little F-Stop Number = Less Light Needed = Less Depth of Field
Many photography texts over the years have attempted to drill the idea of small aperture = large F-Stop into new photographers' brains. While this is important to know, I have seen far too many new photographers become discouraged trying to remember this inverse relationship in the field. If it is easier for you to remember the F-Stop relationship to light and depth of field then by all means, use the memory method that works best for you in the field. If you miss a shot because you are trying to remember the aperture to F-Stop mechanics then it is just a hindrance.
While there is actually a huge range of F-Stops (aperture sizes) possible, depending on your lens, there is a common ground middle range that most consumer lenses are capable of operating within.
Common F-Stop Values :
• f/4
• f/5.6
• f/8
• f/11
• f16
• f22
Learn to set Aperture :
Aperture is set on cameras by turning a specified dial on the camera body. In older, fully manual cameras, this is a dial on the camera lens that is marked with F-Stop numbers. In newer cameras the aperture is generally displayed on an LCD screen while the photographer turns a small wheel near the shutter release button to adjust the setting. The exact placement of the wheel will vary from camera to camera. On point and shoot cameras, there may not be a control to select specific aperture or F-Stops.
If your camera does not have a way to manually set the aperture you may need to understand your camera's pre-programmed modes to obtain the desired aperture. Many SLR cameras also have these pre-programmed modes as well as a few additional modes of fine control.
How Aperture Works in Preset Modes :
Almost all automatic cameras today have some sort of preset shooting modes. These are designed for specific situations such as action, landscapes, and portraits. If you know what these modes change about your camera settings you can use them to your advantage in many more situations than just the intended ones. We've covered a few modes that are heavily weighted to aperture but now let's find out how aperture works in more preset camera modes.
Aperture in Preset Camera Modes :
Macro :
Macro mode is an automatic setting mode where the camera is predisposed to use the large aperture to compensate for the DOF compression of close-up shooting. In this mode you cannot set the exact aperture you want but you can lessen your chances of an out of focus close up subject by using this mode.
Landscape :
Landscape mode is basically a large DOF mode. Landscape is programmed to give the smallest aperture (largest F-Stop) possible in order to ensure a large depth of field. This means that the shutter speed will be slower. If your camera does not allow Manual or Av mode and you want to shoot a subject where the background is in focus, try the Landscape setting.
Portrait :
Portrait mode uses a large aperture to create a small DOF. Portrait is programmed to have a shallow depth of field (large aperture/small F-Stop) and use a slow film speed in order to throw the background out of focus and obtain a very fine film grain. Use this setting anytime you want a blurry background.
Manual :
Manual setting is marked "M" on newer cameras and is, in effect, the only setting on manual cameras. Manual mode means that you are fully in charge of the settings of your camera. If you set the aperture/F-Stop while in M mode, you will need to make an adjustment to shutter speed yourself in order to maintain a correct exposure. Use your camera's light meter to ensure the values are in balance.
Aperture Priority :
The setting on your camera marked "Av" is called Aperture Priority mode. This means that if you use Av mode and set the aperture/F-Stop, the camera will adjust your shutter speed value to maintain a correct exposure.
Program :
Program mode is marked by a "P" on the few cameras that have this option. In program mode, your camera responds to some preset conditions you programmed through the menu. Generally, this mode allows you to set either the shutter speed or the aperture while the camera adjusts the other setting to maintain proper exposure.
An Overview to Aperture in Digital Photography
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aperture
Basic understanding of Aperture :
Aperture is one of the most confusing aspects of photography for amateur photographers also some old time professionals. In truth, it does not have to be a confusing. The aperture is an adjustable opening inside the camera lens that works very similar the iris in your eye.
When the aperture opens wide (like your eye dilating), more light is allowed through the lens to expose the film. When the aperture is narrow (like your pupil in bright light), less light reaches the film. This works in conjunction with shutter speed and film speed to determine the total amount of light that reaches the film. Aperture size also affects depth of field.
How to measure an Aperture :
Aperture is measured using F-Stops. F-Stop numbers represent a fractional formula representation of the amount of light allowed to pass through the aperture. In simpler terms, F-Stop numbers get bigger as the aperture gets smaller, just like shutter speed numbers get bigger as the time the shutter is open gets smaller. Each increasing F-Stop number roughly represents a halving of the light reaching the film. As the aperture closes, more of a scene will come into focus as well.
Relation of F-Stop with Light and Depth of Field :• Big F-Stop Number = More Light Needed = Larger Depth of Field
• Little F-Stop Number = Less Light Needed = Less Depth of Field
Many photography texts over the years have attempted to drill the idea of small aperture = large F-Stop into new photographers' brains. While this is important to know, I have seen far too many new photographers become discouraged trying to remember this inverse relationship in the field. If it is easier for you to remember the F-Stop relationship to light and depth of field then by all means, use the memory method that works best for you in the field. If you miss a shot because you are trying to remember the aperture to F-Stop mechanics then it is just a hindrance.
While there is actually a huge range of F-Stops (aperture sizes) possible, depending on your lens, there is a common ground middle range that most consumer lenses are capable of operating within.
Common F-Stop Values :• f/4
• f/5.6
• f/8
• f/11
• f16
• f22
Learn to set Aperture :
Aperture is set on cameras by turning a specified dial on the camera body. In older, fully manual cameras, this is a dial on the camera lens that is marked with F-Stop numbers. In newer cameras the aperture is generally displayed on an LCD screen while the photographer turns a small wheel near the shutter release button to adjust the setting. The exact placement of the wheel will vary from camera to camera. On point and shoot cameras, there may not be a control to select specific aperture or F-Stops.
If your camera does not have a way to manually set the aperture you may need to understand your camera's pre-programmed modes to obtain the desired aperture. Many SLR cameras also have these pre-programmed modes as well as a few additional modes of fine control.
How Aperture Works in Preset Modes :
Almost all automatic cameras today have some sort of preset shooting modes. These are designed for specific situations such as action, landscapes, and portraits. If you know what these modes change about your camera settings you can use them to your advantage in many more situations than just the intended ones. We've covered a few modes that are heavily weighted to aperture but now let's find out how aperture works in more preset camera modes.
Aperture in Preset Camera Modes :
Macro :
Macro mode is an automatic setting mode where the camera is predisposed to use the large aperture to compensate for the DOF compression of close-up shooting. In this mode you cannot set the exact aperture you want but you can lessen your chances of an out of focus close up subject by using this mode.
Landscape :
Landscape mode is basically a large DOF mode. Landscape is programmed to give the smallest aperture (largest F-Stop) possible in order to ensure a large depth of field. This means that the shutter speed will be slower. If your camera does not allow Manual or Av mode and you want to shoot a subject where the background is in focus, try the Landscape setting.
Portrait :
Portrait mode uses a large aperture to create a small DOF. Portrait is programmed to have a shallow depth of field (large aperture/small F-Stop) and use a slow film speed in order to throw the background out of focus and obtain a very fine film grain. Use this setting anytime you want a blurry background.
Manual :
Manual setting is marked "M" on newer cameras and is, in effect, the only setting on manual cameras. Manual mode means that you are fully in charge of the settings of your camera. If you set the aperture/F-Stop while in M mode, you will need to make an adjustment to shutter speed yourself in order to maintain a correct exposure. Use your camera's light meter to ensure the values are in balance.
Aperture Priority :
The setting on your camera marked "Av" is called Aperture Priority mode. This means that if you use Av mode and set the aperture/F-Stop, the camera will adjust your shutter speed value to maintain a correct exposure.
Program :
Program mode is marked by a "P" on the few cameras that have this option. In program mode, your camera responds to some preset conditions you programmed through the menu. Generally, this mode allows you to set either the shutter speed or the aperture while the camera adjusts the other setting to maintain proper exposure.
Wedding Photography is a very specialized field, as capturing all aspects of a couple's big day can be a demanding task. Photographers who are up to the challenge, however, will be amply rewarded by the looks of joy on the couple's faces when they see the results. For those with an interest in professional photography, becoming a skilled wedding photography can also become quite the lucrative business.
If you're working with a couple that observes all of the traditions of the standard wedding ceremony then you'll have to wait until the service ends to set up photos with all of the members of the wedding party. Many of today's couples, however, do not believe in waiting until the ceremony begins to see each other, and if you're working with one of those couples then it's best to do all of the group photographs before the wedding. Lighting is crucial, and if you're working indoors you'll definitely need to provide additional light sources. Due to the quick nature of wedding photography, however, you need to have a lightweight light kit that is easy to move and runs off of batteries. This type of kit can be easy to find if you keep an eye out for local Camera Deals.
Once you've taken all of the necessary traditional group photos, which are often more about pleasing the couple's parents than the couple themselves, it's time to let your artistic side out. There's a big push in the wedding photography industry towards shooting weddings with a documentary feel, and most clients prefer this approach, even if they don't initially understand what it means. In order to provide the best mixture of wedding photographs, however, you should utilize a mixture of traditional, documentary and artistic approaches.
Don't be afraid to capture the fun side of your clients; some of the most memorable wedding photographs are of those that allowed the couple to truly express their joy at becoming married. A fun example that not many photographers have started to incorporate yet is to have the couple jump in the air while holding hands. This only works, however, if the couple is fun loving enough to really go with it.
For your artistic shots, consider capturing an image that focuses on the couple's shoes as they dance together for the first time, along with images that capture their wedding invitations, rings, the cake and other miscellaneous items from an unusual perspective. Brides will also love receiving a photograph that shows their dress and other wedding day apparel hanging up in a classy way before they put it on. If the groom is wearing non-traditional shoes, such as Converse, make sure that you get a close-up of him tying the laces.
It is important to capture the traditional moments, such as the couple's first dance, but you also want to focus your lens on moments that are unexpected, such as conversations between family members and moments in which people are laughing with great abandon. In order to stay quick on your feet at the reception you may need to leave your lighting kit behind, so make sure that you have a fully charged external flash ready to go. You should also consider working with a second shooter so that none of the big moments slip by.
Wedding Photography: How to Capture the Couple's Big Day
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wedding photography
Wedding Photography is a very specialized field, as capturing all aspects of a couple's big day can be a demanding task. Photographers who are up to the challenge, however, will be amply rewarded by the looks of joy on the couple's faces when they see the results. For those with an interest in professional photography, becoming a skilled wedding photography can also become quite the lucrative business.
If you're working with a couple that observes all of the traditions of the standard wedding ceremony then you'll have to wait until the service ends to set up photos with all of the members of the wedding party. Many of today's couples, however, do not believe in waiting until the ceremony begins to see each other, and if you're working with one of those couples then it's best to do all of the group photographs before the wedding. Lighting is crucial, and if you're working indoors you'll definitely need to provide additional light sources. Due to the quick nature of wedding photography, however, you need to have a lightweight light kit that is easy to move and runs off of batteries. This type of kit can be easy to find if you keep an eye out for local Camera Deals.
Once you've taken all of the necessary traditional group photos, which are often more about pleasing the couple's parents than the couple themselves, it's time to let your artistic side out. There's a big push in the wedding photography industry towards shooting weddings with a documentary feel, and most clients prefer this approach, even if they don't initially understand what it means. In order to provide the best mixture of wedding photographs, however, you should utilize a mixture of traditional, documentary and artistic approaches.
Don't be afraid to capture the fun side of your clients; some of the most memorable wedding photographs are of those that allowed the couple to truly express their joy at becoming married. A fun example that not many photographers have started to incorporate yet is to have the couple jump in the air while holding hands. This only works, however, if the couple is fun loving enough to really go with it.
For your artistic shots, consider capturing an image that focuses on the couple's shoes as they dance together for the first time, along with images that capture their wedding invitations, rings, the cake and other miscellaneous items from an unusual perspective. Brides will also love receiving a photograph that shows their dress and other wedding day apparel hanging up in a classy way before they put it on. If the groom is wearing non-traditional shoes, such as Converse, make sure that you get a close-up of him tying the laces.
It is important to capture the traditional moments, such as the couple's first dance, but you also want to focus your lens on moments that are unexpected, such as conversations between family members and moments in which people are laughing with great abandon. In order to stay quick on your feet at the reception you may need to leave your lighting kit behind, so make sure that you have a fully charged external flash ready to go. You should also consider working with a second shooter so that none of the big moments slip by.
Canon renews full-frame lenses with 24-70mm F2.8 II and Stabilized wide-angle Primes :
Recently, Canon has released 3 different EF lenses, including an updated 24-70mm F2.8 II USM. The latest version features what is promised to be a more durable body, despite being a little smaller. In addition to this high-end full-frame standard zoom, there are completely redesigned semi-fast 24mm and 28mm F2.8 primes, both of which feature USM focus motors and image stabilization.
Eventually, the most interesting thing about these launches is the fact that Canon feels the need to update various full-frame lenses, almost as if something likely to test the quality of its existing versions was in the offing.
The wide-angle lenses update two of Canon's oldest primes: both the EF 28mm F2.8 and 24mm F2.8 date back to the late 1980s. The new variants add Canon's latest 4-stop IS and ring-type USM (complete with full-time manual focus), and look like they should be perfectly nice lenses. We're just not entirely sure who they're for; APS-C users have the 17-55mm F2.8 IS USM, and full frame users are more likely to be using the company's L series optics. It's also a little unusual to see stabilization added to lenses this wide but that's the decision Canon has made.
Class-leading performance, unrivalled flexibility – Canon launches three new lenses :
On 7th February 2012 in London, UK – Canon today adds to its world-famous EF lens series with the launch of three new lenses for photography professionals and enthusiasts. The new EF 24-70mm f/2.8L II USM professional zoom lens is an update to the popular EF 24-70mm f/2.8L USM, while the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM are according to Canon research as of February 2012, the world's first wide-angle prime lenses to feature optical Image Stabilizer (IS) technology. All three provide the highest levels of performance for modern digital photographers, combining premium image quality with durable, user-friendly designs.
EF 24-70mm f/2.8L II USM: the ultra-high performance standard Zoom :
The new EF 24-70mm f/2.8L II USM features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.
With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimize chromatic aberration and color blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon's optimized Super Spectra coatings to reduce ghosting and flare and ensure excellent color balance. Additionally, a fluorine coating minimizes the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.
The EF 24-70mm f/2.8L II USM also enables photographers to capture their subjects up close, with a minimum focusing distance of 0.38m at all focal lengths throughout the zoom range. A ring-type Ultrasonic Motor (USM) works in combination with a high performance CPU and advanced AF algorithms to ensure accurate, silent and ultra responsive autofocus. For those who prefer to maintain full control in every shot, fulltime manual focusing allows photographers to precisely tweak or alter the focus of their shot at any time, even when AF is engaged.
Distinguished L-series Design :
The EF 24-70mm f/2.8L II USM is the latest lens from the elite L-series to offer Canon's high-grade and user-focused design enhancements. The mechanical structure of the lens has been improved to offer enhanced zoom durability and greater shake and shock resistance within the lens barrel. The size of the lens has also been reduced by 10mm compared to the previous model, providing enhanced portability and greater convenience in everyday use. A new Zoom Lock lever also enables photographers to lock the zoom position at the extreme wide end to prevent damage to the lens in transit, while a water and dustproof, waterproof constructions around the lens mount, switch panel, zoom ring, focusing ring and zoom lock. Weatherproof when used with weatherproof EOS bodies enables users to continue shooting in harsh conditions.
Introducing the world's first wide-angle primes with IS :
Canon today also launches the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM – the world's first 24mm and 28mm fixed wide-angle lenses to feature optical IS technology. Ideal for landscape and reportage, both lenses offer outstanding flexibility allowing photographers to shoot an even broader range of scenes and subjects – combining fast apertures with IS to enable sharp results when shooting handheld, even in low light conditions.
Offering an advantage of up to 4-stops over lenses without IS, both lenses are ideal for capturing more of the scene thanks to their wider focal lengths. Both feature a wide f/2.8 aperture, allowing photographers to explore shallow depth of field, or to shoot in lower-light conditions. Wide apertures and IS technology also make each lens ideal for shooting fast-moving subjects, while Canon's advanced IS technology is able to detect intentional panning movement and automatically switch from Normal IS mode to Panning IS mode – helping users to capture movement with greater accuracy.
Silent, high-speed AF performance is provided by the inclusion of a ring-type USM and additional features including optimized AF control. Full-time manual focusing also ensures adjustments can be made even when AF is engaged, while a minimum focusing distance of 0.20m (EF 24mm f/2.8 IS USM) and 0.23m (EF 28mm f/2.8 IS USM) allows photographers to get even closer to smaller or more detailed subjects.
Designed to Perform :
Both the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM feature redesigned optics to improve image quality and reduce the need for post-production. An aspherical glass molded (GMo) lens element is incorporated to correct aberration throughout the optical system, while Canon's optimized Super Spectra Coatings reduce ghosting and flare for stand-out image quality. Externally, both models also boast a number of design similarities with Canon's professional L-series lenses, with a similar coating on the barrel and a similar design on the focus ring. A distance scale is also included to assist with landscape photography, while the compact design makes these lenses an unobtrusive addition to any kit bag.
Canon EF 24-70mm f/2.8 L USM Lens Review
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canon ef 24-70mm lens review
Canon renews full-frame lenses with 24-70mm F2.8 II and Stabilized wide-angle Primes :
Recently, Canon has released 3 different EF lenses, including an updated 24-70mm F2.8 II USM. The latest version features what is promised to be a more durable body, despite being a little smaller. In addition to this high-end full-frame standard zoom, there are completely redesigned semi-fast 24mm and 28mm F2.8 primes, both of which feature USM focus motors and image stabilization.
Eventually, the most interesting thing about these launches is the fact that Canon feels the need to update various full-frame lenses, almost as if something likely to test the quality of its existing versions was in the offing.
The wide-angle lenses update two of Canon's oldest primes: both the EF 28mm F2.8 and 24mm F2.8 date back to the late 1980s. The new variants add Canon's latest 4-stop IS and ring-type USM (complete with full-time manual focus), and look like they should be perfectly nice lenses. We're just not entirely sure who they're for; APS-C users have the 17-55mm F2.8 IS USM, and full frame users are more likely to be using the company's L series optics. It's also a little unusual to see stabilization added to lenses this wide but that's the decision Canon has made.
Class-leading performance, unrivalled flexibility – Canon launches three new lenses :
On 7th February 2012 in London, UK – Canon today adds to its world-famous EF lens series with the launch of three new lenses for photography professionals and enthusiasts. The new EF 24-70mm f/2.8L II USM professional zoom lens is an update to the popular EF 24-70mm f/2.8L USM, while the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM are according to Canon research as of February 2012, the world's first wide-angle prime lenses to feature optical Image Stabilizer (IS) technology. All three provide the highest levels of performance for modern digital photographers, combining premium image quality with durable, user-friendly designs.
EF 24-70mm f/2.8L II USM: the ultra-high performance standard Zoom :
The new EF 24-70mm f/2.8L II USM features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.
With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimize chromatic aberration and color blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon's optimized Super Spectra coatings to reduce ghosting and flare and ensure excellent color balance. Additionally, a fluorine coating minimizes the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.
The EF 24-70mm f/2.8L II USM also enables photographers to capture their subjects up close, with a minimum focusing distance of 0.38m at all focal lengths throughout the zoom range. A ring-type Ultrasonic Motor (USM) works in combination with a high performance CPU and advanced AF algorithms to ensure accurate, silent and ultra responsive autofocus. For those who prefer to maintain full control in every shot, fulltime manual focusing allows photographers to precisely tweak or alter the focus of their shot at any time, even when AF is engaged.
Distinguished L-series Design :
The EF 24-70mm f/2.8L II USM is the latest lens from the elite L-series to offer Canon's high-grade and user-focused design enhancements. The mechanical structure of the lens has been improved to offer enhanced zoom durability and greater shake and shock resistance within the lens barrel. The size of the lens has also been reduced by 10mm compared to the previous model, providing enhanced portability and greater convenience in everyday use. A new Zoom Lock lever also enables photographers to lock the zoom position at the extreme wide end to prevent damage to the lens in transit, while a water and dustproof, waterproof constructions around the lens mount, switch panel, zoom ring, focusing ring and zoom lock. Weatherproof when used with weatherproof EOS bodies enables users to continue shooting in harsh conditions.
Introducing the world's first wide-angle primes with IS :
Canon today also launches the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM – the world's first 24mm and 28mm fixed wide-angle lenses to feature optical IS technology. Ideal for landscape and reportage, both lenses offer outstanding flexibility allowing photographers to shoot an even broader range of scenes and subjects – combining fast apertures with IS to enable sharp results when shooting handheld, even in low light conditions.
Offering an advantage of up to 4-stops over lenses without IS, both lenses are ideal for capturing more of the scene thanks to their wider focal lengths. Both feature a wide f/2.8 aperture, allowing photographers to explore shallow depth of field, or to shoot in lower-light conditions. Wide apertures and IS technology also make each lens ideal for shooting fast-moving subjects, while Canon's advanced IS technology is able to detect intentional panning movement and automatically switch from Normal IS mode to Panning IS mode – helping users to capture movement with greater accuracy.Recently, Canon has released 3 different EF lenses, including an updated 24-70mm F2.8 II USM. The latest version features what is promised to be a more durable body, despite being a little smaller. In addition to this high-end full-frame standard zoom, there are completely redesigned semi-fast 24mm and 28mm F2.8 primes, both of which feature USM focus motors and image stabilization.
Eventually, the most interesting thing about these launches is the fact that Canon feels the need to update various full-frame lenses, almost as if something likely to test the quality of its existing versions was in the offing.
The wide-angle lenses update two of Canon's oldest primes: both the EF 28mm F2.8 and 24mm F2.8 date back to the late 1980s. The new variants add Canon's latest 4-stop IS and ring-type USM (complete with full-time manual focus), and look like they should be perfectly nice lenses. We're just not entirely sure who they're for; APS-C users have the 17-55mm F2.8 IS USM, and full frame users are more likely to be using the company's L series optics. It's also a little unusual to see stabilization added to lenses this wide but that's the decision Canon has made.
Class-leading performance, unrivalled flexibility – Canon launches three new lenses :
EF 24-70mm f/2.8L II USM: the ultra-high performance standard Zoom :
The new EF 24-70mm f/2.8L II USM features completely redesigned optics to provide outstanding clarity, image quality and durability. A compact design makes it ideal for carrying on every shoot, and a range of optical enhancements provide improved performance – capturing greater detail across the frame while reducing distortion throughout the entire zoom range, particularly at the maximum 70mm focal length.
With a redesigned optical system that includes two Ultra-low Dispersion (UD) and one Super UD aspheric elements to minimize chromatic aberration and color blurring, the lens delivers consistently sharp, high-contrast images. Each lens element also features Canon's optimized Super Spectra coatings to reduce ghosting and flare and ensure excellent color balance. Additionally, a fluorine coating minimizes the amount of dust, dirt and fingerprints that adhere to the front and rear of the lens, helping to maintain superior image quality.
The EF 24-70mm f/2.8L II USM also enables photographers to capture their subjects up close, with a minimum focusing distance of 0.38m at all focal lengths throughout the zoom range. A ring-type Ultrasonic Motor (USM) works in combination with a high performance CPU and advanced AF algorithms to ensure accurate, silent and ultra responsive autofocus. For those who prefer to maintain full control in every shot, fulltime manual focusing allows photographers to precisely tweak or alter the focus of their shot at any time, even when AF is engaged.
Distinguished L-series Design :
The EF 24-70mm f/2.8L II USM is the latest lens from the elite L-series to offer Canon's high-grade and user-focused design enhancements. The mechanical structure of the lens has been improved to offer enhanced zoom durability and greater shake and shock resistance within the lens barrel. The size of the lens has also been reduced by 10mm compared to the previous model, providing enhanced portability and greater convenience in everyday use. A new Zoom Lock lever also enables photographers to lock the zoom position at the extreme wide end to prevent damage to the lens in transit, while a water and dustproof, waterproof constructions around the lens mount, switch panel, zoom ring, focusing ring and zoom lock. Weatherproof when used with weatherproof EOS bodies enables users to continue shooting in harsh conditions.
Introducing the world's first wide-angle primes with IS :
Canon today also launches the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM – the world's first 24mm and 28mm fixed wide-angle lenses to feature optical IS technology. Ideal for landscape and reportage, both lenses offer outstanding flexibility allowing photographers to shoot an even broader range of scenes and subjects – combining fast apertures with IS to enable sharp results when shooting handheld, even in low light conditions.
Silent, high-speed AF performance is provided by the inclusion of a ring-type USM and additional features including optimized AF control. Full-time manual focusing also ensures adjustments can be made even when AF is engaged, while a minimum focusing distance of 0.20m (EF 24mm f/2.8 IS USM) and 0.23m (EF 28mm f/2.8 IS USM) allows photographers to get even closer to smaller or more detailed subjects.
Designed to Perform :
Both the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM feature redesigned optics to improve image quality and reduce the need for post-production. An aspherical glass molded (GMo) lens element is incorporated to correct aberration throughout the optical system, while Canon's optimized Super Spectra Coatings reduce ghosting and flare for stand-out image quality. Externally, both models also boast a number of design similarities with Canon's professional L-series lenses, with a similar coating on the barrel and a similar design on the focus ring. A distance scale is also included to assist with landscape photography, while the compact design makes these lenses an unobtrusive addition to any kit bag.
Talking about wide-angle photography, it refers to capturing your images with the lens whose focal length is substantially smaller than the focal length of a normal lens for a projected frame. A kind of photography that allows more of the scene to be included in the photograph, which mostly focuses the landscape, architectural and interior photography where the photographer has certain limitations and may not be able to move beyond from the scene to capture it in a single frame. Also very useful when the photographer implies to focus the difference in size or distance between objects in the foreground and the background, the nearby objects appear larger and objects at a moderate distance appear smaller and far away.Take a step back with the perspective of the art of digital cameras through a much broader viewpoint, which is a really pun-filled way to say that this article will analyze the primary idea of large position digital cameras. We’ll take a look at what large position digital cameras is, why you should try it, some considerations to keep in mind and finally a few lens to get you started.
What is a Wide Angle Lens :
The sole purpose of this article is to make recognized to absolute beginners, a brief meaning of our terms is necessary. A “wide angle” lens will simply be one with a fairly short focal length. If you own a 14mm lens and an 85mm lens, the 85mm will possess a greater magnification than the 17mm. Because of its zoomed out nature, a wide angle lens is capable of capturing more in the frame than a zoom lens and is therefore considered to have a “wider” field of view.Why Not a Zoom Lens?
Every time a new photographer purchases their first digital SLR and eventually set off in the hunt of a few good lenses to buy, they tend to have only one thing in mind: Zoom. Good lens is the one that allows you to take a close-up shot of a fly on a horse’s ear from thirty yards. All that other stuff is just second rate, right?Apparently, the answer is a booming “NO!” Don’t get me wrong, zoom lenses are absolutely fantastic and every photographer should have at least one good one. They’re just not the only thing you should consider in your expedition to develop your lens arsenal. There are in fact several situations where it is hard to beat for both convenience and quality. This same logic applies to a good wide angle lens. Whilst it definitely won’t be appropriate for all shooting set-ups, it is an incredibly essential piece of equipment that can produce uniquely stunning photographs.Do More than Landscape : When you capture any image with a zoom lens or even something like a 50mm prime tends to bound what you can take in. If you’ve ever walked around with one of these you know that there are plenty of opportunities to capture scenarios when you simply can’t get the shot you want. Very often the first type of shot that comes to your mind when you think about a wide angle lens is a landscape. After all, what wider subject could you possibly hope for than a mountain range or a huge desolate countryside? Definitely there’s a reason for taking into account of these shots first; wide angle lenses are absolutely supreme to capture the beauty of an immense landscape. Your eyes are capable of taking in nearly 180 degrees of a scene at once and when you’ve got a beautiful view, you typically want a lens that can capture as much or more than what you’re seeing.Conversely, taking in the sites isn’t the only thing that wide angle lenses are the best at. Anything zoomed in too far can leave you frustrated at your failure to capture anything but close details of the room you occupy. A wide angle lens will enable you to really take in the full room and capture the essence of the scene before you.Depth of Field :
Understanding the depth of field is a key to mastering wide angle photography. Pointing out that what’s really changing drastically with the focal length is the distribution of the depth of field. Put simply, “a wide angle lens provides a more gradually fading DoF behind the focal plane than in front.” Because longer focal lengths flatten your perspective, they appear to have a greater depth of field. Keep in mind that in photography appearances are just as important as the literal truth.The best step you can take toward understanding the technical side of wide angle depth of field is to experiment. Take the same photo with multiple lenses at multiple aperture settings and compare so you can get a feel for how to produce the effect that you want. All the technical articles in the world can’t compare to actually getting your hands on a camera and picking up some experiential knowledge.Let's sum up that the big fancy zoom lenses are both wildly impressive and highly practical in certain situations, but as a photographer you should always be ready and able to capture the bigger picture, and you’ll need a wide angle lens to do it. Though wide angle lenses are most often thought of in relation to landscapes, they actually have a wide variety of applications in all kinds of settings.In conclusion, constantly be aware of the level of distortion as well as both the apparent and literal range of the depth of field in your wide angle photos. With practice you’ll be able to use these variables positively to create the shot you want.
Wide Angle Photography : A Beginner's Introduction
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wide angle photography
Talking about wide-angle photography, it refers to capturing your images with the lens whose focal length is substantially smaller than the focal length of a normal lens for a projected frame. A kind of photography that allows more of the scene to be included in the photograph, which mostly focuses the landscape, architectural and interior photography where the photographer has certain limitations and may not be able to move beyond from the scene to capture it in a single frame. Also very useful when the photographer implies to focus the difference in size or distance between objects in the foreground and the background, the nearby objects appear larger and objects at a moderate distance appear smaller and far away.
Take a step back with the perspective of the art of digital cameras through a much broader viewpoint, which is a really pun-filled way to say that this article will analyze the primary idea of large position digital cameras. We’ll take a look at what large position digital cameras is, why you should try it, some considerations to keep in mind and finally a few lens to get you started.
The sole purpose of this article is to make recognized to absolute beginners, a brief meaning of our terms is necessary. A “wide angle” lens will simply be one with a fairly short focal length. If you own a 14mm lens and an 85mm lens, the 85mm will possess a greater magnification than the 17mm. Because of its zoomed out nature, a wide angle lens is capable of capturing more in the frame than a zoom lens and is therefore considered to have a “wider” field of view.
Why Not a Zoom Lens?Every time a new photographer purchases their first digital SLR and eventually set off in the hunt of a few good lenses to buy, they tend to have only one thing in mind: Zoom. Good lens is the one that allows you to take a close-up shot of a fly on a horse’s ear from thirty yards. All that other stuff is just second rate, right?
Apparently, the answer is a booming “NO!” Don’t get me wrong, zoom lenses are absolutely fantastic and every photographer should have at least one good one. They’re just not the only thing you should consider in your expedition to develop your lens arsenal. There are in fact several situations where it is hard to beat for both convenience and quality. This same logic applies to a good wide angle lens. Whilst it definitely won’t be appropriate for all shooting set-ups, it is an incredibly essential piece of equipment that can produce uniquely stunning photographs.
Do More than Landscape :
When you capture any image with a zoom lens or even something like a 50mm prime tends to bound what you can take in. If you’ve ever walked around with one of these you know that there are plenty of opportunities to capture scenarios when you simply can’t get the shot you want. Very often the first type of shot that comes to your mind when you think about a wide angle lens is a landscape. After all, what wider subject could you possibly hope for than a mountain range or a huge desolate countryside? Definitely there’s a reason for taking into account of these shots first; wide angle lenses are absolutely supreme to capture the beauty of an immense landscape. Your eyes are capable of taking in nearly 180 degrees of a scene at once and when you’ve got a beautiful view, you typically want a lens that can capture as much or more than what you’re seeing.
Conversely, taking in the sites isn’t the only thing that wide angle lenses are the best at. Anything zoomed in too far can leave you frustrated at your failure to capture anything but close details of the room you occupy. A wide angle lens will enable you to really take in the full room and capture the essence of the scene before you.
Understanding the depth of field is a key to mastering wide angle photography. Pointing out that what’s really changing drastically with the focal length is the distribution of the depth of field. Put simply, “a wide angle lens provides a more gradually fading DoF behind the focal plane than in front.” Because longer focal lengths flatten your perspective, they appear to have a greater depth of field. Keep in mind that in photography appearances are just as important as the literal truth.
The best step you can take toward understanding the technical side of wide angle depth of field is to experiment. Take the same photo with multiple lenses at multiple aperture settings and compare so you can get a feel for how to produce the effect that you want. All the technical articles in the world can’t compare to actually getting your hands on a camera and picking up some experiential knowledge.
Let's sum up that the big fancy zoom lenses are both wildly impressive and highly practical in certain situations, but as a photographer you should always be ready and able to capture the bigger picture, and you’ll need a wide angle lens to do it. Though wide angle lenses are most often thought of in relation to landscapes, they actually have a wide variety of applications in all kinds of settings.
In conclusion, constantly be aware of the level of distortion as well as both the apparent and literal range of the depth of field in your wide angle photos. With practice you’ll be able to use these variables positively to create the shot you want.
The D3200 is Nikon's latest entry level DSLR, an upgrade on the D3100, going from 14.2 to 24.2 megapixels and is designed to be easy to use, with Guide Mode to help you along. The D3200 is also compatible with the new Wireless Mobile Adapter which shares images directly to a smartphone or tablet, or to control the camera remotely. The D3200 can be purchased in black or red for $699.95(USD) or £649.00 (GBP) with the 18-55mm VR lens.
Nikon D3200 Features :
If you are new to DSLR photography, the D3200 has Guide Mode which uses images and written instructions to help you choose the correct settings. It comes with a Nikon DX AF-S Nikkor 18-55mm VR lens (35mm equiv: 27-82.5mm) and features a Silent Wave Motor (SWM) that should help keep lens noise down in videos. As well as the traditional viewfinder, which has a diopter adjuster, you can use Live View which is activated by a button on the rear.
Images are captured by the 24.2 megapixel CMOS sensor, with ISO 100-6400, which is extendable up to ISO 12800. The camera has Nikon's EXPEED 3 image processing engine, designed for clear images with excellent colour reproduction and enhanced movie recording. The D3200 is compatible with SD, SDHC and SDXC memory cards and comes with a 2 year warranty.
The D3200 has an 11-point autofocus system to focus on subjects which are off-center, moving fast or completely unpredictable. If you are shooting fast moving objects, you can switch to continuous shooting mode which records at up to 4fps. Nikon's Scene Recognition System analyses the scene and automatically adjusts the focus, exposure and white-balance for the best results. With Active D-Lighting more detail is captured in the dark and bright areas of high-contrast lighting conditions.
When you have finished taking pictures, you can edit them via the photo retouch menu, where you will find a range of tools and effects. Options include Resize, Quick Retouch and Straighten as well as effects including Selective Colour, Colour Sketch, and Miniature Effect.
Videos are recorded in full 1080p HD in 30p, 25p and 24p with smart autofocus including continuous autofocus (AF), full-time servo AF (AF-F), subject-tracking AF and Face-priority AF. The D3200 supports use of Nikon’s ME-1 stereo microphone (as well as other microphones) and videos can be played back on a HDTV via a HDMI cable.
Key Features :
- 24.2 megapixel DX-format CMOS sensor
- Nikon F mount (with AF contacts)
- 3 inch 921k dot (VGA) TFT LCD screen
- Full 1080p HD video recording in 30p, 25p and 24p with smart autofocus
- ISO 100-6400 (extendable up to 12800)
- 11-point autofocus system
- Active D-Lighting
- 4 fps continuous shooting
- EXPEED 3 image processing engine
- Scene Recognition System
- Guide mode
- Photo retouch menu
- Optional Wireless Mobile Adapter
- Available in red and black
Nikon D3200 Handling :
The 3 inch LCD screen has a much improved resolution of 921k dots, from 230k on the D3100, making the screen a pleasure to use when using live view or in image playback, giving an accurate representation of image quality and colour when compared to viewing photos on the computer. There is an orientation sensor, which means when you are shooting in portrait mode, the screen orientation automatically switches.
Other than the improved screen resolution, nothing else has physically changed on the camera body, except for the movie record button that has been moved to the top, the live view lever has been changed to a button and the release mode lever has been changed to a button also placed on the back.
A large hand grip and well positioned rubber thumb grip make it easy to hold on tight. A large rubber grip on the lens gives another good area to grip the camera to ensure it's held steadily at all times.
Despite the plastic body, the D3200 is well built with a solid construction and large rubber eye cover. It has high quality switches and controls and metal strap mounts. The memory card cover, however, doesn’t look like it would survive any mistreatment, or accidental damage while open. The buttons to the left of the main screen feel a little loose and wobbly although it’s unlikely this will actually cause any problems.
There is one function button, pressing this lets you quickly set the option using the command dial. There is also a dedicated exposure compensation button. For other settings that you want to change you will need to go into the options on the back screen, or go into the menu of the camera.
The camera is very easy to use, more advanced users may find it a little limiting, as a lot of options or settings require you to enter the menus to change or set them and some useful options seem to be missing (such as exposure bracketing). However, the lack of complicated buttons also makes it easy to use for those who simply want the higher image quality a DSLR offers over a compact camera.
The menu system on the camera is split into five sections: Playback, Shooting, Setup, Retouch and Recent Settings. Navigating the settings is fairly straightforward and you can press the “?” button to bring up help on any setting. Recent Settings brings up a history showing your most recently changed or accessed settings and the camera also remembers where you were the last time you accessed the menu to allow quicker changes to settings. Here is a video of the Guide Mode:
The Nikon D3200 battery life is rated at 500 shots according to CIPA standards. We took a lot of photos during testing, and were able to get a least 500 on every charge, if not a substantial amount more. The battery cover is solid and relatively easy to open, with an orange clip to keep the battery firmly in place.
We tested the cameras performance at focusing, shutter response, shot-to-shot time, continuous shooting etc. and have posted the results below. To test this we took 6 or more shots and calculated the average, so that consistent results were produced.
Shutter Response 0.05 (0.55 in live view)
Wide - Focus / Shutter Response 0.4 (1.1 in live view)
Full zoom - Focus / Shutter Response 0.7 (1.75 in live view)
Switch on Time to Taking a Photo 0.5
Shot to Shot (without flash) 0.6 secs (slows after 10 shots) (7.2 secs in live view)
Shot to Shot with Flash 1.7 secs
Continuous Shooting (JPEG) 3.8 fps
Continuous Shooting (RAW) 3.9 fps (slows after 10 shots)
When using live view, shutter response, focus speed and shot to shot times are slower. Continuous shooting mode records at full 24.2 megapixel resolution.
Nikon D3200 Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review and product ratings. As well as the standard Nikon 18-55mm f/3.5-5.6G VR lens we have also used the Tamron 70-200mm f/2.8 lens for some shots as well.
Value For Money :
The Nikon D3200 is available in red or black for £559.00 (body only) or £649.00 with the 18-55mm VR lens. The D3100 is still available at £359.00 (£395.00 with 18-55mm lens). Other entry level DSLRs include the Canon EOS 1100D from £304.00, Pentax K-r from £399.95 and Sony Alpha A35 from £417.46. The D3200 is therefore more expensive than other entry-level DSLRs available at the moment. You can also buy the Nikon D5100 for less than the D3200 at £498. The Sony Alpha A65 also has a 24 megapixel sensor and is available for £685.00.
You'll also need to buy a memory card and a case or bag to keep your camera safe and protected - have a look at our complete guide to camera bags.
Nikon D3200 Verdict :
An entry level DSLR with a 24 megapixel sensor is rare and with this added resolution, you are able to crop into your shots without sacrificing on your image quality, meaning it may even tempt more serious photographers as well. If you are unfamiliar with how manual, shutter and aperture modes work, the Guide Mode offered will really help you on your way.
If you're on a slim budget, then the Nikon D3100 is still available, with a much lower resolution sensor, or you can go in between these two models with the 16.2 megapixel Nikon D5100. At £559.00 the D3200 can be considered expensive for an entry-level DSLR, but if you're happy with the price, there are plenty of features that make it a fair investment, and there is of course a two year warranty which isn't typical of all manufacturers.
The D3200 has a solid build, even though it is made of plastic, and we really like the rubber grip, making the camera easy to hold, even in just one hand. If you're not a fan of the traditional black colour that most DSLR's come in, you can get the D3200 in red.
Most importantly, image quality doesn't disappoint, colour reproduction is good and you can use the camera at higher ISOs with confidence.
Nikon D3200 Pros :
- 24.2 megapixel CMOS sensor
- Full 1080p HD video recording
- Good image quality
- Rubberised grip
- Can use an external microphone for video recording
- 2 year warranty
- Comes in red as well as the traditional black
- Easy to use menus
Nikon D3200 Cons :
- Guide mode doesn't allow RAW shooting
- Expensive for an entry-level DSLR
- More advanced D5100 is cheaper
- Picture taking is slow in live view
FEATURES 5 star
HANDLING 4.5 star
PERFORMANCE 4.5 star
VALUE FOR MONEY 3.5 star
VERDICT 4.5 star
For further details and more information with photographs by Nikon D3200 kindly visit the source article.
Nikon D3200 DSLR Review
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nikon d3200 review
Nikon D3200 Features :
If you are new to DSLR photography, the D3200 has Guide Mode which uses images and written instructions to help you choose the correct settings. It comes with a Nikon DX AF-S Nikkor 18-55mm VR lens (35mm equiv: 27-82.5mm) and features a Silent Wave Motor (SWM) that should help keep lens noise down in videos. As well as the traditional viewfinder, which has a diopter adjuster, you can use Live View which is activated by a button on the rear.
Images are captured by the 24.2 megapixel CMOS sensor, with ISO 100-6400, which is extendable up to ISO 12800. The camera has Nikon's EXPEED 3 image processing engine, designed for clear images with excellent colour reproduction and enhanced movie recording. The D3200 is compatible with SD, SDHC and SDXC memory cards and comes with a 2 year warranty.
The D3200 has an 11-point autofocus system to focus on subjects which are off-center, moving fast or completely unpredictable. If you are shooting fast moving objects, you can switch to continuous shooting mode which records at up to 4fps. Nikon's Scene Recognition System analyses the scene and automatically adjusts the focus, exposure and white-balance for the best results. With Active D-Lighting more detail is captured in the dark and bright areas of high-contrast lighting conditions.
When you have finished taking pictures, you can edit them via the photo retouch menu, where you will find a range of tools and effects. Options include Resize, Quick Retouch and Straighten as well as effects including Selective Colour, Colour Sketch, and Miniature Effect.
Videos are recorded in full 1080p HD in 30p, 25p and 24p with smart autofocus including continuous autofocus (AF), full-time servo AF (AF-F), subject-tracking AF and Face-priority AF. The D3200 supports use of Nikon’s ME-1 stereo microphone (as well as other microphones) and videos can be played back on a HDTV via a HDMI cable.
Key Features :
- 24.2 megapixel DX-format CMOS sensor
- Nikon F mount (with AF contacts)
- 3 inch 921k dot (VGA) TFT LCD screen
- Full 1080p HD video recording in 30p, 25p and 24p with smart autofocus
- ISO 100-6400 (extendable up to 12800)
- 11-point autofocus system
- Active D-Lighting
- 4 fps continuous shooting
- EXPEED 3 image processing engine
- Scene Recognition System
- Guide mode
- Photo retouch menu
- Optional Wireless Mobile Adapter
- Available in red and black
Nikon D3200 Handling :
The 3 inch LCD screen has a much improved resolution of 921k dots, from 230k on the D3100, making the screen a pleasure to use when using live view or in image playback, giving an accurate representation of image quality and colour when compared to viewing photos on the computer. There is an orientation sensor, which means when you are shooting in portrait mode, the screen orientation automatically switches.
Other than the improved screen resolution, nothing else has physically changed on the camera body, except for the movie record button that has been moved to the top, the live view lever has been changed to a button and the release mode lever has been changed to a button also placed on the back.
A large hand grip and well positioned rubber thumb grip make it easy to hold on tight. A large rubber grip on the lens gives another good area to grip the camera to ensure it's held steadily at all times.
Despite the plastic body, the D3200 is well built with a solid construction and large rubber eye cover. It has high quality switches and controls and metal strap mounts. The memory card cover, however, doesn’t look like it would survive any mistreatment, or accidental damage while open. The buttons to the left of the main screen feel a little loose and wobbly although it’s unlikely this will actually cause any problems.
There is one function button, pressing this lets you quickly set the option using the command dial. There is also a dedicated exposure compensation button. For other settings that you want to change you will need to go into the options on the back screen, or go into the menu of the camera.
The camera is very easy to use, more advanced users may find it a little limiting, as a lot of options or settings require you to enter the menus to change or set them and some useful options seem to be missing (such as exposure bracketing). However, the lack of complicated buttons also makes it easy to use for those who simply want the higher image quality a DSLR offers over a compact camera.
The menu system on the camera is split into five sections: Playback, Shooting, Setup, Retouch and Recent Settings. Navigating the settings is fairly straightforward and you can press the “?” button to bring up help on any setting. Recent Settings brings up a history showing your most recently changed or accessed settings and the camera also remembers where you were the last time you accessed the menu to allow quicker changes to settings. Here is a video of the Guide Mode:
The Nikon D3200 battery life is rated at 500 shots according to CIPA standards. We took a lot of photos during testing, and were able to get a least 500 on every charge, if not a substantial amount more. The battery cover is solid and relatively easy to open, with an orange clip to keep the battery firmly in place.
We tested the cameras performance at focusing, shutter response, shot-to-shot time, continuous shooting etc. and have posted the results below. To test this we took 6 or more shots and calculated the average, so that consistent results were produced.
Shutter Response 0.05 (0.55 in live view)
Wide - Focus / Shutter Response 0.4 (1.1 in live view)
Full zoom - Focus / Shutter Response 0.7 (1.75 in live view)
Switch on Time to Taking a Photo 0.5
Shot to Shot (without flash) 0.6 secs (slows after 10 shots) (7.2 secs in live view)
Shot to Shot with Flash 1.7 secs
Continuous Shooting (JPEG) 3.8 fps
Continuous Shooting (RAW) 3.9 fps (slows after 10 shots)
When using live view, shutter response, focus speed and shot to shot times are slower. Continuous shooting mode records at full 24.2 megapixel resolution.
Nikon D3200 Performance :
Additional sample photos and product shots are available in the Equipment Database, where you can add your own review and product ratings. As well as the standard Nikon 18-55mm f/3.5-5.6G VR lens we have also used the Tamron 70-200mm f/2.8 lens for some shots as well.
Value For Money :
The Nikon D3200 is available in red or black for £559.00 (body only) or £649.00 with the 18-55mm VR lens. The D3100 is still available at £359.00 (£395.00 with 18-55mm lens). Other entry level DSLRs include the Canon EOS 1100D from £304.00, Pentax K-r from £399.95 and Sony Alpha A35 from £417.46. The D3200 is therefore more expensive than other entry-level DSLRs available at the moment. You can also buy the Nikon D5100 for less than the D3200 at £498. The Sony Alpha A65 also has a 24 megapixel sensor and is available for £685.00.
You'll also need to buy a memory card and a case or bag to keep your camera safe and protected - have a look at our complete guide to camera bags.
Nikon D3200 Verdict :
An entry level DSLR with a 24 megapixel sensor is rare and with this added resolution, you are able to crop into your shots without sacrificing on your image quality, meaning it may even tempt more serious photographers as well. If you are unfamiliar with how manual, shutter and aperture modes work, the Guide Mode offered will really help you on your way.
If you're on a slim budget, then the Nikon D3100 is still available, with a much lower resolution sensor, or you can go in between these two models with the 16.2 megapixel Nikon D5100. At £559.00 the D3200 can be considered expensive for an entry-level DSLR, but if you're happy with the price, there are plenty of features that make it a fair investment, and there is of course a two year warranty which isn't typical of all manufacturers.
The D3200 has a solid build, even though it is made of plastic, and we really like the rubber grip, making the camera easy to hold, even in just one hand. If you're not a fan of the traditional black colour that most DSLR's come in, you can get the D3200 in red.
Most importantly, image quality doesn't disappoint, colour reproduction is good and you can use the camera at higher ISOs with confidence.
Nikon D3200 Pros :
- 24.2 megapixel CMOS sensor
- Full 1080p HD video recording
- Good image quality
- Rubberised grip
- Can use an external microphone for video recording
- 2 year warranty
- Comes in red as well as the traditional black
- Easy to use menus
Nikon D3200 Cons :
- Guide mode doesn't allow RAW shooting
- Expensive for an entry-level DSLR
- More advanced D5100 is cheaper
- Picture taking is slow in live view
FEATURES 5 star
HANDLING 4.5 star
PERFORMANCE 4.5 star
VALUE FOR MONEY 3.5 star
VERDICT 4.5 star
For further details and more information with photographs by Nikon D3200 kindly visit the source article.
In a most common words, shutter speed is the amount of time that the shutter is open.. In Photography, the length of time that the film is exposed to the scene you’re photographing and similarly in digital photography shutter speed is the length of time that your image sensor ‘sees’ the scene you’re attempting to capture.
Shutter Speed is a sort of camera setting that takes control over the length of time the shutter is open, it's also allowing light through the lens to the sensor inside your camera. In most cameras, Shutter speeds can go from very small fractions of a second, to several seconds longer. In a very simple words, the longer the shutter is open, the more chance there is of ending up with a blurred image. The slightest of movements while the shutter is open will register as a blurred effect. Sometimes this can be the desired effect, but most of the time you want a sharp image. Using a tripod, sitting the camera on a solid object like a wall or the floor or holding the camera against a solid object like a big tree or wall can help reduce the chances of getting blurry images.
These days in a most digital cameras are having a fully automatic setting that decides automatically what settings are perfect, which leaves no worry at all, just point the camera in the right direction and start shooting by pressing the button. This might be the mode you use all the time, but it is worth experimenting with these settings yourself to see what effects they give. All you need to understand and start experimenting these kind of settings and what they can do to your image you will open up a whole new range of photographic opportunities and much more creative and pleasing photos. Wish you Happy Clicking !!
Understand Shutter Speed - Tutorial
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shutter speed
In a most common words, shutter speed is the amount of time that the shutter is open.. In Photography, the length of time that the film is exposed to the scene you’re photographing and similarly in digital photography shutter speed is the length of time that your image sensor ‘sees’ the scene you’re attempting to capture.
Shutter Speed is a sort of camera setting that takes control over the length of time the shutter is open, it's also allowing light through the lens to the sensor inside your camera. In most cameras, Shutter speeds can go from very small fractions of a second, to several seconds longer. In a very simple words, the longer the shutter is open, the more chance there is of ending up with a blurred image. The slightest of movements while the shutter is open will register as a blurred effect. Sometimes this can be the desired effect, but most of the time you want a sharp image. Using a tripod, sitting the camera on a solid object like a wall or the floor or holding the camera against a solid object like a big tree or wall can help reduce the chances of getting blurry images.
These days in a most digital cameras are having a fully automatic setting that decides automatically what settings are perfect, which leaves no worry at all, just point the camera in the right direction and start shooting by pressing the button. This might be the mode you use all the time, but it is worth experimenting with these settings yourself to see what effects they give. All you need to understand and start experimenting these kind of settings and what they can do to your image you will open up a whole new range of photographic opportunities and much more creative and pleasing photos. Wish you Happy Clicking !!
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