photographyreal.com

If the idea of ​​a camera used almost-all-touch screen for you, the Canon PowerShot Elph HS 500 ($ 299 as of May 25, 2011) is one of the best point-and-shoot options in this category. But it becomes clear that the cameras touch screen, which are exploited significantly different beast from that of traditional cameras with similar specifications. Because of its touch screen, this device acts more like a camera phone to a more traditional, and that brings its fair share of advantages and disadvantages.

The touch interface is well implemented – Auto mode and scene presets work well. However, the touch interface was also the opening and shutter priority modes (but no full manual control), and setting parameters in these modes are not as car-free as it is at the use analog controls. Moreover, it has seen better touch controls and options for development in competing cameras.

All the fancy touch screen has also come at the expense of battery life the camera is missing. But beyond these shortcomings, this is a great camera just in terms of performance. Image and video quality are both strong suits, and F2.0 lens model and methods of creative shooting make it a standout compact unit. When it comes down to it, it all depends on how much you love touch screens.

original website

post by ableh

New slot machines Kr in the Pentax lineup between the entry level model Kx and K-7 enthusiast. Visually, it is much closer to the Kx but a closer look under the hood reveals that the new camera has been improved in various fields. Specifically, Kr now shows the point of active focus in the viewfinder when the shutter is pressed halfway. The lack of this feature was one of our main points of criticism of the Kx and Km (which is almost certainly why the prism Kr is slightly larger than Kx).

Despite the visual similarities with Kx Kr is supplied with components of both the Kx and K-7 and includes some completely new features as well. Kx as he captures the images and 720p video onto a sensor of 12.4. As the K-7 pictures and menus can be viewed on a 3.0 inch LCD screen with 921k pixels resolution. In addition, Kr offers the widest ISO (100 to 25,600 in enhanced mode) and the fastest burst mode (6.0 fps) of all current Pentax DSLRs. New features include an IR interface simple (wireless data transfer to compatible devices), a method of treatment of substance and a Night Scene HDR. For photographers who can not decide whether they prefer AA batteries or a rechargeable property as a source of their power unit offers two options of Kr. It comes with a rechargeable battery AA standard but can be used with an adapter optional.

read original articel this

post by ableh

Samsung Electronics Co., Ltd, a global leader in digital media and digital convergence technologies, announced todaythe launch of the new WB700, the ultra-slim camera with an impressive 24X zoom function, capable of delivering superb quality images whether your subject is near or far.

The camera features a 24mm ultra-wide Schneider KREUZNACH lens to capture the perfect wide shot, as well as an outstanding 24X zoom function, made up of an 18X optical zoom and 1.3X Smart Zoom. The WB700 delivers sharp images with incredible detail in close up thanks to the camera’s 16 Megapixel (MP) CCD sensor. The flexibility of the WB700’s lens and zoom functions means that you can capture a broad landscape in the same 16MP detail as a bubbling brook in the distance.

Steve Mitchell, General Manager, Samsung UK Digital Imaging, said: “We understand that many of our customers come to us for the very best and most up-to-date technology available, which is why we have chosen to bring all our innovation together in the WB700 for both the advanced and novice photographer, giving a balance of professional quality imaging and the kind of usability anyone can master. On top of the core excellence of the WB700’s 16MP 24mm lens with OIS and Schneider KREUZNACH super-zoom, we have added features that add surprise and delight to the photography experience, such as our new smart filters, the smart lens effect and zoom noise cancellation, adding value throughout the photography experience.

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This photograph is the work of my friend tito, with themed concept overdose, which tells of a depressed woman pregnant out of wedlock because she depressed and using drugs and he died instantly overdose

post by ableh

This photo was taken at night, exactly at 21.00
lighting use headlights not so bad in my opinion.
sweet and beautiful girl who will not be disappointing to be made in model.thanks

post by ableh

this picture I get from my teacher named charlie, fashion photo is very beautiful, from lighting and costumes are charming composition make this picture looks very nice and perfect
I hope you are all pleased

post by ableh

Red Rock Micro today announced an electronic viewfinder. And no, I will not bitch about it because I think it’s a product with high potential. Of course, it is still vaporware until it is released, as the microphone distance (and all product prototypes in my garage), but the concept and the spec sheet look promising. And admittedly, it is an indispensable part for each platform!

Its price is extremely aggressive. For a little over a Z-Finder, you get something that is much better and more flexible. By pressing the button add to cart NoBrains is a point of view of costs.

I am also very interested in the advanced help features they are hinting about. I guess it will zebras and other tools cons to help focusing. What ever it is, he will be welcome! I wonder how we will control these features because I could not find the buttons on the images (or an HDMI cable for that matter).

In the press release, it looks like a very solid product. My only concern is the scaling of the HDMI signal to match the 1, 2 point LCD. Most hammers do a crappy job, but I guess we do not know how good it is once it is released.

Now, please, give us a realistic ship date!

post by ableh

-Light Output with a powerful guide number of 61.
-Designed to work with all popular devices.
-Illumination covers a focal length of 24mm to 105mm. (Also covers 17mm when the built in wide panel is used).
-Advanced features such as flash and modeling of wireless TTL flash are included.

The Sigma Corporation is pleased to announce the new ELECTRONIC FLASH EF SUPER-610 DG.

The EF-610 DG SUPER features a powerful Guide Number of 61 and is designed to work with the latest systems TTL auto exposure from all popular digital SLR cameras and film. The auto zoom function automatically sets the optimum illumination angle in accordance with the lens focal length in a range from 24mm to 105mm. When the high-Wide Panel is used, the flash can cover an angle of 17mm. For bounce flash, the flash head can be tilted 90 degrees to 180 degrees left or right by 90 degrees. It can also be tilted down by 7 degrees allowing ease of use for close-up photography. Among the advanced features of this flash is a modeling flash function, multi pulse flash, TTL wireless flash, FP (high speed) flash mode, flash on second curtain sync and manual, which allows the photographer to adjust the flash output by up to eight stops. Auto Power-Off automatically shuts off the LCD screen to help save battery power. When the flash is fully charged, the light is “ready” a confirmation will be issued.

post by ableh

The Sigma Corporation is pleased to announce the new Sigma APO 120-300mm F2.8 EX DG OS HSM.
The successor of the APO 120-300mm F2.8 EX DG HSM, introduced on the market in July 2005, this new
lens offers the latest optical design technologies.

This large aperture optical zoom capabilities Sigma OS (Optical Stabilizer) and weatherproof
design throughout for use in harsh conditions. One and two SLD glass elements are used to FLD
maximum correction of chromatic aberrations.

The lens coating super multi-layer coating reduces flare and
persistence, and lens design incorporates an inner focusing and inner zooming system to ensure
sharp images throughout the zoom range. Improved optical performance provides an excellent
buoyancy correction of sagittal coma, and provides ultra-high resolution, comparable to a fixed focal length
objective. OS function offers the use of shutter speeds approximately 4 stops slower than otherwise
otherwise possible.

This system allows TV-hand photograph. The inclusion of HSM
(Hyper Sonic Motor) ensures quiet speed and high-AF, while allowing full time manual focus override.
The rounded 9 blades diaphragm creates an attractive blur away from areas of the image sharpness.
The addition of APO TELE CONVERTER option produces an ultra telephoto zoom with A

post by ableh

There was a time the pictures were made in black and white. Now the default is the color and we have to adjust for color images to monochrome version. (Assuming a digital camera.)

Now that the shooting of B & W is a deliberate choice, I thought preview seven elements that I think help make a great B & W image.

1. Great B & W images tend to be simple, with their main components isolated and easily identified.

2. Great B & W images tend to have depth and dimension – usually achieved by creating visual layers that extend from the foreground to the background and all points in between.

3. Great B & W images rely on the shape and / or shape to the image. Hue and distractions of color have disappeared. Only those forms or forms made by the objects remain and can be arranged so that they draw the eye in or out of the photograph at the time and right place.

4. Great B & W images tend to exploit the contrast. The difference between the whitest white and blackest black is the highest image contrast, which can be used to attract the eye of the beholder. Good contrast can help add depth and dimension as well.

5. Great B & W images rely on the texture and tone to take the place of color and hue. This can be accomplished in several ways. Texture, for example, can be upgraded with side lighting. High ISOs are sometimes used to reproduce film grain for texture.

6. Great B & W images often rely on models to attract the eye in the photo subject. It helps form and designate forms an important part of the whole scene B & W.

7. Great B & W images tend to minimize background and to accentuate the foreground. Although this is not always true, if you look at most of the work of some of the great old-time B & W masters, you will find this technique used in many of their pictures, especially portraits.

Of course, there are many more features you might want to consider when shooting for B & W images, but these seven items should be top of mind, especially if you’re new to photography and black white. They’ll get to the point where you’re at least in the ball park. Your own vision and creativity can take you from there.

post by ableh

Last week, I listed my photography equipment. This week I thought I could write about the process of decision making I used to decide to buy one of the lenses.

The first time I had the privilege of holding and looking through a Canon 300mm f/2.8 I was hooked. It’s a double collegiate swimming. I watched the competition’s 10-meter diving when a press photographer sat down beside me and started taking pictures of the competition. One comment led to another and the next thing I knew I wanted the camera and lens and take photographs that divers. I do not know if any of the pictures I took were already printed in the newspaper, but from that moment I wanted a 300mm f/2.8.

Unfortunately, when I was a child in college and three in high school. There was no way I could afford such an expensive lens, so I opted for a 300mm f/4L Canon FD. I praise the f/2.8 model a couple of times, but the f/4L is a great goal and I was very happy with it.

This is the current model F/2.8L Canon 300mm IS USM. A superb piece of equipment.

Recently, I decided it was time to buy a new 300mm lens and my first thought was to buy the Canon EF 300mm f/2.8L IS USM. Emotion and pleasure potential of opening the box of f/2.8 L side, common sense tells me that I must also take into account the f/4L. As you know, common sense often gets in the way of fun, but now I had a difficult decision. I do not expect everyone to agree with my decision, nor that all should come to the same conclusion if they considered the same factors. However, it is the process I went through to decide which lens to buy. Your process may be different.

Why do I need a 300mm lens?

My first love of photography is nature photography and if you want to take pictures of birds and wildlife without scaring them away, a goal long term is essential. This was the easiest part of the process. I needed a 300mm lens – at least that’s what I said to my wife.

Price

By comparing the price of both lenses is easy. The f / 2.8 L, depending on where you look, around $ 4400 plus taxes and / or shipping. The f/4L USM is $ 1270. Since I do not work for a newspaper or magazine and not an employer to purchase the target for me, price is an important consideration. Through a series of circumstances (some call it luck) I had saved enough to buy the f2.8. However, I could choose to spend all my savings on photography f2.8 affected or purchase the f/4L and have money left over for other “toys.” The f/4L won on price.

Physical Size

If you will be involved in nature photography, you’ll eventually get out of town and the car. Remove lens and all your other gear through rugged terrain is not the same as laying around the margin of a football field. Mountains, lakes, marshes, woods are commonplace. The f/4L weighs 2.0 pounds and is 8.7 “long and 3.5 cm in diameter. The f/2.8 weighs 5.7 pounds and is 9.8″ long and 5 cm in diameter. The difference is 3.7 pounds significant when added to all other devices – a tripod, a camera, other objectives, etc. f/4L won it goes.

Max Aperture

The f/2.8 is much faster than f/4L but only by a stop. Can we stop to overcome the advantage of price and size of f / 4L?

I’m not a sports photographer so it is unlikely that I’ll never be fast action shooting at low light inside stadiums or fields, illuminated at night. However, the best moments of shooting for wildlife are early morning and late at night to shoot in low light is a strong possibility.

When I fell in love with the f/2.8, digital SLRs are not widely available (the EOS cameras had not been introduced) and photograph of the film was still king. My film of choice then was Kodachrome 64. There were things you could use to “push” the film, but for the most part, ASA 64 was the fastest, you can use and maintain excellent image quality. At this speed, a goal which was a stop faster was a big deal. Today, the lowest ISO on my Canon 7D is 100. I can easily increase the ISO two stops to 400 with little or no deterioration in IQ. Therefore, I can get shutter speeds with today f/4L I could with the help of Kodachrome 64 mm f / 2,8 which makes it even more difficult to justify the difference of over $ 3,000.

There is also the issue of my camera being with a cropped sensor compared to full-frame sensor from my old Canon F-1 but it’s the same with both lenses.

Ultimately, I bought the Canon EF 300mm f/4L IS USM. You can have different considerations and you can buy, or if you want to buy the f/2.8, but I’m very happy with the f/4L. Besides, I can always rent an f/2.8 so I really need to use one. I will look into the lens in a few weeks when I used it enough to really make if it is not.

Since I do not have a lens f2.8L for visual comparison, for this photo, I placed my 70-200mm f/2.8 L lens next to the 300 f/4L USM. As you can see, they are similar in size and 300 mm is actually 1.2 pounds lighter.

In photography, silver, or lack thereof, is often our primary consideration, but even if we can afford what we think about the purchase, using a disciplined approach, decision-making process before buying is always helpful.

Wish List

As promised, here is my wish list, in no particular order. Keep in mind that it is dynamic and may still have elements added.

- Second camera body – I want a 5D Mark II, but I may decide to get the T2i or 60D instead. Both have advantages – 5DMark II has a sensor size and a great camera. The T2i and 60D have the same sensor as my 7D. I could also buy two of the 60D and have money left over for the money it would take to buy the 5D Mark II.
-Filters – I’ve never been a big user of filters, because I do not pay top dollar for the glasses, then put another piece of glass on them. However, there are three that seem essential – a circular polarizing filter and two neutral density filters – an optical density 0.9 or 3-stop filter and an optical density of 1.8 or 6-stop filter .
- Canon EF 35mm f/1.4L USM Wide Angle Lens – Yes, I have a 24-105 zoom, but I like to have a primary objective which is equivalent to a 50mm lens with a full frame sensor.
- II Speedlite Flash Canon 580EX

I’m sure this list will grow, but these are items that I think most often.

Keep in mind that equipment does not take pictures. Anyone can take photos badly with the best equipment available. Only good photographers can take good pictures or large.

Photo credits (in order of appearance)
- “Canon EF 300mm f/2.8L IS USM” by corvo72corvo on Flickr Creative Commons.
- “Canon EF 300mm f/4L IS USM” by Steve Russell

just post by ableh

Jordi Brinkman, Product Manager for Nikon Europe, says: “The exciting new D7000 is the ideal next camera for D-SLR owners who want to further indulge their passion for photography with a camera that boasts more advanced features providing creative power. It has a new image sensor, EXPEED 2, AF system and metering sensor to ensure great performance in a highly durable body. In fact, it has everything you need in your next SLR but in a size you wouldn’t expect.”

Exceptional image quality
The D7000 includes a range of new features to ensure superior image quality including 16.2 effective megapixels with the newly developed Nikon DX format CMOS image sensor. The camera boasts a new image-processing engine, EXPEED 2, which delivers higher image quality, higher speed processing and multiple functions with more power. And the D7000’s increased ISO sensitivity (100-6400, extendable up to 25600) ensures exceptional detail with minimal noise when capturing fast moving subjects or in poor light situations, even without the flash.

Outstanding reliability
The D7000’s bright Glass Pentaprism Viewfinder with approximate 100% frame coverage and 0.94x magnification gives you the most precise view and focus of any scene, and it is always ready when you are with a shutter speed of 1/8000s, tested to 150,000 cycles. What is more, the camera is protected by magnesium alloy top and rear covers and has durable sealing against dust and moisture so it is prepared for even the most testing of situations.

When it comes to storage, the D7000 again provides you with maximum reliability. The twin SD memory card slots allow for added storage capacity and give you the freedom to manage your images and video in the way you want to either by saving more of them, keeping different formats separate or always having backup space when you need it.

Enhanced performance
The D7000’s newly developed AF system featuring 39 focus points, including 9 cross-type sensors in the centre, gives you the sharpest focus, no matter where your subject is in the frame. And with Nikon’s new 2,016 pixel RGB metering sensor to enhance the effectiveness of the Scene Recognition System, plus High Speed Continuous shooting capability at 6FPS, you can be sure to capture incredibly accurate, high-quality images every time.

Full-HD D-Movie with AF-F mode
The D7000 has direct access to a movie record button so you can capture footage in full HD (1080p) with greater ease. The AF-F gives continuous focus during movie recording, which is captured using MPEG4 AVC/H.264 compression, and has a stereo microphone jack for quality sound recording. This means superior image quality and operability when using the D-Movie function.

The D7000s built-in movie editing functions also give you the freedom to chose the start and end points of your footage and switch to selected frames for capturing still images without relying on a computer – letting you edit and share your films quickly and easily.read the original nikon d7000

post by ableh

The Canon TS-E 17mm f/4L (around $ 2,499) is a unique and never before has such an extreme tilt angle shift lens wild / was available on a digital SLR.

Kudos to Canon for the construction of such a lens is a revolutionary exotic “first”. In early 2010, Nikon has nothing comparable, most Nikon tilt / shift being the 24mm f/3.5.

Architecture and landscape photographers in particular should be the review of this lens.

A major overhaul is in DAP as compared to the review of the Canon 17-40 and 16-35 zooms.
Solves problems without any objective can

The 17/4L Canon is expensive, but if I buy a lens tilt / shift, it would probably be my first choice because it is unique. Although expensive, it is a great value, because no other lens offers its capabilities.

The displacement capacity and low distortion of 17/4L architecture means that shooters have a very powerful tool at their disposal to create professional quality images. Landscape shooters will also benefit, with the possibility of moving away distractions and control depth of field through angle.

The ultra-wide viewing angle lets you take pictures of small spaces in a way that has hitherto been impossible without a camera. Think inside buildings (kitchens, churches, etc.), the exterior architecture, etc.

The Canon 17mm f/4L is reviewed in depth in DAP.

A standard (not change) ultra fisheye could be used with the correct software perspective, but with a large quantity of the harvest and the loss of resolution.
offers tilt Canon’t change /

Canon lenses available tilt / shift a number of years, including the f/3.5 24mm, 45mm f/2.8L f/2.8 L and the 90mm. In 2009, Canon introduced the 24mm f/3.5L II and 17mm f/4L.
Build quality and ergonomics

Build quality is very high. The 17/4L is almost exactly the same size as the TS-E II 24/3.5L, that is to say that this goal is fairly large, in agreement with the tilt and shift functionality.

The 17/4L weighs with sunscreen and hats to 897g (2 pounds). By comparison, weighs 815g and II 24/3.5L original weighs 625g 24/3.5L. This extra weight is not relevant in light of its purpose-built features, kudos to Canon for making the lens big enough to do the job well done.

There is no sun visor. This is very close to a fisheye rectilinear reflect the functions of slope and displacement at 17mm.
Buttons and controls

I found the tilt and shift very easy to use. They are much improved over the (original) Canon TS-E 24/3.5L. The issues I found are a bit tight when rotating squeeze past the viewfinder on the Canon 5D Mark II.

The 17/4L offers an amazing 12mm of passage, traditionally the absolute maximum for longer focal lengths, it is surprising to see it available on a 17mm lens! One would have expected and readily accepted a reasonable limit of 10mm or even 8mmm the shift, but to offer 12mm is amazing.

The tilt mechanism can be rotated to any angle independent shift, allowing an unprecedented versatility, something simply not possible with a Nikon tilt shift lens /, although this offer has SuperRotators Hartblei possibility first. It is easier to use Canon’s movements due to the smaller lens and front / rear shift mechanism.

Examples
The comprehensive review has many examples of much larger sizes. Examples of features are below.

The benefit change

The shift function can eliminate the disorder, or be used to “glue” a picture for a better resolution.

Not shown is the use of tilt, which may distort the plane of sharpness of the depth of field much more.

Unshifted (zeroed)

Shifted up (“rise”)

Stitched image, approximately 30 megapixels

Conclusions

My full review of DAP covers much more, including vignetting, distortion, flare and examples.

The 17/4L is unique in being both an ultra wide angle and tilt of the lens / delay, so some photographers could legitimately consider a camera accessory for the lens.

Based on what I observed in actual field shots, and its unique capabilities, I never hesitated to give the 17 / 4L my highest recommendation.

You can get the B & H Photo 17/4L, thank you for using these links.

See also my list of recommended gear and Canon lenses, and the pages of speed.
Learn more about Canon lenses

For in-depth reviews of lenses that fit Canon cameras (Nikon and others), subscribe to Diglloyd Advanced Photography (DAP).

DAP is not only about the lenses, these cameras and technology and to better images, written to be affordable for beginners, but valuable for professionals. The new material is constantly added, so sign up now!
Learn more about the Zeiss ZE for Canon

You can read an overview and mini reviews here. For in-depth coverage on line Zeiss ZE, see the Guide Zeiss ZF/ZF.2/ZE.

The guide has many examples of a much higher resolution, with real-crop pixels for each objective, in most cases, several pages of examples per glass. The new material is added regularly said the guide, so sign up now!

post by  ableh

If you take your average snapshot photo – or even a well-composed, well thought out picture – you do not always need a tripod. I may be a photo enthusiast who can not leave home without a camera (although I’m just walking the dog), but I guarantee you that I most certainly did not lug my tripod everywhere if I do not know for certain I will have it.
When I use a tripod taking pictures of the moon, every night photography, low light, but high energy shots (like a band in a dark place), etc. In addition, chances are good that I don ‘I had no tripod with me. There are even moments when you could use one, but can not, many museums and zoos and prohibit, like them, because they can easily move people or taking valuable real estate in the crowd (but you can be allowed to use a monopod, do check first!).

So what can you do when you’re in a situation where a tripod would be helpful, but you do not or can not use it? Here are some tips:

1. Keep your camera with both hands. This is one of the most obvious solutions to reduce camera shake when you do not have a tripod, but it is amazing to stand and watch people cling to their devices with one hand loose in low light. I’m sure they must be a little disappointed when they see the results. Using both hands to hold your camera allows it to stabilize.

2. Prepare. If you hold your camera properly, use your body as a tripod. Expand your attitude as the legs of a tripod (I know, you only have two and three but it always helps, I promise!) Lock the lower body and press your elbows close to the upper body help others stabilize your camera.
3. Get help. If you have something you can rest your camera, use it. I used all kinds of surfaces to help my shot. Outdoors I used the trunks of trees, tree branches, fences and park equipment. Inside I used tables, shelves, and the back of a chair. If you hold your camera, go ahead and rely on something to help support you.
4. Take a deep breath and move. Once you have aligned your subject and targeted appropriately, are not immediately fire your shot if you can avoid it. First, exhale. Then, take a deep breath and hold. This is when you shoot in, breathe again after the shooting. It is difficult to believe that a simple act and natural as breathing could get in the way of a good shot, but it may help to stabilize the camera when you’re slow shutter speed. Try it and see the difference!
5. Use a tripod alternative. With my tripod base, I also own a Gorillapod. Less than the length of my arm, “pod is an acceptable means of lining on numerous occasions. It is totally flexible, but has a super strong grip so I can use it to perch my camera on an uneven surface, like a rock or a hill, and I even (nervously, to be sure) used to hang my camera equipment in the park. There are also many mini table tripods are available – make sure you get the right camera as an SLR, it will take more robust versions of a light point and shoot will be.
6. Use a screw. I’ve never tried it myself but have heard good things about it. You can attach a rope to a screw at one end and a small piece of wood or similar object on another. Put the screws in the bottom of your camera like you would with a tripod attachment. Drop the chain on the floor and put your foot or feet on the wood. Make sure the chain is fully extended before firing a shot. Obviously, it helps to stabilize your camera in a manner similar to struts across your body as the tip # 2.

Have you any other advice you want to use when you should be on a tripod and can not? Share them here!