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DeLone Ruadh is a photographer Rheden, Netherlands. He began drawing as a child and then to photography in 2007. His work focuses on the portrait with a bit of surrealism. DeLone series, with a characteristic quality of digital realism, captures a world of surreal fun portrait photography, a look at this fantastic cast of historical characters, while maintaining a high spirit for the quality and performance pictures

just post by ableh

Sinar has announced that the “p-reflex” system that allows homeowners to use their DSLR body like the back digital enterprise system to the camera via an adapter. Currently compatible with Canon and Nikon, the system provides access to a range of medium format lenses and camera accessories such as bellows, filters, etc. An included adapter quick release “also allows users to easily change the orientation of the body camera from landscape to portrait and vice versa. The P-SLR system comes in different combinations of mounting a bellows adapter and quick release, and a number of optional accessories. It will be available next month a retail price of 1980 Swiss francs (~ € 1,440).

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just post by ableh

PowerShot G-series has represented a formidable presence at the top of the tree a compact camera. From the viewpoint of a photographer-sharp, there is little in the market that can match its alloys zoom range, flexibility of the lens, build quality and level of manual control. Somehow the Ricoh GX and the Nikon P series has never quite have the same effects but the Panasonic LX3 was enough to tempt some potential customers away, with a bright lens and convincing (for performance) compact low light.

The G11 seems determined to reclaim its position as the champion did not need from the market, though, combining what Canon describes as ‘high sensitivity’ CCD. In what was perhaps the first, the company has pushed the number of pixels compared with the previous model. In principle, there is no downside to having more pixels if you consider the whole picture (apart from the size of larger files that may slow down the camera and fill your memory card is faster and the additional complications have to apply noise reduction before demosaicing, which is not something that many people who are willing or able to do so). However, the photosites are often greater than the less dense pixel sensors will tend to receive more light, in the same exposure, making it easier to produce images that look clean at the pixel level. Almost as if to Canon compact to be practical all-boats.read original canon powershot G11

canon 1d

Just post

The Canon EOS 1D Mark IV is the fifth generation of Canon‘s speed-orientated range of professional DSLRs. It retains the two-grip form factor of the original, 4MP EOS-1D launched in September 2001 (itself building on the integrated grip of the film-era EOS-1N RS, also the first to offer 10fps shooting, albeit without AF between shots). And it’s this consistency of design, which extends to the AF pattern and much of the control layout, that helps to explain the name – the Mark IV really is the current point in an evolutionary process, rather than a wholly separate model.

However, more than previous 1D series cameras, the 1D Mark IV has a lot to prove. Whereas, in the past, Canon‘s flagship models have been a fairly safe bet, autofocus problems with the 1D Mark III have cast a shadow over the range. Those problems, which appear to have come from a combination of manufacturing error, increased complexity of AF customization and the AF sensor occasionally being overwhelmed in bright conditions, have become notorious.

read text original canon eos 1D

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canon 550d

just post

The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon’s lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and – perhaps even more confusingly – it out-specifies the EOS 50D in many areas.

Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D’s sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).

read the original text canon eos 550d

BY.ableh photography

The old grandfather

the lost in yogyakarta city

outcast in yogyakarta

This photo I took last night at two o’clock precisely, I accidentally saw an old man sitting alone lost in thought, when I asked what was here,.??
I waited for him to answer my child, … after a long talk was essentially the old man lived by his family in the city of Yogyakarta, suffered his fate, finally .. I requested permission for the old man to take his picture for me immortalized in a campus exhibition ?
very moving very, very deep … the suffering of all.

please give your comments about this pictures,thanks

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Canon-EF-180mm-f-3.5-L-USM-Macro-Lens

Canon EF 180mm f/3.5 L USM Macro Lens is Canon’s longest macro lens. This lens offers a 1:1 macro work the longest distance of any Canon lens and produces a beautiful seamless backgrounds out of focus. Another difference the Canon EF 180mm L USM Macro Lens f/3.5 having is that when this lens is the Canon’s longest and heaviest black. This is the lens L, so addictingly build excellent quality come together with this weight.

just post:read the original Canon EF 180mm f/3.5 L USM Macro Lens

by.ableh photography

Canon TS-E 24mm 1:3.5 L II

clearly shows the light on an important announcement, but one of the most interesting developments is technically possible must be slipped under the radar of many enthusiastic photographers. Canon introduces two new controls perspective lens for its TS-E (‘Tilt and Shift to) the range of EOS’, in the form of TS-E 24mm F3.5 L II and TS-E 17mm F4L. But while both quite naturally took center stage as a wide-angle perspective control optic ever made for SLR system, good design features significant improvements over the existing main.

What is revolutionary about the two lenses is that both enables, for the first time (at least for wideangle focal length specifically designed for DSLRs), the independent rotation of the tilt and shift axes relative to the camera and each other. (Design ‘Hartblei Super Rotator’ achieve the same movement, but uses a long optical longer focus initially designed for medium format cameras) Prev. Tilt axis defined as the standard on 90 º to the axis of shear, and the lens can be modified to set them both in the same axis if the user desired. This restriction has now been removed, making the movement of the lens, and therefore a creative choice, more flexibility. Rotating mechanism of the slope and shift + / -90 °, enabling a shift in any direction, and in addition independent mechanism rotating tilted + / -90 °, allowing the slope in any direction relative to the shift. This function allows photographers to maximize depth of field in their images without stopping down as far as they otherwise would be needed – important when it wants to squeeze every last pixel of detail from the latest 20 + Mp DSLRs while avoiding adverse effects of diffraction.

Canon has also gone to town in optical design, including the use of high precision aspherical element for maintaining the distortion is minimized, and multiple UD element to reduce chromatic aberration. In the case of TSE 24mm F3.5 L II, this means the formula is much more complex than its predecessor – 16 elements in 11 groups, compared with 11 elements in 9 groups of older design. According to Canon’s image circle is also much bigger – compared with 67.2mm 58.6mm – which in principle allows a greater range of movement without vignetting. The lens also uses the company’s new ‘Sub Wavelength structure Coating’, designed to reduce flare and ghosting dramatically in the lens containing a large radius curves – especially wideangles. Also included is the time-mode aperture diaphragm of the circle, which is designed to give a rendition of interest to the out-of-focus images.

Prices for all these improvements are, however, beautiful heart. Version ‘H’ command $ 1,000 premium over the lens to the introduction of an older, which means the cost is almost the same as the EOS 5D Mark II body. There would be more than a few owners of the original lens was wondering if it’s worth the upgrade, and whether a new optical motion and offers flexibility enough reason to get out of credit card. Let’s see what we can find.

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Canon-Powershot-S90

Read the original here Just Posted: Canon PowerShot S90 review

by.ableh photography

waterfall,slow speed

Creating the illusion of movement within a still image can be a difficult proposition, as it requires breaking one of the basic rules of photography in keeping the subject sharp.

A waterfall makes for an attractive subject when taking landscape photography, but some of the majesty of the image is lost when the shutter speed is too high. The water appears completely static and although the environment will give away the motion, the final effect will still be a poor reflection of the subject. The only method to remedy this is to slow the shutter speed in order to carry a degree of motion blur, portraying a far more active image. By sacrificing the sharpness in the main subject, the movement will be better carried into the image, and the surrounding environment being sharp emphasises the fact that the water isn’t blurred through poor photography, but simply for an intentional effect.

The fact that a waterfall is often surrounded by trees makes the exposure difficult, as streaks of light often appear, rather than a balanced amount. Trees also have the added annoyance of moving around in a breeze, meaning the water may not be the only blurred object. On a particularly windy day, it can be better to simply crop the trees out of the photo with some tighter framing. As with any type of landscape photography, patience is the key, so don’t be discouraged if the first few shots aren’t exactly as intended. Be sure to grab a tripod and don’t get too close to the action, or the camera may not survive the image-taking process.

Please refer to the image above for the following number references.1 Background sharpness
Switch to manual focus and make sure the surrounding area is sharp, rather than worrying about the waterfall itself2 Slow shutter speed
Put the shutter speed down to around the half-second mark, and keep an eye on the aperture. It may close too far to compensate on Program mode3 Inconsistent lighting issues
Surrounding obstructions might cause streaks of light across the image, so waiting for a perfect moment may be a fruitless exercise4 Steady as she goes
A tripod will be absolutely vital for this shot, as the long shutter speeds make it impossible to go hand-held without it resulting in a blurred mess

Review based on a production Canon EOS 550D, firmware version 1.0.6

The Canon EOS 550D is a difficult product to categorize. Ostensibly designed to appeal to first-time DSLR buyers and enthusiasts, it offers a lot more technology, and at a higher price, than we might expect for a camera aimed squarely at this sector. Although it might seem logical for the 550D to replace the EOS 500D, the older camera is set to continue in Canon’s lineup, which leaves the 550D pinched between its entry-level (represented by the still-current EOS 1000D and the 500D) and nominally enthusiast (the EOS 50D) peers. Confusingly however, apart from build quality (which is all but identical to the EOS 500D), the 550D has more in common with the prosumer EOS 7D, and – perhaps even more confusingly – it out-specifies the EOS 50D in many areas.

Central to the impressive specification of the EOS 550D is a high-spec movie mode which offers full HD capture at up to 30 fps, manual control over exposure, and the option to use an external stereo microphone. The new camera also inherits the EOS 7D’s sophisticated metering system (which brings it a lot closer to similarly positioned Nikon SLRs).

So why has Canon apparently risked cannibalizing 7D sales by releasing such a similarly-specced, lower-end model? Well, Canon might have invented the ‘entry-level’ DSLR way back in 2003 with the attractively priced (for the time) EOS 300D, but these days, this sector of the marketplace is pretty crowded. Far from enjoying a monopoly, Canon, like all manufacturers, faces a stiff battle to make its products stand out amongst their numerous peers. To this end, Canon has pulled out all the stops with the EOS 550D and produced the most highly-specced Rebel we’ve ever seen. Now that a production sample has arrived in dpreview’s offices, we’ve had the chance to subject it to our full in-depth test procedure. Read on to find out how it performs.

Headline features

• 18 Megapixel APS-C CMOS sensor
• DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)
• Continuous shooting at 3.7fps
• Full HD movie recording with manual control and selectable frame rates
• 7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots
• iFCL metering System with 63-zone Dual-layer Metering Sensor
• Quick Control screen to change shooting settings
• Exposure compensation +/-5 stops (although viewfinder scale is still +/-2 stops)
• Select maximum value for Auto ISO
• External Microphone socket
• Movie crop function
• Eye-Fi connected functions compatibility

EOS 550D vs EOS 500D Key differences

• Higher resolution 18MP CMOS with gapless micro lenses
• ISO 6400 no longer in ‘expanded’ range (12,800 max remains the same)
• Redesigned buttons and new movie/live view button
• Customizable auto ISO ranges
• Improved 63 zone metering (iFCL)
• 3:2 format screen with more pixels
• Improved movie functionality
• Slightly higher burst shooting rate (though buffer holds fewer shots)
• HDMI control (CEC)
• SDHX Compatible

Sony 70-200mm F2.8 G review

The Sony 70-200mm F2.8 G is one of the original group of lenses announced at the launch of the company’s Alpha system in June 2006. However its history goes back a bit further; it’s essentially a re-badge of the Minolta AF 70-200mm F2.8 APO G D SSM, which first appeared early in 2003. At the time Minolta was only making film SLRs (its first truly practical digital design, the Maxxum/Dynax 7D, appearing after the merger with Konica in September 2004), so the lens is designed to cover the 35mm full-frame format, although naturally it also works on APS-C digital SLRs. It’s therefore a natural companion to the Alpha 850 and 900 DSLRs, providing a real alternative to Canon and Nikon systems towards the top end of the market.

Like all fast telezooms, the optical formula is complex, with 19 elements in 16 groups and 4 Extra-Low Dispersion (ED) glass elements for the correction of chromatic aberration. The lens features a built-in ultrasonic-type ‘Super Sonic Wave Motor’ (SSM) for autofocus, promising fast and silent focusing. The Direct Manual Focus feature allows the user to tweak focus position manually at any time, and has two modes; ‘Standard’ prevents accidental movements of the focus ring from interfering with continuous AF operation, while ‘Full Time’ is essentially self-explanatory. The lens also features three AF-stop buttons arranged around the barrel, allowing the user to lock focus easily; on Sony’s latest high-end DSLRs these can be assigned to other functions, perhaps most usefully depth of field preview.

The 70-200mm F2.8G faces strong competition, though, from similar lenses such as the Sigma 70-200mm F2.8 EX DG Macro HSM II and Tamron SP AF 70-200mm F2.8 Di LD (IF) Macro. And the value proposition between these lenses becomes somewhat complicated on the Alpha system; because while Canon and Nikon’s expensive fast telezooms add image stabilization and weathersealing, this isn’t the case with the Sony (because all lenses are stabilized via the in-body Super SteadyShot system). The Sony lens therefore offers relatively little on paper to justify costing more than twice as much, but of course specification comparisons never quite tell the whole story. So let’s see what you actually get for your money.