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Friday, September 19, 2008

Canon EOS 5D Mark II

the new DSLR fro canon was born
5D Mark II

Key features / improvements
  • 21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III)
  • Sensor dust reduction by vibration of filter
  • ISO 100 - 6400 calibrated range, ISO 50 - 25600 expansion (1Ds Mark III & 5D max ISO 3200)
  • Auto ISO (100 - 3200) in all modes except manual
  • 3.9 frames per second continuous shooting
  • DIGIC 4 processor, new menus / interface as per the EOS 50D
  • Image processing features:
    • Highlight tone priority
    • Auto lighting optimizer (4 levels)
    • High ISO noise reduction (4 levels)
    • Lens peripheral illumination correction (vignetting correction)
  • RAW and SRAW1 (10 MP) / SRAW2 (5 MP)
  • RAW / JPEG selection made separately
  • Permanent display of ISO on both top plate and viewfinder displays
  • AF microadjustment (up to 20 lenses individually)
  • Three custom modes on command dial, Creative Auto mode
  • Image copyright metadata support
  • 98% coverage viewfinder (0.71x magnification)
  • 3.0" 920,000 dot LCD monitor with 'Clear View' cover / coatings, 170° viewing angle
  • Automatic LCD brightness adjustment (ambient light sensor)
  • Live view with three mode auto-focus (including face detection)
  • No mirror-flip for exposures in Live View if contrast detect AF selected
  • Movie recording in live view (1080p H.264 up to 12 minutes, VGA H.264 up to 24 mins per clip)
  • Two mode silent shooting (in live view)
  • New jump options in play mode
  • HDMI and standard composite (AV) video out
  • Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI)
  • IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers)
  • UDMA CompactFlash support
  • New 1800 mAh battery with improved battery information / logging
  • New optional WFT-E4 WiFi / LAN / USB vertical grip
  • Water resistance: 10 mm rain in 3 minutes

Tuesday, September 16, 2008

slowspeed

monday 15/09/08 05:00 AM
me and my friend rudy go to matahari terbit beach sanur
with my lovely gear Nikon D80, nikkor AF-S 18-135mm 3,5-5,6 kit lens
plus the aditional tripod and filter CPL + grad ND hard on my lens mount.
we hunt some sunrise picture
but the weather so cloudy....hik...hik...so sad..
and this the pict

speed : 25 sec F/22


Thursday, September 11, 2008

Sony DSLR Alpha 900

the new DSLR kamera from sony was born
wanna see??
this the review














  • 24.6 MP 35mm format full-frame CMOS sensor (highest res in class)
  • SteadyShot INSIDE full frame image sensor shift stabilization (world first)
  • High Speed Dual Bionz processors
  • Eye-level glass Penta-prism OVF, 100% coverage, 0.74x magnification
  • 9 point AF with 10 assist points, center dual-cross AF w/2.8 sensor
  • 5 frames per second burst, newly developed mirror box
  • Intelligent Preview Function
  • 3 User programmable custom memory modes on mode dial
  • Advanced Dynamic Range Optimizer (5 step selectable)
  • 40 segment honeycomb metering
  • 3.0″ 921K pixel Photo Quality (270 dpi) LCD display, 100% coverage
  • Direct HDMI output
  • ISO 200-3200 (ISO 100-6400 expanded range)
  • User interchangeable focusing screens (3 options)
  • CF Type I/II and MS slots, LI-ION battery, STAMINA 880 shots
  • Weight 850g (without battery, card, accs)
  • New Image Data Converter SR software (includes vignetting control)
  • New Vertical Grip
  • Supplied with wireless remote control
  • Magnesium Alloy body and rubber seals for dust and moisture resistance
  • AF micro adjustment
  • $2999.99 body price; available late October 2008

love it
own it...
he...he....he....

Wednesday, August 27, 2008

The new Nikon D90




wow the new Nikon D90 release
check the Nikon D90 Key Features i got











  • 12.9 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
  • 3.0-inch 920,000 pixel (VGA x 3 colors) TFT-LCD (same as D3 and D300)
  • Live View with contrast-detect AF, face detection
  • Image sensor cleaning (sensor shake)
  • Illuminated focus points
  • Movie capture at up to 1280 x 720 (720p) 24 fps with mono sound
  • IS0 200-3200 range (100-6400 expanded)
  • 4.5 frames per second continuous shooting (buffer: 7 RAW, 25 JPEG fine, 100 JPEG Normal)
  • Expeed image processing engine
  • 3D tracking AF (11 point)
  • Short startup time, viewfinder blackout and shutter lag
  • Slightly improved viewfinder (96% frame coverage)
  • Extensive in-camera retouching including raw development and straightening
  • Improved user interface
  • New optional compact GPS unit (fits on hot shoe)
  • Same battery and vertical grip as D80
  • Vignetting control in-camera
  • 72 thumbnail and calendar view in playback

Tuesday, August 26, 2008

The new Canon EOS 50D





the new DSLR body from canon now release
this the Canon EOS 50D specifications i got from Dpreview site






Canon EOS 50D specifications

Sensor • 22.3 x 14.9 mm CMOS sensor
• RGB Color Filter Array
• Built-in fixed low-pass filter (with self-cleaning unit)
• 15.5 million total pixels
• 15.1 million effective pixels
• 3:2 aspect ratio
Image processor DIGIC 4
A/D conversion 14 bit
Image sizes • 4752 x 3168
• 3456 x 2304
• 2353 x 1568
File formats

• RAW (.CR2; 14-bit)
• JPEG (EXIF 2.21) - Fine / Normal
• RAW + JPEG (separate files)
sRAW1 (7.1 MP)
sRAW2 (3.8 MP)

Lenses • Canon EF / EF-S lens mount
• 1.6x field of view crop
Dust reduction • "EOS Integrated Cleaning System"
• Self-cleaning sensor unit (filter in front of sensor vibrates at high frequency at start-up and shutdown - can be disabled)
• Dust Delete Data - Data from a test shot is used to 'map' dust spots and can be later removed using Canon DPP Software
Auto focus • 9-point TTL CMOS sensor
• All points cross-type for lenses of F5.6 or faster
• Center point additionally sensitive with lenses of F2.8 or faster
• AF working range: -0.5 - 18 EV (at 23°C, ISO 100)
Focus modes • One shot AF
• AI Servo AF
• AI Focus AF
• Manual focus
AF point selection • Auto
• Manual
Predictive AF • Up to 8 m
AF assist • Stroboscopic flash
AF microadjust • +/- 20 steps
• Adjust all lenses by same amount/individually adjust up to 20 lenses
Metering • TTL 35 zone SPC
• Metering range: EV 0.0 - 20 EV
Metering modes

• Evaluative 35 zone
• Partial (9% at center)
• Spot metering (approx. 3.8% at center)
• Center-weighted average

AE lock • Auto: One Shot AF with evaluative metering
• Manual: AE lock button
Exposure compensation • +/-2.0 EV
• 0.3 or 0.5 EV increments
Exposure bracketing • +/- 2.0 EV
• 0.3 or 0.5 EV increments
Sensitivity

• Auto ISO (100-1600)
• ISO 100 - 3200
• 0.3 or 1.0 EV increments
• H1 (6400) and H2 (12800) expansion

Shutter • Focal-plane shutter
• 100,000 exposure durability
• 30 - 1/8000 sec
• 0.3 or 0.5 EV increments
• Flash X-Sync: 1/250 sec
• Bulb
Aperture values • F1.0 - F91
• 0.3 or 0.5 EV increments
• Actual aperture range depends on lens used
White balance • Auto
• Daylight
• Shade
• Cloudy
• Tungsten
• Fluorescent
• Flash
• Custom
• Kelvin (2500 - 10000 K in 100 K steps)
WB bracketing • +/-3 levels
• 3 images
• Blue / Amber or Magenta / Green bias
WB shift • Blue (-9) To Amber (+9)
• Magenta (-9) to Green (+9)
Picture style • Standard
• Portrait
• Landscape
• Neutral
• Faithful
• Monochrome
• User def. 1
• User def. 2
• User def. 3
Custom image parameters • Sharpness: 0 to 7
• Contrast: -4 to +4
• Saturation: -4 to +4
• Color tone: -4 to +4
• B&W filter: N, Ye, Or, R, G
• B&W tone: N, S, B, P, G
Image processing

• Highlight tone priority
• Auto lighting optimizer (4 settings)
• Long exposure noise reduction
• High ISO noise reduction (4 settings)
• Auto correction of lens peripheral illumination (vignetting)

Color space • sRGB
• Adobe RGB
Viewfinder • Eye-level pentaprism
• 95% frame coverage
• Magnification: 0.95x(-1 diopter with 50 mm lens at infinity)
• Eyepoint: 22 mm
• Interchangeable focusing screen Ef-A standard (2 other types optional)
• Dioptric adjustment: -3.0 to +1.0 diopter
Focusing screens
(optional)
• Ef-A (Standard Precision Matte - included)
• Ef-D (Precision Matte with grid)
• Ef-S (Super Precision Matte for easier manual focus)
Mirror • Quick-return half mirror (transmission:reflection ratio 40:60)
• Mirror lock-up (once or multiple exposures)
Viewfinder info • AF points
• Focus confirmation light
• ISO sensitivity
• Shutter speed
• Aperture
• Manual exposure
• AE Lock
• Exposure compensation amount
• AEB level
• Spot metering area
• Flash ready
• Red-eye reduction lamp on
• High-speed sync
• FE Lock
• Flash compensation amount
• ISO speed (while changing)
• WB correction (while changing)
• Highlight tone priority icon *
• B&W mode icon
• Warnings
• Maximum burst for continuous shooting
• Buffer space
LCD monitor • 3.0 " TFT LCD
• 920,000 pixels
• 7 brightness levels
• 160 ° viewing angle
• Dual anti-reflection
LCD Live view

• Live TTL display of scene from CMOS image sensor
• 100% frame coverage
• 30 fps
• Real-time evaluative metering using CMOS image sensor
• Best view or exposure simulation
• Silent mode
• Grid optional (x2)
• Magnify optional (5x or 10x at AF point)
• Three AF modes - Live mode/Quick mode/Face Detection
• Histogram
• Remote live view using EOS Utility 2.0 (via USB or WiFi/Ethernet using WFT)

Record review • Off
• On (histogram via INFO button)
• Display mode same as last used Play mode
• 2 / 4 / 8 sec / Hold
Playback modes

1. Single image with exposure, file number, storage slot
2. As 1 but also image count and quality
3. Detailed exposure information, thumbnail and luminance histogram
4. Less detailed exposure info., thumbnail, luminance and RGB histograms

Playback features • Optional blinking highlight alert
• Optional AF point display
• Magnified view (up to 10x)
• 2x2 or 3x3 thumbnail index
• Jump (by 1, 10, 100 images / by screen or date)
• Delete / Protect
Flash • Auto pop-up E-TTL II auto flash
• FOV coverage up to 17 mm (27 mm equiv.)
• Guide number approx 13 m / 43 ft (ISO 100)
• Cycle time approx. 3 sec
• Flash compensation +/-2.0 EV in 0.3 or 0.5 EV increments
• X-Sync: 1/250 sec
External flash • E-TTL II auto flash with EX-series Speedlites
• In-camera flash configuration (currently only 580 EX II)
• Wireless multi-flash support
• PC Sync
Shooting modes

• Auto
• Creative auto
• Program AE (P)
• Shutter priority AE (Tv)
• Aperture priority AE (Av)
• Manual (M)
• Auto depth-of-field
• Portrait
• Landscape
• Close-up
• Sports
• Night portrait
• Flash off
• Camera user settings 1
• Camera user settings 2

Drive modes

• Single
• High-speed continuous: 6.3 fps
• Low-speed continuous: 3 fps
• Self-timer: 2 or 10 sec (3 sec with mirror lock-up)

Burst buffer • Large/Fine JPEG: 90 frames (with UDMA card)
• RAW: 16 frames
Orientation sensor Yes
Auto rotation • On (recorded and LCD display)
• On (recorded only)
• Off
Custom functions 25 custom functions with 74 settings in 4 groups
Menu languages

• English
• German
• French
• Dutch
• Danish
• Portuguese
• Finnish
• Italian
• Norwegian
• Swedish
• Spanish
• Greek
• Russian
• Polish
• Czech
• Hungarian
• Romanian
• Ukrainian
• Turkish
• Arabic
• Thai
• Simplified Chinese
• Traditional Chinese
• Korean
• Japanese

Firmware User upgradable
Portrait grip • Optional WFT-E3/E3A
• Optional BP-E2N battery grip
• Optional BP-E2 battery grip
Connectivity

• USB 2.0 Hi-Speed
• Video out
• HDMI connector
• N3 type wired remote control
• PC Sync flash terminal
• Communication terminal on base for WFT-E3/E3A

Storage • Compact Flash Type I or II (inc. FAT32)
• Supports UDMA cards
• Canon Original Data Security Kit supported ("Original Image Data")
• No CF card supplied
Power • Lithium-Ion BP-511A rechargeable battery (supplied & charger)
• Supports BP-511 / BP-511A / BP-512 / BP-514
• CR2016 Lithium battery (date/time backup)
• Optional AC adapter
Wireless connectivity
(optional WFT-E3/E3A)
• Mounts on base of camera and also acts as vertical grip
• Has its own BP-511A battery
• Wireless 802.11b / 802.11g
• Wireless security: WEP, TKIP/AES, WPA-PSK, WPA2-PSK
• Wireless methods: Infrastructure or Ad Hoc
• Wired ethernet (100 Base-TX)
• Transfer: FTP, PTP (remote control by computer), HTTP (view / remote fire)
• USB host capable: External hard drives, flash drives
• USB comms: GPS devices (records coordinates and altitude in image header)
Dimensions 146 x 108 x 74 mm (5.7 x 4.2 x 2.9 in)
Weight • No battery: 730 g (1.6 lb)
• With battery: 822 g (1.8 lb)

so powerfull is't it??
the color of DIGIC 4 so owsome
so what are you waiting for??
buy it...
he...he.....

Monday, July 28, 2008

Nikon AF-S VR Nikkor 70-200mm 1:2.8G review

The Nikon 70-200m F2.8 VR is built to withstand the rigours of daily professional use, and the quality of construction is impeccable. From the super-smooth zoom and focus rings to the finely designed and engineered tripod mounting foot, everything about this lens exudes quality. Construction appears to be primarily of metal, and the lens is environmentally sealed, including a rubber gasket around the mount to prevent dust and water ingress into the camera. As is standard for this class of lens, both zooming and focusing are internal, which leads to a distinct impression of solidity to the 'one-piece' construction, and maintains the balance of the lens on the camera regardless of focal length.

In comparison to other 70-200mm F2.8 zooms, the Nikon is unusually long and slim in design, indeed unexpectedly so for a full-frame lens (especially given the fact that Nikon's engineers have had to squeeze in an optical stabilization unit). Overall it rather gives the impression that the glass is concentrated towards the front of the barrel, indeed the narrow tubular section immediately adjacent to the lens mount is purely air space (and we'll see the likely consequences of this on its optical performance in due course). Aside from that, it's quite similar in size to other lenses of this type, and potential upgraders should be aware that it is significantly larger and heavier than consumer telezooms such as the 70-300mm F4-5.6 VR. It's a serious photographic tool, but quite possibly not one you'll want to carry around all day on vacation.

Nikon AF-S VR-Nikkor 70-200mm 1:2.8G specifications

Street price • US: $1700
• UK: £1150
Date introduced April 2003
Maximum format size 35mm full frame
Focal length 70-200mm
35mm equivalent focal length
(APS-C)
105-300mm
Diagonal Angle of view (FF) 34º - 12º
Diagonal Angle of view (APS-C) 23º - 8º
Maximum aperture F2.8
Minimum aperture F22
Lens Construction

• 21 elements/15 groups
• 5 ED elements

Number of diaphragm blades 9, rounded
Minimum focus 1.5m
Maximum magnification 0.16x at 200mm
AF motor type • Ring-type ultrasonic
• Full-time manual focus
Focus method Internal
Zoom method Internal
Image stabilization

• 3 stops
• Auto panning detection
• Active mode

Filter thread • 77mm
• Does not rotate on focus
Supplied accessories Front and rear caps
• HB-29 Hood
• CL-L2 Soft Case
Optional accessories
Weight 1470g (51.8 oz)
Dimensions 87mm diameter x 215mm length
(3.4 x 8.5 in)
Lens Mount Nikon F only
Other

• Dust and moisture sealing
• Reports focus distance information to camera body
• Three AF stop buttons

from Dpreview

Saturday, July 26, 2008

Nikon’s new SB-900 Speedlight

Nikon Europe introduced a brand-new flagship Speedlight - the Nikon SB-900 – that offers exceptional high-speed, high-power operation combined with an extended zoom range. The SB-900 incorporates a moving diffuser and light source that can zoom from 17mm to 200mm in just 1.2 seconds while maintaining an even light distribution. The versatile new flash provides a choice of three illumination patterns (centre-weighted/standard/even) that can be selected to suit a particular subject.


“Nikon Speedlights are widely regarded to be the best in the business” said Robert Cristina, Manager Professional Products and NPS, Nikon Europe. “The new SB-900 propels flash lighting into the future with really exciting creative opportunities available at the touch of a button” he added.

The SB-900 is perfectly adapted to both DX and FX formats, and will automatically select the appropriate light distribution pattern according to the sensor format of the camera to which it is attached. The SB-900 also automatically detects the fitting of fluorescent or incandescent colour filters, instructing the camera to switch to the appropriate white balance setting. Designed for today’s high speed digital image capture, the SB-900 handles repeated firing at high power with an improved booster circuit for high-speed recycling and includes a built-in thermal sensing system that protects the unit against overheating.

It is fully compatible with the other Speedlights and accessories of the acclaimed Nikon Creative Lighting System and can be easily incorporated into multiple-flash lighting set-ups. Bounce flash capability is provided through a head that can be tilted up by 90º and down by 11º and rotated horizontally through 180º, making the SB-900 an essential accessory that opens up many creative opportunities to the photographer.

The SB-900 will be available as of 25th July 2008.

Nikon Speedlight SB-900 Major Features
  • Multi-step auto zoom covers wide 17-200mm zoom range (24-105mm:SB-800)
  • Three illumination patterns (standard, center-weighted and even) are available to match each shooting environment
  • Automatically detects Nikon FX and Nikon DX formats and selects suitable light distribution
  • Improved booster circuit for high-speed recycle time: Recycle time using four AA-size batteries is almost equal to the SB-800 with five AA-size batteries
  • New AF-Assist illumination covers a wide 20-105 mm focal range compatible with the new Multi-CAM3500 FX/DX AF sensor
  • Firmware update via Nikon D3 and D700 is possible (world’s first*)
  • Thermal Cut-out function limits the number of flashes to avoid deterioration of light emitting parts caused by continuous flash firing
  • Automatically detects color filters (fluorescent or incandescent), enabling camera to control color temperature according to filter information from SB-900
  • Improved switch panel for enhanced usability
  • Improved GUI using a large-size LCD dot panel
  • Bounce capability: tilts up to 90º, down to -7º, rotates horizontally 180º to right and left
  • Advanced Wireless Lighting and versatile functions for up to three remote groups of SB-900s or other compatible Speedlight controlled through the master SB-900
dpreview

Saturday, July 19, 2008

Close-up portraits

Close-up portraits usually have the subject's shoulders and head or less. They are basically framed around the face. These are the best to capture expressions and glamour shots. It is very important to have the light coming from a good angle for these. If you want to accent wrinkles or small details you should have the light coming from the side or from the top. If you want flattering pictures you should take these on a day that's cloudy so there is a lot of diffused light and therefore no shadows.

You will get the best results if the subject is brighter than the background so there is not much distraction. For these you should use a wide aperture (low f/stop) to make the background out of focus and less of a distraction. Professionals usually use a fixed telephoto lens that's 90 mm or a little higher for portraits for the reason that it de-emphasizes the subjects nose or any other unflattering feature because a

t that far away the nose or any other significant feature doesn't seem closer to the camera than the rest of the face.

Wednesday, July 16, 2008

Royal Cremation Ceremony, in Ubud, Bali on July 15th, 2008












A series of ceremonies will be held in Ubud, Bali, this coming month, culminating in a unique Royal Cremation (pelebon) procession and Celebration of Life, which will take place on July 15th, 2008. This Royal Cremation Ceremony promises to be an unforgettable event for spectators.

The Ubud Royal Family will hold this ceremony for the bodies of two prominent elders of the family:

  • TJOKORDA GDE AGUNG SUYASA, who was head of the Ubud Royal Family and the leader of the traditional community in Ubud since 1976, and
  • TJOKORDA GEDE RAKA, who was a senior office in the police force in Denpasar until his retirement in 1992

The effigy of GUNG NIANG RAKA, whose body was cremated in a smaller ceremony in December soon after she died, will also now be given a full cremation ceremony.

The cremation procession and associated ceremonies are important rituals in the Hindu rites of passage. The bodies of the deceased will be carried through the streets of Ubud by thousands of local people on top of a nine-tiered tower called ‘bade’. The procession will be accompanied by an elaborately decorated and venerated bull effigy (Lembu) and a mythical dragon-like creature (Naga Banda), with a five meter-long tail. The naga is reserved for only the elders of the Royal family and is thus seldom seen in cremation ceremonies.

Ngaben is the principle funeral rite in Bali's Hindu society which aims to return the remains of the deceased to the elements from which all living things are created and to release the soul from all ties to this life.

Ngaben is comprised of many rituals, culminating in the burning of the corpse in an animal-shaped sarcophagus, as well as the burning of the cremation tower (bade) whose sole purpose is to transport the corpse from home to the cremation grounds.

The Ngaben is not a sad event, it can even be happy, it is a way to make the spirit of the dead happy, and to avoid disturbing him by crying. However it requires an enormous amount of time, energy, and money! All of the relatives and friends share the cost but often months, or even years, will be required to gather enough money and to make the mountains of offerings involved. One solution is for ordinary community members to join the funerals of wealthier individuals of high caste, or to organize ngaben massal (mass cremation) among the villagers, to reduce the costs.

In Ubud, such ‘mass’ cremations are held only every 3-5 years. On 15 July, 2oo8 three members of the Royal Family of Ubud will be cremated along with approximately 70 other deceased from the local community.

This ceremony is very much a public one and visitors are welcome but everyone is reminded to dress appropriately, with legs and arms covered, and to abide by any instructions and announcements.

Tuesday, July 15, 2008

Framing on your photo

Framing is the tactic of using natural surroundings to add more meaning to your subject. It could be anything such as bushes, trees, a window, or even a doorway like in the picture at the top of this page. In the process of doing this you need to be careful that you don't only focus on what's framing your subject. Make sure you focus on the main subject, and also it is a good idea to use a narrow aperture (high f/stop) to achieve a high depth-of-field. It also wouldn't hurt if the part of the picture framing the subject was darker so make sure you take your light reading on the main subject.















F/5.6
1/160
iso 100

Monday, July 14, 2008

Foreground Elements in your photo

In order to show the depth of a landscape it is very important to include some type of foreground element. Without something in the foreground, the viewer has no way to distinguish distances or sizes; everything looks more flat and closer to the camera. A foreground element adds a substantial amount of improvement to what would be a drab amateur photo. But when using foreground elements in landscape photos make sure you use a very narrow aperture (high f/stop) so the whole scene will be in focus.














exposure time : 1/15
F stop : F11
ISO : 100
taken with : Nikon D80

Sunday, July 13, 2008

KAF-50100 The 51 MP CCD Sensor from Kodak

The KODAK KAF-50100 is a four output, high performance CCD (charge coupled device) image sensor with 8176(H) x 6132(V) photoactive pixels designed for a wide range of color image sensing applications. Each pixel contains anti-blooming protection by means of a lateral overflow drain (LOD) thereby preventing image corruption during high light level conditions. A Pulse Flush Gate (PFG) is available to remove charge from every pixel. A Fast Dump Gate (FDG) is available to selectively remove a line of charge during readout. Each of the 6.0um square pixels are selectively covered with red, green or blue pigmented filters for color separation. The sensor is housed in a 52 pin, PGA package with 100 mil pin spacing.

Tuesday, July 1, 2008

preview Nikon D700

The introduction of Nikon's new D700 may been one of the worst kept secrets in an industry with more leaks than the Titanic, but it was still something of a surprise coming so hot on the heels of the D3 and D300. Essentially a D3 shrunk down and squeezed into a body roughly the same size as a D300, the D700 is Nikon's first 'compact' professional SLR, and seems designed to go head-to-head with whatever Canon has up its inscrutable sleeve to replace the EOS 5D.

The imaging side of the D700 is pretty much the same as the D3; it shares the acclaimed 12.1MP full frame ('FX') sensor and has the same processing engine, so we would presume output to be almost identical. The main differences (aside from being considerably smaller) are physical; there's a different shutter (good for 150,000 exposures rather than 300,000 on the D3), different viewfinder prism (with 95% coverage) and a slower burst rate. You also lose the rear LCD info panel (there's no room for it) and one of the D3's two CF card slots, but you do get a couple of extra features to soften the blow slightly; most notably a self-cleaning sensor and a built-in flash. We'll look a little more in-depth at the differences between the D3 and D700 in a moment.

The D700 joins the D3 as a fully-fledged 'professional' model; it has the same tank-like build quality (though we're sure the pop-up flash will cause a few raised eyebrows), and gets you the full pro service from Nikon. And the pricing (around $2999) reflects this; anyone hoping for an 'affordable' semi-pro full frame Nikon SLR will have to wait until the cost of producing such large sensors falls considerably.

Nikon D700 Key Features

  • 12.1 megapixel full-frame sensor (8.45µm pixel pitch)
  • Image Sensor Cleaning (vibration) *
  • ISO 200 - 6400 (with boost up to ISO 25600 and down to ISO 100)
  • Also supports DX lenses, viewfinder automatically masks (5.1 megapixels with DX lens)
  • 14-bit A/D conversion, 12 channel readout
  • Same ultra-fast startup and shutter lag as D3
  • Nikon EXPEED image processor (Capture NX processing and NR algorithms, lower power)
  • New Kevlar / carbon fibre composite shutter with 150,000 exposure durability *
  • Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
  • Auto-focus tracking by color (using information from 1005-pixel AE sensor)
  • 95% coverage, 0.72x magnification viewfinder *
  • Auto-focus calibration (fine-tuning), fixed body or up to 20 separate lens settings
  • Scene Recognition System (uses AE sensor, AF sensor)
  • Picture Control image parameter presets
  • 5 frames per second continuous with auto-focus tracking*
  • Optional MB-D10 Battery Pack (same as D300), increases burst rate to 8 fps *
  • UDMA compatible single CF card slot *
  • 3.0" 922,000 pixel LCD monitor
  • Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
  • Virtual horizon indicates if camera is level (like an aircraft cockpit display)
  • HDMI HD video output
  • 'Active D-Lighting' (adjusts metering as well as applying D-Lighting curve)
  • Detailed 'Control Panel' type display on LCD monitor, changes color in darkness
  • Magnesium alloy body with connections and buttons sealed against moisture
  • Improved Info display on main screen *

* Different to D3



preview from dpreview

Saturday, June 21, 2008

Canon EOS 1000D (Rebel XS / Kiss F) Preview

When Canon launched the EOS 300D back in 2003 it was widely regarded as the first affordable digital SLR and secured Canon a seemingly indomitable number-one spot in the market. Since then the 'small' Canon has gone through three further iterations and the current model - the EOS 450D - offers a feature set and image quality that could only have been dreamed about five years ago (and at a price point well below the 300D's). However, the competition haven't been idle spectators and have recently launched a number of de-spec'ed cameras that have redefined the entry level segment and undercut the EOS 450D in the DSLR hierarchy.

Canon has now responded to this mounting pressure by launching a new model one tier below the 450D in its current lineup - the EOS 1000D. It shares bits and pieces with Rebels gone by and, depending from which angle you look at it, the new model is either a stripped down 450D or a 'reheated' 400D. It's a lower specification camera than the 450D, by every measure you might see listed on the shop shelf, but is not the huge step down that its market positioning might lead you to expect.

On the next page of this preview you'll find a detailed comparison between the 1000D, 450D and 400D but the headlines are; a 10MP sensor, 2.5 in LCD monitor, 7-point AF system and no spot-metering (like the 400D) but Live View with both phase- and contrast-detect AF, SD/SDHC for storage and a control and menu layout that is pretty much identical to the EOS 450D's. In fact, because it's based around the same Digic III processor, it shares an interface with almost every current Canon DSLR all the way up to the 1DsMkIII.

Note that throughout this preview we will refer to the EOS 1000D by its European name; if you live in other parts of the world you'll know the camera by Rebel XS or Kiss F Digital, but they're all essentially the same camera.

read more at dpreview

Tuesday, May 6, 2008

Edit your RAW Image using Adobe Bridge

First time, Adobe Bridge was just a glorified file browser and Camera Raw a neat alternative to the RAW processing software that came with your camera. But, now if you have Photoshop CS3 and you don’t delve into these programs added, you’re wasting your top-dollar investment.

I have some favorites RAW image editing tips using Camera Raw on Adobe Bridge. It’s so good and you may not even need to open Photoshop. Some of this great stuff wasn’t here when CS3 first launched, so before you start, go to Help > Updates to ensure you have the latest versions.

Adobe Bridge also can copying your images from your memory card into individual folders, and back them up while it’s at it: go to File > Get Photos From Camera.

Here are some of my favorites tips on Camera RAW Adobe Bridge:

Clarity slider in Basic panel Find the new Clarity slider on the Basic panel, and crank it up. Essentially, it adds midtone contrast to make your image pop all the more.










Sharpening in RAW Your best bet used to be to sharpen in Photoshop. Now, with Camera Raw’s excellent sliders, and the fact that the sharpening is done to the luminance data (essentially helping you avoid sharpening noise), you may want to use Camera Raw’s sharpening tool on your JPEGs and TIFFs, too.

Click on the Detail tab (symbolized by two small triangles). Then, to harness the full power of sharpening, zoom in to 100% or more.










The Alt key on a PC or (the Option key on a Ma

c) is your best friend when you’re using all of these sliders. Hold it down when you move the Amount slider to hide the color and see what happens to your luminance data as it gets sharpened.










As with Photoshop’s Smart Sharpen and Unsharp Mask tools, the higher the radius, the more pixels on either side of an edge get sharpened. Hold down Alt (Option) to see that effect in action.










Similarly, hold down Alt (Option) to see w

hat happens when you move the new Detail slider left to prevent haloes, or move the new Masking slider back and forth to determine how much detail within the edges gets sharpened. (The screengrab shows Masking at work.)










Healing in Raw Sometime we probably have a little dust on our camera sensor or lens. Without Photoshop, we can fix it on RAW image. Grab the Retouch tool from the toolbar at the top of the screen, and click on your bad spot to surround it with the red circle. Use the Radius slider to make sure it is encompassed. Then find a good area and drag the tethered green circle over a patch that Camera Raw can use to heal your dust spot. Of course, this works on blemishes, too. And, if need be, you can switch the function type to "Clone."










Zoom and Compare in Bridge One of the most frustrating tasks in the old Bridge was trying to compare two images. But now you can select and compare as many as you want just by holding down Shift and clicking the first and last of a set with your mouse. Or, to select a few at a time, click on them while holding down Control (Command on a Mac). Then, to examine a detail for sharpness or facial expression, click on one or all of the images to bring up the magnifier.

Stack them into a group In order to avoid an enormously crowded Bridge window, pile all of those shots into a stack. Just select them and go to Stacks > Group as Stack.











Once they’re stacked, a small number will show up in the upper-left corner of the stack telling you how many are present. Click it to show or hide the group. Then, to see them all in the Preview window, click the edge of the bottom image in the pile. To see only the front one, click the bottom of the pile again.

Buy Adobe Photoshop CS3 complete with Adobe bridge or Adobe Creative Suite CS3 Design Standard full with tutorial


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Wednesday, April 2, 2008

The Basic of Exposure by rick gondrong

Making a good photo require us to pay attention to the exposure of the photo. Camera have to ascertain the amount of optimal light to the camera censor to create a good color tones of the photo. This matter is obtainable by arrange long exposure (shutter speed) and light intensity of lens (lens aperture). All digital camera at this time have arranged the exposure automatically. But its still need the human to readjust the exposure to get desire photo.

Extremely Illumination
At the extremely level of light brightness is not possible to get the right exposure which recording the detail of shadow without light excess at point of interest the object. Or the otherwise. Generally the camera own the dynamic range value about 4EV. Its meaning we still can see the detail of shadow which is 2EV darker than mid tone of photo. And otherwise, 2EV lighter than mid tone of photo.

Mid-Tone
The concept of the mid-tone is a tone or detail at the middle area of the object photos. Mid-Tone is representing the parts of picture that we want as a point of interest at the photo. To maximize the exposure, the camera work at the standard of grey color tone, precisely its 18% grey. Thereby, we shall arrange the object at this level of brightness. This is one of weakness metering from all camera.

Metering
Light Metering on camera cannot differentiate the object which owning a different inheren brightness level. But, the camera at least can catch the contrast of illumination. By default, the metering system of the camera is Multi Pattern, which is measuring light brightness value of the object. With multi pattern metering, the camera automatically can accomodate a type of light which is captured from the object.
But all photographers most prefer to use the center weighted metering, that is emphasize the light measurement at the middle of the frame. While a spot metering, also emphasize the light at the middle of the photo which is centralize at the smaller area.

Aperture And Shutter speed
The camera arrange the exposure by using shutter speed and lens aperture. The combination among shutter speed and lens aperture can give various creativity in photography. The smaller aperture, earn the compensation with the slow speed of a shutter speed. Otherwise, by boosting up the speed of shutter speed, will need a larger lens aperture.

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Wednesday, March 26, 2008

Simple mystical effect on your photo by rick gondrong

Step 1.
Fix your original photo histogram by using image adjustment level and curve
hb_asli.jpg

Step 2.

Use Unsharp Mask tools to more sharpen your photo, if your photo not to sharp.
In this photo, i used the amount 100 and radius 1px

Step 3.

Create duplicate layer from background and rename as cloud, then use filter-render-clouds to create smoke effect to the photo

Step 4.
Coloring the smoke with yellow to give warm effect to the smoke, I used color balance on image adjustment on this step
hb_cloud.jpg

Step 5.
Change the Cloud layer Opacity to 81% and Fill to 51%

Step 6.
Use your creativity in deleting some smoke area on your photo
hb_cloud_edit.jpg

Step 7.
Create enother duplicate layer from background and name it Blur. Then use filter-blur-gaussian blur with 50px
hb_blur.jpg

Step 8.

Change the blending option of Blur layer to Hard light. This will give more contrast light to your photo
hb_jadi.jpg

Finish

tips by rick gondrong

Saturday, March 22, 2008

Canon 5D Mark II will coming soon!

The new 5D II will not be released at Photokina, but instead will be a surprise announcement on April 22, according to a source I am unwilling to disclose.
The specs of the new camera are as follows (final name unavailable):

- 15.3 MP full frame CMOS sensor (vastly improved light-gathering capacity per pixel: improved micro lenses; miniaturized micro circuitry; enhanced signal/noise ratio)
- Weather sealing same as 1Ds Mark III
- Dual Digic III with all-new “CXR” NR system reported to best 3rd party NR software. Available as a C.F with 4 levels of customizable parameters.
- 14 bit A/D conversion
- ISO 12800 (C.F. up to 25600)
- Reported 1 2/3 stop sensitivity improvement
- All-new 29-point TTL CMOS sensor with 12 cross-type for F/2.8 or faster lens 35% faster than 40D)
- Micro lens fine adjustment for up to 14 lenses
- 300,000 exposure shutter durability
- 6.0 / 3.0 fps
- 3.0″ LCD
- 922,000 pixels
- EOS Integrated Cleaning System
- Live View (improved from 450D; latest generation)
- 6/3 fps continuous shooting for up to 68 frames
- MSRP $3499, available June 2

via dpreview forum

Sunday, March 16, 2008

Composition tips: Rule of thirds by Rick Gondrong

The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts. As follows.











As you’re taking an image you would have done this in your mind through your viewfinder or in LCD display that you use to frame your shot. With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.

Not only this - but it also gives you four ‘lines’ that are also useful positions for elements in your photo.

The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot - using the rule of thirds works with this natural way of viewing an image rather than working against it.

Using the Rule of Thirds comes naturally to some photographers but for many of us takes a little time and practice for it to become second nature.

In learning how to use the rule of thirds (and then to break it) the most important questions to be asking of yourself are:

* What are the points of interest in this shot?
* Where am I intentionally placing them?

Once again - remember that breaking the rule can result in some striking shots - so once you’ve learnt it experiment with purposely breaking it to see what you discover.

Lastly - keep the rule of thirds in mind as you edit your photos later on. Post production editing tools today have good tools for cropping and reframing images so that they fit within the rules. Experiment with some of your old shots to see what impact it might have on your photos.

tips by rick gondrong

Friday, March 14, 2008

Tips For Beginner in Photography

As a newbie in photography, and after i bought a camera for the first time, i really don’t know every functions on my camera. Then i read the manual books, browsed the internet and asked my friends about all those things. Now, i want to share this tips for other peoples who have interest in photography and wants to know about such a things in photography.

What is aperture?

Aperture as also called f-stops, are the areas of lens in which light enters the camera. It is controlled by the diaphragm. Aperture controls the amount of light reaching the film. They are marked, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 and 32. This number depends on your lenses, not all lenses have all these numbers. Some may start at f-5.6 and end with f-22. Some even have more and they work in stops. From f-1.4 to f-2 is one stop, f-1.4 to f-2.8 is two stops.

Remember, the smaller the number is the larger the aperture and vice-versa. For instance, f-4 is larger than f-8, and f-8 is larger than f- 16. Larger apertures allow more lights to reach the film. Each f-stop allows twice as much light as the previous and half as much as the next one. f-4 allows twice as much light to reach the film than f-5.6 but half as much as f-2.8. Think of apertures as a window blind. You get more light with the blind open. As you close the blind, less light enters the room. Lens diaphragm works like a blind. When opened, maximum light goes through the lens and exposes the film. With smaller apertures, less light goes through.

Check aperture simulation on photonhead.com. Really a good simulation. Thanks.
Another function of aperture?

Apertures also control depth-of-field. Depth-of-field is the range of sharpness behind and in front of the point on which the lens is focused. When you focus on an object, only the part your lens is focusing on will be sharp. By closing the aperture, you can bring other objects in sharp focus. If you want a blurred background, use larger apertures. Use smaller apertures to gain more depth-of-field if you want objects in front and behind your main subject to be in sharp focus.

What is shutter speed?

Shutter speeds control the length of time you keep the shutter open to allow light to expose the film. Some shutter speeds are: 1,1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000 sec. Most cameras offer longer and shorter shutter speeds going as long as 30 sec. to 1/8000 sec. Shutter speeds also work in stops. From 1 sec to 1/2 sec is one stop; From 1 sec to 1/4 sec is two stops. Each shutter speed allows twice as much light as the previous and half as much as the next one. Slower shutter speeds allow more time for the light to expose the film.

Another function of shutter speed?

Shutter speeds control motion. To freeze a subject you need faster shutter speeds. To create blur use slower speeds. 1/500 sec shutter speed can freeze a race car. 1/2 sec speed will blur a waterfall to give a sense of motion.

Try shutter speed simulation on photonhead.com

What should i use for, a shutter speeds or apertures?

This is called priority on camera, for example in my Canon its called “Av” (Aperture Priority) and “Tv” (Shutter Speed Priority). If you want to control depth-of-field, select your aperture priority and your camera will pick the shutter speed. If you want to control motion, select a shutter speed priority and camera will pick the f-stop. Only you can decide which aperture or shutter speed will give the result you want.

Or, you can use both of them by control Aperture and Shutter Speed in “M” (Manual Mode). Remember, apertures and shutter speeds work together. If you change one, you must change the other to get the same overall exposure, otherwise you can over or under expose your shots.

What mode do I have to use to select my apertures and shutter speeds?

Program mode “P” will automatically selects both aperture and shutter speeds for you. It is best for beginners and snap shooters. When you learn more about photography, you should use aperture priority, shutter priority, or manual mode. In aperture priority, you select apertures and camera automatically picks the shutter speed. It is best used when you want to control depth-of-field. Shutter priority works the opposite. You select a shutter speed and camera picks the aperture. It is best used for action photography. When you want to be in total control of your photography, switch to manual mode. You select both the aperture and shutter speeds.

Does my camera always select the right aperture or shutter speed?

No. Camera meters are designed to give medium tone results. Medium tone is neither light nor dark. It is neither white nor black. Medium tone usually a 18% grey for almost digital camera today. Medium tone is half way in-between. Background of this page is medium tone. Tree trunks, blue jeans, green grass, blue sky are all medium tone. If your subject is medium tone, you can trust your meter, otherwise you must compensate by opening up or closing down.

What is exposure compensation?

In program, aperture priority, and shutter priority modes you must use exposure compensation dial which is marked by +/- signs, to open up or close down. If you don’t use exposure compensation dial and change one setting, your camera selects other setting which will give the same overall exposure. In manual mode you can simply change either the aperture or the shutter speed to vary exposure.

Exposure compensation is a dial or on some cameras a button which is used to override the camera meter in auto exposure modes. It should be left on zero setting for normal exposures. When you want to add or reduce exposure, select +/- 1/3, 1/2, or 1 stops of exposure compensation depending on your subject and how much you want to lighten or darken it. Make sure to zero the settings after you take your picture or you will over or under expose other shots. Learn more about exposure.

How should i do exposure compensation?

It depends on your subject and lighting. For white subjects open up 11/2 to 2 stops in the sun or 1/2 to 1 stop in the shade. For black subjects do the opposite. For subjects that are not white or black but are lighter or darker than middle tone, open up or close down 1/2 to 1 stop. How much you open up or close down depends on how light or dark you want your subject to be.

What is ISO?

It is film speed. Films have different speeds and also work in stops. ISO 50, 100, 200, etc. From ISO 50 to 100 is one stop, or two stops to 200. Slower films have less grain and are sharper than faster films, but require longer exposure time. Use ISO 50 or 100 with slide films, and 100 or 200 with print films for general purpose photography. Use faster films for fast action photography.

Photohead simulation will explain you more about ISO.

What camera should i buy?

Avoid program mode only cameras. Buy a camera that has at least aperture priority and manual mode. Avoid a camera that does not allow manual selection of ISO. Consider a camera with exposure compensation, remote release, full viewfinder information, and at least 1-1/1000 sec shutter speeds.

What about lenses?

Start with a kit lens 18-55mm or 17-85mm, 28-80mm and 70-210mm or 100-300mm zoom lenses. You’ll know if you need more lenses based on the type of photography you do. Only you can decide which lenses will work for you. It is best to start with minimum of equipment and add as you grow.

Blurry images. Why?

The blurring effect of camera shake is caused when the lens is moved while the shutter is open. Often seen when holding a camera in low light and high zoom situations. Remember that most cameras have slow lenses, and the potential for camera shake increases as you zoom in. Check this camera shaking simulation
The solution is to use a safe shutter speed or flash to freeze motion. Changing to a wide angle lens also helps, and remember a fast speed film can also buy you a few stops of light.

Another blurry image could come by using a slow shutter speed. Hand holding the camera can cause blurred images. Your lens may be dirty. Low quality UV or Skylight filter is used. Use a tripod for best results.


by Rick Gondrong

Wednesday, March 12, 2008

Review: Nikon D300


The Nikon D300 is the LONG awaited successor to the D200, which was introduced way back in 2005. This upgrade isn't evolutionary by any stretch of the imagination -- it's a totally new camera. Here are the most significant new features:

  • New 12.3 effective Megapixel DX-format CMOS sensor
  • EXPEED image processing "concept"
  • Continuous shooting as fast as 8 frames/second (with the optional battery grip)
  • 51-point autofocus with 3D subject tracking
  • Huge 3-inch LCD display with 307,000 pixels (920,000 dots) with live view support
  • Dust reduction system
  • Picture Control settings let you have sets of color control settings (think Picture Styles on Canon SLRs)
  • Active D-Lighting lets you brighten shadows while taking photos (instead of after)
  • Rugged magnesium alloy body is sealed against dust and moisture
  • HDMI video output
see more dcresource