Smart Photography 201411
Content
RS.125
ISSUE 8
VOLUME 10
NOVEMBER 2014
SUBSCRIBER’S COPY
INDIA’S NUMBER 1 IMAGING MAGAZINE!
WEDDING
PHOTO FEATURE
PHOTOGRAPHY
SPECIAL
THE COLOGNE ZOO
LEARNING
ALL ABOUT TRIPODS
USE SHADOWS CREATIVELY
HOW TO CONTROL MOISTURE
IN STORAGE
WHAT IS 4K?
REVIEWS NIKON D750 • PANASONIC GH4 • LEICA DG SUMMILUX 25MM F/1.4 ASPH. LENS • SONY XPERIA Z3
INTERVIEW SUDHIR SHIVARAM
PROFILE MOHAN GIDWANI
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HERE’S
WHAT
MAKES US
#1
WELCOME
WE ARE GLUED TO THE GLOBAL
IMAGING INDUSTRY
Our team is updated with all the benchmarks
and road blocks that the field of photography
and imaging across the globe experiences.
This helps us record the changes in the global
perspective, thus making us the first to predict
which products will be a rage in the Indian
markets.
A
part from the mainstream launches, Photokina
2014 was notable for certain other factors.
WE’RE IMPARTIAL
Loyalty towards our readers is a given, and
their best interests are always on our mind.
Every verdict is honest and not influenced by
advertisers or personal favorites. So when we say
a product is a ‘BEST BUY’, then, it is just that!
1) The complete absence of Smartphone manufacturers
from the show. Apart from Samsung and Sony, no
other cellphone manufacturer was present.
2) Action cameras or video cameras are the new
growth areas. Apart from Go Pro and Black Magic,
regular manufacturers like Panasonic and Pentax also
exhibited action cameras.
OUR TESTS ARE CONDUCTED BY
EXPERTS
All equipment go through a series of tests at the
hands of our experts. Our reviewers are experts
in the field of photography across the country
and have many years of experience. That
gives us the foresight to distinguish between
a passing trend and a big change in the field
of photography and imaging. And finally, our
reviews are not extended to just fill up the pages!
3) Companies enabling photographers to store images
whether off site or on the cloud were present in good
numbers.
Meanwhile in India e-tailers have taken the market
by storm and cameras like Canon’s EOS 1200 D were
advertised at less than Rs.14000! The brick and mortar
retail price is more than double. Obviously, the camera
was a loss leader but will it rub the sheen off the Canon
brand? Camera manufacturers need to take a quick
call on that one.
WE ARE HERE TO HELP YOU
There is no debate on why we are here. Our sole
goal is to provide you options and better your
judgement in product purchase while, sharing
tips and tricks to improve your images. Our
biggest joy is in building a bridge between you
and your perfect picture!
EDITOR
Hoshang S. Billimoria
TECHNICAL EDITOR
Rohinton Mehta
SENIOR CORRESPONDENT
Sujith Gopinath
COPY EDITOR
Tanika Godbole
PHOTOGRAPHY
Mahesh Reddy
HEAD-DESIGN & PRODUCTION
Ravi Parmar
DESIGN
Nandkishor Sawant
ADVERTISE DESIGN
Sanjay Awad, Shubham Rohatgi
PRODUCTION SUPERVISOR
Dinesh Bhajnik
PICTURES DESK
Deepak Narkar
H. S. Billimoria
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Views and opinions expressed in the magazine are not necessarily those of Next Gen Publishing Ltd. Next Gen
Publishing does not take the responsibility for returning unsolicited material sent without adequate postal stamps
for return postage. No part of the magazine may be reproduced in part or full without the prior express written
permission of the publisher. Printed by Girish Mallya, Next Gen Publishing Ltd., Trade World, 2nd Floor, C Wing,
Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Published by Girish Mallya
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All readers are recommended to make their own independent enquiries before sending money, incurring
expenses or entering into commitments in relation to any advertisement appearing in the publication. Smart
Photography does not vouch for any claims made by advertisers for their products and services. The editor,
publisher, printer and employees of the publication shall not be held liable for any consequence in the events
of such claims not being honoured by the advertisers. All disputes are subject to the exclusive jurisdiction of
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Editor – Hoshang S Billimoria
November 2014 Smart Photography
5
Contents
32
50
ISSUE 116 / NOVEMBER 2014
RS.125
ISSUE 8
VOLUME 10
NOVEMBER 2014
SUBSCRIBER’S COPY
REGULARS
INDIA’S NUMBER 1 IMAGING MAGAZINE!
WEDDING
PHOTO FEATURE
PHOTOGRAPHY
SPECIAL
THE COLOGNE ZOO
LEARNING
ALL ABOUT TRIPODS
USE SHADOWS CREATIVELY
HOW TO CONTROL MOISTURE
IN STORAGE
WHAT IS 4K?
08 Mail Bag
10 News Watch
28 Picture of the Month
146 Tidbits
REVIEWS NIKON D750 • PANASONIC GH4 • LEICA DG SUMMILUX 25MM F/1.4 ASPH. LENS • SONY XPERIA Z3
INTERVIEW SUDHIR SHIVARAM
PROFILE MOHAN GIDWANI
Cover credits: Mayuresh Patil
Just a moment!
Readers can find the updated Buyer’s Guide, log on http://smartphotography.in/news/monthly-special
Smart Photography thanks the readers who participate in the Picture of the Month contest. We would like to
bring to your attention a few changes in the rules for submission. From now on, you may send in your images with
the longer side measuring atleast 17 inches. Please note that the images have to be horizontal. This permits readers
to submit panoramic shots, which was not possible with the current size of 17 x 11 inches.
32 Kaleidoscope
A platform for budding photographers to
exhibit their talent and get noticed!
38 Showcase
A photographic profile of the person
behind the lens
44 If I Were You
Our expert comments on how your pictures can be taken to another level
47 Ask Uncle Ronnie
Your photo queries answered by Uncle
Ronnie
66 MasterCraftsman
The masters of the craft share their insights and photographs
50 Wedding Special
Merry Tales
Happily Ever After
6
Smart Photography November 2014
www.smartphotography.in
SUBSCRIPTION
OFFER
9782
page
66
74
BUYERS GUIDE
LEARNINGS
REVIEWS
74 Photographer’s Best Friend!
92 Nikon D750
82 Shadow Play
98 Panasonic GH4
88 Equipment Care:
104 Leica DG Summilux
Controlling Relative Humidity
25mm f/1.4 ASPH. lens
90 The 4K Bug!
106 Sony Xperia Z3
www.smartphotography.in
112 DSLR Guide
114 ILCC Guide
116 Lens Nomenclature
118 Photo Jargon
122 SP Recommended:
10 Compact Cameras
November 2014 Smart Photography
7
MAILBAG
REVIEWS: CANON EF-S 10-18MM F/4.5-5.6 IS STM CANON EF 16-35MM F/4L IS USM AF-S NIKKOR 16-35MM F/4G ED VR
●
●
RS.125
ISSUE 7
VOLUME 10
OCTOBER 2014
SUBSCRIBER’S COPY
INDIA’S NUMBER 1 IMAGING MAGAZINE!
16 page EPSON supplement with October 2014 issue.
PHOTO FEATURE
115
Write to us at:
Mail Bag
Smart Photography,
Trade World, C-Wing, 2nd Floor, Kamala Mills Compound, Senapati
Bapat Marg, Lower Parel(W), Mumbai 400013.
E-mail:
[email protected]
INDIA
VE
LUSI
EXC VIEW
RE
NIC
Waari Pilgrimage
SO
PANA 00
FZ10
LEARNING
SETTING UP YOUR D-SLR
POSTCARDS FROM LAHORE
LET’S PHOTOGRAPH A WRISTWATCH
TRAVELOGUE
AUSCHWITZ
INTERVIEW MITAL PATEL
PROFILE NAVANEETH UNNIKRISHNAN
Conquering Goals
Revising Tactics
I, Aditya ,am a 14-yearold student from Daund,
near Pune. I am a big fan
of SP and read it every
month. This is a great
magazine for young and
amateur photographers
like me. I love to click
monochrome portraits.
I feel proud that Dr.
Amit Bidwe, my father’s
photo feature, ‘Waari’
was published in the October issue. He creates a
chart of goals every year. This year, his goal was
to get published in SP, and he made it happen. I
never took my Papa’s goal chart seriously, but now
that I’ve seen one of his dreams come true, I am
also going to make my goal list for the upcoming
year. I heartily thank Uncle Ronnie and the team
of Smart
Photography.
The ‘10 How to Tips’ in the September
issue were extremely useful. Many
beginners like me often feel the necessity
of being reminded of these basics. This
is one of the many good reasons, why I
prefer to read Smart Photography, where
teachers like Rohinton Mehta, with their
vast experience, clarify the doubts that
come to our minds.
Here is my
Papa’s photo
(clicked by
me), as well
as a photo of
myself.
Aditya Bidwe
Somojit Ghosh
Packed with knowledge
I picked up a copy of SP from a stall a
few months ago. Once I started reading,
I finished it cover to cover, all in one go. I
was wondering, when so much has been
covered in a single issue, what would be
left to be covered in the subsequent ones?
But no. You have been delivering issues
that are packed with information. There
is so much to know about the magic of
photography. I love it even though I am
a casual photographer, not a professional
one. Furthermore, I feel that SP has a
personal touch to it, an element missing
in other magazines.
S S Sharma
Grim Sights
When I read Mr. Ajay Soods Auschwitz Photo feature, (October 2014 issue) I remembered
all the books of World War II. In Schindlers List, I had read details of the Nazi concentration
camps, but I had never seen such magnificient photos, as clicked by Mr. Sood. The prisoner’s
uniform, the architectural model, shoes, gas chambers and the barrack’s photos narrated
thousands of stories of the prisoners kept there.
I admire Mr. Sood for selecting the sepia tone for these images. Sepia reflects sadness,
seriousness and increases the value of this images. In my opinion this is one of the best Photo
features by him.
Prasad Mantri
8
Smart Photography November 2014
www.smartphotography.in
NEWS
International
SNIPPETS
According to GfK
market research, global
sales of consumer
electronics experienced
a peak year in 2013, with
US $1.06 trillion in total
sales. But GfK expects
worldwide sales to dip
to $967 billion in 2014.
The biggest sales value
rests in Smartphones.
In 2013, Smartphones
accounted for 34% of the
dollar value of consumer
sales. GfK expects
Smartphone sales to rise
to 39% in 2014.
Canon announced
five models in the new
Maxify series of wireless
inkjet printers for small
office/ home office users.
The Wi-Fi enabled
features include highquality, low cost per
print, quick first print
and cloud printing.
Panasonic and
Leica have expanded
partnership in the
digital camera business,
according to AVC
Network Company, a
subsidiary of Panasonic
and Leica camera. The
agreement includes the
extension of license
agreement for use of
Leica’s trademark on
Panasonic’s digital
camera products, as
well as the expansion
and strengthening
of technological cooperation between the
two companies.
10
Smart Photography November 2014
Photokina 2014 attracts
around 185,000 Visitors
T
he 33rd Photokina held in
Cologne, Germany, which
ended on September
21, 2014, was a great success.
Around 185,000 visitors from
more than 160 countries
attended the imaging trade fair.
Action and lifestyle cameras,
wearables, multicopters and
professional film equipment
supplemented the diverse array
of photography and imaging
products. The international
visitors were able to take full
advantage of the opportunity
to try out new offerings and
exchange news and views with
other photo enthusiasts. The
exhibitors accounted for 47.7%
of visitors. Of these, 44.3%
were from abroad. The growth
in number of visitors from the
USA, Asia, South-east Asia
and from the Oceania region
was particularly strong. Gerald
Boese, President and CEO
of Koelnmesse GmbH (the
organizer) said, “Cologne is the
place to be for the photography
and imaging industry. This is
where the industry charts the
future course of the business.”
The unanimous opinion on the
stands was that Photokina 2014
will exert a strong bell-weather
effect. Katharina C. Hamma,
COO of Koelnmesse GmbH
emphasized the trade fair’s
importance as a trendsetter.
“The industry is now benefiting
from the fact that Photokina
has constantly embraced trend
topics and developed product
segments so that it constantly
reflects the current market
situation,” she said. This is also
evident from the number of
companies making their debut
at the fair. This year saw around
180 first-time exhibitors, the
highest ever. They included
companies like Google, GoPro,
RED Digital and Blackmagic,
as well as young companies like
Lytro, Helipro and the start-up
Panono.
For Christoph Thomas, President
of the Photographic Industry
Association, the way the trade
fair turned out is confirmation
of the industry’s appetite for
innovation. He said, “Photokina
2014 has impressively illustrated
that nowadays there is scarcely
any walk of life in which visual
information and communication
does not play a significant
role. All the companies have
demonstrated with new
and fresh ideas, innovative
products and fascinating
technical developments, that
the photographic and imaging
industry has its finger on the
contemporary pulse and is in
fine fettle for the future.”
www.smartphotography.in
NEWS
International
Leica Camera showcases
30 Products at Photokina
L
eica Camera AG exhibited around 30
products at Hall 1 of Photokina 2014,
celebrating their 100th anniversary. Leica
alone occupied the Hall 1, of which about twothirds was dedicated to the Photo Exhibits.
Among these products, professional mediumformat cameras stood out, with high speed
video recording and optimum image quality.
The top-of-the-line Leica S-007 features the
Leica CMOS sensor and the Leica Maestro
II image processor, which offers the highest
burst-shooting speed, extreme sensor
sensitivity and comprehensive capture modes
for still photography as well is exceptional
video quality. The
company also offers an
entry level model for Leica
S medium-format systems,
the Leica S-E. The camera
provides practically all the
technical advantages of the
Leica S-006 and presents
an alternative within the
Leica S-System. The Leica X features the new
Summilux 23mm f/1.7 ASPH prime lens and
an APS-C size 16 MP CMOS sensor. It also
allows full HD video recording.
The latest model of the Leica V-Lux (Typ 114)
line-up was also showcased at Photokina.
The camera offers a Leica DC Vario-Elmarit
9.1-146mm f/2.8-4 ASPH super zoom lens
(25-400mm equivalent in 35mm format), with
a broad spectrum of capabilities from macro to
telephoto. It has a 1-inch Type 20 MP CMOS
sensor and 4K video capability.
Sony launches 16-35mm E-mount
Lens and Lens Style Camera
Sony announced the 16-35mm
f/4 FE Zeiss lens, which has five
aspherical elements, including
one large AA (advanced
aspherical) element and three
ED glass elements. The new
Sony lens can be used with
Sony A7, A7R and other APS-C
sensor cameras with a 1.5x crop
factor. The lens is dust and
moisture proof.
Sony also announced their new
lens style camera, the ILCE-QX1
and lens kit ILCE-QX1L, which
12
Smart Photography November 2014
were first introduced at
the IFA Berlin show in
September. The ILCE-QX1
has an interchangeable
lens so that Sony E mount
lenses for mirrorless
cameras can be used with
it. The camera has a 20 MP
Exmor APS HD CMOS
sensor, Bionz X image
processor, a built-in flash
and Wi-Fi. The ILCEQX1L is a kit with a power
zoom E PZ 16-50mm f.3.55.6 OSS lens.
www.smartphotography.in
NEWS
International
GoPro Introduces the Hero4 Line-up
G
oPro announced its line-up of
the Hero4 cameras. This includes
three models—the flagship Hero4
Black, the Hero4 Silver and the entrylevel Hero, priced at US $499, $399 and
$129 respectively. GoPro also announced
several updates to its popular GoPro
Studio desktop editing software and
mobile GoPro App.
The Hero4 Black captures cinemaquality 4K video at 30 fps, 2.7K video
at 50fps and 1080p video at 120fps, and
features slow motion effects too. It also
features a redesigned audio system that
captures high fidelity sound. Additional
enhancements include improved image
quality, low light performance, highlight
moment tagging and an improved
user interface that allows for easier
discoverability and access to key features
and controls. The Hero4 Black also allows
extraction of 8.3MP still images from the
video. The Hero4 Silver delivers the same
professional image quality as HERO4
Black, excluding some of the features.
Hero4 Silver includes a built-in touch
display and records 2.7K video at 30 fps,
1080 at 60 fps and 720 at 120 fps. Both
cameras can capture 12MP stills at 30 fps,
and GoPro claims to have improved Wi-Fi
performance in both models. They have
expanded the Protune manual control to
include colour, sharpness, ISO limit and
exposure controls for both photo and
video capture. The entry-level Hero can
capture high-quality 1080p video at 30fps
and 720p video at 60fps.
Zhongyi
Panasonic announces
Optics
announces two CM1 Smart Camera
Panasonic’s new Lumix
the recent
new lenses
CM1 Smart Camera looks
Photokina
Chinese lens manufacturer
Zhongyi Optics announced
a pair of fast prime lenses for
Sony E-mount (Micro FourThirds) and Fuji X-mount.
The Zhongyi Mitakon 42.5mm
f/1.2 lens includes 9 elements
in 7 groups and weighs 310g.
The Zhongyi Mitakon 24mm
f/1.7 lens offers a 0.15m
minimum focus distance. It
has 9 elements in 8 groups and
weighs 246g. Both the lenses
have manual focus only.
14
Smart Photography November 2014
like a Smartphone. It is
Smartphone capable of LTE
telecommunication with a
2.3 GHz quad-core processor,
a SIM card slot and runs
on Android 4.4. However
the CM1 is a camera with a
large-size 1-inch Type 20 MP
Live MOS sensor and a Venus
image processing engine. The
CM1 can capture 4K video
and images in RAQ format.
The lens is a fixed 28mm
equivalent Leica DC lens. At
trade
fair in
Cologne,
Germany,
the Lumix
CM1 won
praises and
an award for its
surprising image
quality, generally associated
with much larger dedicated
cameras. It will be made
available later this year
in Germany and France,
albeit in limited quantities.
There is no decision from
Panasonic to make it available
in Japan, the USA or any part
of Asia.
www.smartphotography.in
NEWS
International
Panasonic announces single-chip
CMOS 4K camera
P
anasonic announced
a $3,500 single-chip
CMOS 4K camera,
the HC-X1000 at the recent
IFA Consumer Electronics
Show in Berlin, Germany.
The camera is designed
for run-and-gun style
videography. It is smaller
and lighter than Sony’s
similar featured camera
AX-1 priced at $4,500. The
Panasonic X100 has an 18.9
MP 3-inch Type BSI CMOS
sensor. Its fixed Leica
Dicomar lens has a 20x
optical zoom, starting from
29.8mm on the wide end.
The camera can read UHD
(3840x2160) up to 60p (and
150 Mbps) and records full
4K resolution.
Ricoh launches rugged models
WG-30 and WG-30W
WG-30 and WG-30W are the latest
digital compact cameras to join the
WG-series from Ricoh Imaging.
These models feature 16 MP backilluminated CMOS image sensors
and a newly developed engine. The
company promises better low-light
and low noise performance. The
triple anti-shake protection also
prevents blurred images. It features
six macro lights to assist closeup shooting, with a Self-Portrait
Assist mode. These compact,
lightweight cameras have water-
proof bodies, and are made tough
to cope with various elements that
a photographer faces in the field.
Both the cameras are water-proof to
a depth of 12 metres, shock-proof
against falls from 1.5 metres, and
freeze-proof to temperatures up
to -10 degrees Celsius. They also
offer full HD (1920 x 1080 pixels)
movie recording capability and a
2.7-inch LCD. The WG-30W offers
Wi-Fi connectivity while the WG30 doesn’t, but other than that the
models are identical.
Sigma announces One Macro and
Two Telephoto lenses
Sigma has announced a new superzoom lens
for APS-C format D-SLRs, the 18-300mm
f/3.5-6.3 DC Macro OS HSM. The new lens
will be available in Sigma, Nikon, Canon,
Pentax and Sony mounts. The models for
Pentax and Sony mounts will not feature OS
optical image stabilization.
Sigma also announced a pair of new telephoto
lenses, utlising Sigma’s OS optical image
stabilization system. Both are 150-600mm
f/5-6.3 DG OS HSM lenses, but one is a
Contemporary lens, whereas the other is
16
Smart Photography November 2014
categorized as a Sports lens.
The 150-600mm f/5-6.3 DG OS HSM Sports
is aimed at professionals and is constructed
from 24 lens elements in 16 groups, including
two FLD and three SLD glass elements. It is
dust and splash-proof. The 150-600mm f/5-6.3
DG OS HSM Contemporary lens construction
comprises of 20 elements in 14 groups, including
one FLD and three SLD glass elements. Two
new teleconverters have also been announced,
the TC-1401 and TC2001, that offer 1.4x and 2x
focal length multiplication respectively.
www.smartphotography.in
NEWS
International
Seiko Epson renew IJ Printer Line-up
for Year-end Holiday Season
O
n September 2, 2014, Seiko
Epson announced a series of
new inkjet printer models, for
the year end holiday season. The SCPX5VII is a new model in the Pro Series,
targeting professional
photographers and
hobbyists. This replaces
the PX-5V that was
launched in February
2011. The new A3
plus model utlizes the
newly-developed Epson
UltraChrome K3 INK.
The new photo black ink
reproduces a deeper or
richer shade of black,
and helps produce other
colours with vivid colour
gradations. The printer will become
available in November.
In the Colorio Series, the company is
offering an A3 format multi-functional EP977A3, A4 format,
EP-907F with fax
function, A4-format
MF models of EP807AW, EP-807AB,
EP807-AR, EP-777A
and EP-707A, all
of which utilize 6
colour inks. Another
two models in A4
format, the PX-437A
and PX-047A use 4
colour inks.
The Colorio PF-70 is a compact and
versatile printer which produces photos
from digital cameras via memory card
slot and from Smartphones via Wi-Fi.
The printer accepts a wider range of
papers including seal paper and 60mm
wide roll paper. The printer measures
249x176x85mm, and will sell for around
20,000 Yen from late October.
The Colorio-Me E0850 is specifically
designed to make postcards. It uses a
7-inch colour LCD monitor and keyboard
with pre-installed 1,571 kinds of design
templates and 3,476 kinds of illustrations.
Photos taken by digital cameras and
Smartphones are downloadable via USB
cable. The E-850 will sell for around 53,000
Yen.
Kowa introduces Canon introduces new IJ Printers for
new Micro-Four Year-end Holiday Season
Thirds format
Canon Inc. announced new
models of inkjet printers
lenses
targeting consumers for the
year end holiday season, aimed
to prepare greeting cards.
The company will also target
Smartphone users by allowing
printing via Wi-Fi connection.
Kowa Co. announced that
it has developed three new
interchangeable lenses, the first in
several decades. The lenses are for
the Micro-Four Thirds format in
the Prominar brand—the Kowa
Prominar 8.5mm f/2.8, Prominar
12mm f/1.8 and Prominar 25mm
f/1.8. The Kowa Prominar 8.5mm
f/2.8 features a wide angle of
106 degrees, with a geometric
distortion index of 0.12%. This
lens has already been launched in
Japan; the availability of the other
two has to be announced. Kowa
will offer each of these lenses in
black, white and green.
18
Smart Photography November 2014
Four models—PIXUS MG7530,
MG6730 and MG 5630 and
PIXUS iP110 in the PIXUS
series were announced. The
three models from the MG line
have been available in Japan
since September, and iP110 will
debut in early November. These
models have the PIXUS Cloud
Link, a cloud computing service
feature.
The top-of-the-line MG7530
is compatible with NFC, so
if the user has a Smartphone
with NFC function, printing
can be carried out by facing
the Smartphone towards the
printer. The main features of the
MG7530/6730 include 6 colour
inks in large tanks, wireless
printing via Wi-Fi. The 7530
can produce an L-size print in
18 seconds. The MG5630 uses
5 colour inks and can produce
an L-Size print in 37 seconds.
The iP110 is a compact mobile
printer with 5 colour inks and a
printing time of 44 seconds per
print.
Canon will also release
PIXUS Atelier based on the
MG7530 in beige colour. This
is targeted mainly towards
women customers and can print
items such as a label, a kit for
a gift box, seal prints etc. The
company will offer only 30,000
units of this model.
www.smartphotography.in
NEWS
Business
Nikon to report slightly milder
Operating Profit drop
N
ikon’s operating profit for the AprilSeptember 2014 period appears to
have dropped roughly 77% on the
year, better than the previous forecast of
82%. While global sales of digital cameras
were sluggish, highly profitable mid-tier and
high-end cameras accounted for a larger
proportion of sales. The company’s operating
profit for the fiscal first half came around to
5 billion Yen (US $45.4 million), above its
earlier projection of 4 billion Yen (US $36.3
million). On August 7, Nikon had lowered
forecasts for the first half as well as the entire
year, ending March 2015 while announcing
the results for the April-June quarter.
Sales for the first half apparently sank
by 21% year-on-year to 370 billion
Yen (US $3.36 billion). Sales of digital
cameras and semi-conductor lithography
systems—both key products—fell short
compared to the forecasts. Sales of
interchangeable lens cameras, which
includes single-lens reflex and mirrorless
cameras, appears to have sold around
2.25 million units in the first half, down
by 24% on the year and trailing forecasts
by roughly 100,000 units. But Nikon saw
better sales from mid-range and high-end
cameras, thanks to the release of new SLR
cameras, including the D810 in July and
the D750 in September. Profit margins on
entry-level SLR cameras improved as the
company refrained from discounts.
Nikon is likely to keep its yearly forecasts
unchanged when it releases its AprilSeptember results. The company
expects sales to decline by 8% to 900
billion Yen (US $8.18 billion) and
operating profit to slide by 16% to 53
billion Yen (US $481 million).
Sony raises net loss
Samsung sees 60%
forecast to $2.11 billion
for fiscal 2014
decline in Operating Profit
during July-Sept period
Sony Corp. said it predicts a 230
billion Yen (US $2.11 billion)
net loss for the year ending
in March 2015, compared to
their previous forecast of 50
billion Yen (US $458.7 million)
loss. The company curtailed
the value of their mobile
communications unit after the
drop of its Smartphone sales. In
July, Sony sharply cut its forecast
for Smartphone sales, giving a
stiff blow to one of the pillars on
which it had hoped to rebuild its
troubled electronics business.
In the April-June quarter, Sony’s
mobile phone business unit,
which was once a star performer,
posted an operating loss amid
lagging sales. This forced Sony
to cut their annual sales target
to 43 million handsets. The
company said it will now book
a 180 billion Yen (US $1.65
billion) impairment charge—the
entire amount of goodwill in the
segment—in the second quarter
of this fiscal year.
20
Smart Photography November 2014
Along with games and imaging
products, Smartphones are
positioned as a core business
in Sony’s electronics operation.
The company had high hopes
for the segment as the main
growth driver, with sales
surging by 55% in fiscal 2013.
However, maintaining that level
of growth has become untenable
as competition heats up with
Apple’s iPhone on the highend segment of the market and
Chinese manufacturers at the
low end. The company’s latest
earnings downgrade reflects the
reckoning of that reality.
This will mark the sixth time
Sony ends a year in the red
since fiscal 2008, the year of
the Lehman collapse. The
company had continued to
pay dividends despite the
deterioration in earnings,
but the dire situation is now
forcing Sony to skip dividends
for the first time and focus on
improving its finances.
It has been reported that
the South Korean company
Samsung Electronics incurred
a 60% year-on-year drop in
operating profit in the JulySeptember quarter, mainly due
to slowing sales of Smartphones.
For this quarter, the company
posted the operating profit of 4.1
trillion won (US $3.87 billion),
sinking to the levels that were
last seen about three years ago.
Sales for the quarter declined
20% to 47 trillion won.
Samsung still outperforms
many Japanese companies in
both, profit level and profit
margin. Its profitability has
been declining steeply in recent
months, mostly due to a severe
price competition by local
Smartphone makers in China
and emerging markets.
Kodak opens Technology
Centre in Shanghai
Kodak opened a new Asia
Pacific Technology Centre in
Shanghai to bring together the
company’s technology platform
for the printing industry in Asia.
The construction of the facility
began in early 2014. It combines
demonstrations of Kodak’s
leading pinting sector partners
and showcases, through
winning applications, successful
new business models.
www.smartphotography.in
NEWS
National
Canson Infinity Inkjet Fine Art Paper
now available in India
Picasso, Chagall, Warhol, Ingress,
Miro and Alechinsky.
T
TechNova has recently expanded
its portfolio of inkjet digital media
products by partnering with
Canson, one of the world’s most reputed
manufacturers of Inkjet Fine Art and
Photographic Papers. As per this tie-up,
TechNova will offer a select range of media
from Canson’s Infinity Paper series to
Indian fine art printers.
Canson Infinity Papers are manufactured
by the Canson and Arches fine art paper
mills, located in France. Products from
these two leading mills have been embraced
by leading artists over the years, including
This paper range offers Optical
Brightness Additives (OBAs), so
that the paper does not turn yellow
over time. Cotton fibres give the
paper and canvas a soft texture
that resists ageing. The paper is
acid-free. The Wilhelm Imaging
Research organization has certified
that the Canson Media passes all
industry standard permanence
tests regarding life expectancy
of inkjet prints. It is regarded as
museum-grade archival papers,
and is trusted by museums, artists,
photographers, restorers and many
others for their proven ability to preserve
prints for very long durations.
Vimal Parmar, DGM, Marketing - Digital
Print Media, TechNova, states, “The Canson
Infinity range offers wide colour gamut,
deep blacks and excellent image sharpness.
This makes it the perfect choice for digital
printmakers, artists and photographers, as
it allows them to express their creativity and
ideas in the best way possible.” He adds that
Canson Infinity product applications include
Fine Art and Photographic Reproductions,
Photo Restorations, Art and Photo Portfolio,
Capture One Express
software for Sony
The ‘Capture One’ RAW
converter and image editing
software from Phase One
has been newly adapted for
Sony. ‘Capture One Express
(for Sony)’ will be provided
at no extra charge to users
who purchase an Alpha
series interchangeable-lens
camera or Cyber-shot RX
digital still camera. This
image processing tool
22
incorporates an advanced
RAW image processing
engine to enable delicate
images to be refined to
produce a higher quality
image.
To download the free
software, visit the following
link: http://www.phaseone.
com/en/Imaging-Software/
Capture-One-for-Sony.aspx
Smart Photography November 2014
and many other creative applications.
TechNova is currently marketing a select
range of premium papers from the Canson
Infinity Range. These include:
BFK Rives—This is a mould-made
traditional printing paper, with a pure white
tone obtained without the use of OBAs. It is
ideal for fine art prints and photographs.
Rag Photographique— A100% cotton
museum-grade white fine art and photo
paper, specifically suited to address the
needs of the digital fine art industry.
Plantine Fibre Rag—This digital darkroom
paper has the feel of the original Baryta
fibre paper.
Baryta Photographique—This is museumgrade Baryta paper developed for inkjet
technology, with better black density and
image sharpness, making it ideal for black
and white photography.
Arches Aquarelle Rag—A Genuine 100%
rag, this is mould-made water colour paper
which is strong and has a unique texture and
a warm white tone, like traditional fine art
paper. This paper complies with the highest
archival standard and is age-resistant.
NatGeo conducted
Photo Walk
In an initiative of the
National Geographic Society,
‘The Great Nature Project’
was organized. The first in
the series of the National
Geographic Great Nature
Photo Walks were conducted
in Mumbai, Kolkata, Guwahati,
Jorhat, Hyderabad, Delhi
and Nashik. Photography
enthusiasts and nature lovers
were taken for a nature trail
at Anjaneri (Nashik) on
September 14, 2014.
The participants also got
guidance on photography
techniques free of cost. Dr
Caesar’s Photography (DCP)
Expeditions, a wildlife
photography training
academy, conducted the free
photo-walk. The group was led
by Pratik Padhye.
www.smartphotography.in
November 2014 Smart Photography
23
NEWS
National
Picobattery
Store in New
Delhi
Based in New Delhi,
Picobattery is an online
power accessory store. They
have recently been awarded
Google’s ‘Trusted Store’
Badge. Picobattery provides
their customers with
premium quality batteries
for cameras, camcorders,
laptops, Smartphones as
well as battery chargers,
D-SLR battery grips,
memory cards, power
adapters, and other
replacement accessories for
various electronic gadgets
at competitive prices. They
keep a warehouse stocked
with equipment and have
trained staff and technicians
who are available to assist
customers and ship off the
products without damage.
Wildlife Photography
Exhibition at Thane
A
A wildlife photography
exhibition of 15 young
freelancers was on
show at Thane Kala Bhavan,
Kapurbawdi, Thane, from
October 2 – 5, 2014. The
photographers were Parin Gala,
Saleel Gharpure, Amol Pawar,
Manjeet Thakoor, Anvay
Ganoo, Nandish Songire,
Rohit Kadam, Nimish Sabnis,
Saurabh Mahajan, Swapnil
Samarth, Dhananjay Talekar,
Mandar Nalawade, Chinmay
Amrute, Akshay Mokal
and Ashutosh Shinde. This
Exhibition gave the audience
a walk through of more than
150 species of mammals, birds,
reptiles, butterflies, etc.
Parin Gala and Saleel
Gharpure’s new photo-book
on reptiles was also displayed
at the exhibition. It includes
photographs of 60 species
of reptiles found in around
Maharashtra along with brief
details, and also explains basic
concepts about how reptiles
live and survive in the wild.
‘Clean
India’ Photo
Competition
The new government’s initiative
of ‘Swachh Bharat’ or ‘Clean
India’ is gaining ground. To
promote the campaign, a
photography competition was
announced by Canvas, an
initiative of the New Media
Wing, Ministry of Information
and Broadcasting. The Photo
Contest offered cash prizes
of Rs.10,000, Rs.7,000 and
Rs.5,000 for the first, second
and third places respectively..
An Animation/Video contest
was also launched, offering
prizes of Rs.30,000, Rs.20,000
and Rs.10,000 to the first,
second and third place winners
respectively. To know more, log
on to www.dv.inbministry.com.
24
Smart Photography November 2014
www.smartphotography.in
NEWS
National
SignedPRINTS Photography
Contest 2014
T
he third SignedPRINTS
Photography Competition,
with the theme ‘Colourful
Abstracts’ is now accepting entries. The
contest is open to all Indian residents
and the deadline for submission is
December 15, 2014. The 1st, 2nd and
3rd place winners will receive cash
prices of Rs.5000, Rs.3000 and Rs.2000
respectively. Log on to www.threedots.
in for more information or to enter.
Huawei ties up with
Flipkart to sell ‘Honor’
series Devices
Chinese networking and telecommunications equipment
company, Huawei tied up with Flipkart to sell their ‘Honor’
range of devices. Huawei is the third-largest Smartphone
maker in the world with a 6.7% market share, and Flipkart is
India’s largest e-commerce platform. Huawei launched four
devices, that are available exclusively on Flipkart.
“Our product line up for the next quarter is exciting and
promising and we are confident that our tie-up with Flipkart
will further fuel our growth and success in India,” said Cai
Liqun, CEO, Huawei Telecommunications, India.
Fashion Photography Workshop
at New Delhi a success
Shoots and Shoots Academy,
with the support of Tamron,
held a Fashion Photography
Workshop on September 14, 2014
at New Delhi. The workshop
had about 10 participants who
were keen to learn about Indian
and International fashion
photography. It was held at
the premises of Shoots and
Shoots Photography Academy,
New Delhi, an institute of
photography courses.
The mentor and teacher for this
event was Mr. Shyam Prasad,
who himself is a national
award winner in photography.
Contents of the workshop
included basics of fashion
photography, the understanding
and placement of lights and the
play of shadows, some editing
lessons that are required to
enhance the pictures, and other
useful skills such as building
contacts in the field.
The flagship device, Honor 6, is a 4G phone, with 3GB RAM
and 13 megapixel rear camera. It is priced at Rs.19,999. “At
the onset of the festive season, the devices including two
Smartphones — the Honor 6 and Honor Holly and two
Tablets — Honor X1 and Honor T1, will be available to the
26 million regular visitors of Flipkart,” said Allen Wang,
Huawei India President of the Consumer Business Group.
Top brands ask Amazon to
limit Diwali sale discounts
As the festive season is approaching, top electronic brands asked
Amazon India to offer moderate discounts, not more than 15%,
for their Diwali sale. The companies reportedly asked for the
Amazon pricing not go below the ‘landing price’ or the rate at
which brick-and-mortar stores buys goods from them.
26
Smart Photography November 2014
www.smartphotography.in
Fotothon 2014 to be held on December 13
I
nitiated on March 26, 2011,
Fotothon is a unique photography
marathon. The second edition was
held on the Earth Day, April 22, 2012.
A new concept of ‘Fotothon Focus’
was introduced to address various
issues facing the city. The third
edition was held on Nov 16, 2013.
The focus was to create awareness
about flamingos of Mumbai city,
which are awaited visitors during winters.
Several photo-walks were organized across
the city, with experts leading the walks.
The Photothon 2014 will be held at
Maharashtra Nature Park. The event begins
at 10 am on December 13, and will last for
24 hours, during which participants have to
click the photographs based on the theme
for Foto Story is disclosed to the
participants on the day of the event.
Best Fotograph- The participating
photographers can submit a
photograph relating to nature and
environment under this category.
revealed to them on the same day. Entries
will be accepted in the following categories:
Foto Story- This category tests the
participant’s skills of narrating an
environment-based issue through a series
of 3 to 5 photographs thus weaving out a
story with the help of pictures and detailed
description through captions. The topic
Best Portrait- Under this category,
photographers can click portraits or
interesting images of people.
Best Picture ( Mobile Phone)Photographers will have to submit a single
image on a subject that will be announced
on the day of the event.
To know more or enter, log on to
www.fotothon.in
NatGeo Covershot Season 3 set in Mumbai
National Geographic Channel’s show,
Covershot (Season 3) will be based in the
maximum city, Mumbai. The photography
based TV reality show will feature 16
budding photographers from across India,
who compete to be featured on the cover
of the National Geographic Traveller India
magazine.
The photographers have to capture the city
that never stays still, in a still photograph.
Mentoring the participants and judging
the show will be the photographer Samar
Singh Jodha and film director Abhinay
Deo, while photographer Raghu Rai joins
them for the finale. The series will be
hosted by Shibani Dandekar.
This edition of the show is dedicated to the
larger than life spirit of the city of Mumbai.
The themes of the series are Ganpati
Visarjan, Malkhamb and Akhada,
People who drive Mumbai, Dharavi and
an undisclosed theme for the Finale.
Covershot: Maximum City premieres on
November 15, 2014, and will air every
Saturday at 10 pm on National Geographic
Channel.
Somesh Goyal’s
work exhibited
Somesh Goyal, Inspector General
in Sashastra Seema Bal (SSB) and
also an avid wildlife photographer,
recently showcased a photography
exhibition for his love for the
wild. It was held at Chanakyapuri,
Delhi, from October 1 to 9, 2014,
and was inaugurated by SSB
Director General, BD Sharma.
The exhibition was titled ‘Walk by
the Wild Side’ and was a tribute
to Machli, the tigress living in
Ranthambore.
www.smartphotography.in
November 2014 Smart Photography
27
PICTURE OF THE MONTH
A NOTE TO OUR READERS
1. The picture has to be horizontal.
2. Kindly ensure that the longer side should measure atleast 17 inches, at 300ppi.
3. Low resolution images will not be accepted.
4. We do not check images on online galleries.
5. Kindly ensure complete contact/address details are provided. Winners will have
to collect their prize from SP’s Mumbai office or send an authorised representative
to do so.
6. Please make sure that your picture does not have your name/logo on it.
h by
n
a
j
a
R
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a
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k
a
y
a
Ud
ap
Photogr
PICTURE OF THE
MONTH
We are sure that all of you have a few pictures
that you think are prize worthy. It happens
very often that you don’t know where to send
the image that could put a feather in your cap.
If you have such images (we’re sure you have
many!), send us ONE such horizontal image.
If it qualifies, we shall publish it as a doublespread.
a. You have to guarantee that the picture was
shot by you
b. If there are people in the picture who can be
identified, we’ll need a model release
c. The picture should not have been printed
elsewhere (magazine newspaper, or offered
to any publication)
d. Mark the entry as “Picture of the Month” and
rename the file using your name
e. You may send images via print/e-mail to: Next
Gen Publishing Ltd.,2nd Floor, C Wing, Trade
World, Kamala Mills Compound, Senapati
Bapat Marg, Lower Parel (W), Mumbai 400013
(or) [email protected]
WIN!
MK 393 PD
Tripod
Sponsored by:
KALEIDOSCOPE
Finally, a platform for budding photographers
to exhibit their talent and GET NOTICED!
Long
Way To
Go
Holi Splashes
Camera: Canon EOS 5D Mark III
Lens Canon 24-70mm
Aperture : f/3.2; Shutter speed: 1/2000sec.; ISO: 1250
Focal Length 70mm
B
orn and brought up in Ludhiana,
Punjab, Rajeev Kashyap is a
devoted photographer. He
began his journey in this field about
fourteen years back, as the assistant of
a commercial photographer. He soon
established himself as an independent
photo-artist. His zest for learning
Rajeev Kashyap,
provided him with the opportunity
Ludhiana
to meet a well-known photo-artist of
Ludhiana, Mr. Rakesh Syal. Rajeev was
very impressed and influenced by Mr. Syal’s style of
work. He started visiting Mr. Rakesh Syal’s place and
was mentored by him. Syal suggested that he should
join IIPC and attend its workshops. He attended the
IIPC workshop in Delhi in 2008. This workshop was a
great learning experience for him.
Today he is a popular photo-artist of his town. He
practises pictorial photography and tries to add
pictorial value even to his commercial shoots.
Rajeev regularly participates in the competitions of
art photography. He has a number of awards and
recognitions to his credit.
32
Smart Photography November 2014
www.smartphotography.in
www.smartphotography.in
November 2014 Smart Photography
33
Kailash Kher
Camera: Canon 5D MK III
Lens Canon 24-70mm
Aperture : f/5.6; Shutter speed: 1/160sec.;
ISO: 1600
On Two Horses
Camera: Canon EOS 40D
Lens Canon 18-135
Aperture : f/8.0;
Shutter speed: 1/125sec.; ISO: 200
34
Smart Photography November 2014
www.smartphotography.in
Calm Waters
Camera: Canon EOS 40D
Lens Canon 18-135
Aperture : f/10.0; Shutter speed:
1/400sec.; ISO: 200
Focal Length 47mm
Bridal Jewellery
Camera: Canon 5D MK III
Lens Canon 85mm. 1.8
Aperture : f/2.8; Shutter
speed: 1/125sec.; ISO: 1600
Focal Length 70mm.
Shy Bride Camera: Canon EOS 40D; Lens Sigma 70-300mm
Aperture : f/8.0; Shutter speed: 1/125sec.; ISO: 200
www.smartphotography.in
Focal Length 168mm
November 2014 Smart Photography
35
38
Smart Photography October 2014
October 2014 Smart Photography
39
SHOWCASE
FROM
SWEETS TO
SIGHTS
As told to Tanika Godbole
Beak Wide Open
Meal Together
Mohan
Gidwani is a
nature lover
who loves
capturing the beauty of nature and
wildlife in his images. He is passionate
about photography and believes in
expressing and showing beautiful sights
through this medium.
38
Smart Photography November 2014
www.smartphotography.in
B
orn in 1959 in a family of
well-known confectioners of
Delhi _ Chaina Ram Sindhi
Confectioners _ Mohan Gidwani
graduated from Delhi University and
got involved with his family business.
Mohan Gidwani was inclined
towards art and creativity since his
childhood. He used to observe the
works of the masters of photography
very keenly in magazines, and
often attended the art exhibitions
organised in his city. The images
that he was exposed to touched his
soul, and motivated him to step
into the realm of art. Gradually,
photography became his obsession.
Mohan Gidwani is a nature lover
and he prefers to capture the beauty
A close-up
www.smartphotography.in
November 2014 Smart Photography
39
SHOWCASE
Twins
of nature at its
best. This nature
photographer
believes that
photography
is a journey of
the soul, which
accompanies an
artist throughout
his life. Gidwani
says, “After so
many years of
my involvement
in photography,
I think of it
not only as a
form of art,
but an integral
part of my life.
Photography has
been a driving
passion for me.”
He further adds,
“Photography
is a medium of
expression. It
Birds of a feather
40
Smart Photography November 2014
www.smartphotography.in
Peek-a-boo
is just like a window,
which lets you look
deeper into the
beautiful picturesque
world.”
Gidwani likes to keep
his pictures simple
and uncomplicated.
He has won more
than 400 Awards and
Certificates of Merit,
and has had over 1400
of his works exhibited
in International
and National
photography Salons.
The India International
Photographic Council
has honoured him
with the prestigious
Associateship Honour
and Diamond Grading.
His work has also
been published in
several magazines and
catalogues.
Looking for nuts
www.smartphotography.in
November 2014 Smart Photography
41
Advertorial
Positioning your
Lights!
VV Ramana of Villart
Photography is one
of the premier league
photographers in the country.
Within the professional
fraternity, he is well known
for his technical expertise.
A man high on spirit, with
an inherently burning need
to showcase subjects in the
most beautiful manner – he
is dedicated to producing
photographs and videos
with precision. He is very
particular about the quality
of the work he does.
Lighting creates a mood when it’s done well.
It is incredibly important to any images, but
especially wedding photography. Whether the
ceremony is taking place indoors or outdoors,
it’s crucial to ensure that you have good quality
lighting in order to take the best possible
photographs. Whether you’re a professional
photographer or not – you need to take a good
look at the venue prior to the ceremony to find
out how much additional lighting equipment
will be needed, as well as what type. This will
ensure that the photos turn out great. With
wedding photography, there are inevitable time
constraints. It is therefore imperative that you,
as the wedding photographer, are able to keep
everything running as smoothly as possible on
your side, which implies that it is important that
you (and your equipment) are adaptable. And it
is also important that your gear is easy to set up,
and very reliable. While setting up the lighting for
wedding formals in the halls, the question often
crops up – where do you place the lights?
While shooting these images, the concept is
quite challenging. It is practically impossible
to shoot using ambient light. The use of an
external flash here will ensure that your subjects
are correctly exposed. To prevent harsh
Indirect Lightbank Octa 190 cm
It has 360° rotating system also
accepts all Elinchrom Flashheads
including the Ranger Quadra Heads,
with Adapter Ring 26339
Camera used: EOS-1Ds Mark III with 15mm f/2.8 fisheye lens.
shadows being cast behind your
subject, you should – at all
times – avoid pointing the flash
directly at them.
Here, to give a live kick to the
background, we positioned the
Ranger Quadra hybrid behind the
subject. This battery flash system is
ELC Pro HD 500
The ELC features three exciting
shooting modes I.e; Sequence Mode,
Delayed Mode, and Strobo Mode
compact, lightweight and it supports
full power flash durations as short as
1/6000, and recycle times as short
as 2s. This helped us in highlighting
the whole background. Further, for
highlighting the subject, we arranged
the light setup in front using ELC pro
HD 500 a compact studio flash with
the bounce light. The distance was
approximately 5 to 6 feet between
the subject and light. The closer you
bring the light, the greater is the risk
of having the light fall from too steep
an angle and creating shadowed eyes.
This flash was used to fill up the dark
place and bounce light to ensure that
there is no lens flare. For enhancing
the soft and warm effect, we have
used the Lightbank Octa
190 cm. Likewise, you can
conceptualise and use your
imagination any way you want. After
all, getting the right frame and taking a
good picture is what drives you.
Ranger Quadra hybrid Pro SET with
Lamphead A Type
The kit includes a Ranger Quadra Hybrid Rx
Pack with a Lead-Gel Battery, multi-voltage
charger, 2 small, very lightweight RQ Hybrid
A (Action) flash heads, El-Skyport wireless
transmitter and a case to store and transport
it all.
Tips and techniques while shooting a wedding
• Never complicate the lighting setup. You should try to keep the setup as simple as possible. It
is advisable to carry portable lights and reflectors to get better shots. At the same time, in low
lighting conditions, use the widest possible aperture or smallest possible f-value to get correct
exposure. You can also boost your ISO value but it increases the noise in your images.
• The official shot is better done before the reception and not right after the wedding.
• Capture candid bridal moments especially when she’s getting dressed, her jewelry, her
preparations to look her best. These shots can be caught from different vantage points with a
prime lens and have no one feel that you are intruding. Shooting using a zoom or prime lens
lets you capture some close shots from a distance and can be used to capture photographs of
props such as wedding rings, bouquet, etc, as well.
• Create fine compositions instead of asking the subjects to move, and be aware of the lighting.
If, in your viewfinder, the lighting looks harsh on your subjects’ faces, it may look even harsher
in the final image.
• For getting a close-up image of the couple so the lighting is flat and even... It’s pretty easy
to achieve this effect – all you need to do is place two soft boxes on either side of your subject
at the same angle and at an equal distance. Set the power so it’s the same from each light.
Try using a reflector under the face – your model should easily be able to hold this. This will
bounce light up and onto the face
• In case of shots of friends and relatives, try taking images from the side lines while others
have their photograph taken in front of them for a more natural looking shot.
• While capturing bride and groom portraits always aim to take natural images which convey
love and happiness rather than endless posed images. For getting these types of wedding shots,
shoot from a distance and from different angles to create interesting compositions.
• You can capture the wide angle of emotions of family, friends, and the groom during the
‘Vidaii’ by creating a panorama and also use two cameras to get those candid shots. You can
also try a more creative approach to capture these shots using a fish-eye lens. Fish-eye lenses
create some distinct images with radial blurs and curved looks which will distinguish your
pictures from other photographers.
IF I WERE YOU
E-mail your images at [email protected]
Our Imaging Expert
No one can take a picture that
everyone likes. But, almost
every picture can have scope of
improvement. Often, we are not
our best critics, while others can
immediately point out the faults. In If
I were you, our expert comments on
how your pictures could be taken to
another level.
Rohinton Mehta,
Technical Editor, Smart Photography
Original Image
The Monkey
This picture of a monkey, semisilhouetted against the setting sun,
has been sent for evaluation by
Prakash Lalpotu, a reader of SP and
a retired lecturer of zoology.
The first guideline for composition
Camera: Nikon D3100
Lens: Nikon 55-200mm at 200mm
(equivalent to 300mm)
Aperture: F/7.1; Shutter speed: 1/320sec;
ISO: 200
says that ‘thou shall not place the
center of interest in the center of the
picture’.
The EXIF data tells me that you
took the photo using a 55-200mm
telephoto zoom lens set to 200mm.
Please note that what you did was
dangerous and should be avoided.
Your eyes are more precious than
any photo on earth. Photographing
the sun when it is still bright (and
the sun in your picture is bright!)
and that too using a telephoto lens
could cause blindness (the effect
may be noticed even months later).
Shooting straight into the sun has
caused red fringing all around the
monkey. This does not look good.
Using Photoshop, we have got rid
of the same and also re-framed the
monkey. To keep things simple, I
have not explained the method of
getting rid of the red fringing.
Matheran Landscape
Andrew S, the author of this photo
has been into photography for quite
some time, but he admits he does
not shoot regularly. He wants some
tips on how he could improve his
photography.
Well Andrew, practice makes a man
perfect. Unless one takes pictures
regularly, and analyses the pictures
for their good and bad points, it’s
difficult to improve. A photographer
needs to have patience as well as
perseverance. When you go to a
picturesque location, the first thing
to consider is the lighting on the
subject. If the light is ‘flat’ or if the
light is coming from the wrong
direction, your pictures are not
going to ‘stand out’. The next thing
to consider is the point where you
should stand; move around and see
if the view improves when seen from
another viewpoint. Then consider
the focal length that you should use.
Finally, compose the frame to your
liking and ensure that your camera
is absolutely steady during the
exposure.
I have a picture very similar to the
one you have sent (it’s taken at Echo
Point. You probably stood almost at
Edited Image 1
44
Smart Photography November 2014
www.smartphotography.in
Original Image
the same point as
I). The location/
viewpoint is fine
but the lighting
isn’t. The light is
quite ‘flat’ (may
be it had become
overcast). If I were
you, I would have
waited till the sun
broke through the
clouds. Angular/
cross lighting
brings out details
that flat lighting
subdues.
In the edited
picture, using
Photoshop, I
have adjusted the
contrast, cropped
a part of the sky
that wasn’t adding
to the picture and
sharpened the
image.
Sunset Time
This picture has
been sent to us by
Avinash Ghorpade
from Nashik. Says
Avinash, “This
picture was shot
years ago. I like
the photo but
don’t know how to
get rid of the red
colour cast. Can
you help?”
Edited Image
Camera: Canon PowerShot G7
Aperture: F/4.5; Shutter speed: 1/250 sec; ISO: 100
www.smartphotography.in
Most certainly I
can, but remember
that all colour
casts are not bad.
Sometimes, colour
casts can actually
make you like the
photo even more.
Here’s how you do
it (actually there
are a couple of
ways to get rid of
the colour cast;
this is just one of
them).
1. Open the image
in Photoshop
November 2014 Smart Photography
45
IF I WERE YOU
E-mail your images at [email protected]
Note: If I Were You is meant to encourage and guide readers, and help them improve their
photography. Please ensure that the required camera/exposure details are sent to us (or are
available in the EXIF data). We shall not accept images for this section if the required data is
not available. Readers are requested to send their images at 300ppi for 8 x 10-inch size. If they
are too small, working on them is difficult, and hence they may be rejected.
Original Image
Camera: Olympus 5060
Aperture: F/5.6 ;
Shutter speed: 1/125 sec;
ISO: 80
Printscreen 2
Edited Image
and create an adjustment layer
for Levels (you first press the F7
key on the keyboard to open the
Layers panel. Then click on the
half-black half-white circle at the
bottom of the Layers panel and
select Levels).
2. Click on the white eyedropper
in Levels (See PS 1) and click on
the brightest area in the photo (I
clicked at the point marked X).
This will get rid of the colour cast
in the highlights.
Printscreen 1
46
Smart Photography November 2014
3. You could then take the black
eyedropper and click on the
darkest area, but instead I merely
lightened the foreground by
moving to the right the black slider
of the Output Levels (See PS 2).
That’s it!
www.smartphotography.in
Q&A
Ask Uncle Ronnie
Did you know...
Ronnie has
over 35 years of
experience in
photography?
In fact, he has
taught several
thousand photoenthusiasts
in various
institutions
and through
workshops, as well as judged
many national and international
photo contests, including the
prestigious International Photo
Contest held at Colombo, Sri
Lanka. So, if you have any photoqueries, whether conventional or
digital, don’t hesitate. Just go ahead
and Ask Uncle Ronnie at sp@
nextgenpublishing.net, ‘cause he
knows it all!
Image Curruption
Will my images get lost/currupted
if I switch off my camera before all
the images have been written to the
memory card?
We regularly get requests to suggest a camera or a lens. While some do their preliminary
homework, most don’t. It is important for you to do some spadework and narrow down
your options before writing in to us. You also need to give us an idea of what genre of
photography you are interested in and how much you are willing to spend. We would then be
in a better position to evaluate your query and suggest suitable gear. We have received one
such ‘homework-done’ request from a reader who has narrowed down his choice but wants
to know if the extra amount that he would spend is justifiable or not. The questions he has
asked are relevant to every reader. Read on...
Tip: There is no need to power off
the camera unless you definitely do
not want to use it for a long period.
When the exposure meter goes off
(which depends on the time you have
set for it), the camera automatically
goes into ‘sleep mode’, thus saving
battery power. As soon as you halfpress the shutter release button, the
camera ‘wakes up’.
Don’t want to carry
bulky D-SLRs
I read your answers with a lot
of interest and always find them
precise and very helpful. I also
Realising this, some manufacturers
now design the camera to not switch
off even if you put the on/off switch
to the off position while images are
being written to the memory card.
Only after the images are safely in
the memory card, the camera will
switch off.
www.smartphotography.in
Shyam S. Sharma, via email
Thank you for your kind words.
A camera dealer may
suggest you to go in for
a D-SLR for any of the
following three reasons:
A. S. Pujari, Ahmedabad
Depends on your camera. Some
earlier digital cameras did not have
this safety feature and many users
lost their precious images when they
switched off the camera before the
access lamp had stopped blinking
(for those who are not conversant
with digital cameras, all digital
cameras have what is known as
‘access lamp’ which blink to show
that images are being written to the
memory card. You are not supposed
to switch off the camera till the lamp
stops blinking). However, many
users have a habit of switching off
the camera as soon as the exposure
is over (they wrongly believe that
they will save on battery power by
doing so).
basic needs are fully vari-angle
LCD, a little bigger sensor (1/1.7
or more), a zoom of about 15- 20 X
and 1920x1080p video recording.
Price within 40,000. This I want
to use as a travel camera and also
to record videos. I do not want to
carry bulky D-SLRs, nor do I like
the hassle of changing lenses. I have
an eye on Nikon Coolpix P7800, but
the dealers want to always push me
towards D-SLR. Could you please
suggest me a good choice.
a) His dealer margin may
be higher.
b) Further business
from you (when you buy
another lens or accessory)
c) He may be genuinely
trying to help you to
achieve better image
quality
Nikon Coolpix P7800
have a question.
I take photos and
videos and use
Panasonic HDC HS
60 camcorder and
Panasonic DMC
ZS 27 compact.
Now I need a
better compact
camera and my
Panasonic LX100
November 2014 Smart Photography
47
Q&A
Ask Uncle Ronnie
A compact camera (may not fit in
a shirt pocket though) that I can
recommend is the Panasonic Lumix
LX100. It has a non-interchangeable
Leica Vario-Summilux 24-75mm
equivalent f/1.7-2.8 lens and a
Micro Four Thirds sensor (approx.
17.3 x 13mm). The 1.7-inch Type
sensor by way of comparison is
only 7.6 x 5.7mm. Any small sensor
camera will have higher digital noise
when compared to a larger sensor
model, everything else being equal.
The LX100 also offers 4K video
recording. What you will not get with
the LX100 is the zoom range you are
looking for and the vari-angle LCD.
The price will definitely be higher
than your budgeted amount, but it
will make an excellent travel camera.
Though we have not tested this
model yet, I am confident that
its image quality (stills as well as
video) will be absolutely stunning.
The zoom range being small, will
help you achieve very sharp images
throughout its range. The Nikon
P7800 that you mention is also a
very nice camera. It has a 28-200mm
equivalent zoom range, the widest
aperture is f/2 at the 28mm end
and f/4 at the 200mm end. I like the
camera but at the same time I prefer
cameras with larger sensors as used
in the LX100. With the LX100, you
of course do not get the focal reach
that you get with the Nikon P7800.
Buying a camera is almost always
a compromise between the various
features.
Remote Operation
These days some cameras can be
operated via the Smartphone. What
are the benefits of doing so?
R. K. Pawar, Pune.
To enable a Smartphone (or any
other Smart device, like a Tablet) to
operate the camera, you first have
to download a dedicated app on
your Smartphone. Note that not
all cameras can be operated this
way; the camera must have Wi-Fi
capability. Your camera User Manual
will tell you how to set-up the camera
for this purpose.
The main advantages are:
1) You can wirelessly trigger the
camera without the need to purchase
a wireless remote controller.
2) You can see the scene/subject (that
your camera is viewing) right on the
screen of your Smartphone.
3) You can, in some cases, change the
shutter speed, aperture, ISO, focus,
and a few other parameters on the
camera from the Smart device.
4) Images can be automatically backed
up on the Smart device.
To give a practical example of its usage,
let’s say you have the camera on a tripod
or on a clamp and attached to a fence
or a tree and
are trying to
photograph a
bird/animal.
You could stay
out of sight of
the subject and
remotely focus
the camera and
trip the shutter
when required.
Obviously you
cannot move the
camera using
this feature.
your camera:
Canon: EOS Remote
Fujifilm: Fujifilm Photo Receiver
Nikon: WMU (Wireless Mobile
Utility)
Olympus: Olympus Image Share
Panasonic: Panasonic Image App
Sony: Play Memories Mobile
The apps can be downloaded from
Google Play Store.
Overexposed Skies
I recently photographed some
landscapes. While I was very
happy with the colour and detail
in the foreground, the sky was
overexposed and almost toneless
in most of the shots. I realise that
Here are the
apps that you
would have
to download
depending on
your make of
Printscreen
48
Smart Photography November 2014
www.smartphotography.in
Original Image
3. By default, the Colours
field will show Red
colour. Click in that field
and select Whites (since
the sky is white and that
is the colour we want
to replace)
4. If the sky is very much
overexposed (as in the
example I have shown),
select the Absolute
button. Move the Cyan
and Magenta sliders to
the right till you get a
blue tone in the sky (I
am assuming you would
like to make the sky blue;
cyan + magenta equals
blue. A sky usually has
more cyan than blue,
hence you can see in
the printscreen that
cyan and magenta
sliders are moved by
different amounts)
5. When you take
the above step, you
will notice that some
light-tone areas in the
foreground will also get
the blue colour. We need
to get rid of the blue
colour in these areas.
Hence create a white
mask by clicking on the
square with the circle
at the bottom of the
Layers panel.
Edited Image
I should have used a graduated
neutral density filter while taking
the shots, but now that I have
not done that, is there any way to
improve the sky?
Praveen, via email
Yes there is. Since you have not
sent me the problem image, I am
using one of mine to demonstrate.
www.smartphotography.in
1. Open the photo in
Photoshop. Press the F7 key to
open the Layers panel if it is not
already open.
2. Create an adjustment layer for
Selective Colour (click on the
half-black, half-white icon at the
bottom of the Layers panel and
choose Selective Colour)
6. Select the Gradient
Tool from the Toolbox.
From the Options
Bar at the top, select
Linear Gradient
and Foreground to
Transparent. Place the
mouse cursor at the
bottom end of the picture and
drag it up till it just crosses the
mountains (some trial and error
may be required). Keeping the
Shift key pressed while doing
this will help you draw the line
straight up.
7. Flatten the image and save the
file using the Save As command.
November 2014 Smart Photography
49
PHOTO FEATURE
Wedding Special
Expressions
W
edding photography gives you
a chance to show your talent
in all genres of photography.
Instead of using the standard style of flash
photography, you can develop your own
style and shoot in available light.
Artography: Artography is when the
producer of a given work aims for
50
Smart Photography November 2014
something more than a merely realistic
rendering of the subject, and creatively
conveys personal expressions and feelings.
A picture can be worth a thousand words.
if you capture the right moment, it leaves a
lasting impression. Every moment at a wedding
is precious. People don’t remember days and
events, they remember moments and feelings!
A wedding is one of the most important
occasions in a person’s life, and Indian
weddings are the most colourful weddings
in the world. These days, families are
warming up to a different style or type of
candid wedding photography. Sangeet,
mehendi, haldi, cocktails, bachelor parties
and get-together functions before the
actual wedding have become a part of the
www.smartphotography.in
Merry
Tales
Vinayak Puranik and Archana Joshi,
Art Photography Adventure Craft (APAC)
www.apackala.com
culture. Some clients plan destination, theme,
or beach weddings. This gives the photographer
the freedom to develop new ideas and make
the occasion look more beautiful and artistic.
Without a photo-video artist team, weddings
are incomplete.
Nowadays, digital media is everywhere and it is
a blessing for wedding photographers. It gives
you a chance to capture as many pictures as
you wish. But you must also remember that the
more you shoot, the more difficult the selection
process becomes while making an album.
Wedding photographers can keep the following
pointers in mind before they get down to
business.
1) The general rule of photography is
that before you go ahead and photograph
something, you need to understand the subject
in detail and plan your work meticulously.
2) Never depend on correction and editing
tools. Instead, try to get the right shots first.
Use the software to enhance the images; not to
manipulate them.
3) You must also consider the lighting
conditions at the venue so that you can plan
accordingly.
4) Having a time-table for each and every
function is a must.
Wedding Shopping
www.smartphotography.in
November 2014 Smart Photography
51
PHOTO FEATURE
Wedding Special
Bridal Portrait
52
Smart Photography November 2014
www.smartphotography.in
Puja
Vidhi
Colourful weddings
Senior citizens
5) Confirm the details of all the ceremonies
with your clients. Clearly mention your
additional charges for overtime in the
assignment form.
8) Always discuss what the client wants
from your side—coffee table albums,
calendar, photo frames, short clip DVD,
pre-wedding films etc.
6) Specify the terms and conditions for
payment. If you intend to use the photos
or videos for your exhibitions or publicity,
have written permission from your clients
in advance.
Remember, you are an artist, and not just a
photographer. Wedding photography is not
an easy job, since there is no action replay
and no excuses if anything goes wrong
while shooting. No matter how famous you
are or how much good work you have done
in past, you have to be on your toes for
every new assignment.
7) Clearly state what type of
photography you will do and what kind
of albums you will design. This is to
avoid any discrepancies or problems in
the future.
www.smartphotography.in
Using a team of four to six photographers,
you can capture various aspects of
photography like children, senior
citizens, fashion, food, decor, jewellery
as well as bride and groom in different
moods. Such shots make for the best
memories. Get to know the people you
are going to photograph, and capture their
personality in your pictures. A passionate
photographer’s team lead by a competent
art director can create the best customized
wedding pictures.
Venue and Decoration: The first thing
on your list should be to visit the venue.
If possible, suggest a venue which has the
ambience and lighting that you prefer.
Check if the wedding is indoor or outdoor.
November 2014 Smart Photography
53
PHOTO FEATURE
Wedding Special
Sitting Arrangement
Check whether the light source is natural
or artificial. Know the directions (north,
east, west, and south). How many lights
you require for the function should be
decided as per height, width and length of
the venue and the size of the vidhi mandap
for the big day. Consider things such as
cutters, reflectors, extra tables and extra
standing platform for your team. The sitting
area for guests is also great for acquiring
natural, emotional pictures. Remember,
the decoration should help you enhance
the pictures. It should not overpower
the main subjects. The guests’ costumes
cannot be controlled, but core family’s
costume colours should balance against the
backdrop. You must give suggestions for
ambience and decoration too.
Lighting on the stage and on ground:
Study colours, perspective and material
54
Smart Photography November 2014
used (like real/ artificial flowers) and the
type of lighting (PAR/ LED/Point/ Spot/
Rays). Understand all obstacles as per
bride and groom’s costume colours. To
shoot in available light, you need proper
ambience. Any external flash light makes
a person conscious. So try to limit the use
of flash only to traditional style portraits.
Food area: Co-ordinate with caterers
so that they will give you prior notice
before they start serving food to get nice,
well-decorated food pictures. Try to avoid
photographing people while they are
eating or drinking; it makes them very
uncomfortable.
Emotions: Get to know the culture and
relations in the core family. Understand
the emotional bonding. The pre-wedding
shoot must cover the background story of
the couple and not an arranged drama, be
it love marriage or arranged marriage. Try
to shoot the real story behind the families’
union. Shooting while purchasing jewelry
and costumes for the bride and groom is
a good way to capture emotions too.
Art direction: An art director plans the
function as per the budget and interest of
the client. Having commercial or fine arts
background gives justice to the project.
Plan before starting the actual work
like arranging neat and clean havankunda, decorative thalis, fresh flowers,
new sparkling utensils and all other
puja material used in the rituals of the
ceremony. Also guide the bride for her
bridal wear, make-up, hairstyle, grooming
and diet planning before heading for the
day. Instead of taking customized standing
group photos, make seating arrangements
www.smartphotography.in
on stage. People are more
comfortable while sitting.
Portraiture in weddings
is a real challenge to
photographers. Making
studio arrangement and using
external flash is a standard style
of doing it. But if you want to
show someone’s personality,
you need to understand and
capture the essence of the
person you shoot. While
photographing, make them feel
comfortable. If you succeed in
capturing the right moment
at the right time without their
knowledge, your picture can
make a huge difference in the
coverage of the event.
Video: Video shooting is
important for every wedding.
While shooting you must
capture all the ‘vidhi’ as
well as guests, food, venue
along with all the cheers and
laughter. Editing is a crucial
part. Montage is the heart of
a film. Using three to four
video-camera set-ups, you
can capture every corner of
the function and then mix the
same. You can make a glimpses
clip along with regular video.
Gimmicks should be avoided
in wedding videos because it is
an auspicious sacred ceremony.
No one’s sentiments should
be hurt directly or indirectly.
Let the client enjoy their
function while you do your job
professionally.
Perspective
www.smartphotography.in
Wedding photography is not
a one-man job, it’s team work.
You should co-ordinate with
the decorator, caterer, costume
designer, make-up artist,
dietitian as well as your client.
As Ansel Adams says,
“Photography is more
than a medium for factual
communication of ideas. It is a
creative art.”
November 2014 Smart Photography
55
PHOTO FEATURE
Wedding Special
Mayuresh Patil
I
started photographing weddings in
a candid /artistic way in the US. I
moved back to India in 2009. Back
then, candid wedding photography was
fairly new and not many people were
practising it. I photographed my first
Indian wedding for a friend in 2010.
Ever since, I started getting a lot of
offers to photograph weddings through
referrals. During a wedding, people
are high on energy. They are in a good
mood and look beautiful. Capturing
such moments is fun. Also, the fleeting
emotional moments that catch you
by surprise are priceless. It’s a treat to
photograph an Indian wedding.
This is why I chose to become a
wedding photographer.
Candid Confessions
For a candid photographer, it is very
56
Smart Photography November 2014
important to build up a story on the
wedding day. Even though there is
usually a lot of chaos, it is absolutely
necessary to capture ceremonies such as
the barat, varmala, pheras, mangalsutra,
kanya daan and bidai. All this involves
moving around quickly and being there
at the right moment to capture the right
frames. It’s all about timing and having
good reflexes.
Candid is the way to go. Nowadays,
couples want their weddings to be
captured realistically, in an artistic way.
They are tired of looking at traditional
posed photographs, which look flat and
boring. People want to see some life
in their photographs. They want their
photographer to envision a story, which
will remain engraved in their hearts.
Candid photos are a pleasant surprise.
Love Blossoms
My individual style involves creating
colourful and energetic imagery. I pay
special attention to the light that is
used during making the photos. This
could be natural or LED lights. Shooting
with directional light that gives a
surreal feel to the photo is something
that I love. I also pay special attention
in documenting personalities and
emotions.
www.smartphotography.in
All Smiles
www.smartphotography.in
November 2014 Smart Photography
57
PHOTO FEATURE
Wedding Special
Business as usual
To capture special
moments during the
wedding, there needs to
be a personal connection
between the couple and
the photographer. So
I definitely make it a
point to meet the couple
before the ‘D-day’. This
way, they have a certain
degree of confidence in
me and are comfortable.
On some occasions, I
meet the decorators and
ask them to use coloured
lights in such a way that
it does not directly hit
the face. Nobody wants to
see multi-coloured faces
in the photos. Halogen
lights placed properly
are sufficient for candid
photography. My team
also carries along direct
lighting with us. We do
not use a lot of flash.
Pre-wedding shoots have
become a trend in recent
years. These are usually
more relaxed and casual
than the actual wedding.
Such shoots bring out
the chemistry between
the couple, enabling the
photographer to create
some precious memorable
moments. People love the
results and they’re great
for enlarging and hanging
on the walls at home.
On the actual wedding
day, it makes sense to
reach early. Once I reach
the venue, I walk around
and observe the location.
This helps in deciding how
to place the lights, and
also to visualize certain
frames and shots. After
that, I try to mix around
with the family of the
bride and groom. Families
are an important part of
the ceremony and it is
essential that they too, are
completely at ease with the
photographer.
58
Smart Photography November 2014
Jumping with joy
In anticipation
Waiting for you
www.smartphotography.in
Sharing laughs
Special Effects
Post-processing is very important because
it takes the level of your imagery from
good to excellent. Personally, I love vibrant
images with a fair amount of contrast.
Of course, one cannot really fix a bad
image just by using post-processing. I use
Lightroom, which is the most essential tool
www.smartphotography.in
for a wedding photographer. One can edit a
set of thousand photos in couple of hours.
There are sets of presets that are already
defined by me in the program. This makes
it even faster to edit photos
For Beginners
There are thousands of beginners
wanting to get into candid wedding
photography. For them, the best way to
get into candid wedding photography
would be to observe established wedding
photographers and practice accordingly.
Also, one should never stop seeking
inspiration from good photographers
across the globe.
November 2014 Smart Photography
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H. S. Billimoria
PHOTO FEATURE
Zoo
THE COLOGNE
Zoo
H. S. Billimoria/ Rohinton Mehta
V
isitors to Cologne normally
head straight to see the Cologne
Cathedral which is the city’s
main point of attraction. The Roman
Catholic monument dates back to the
thirteenth century and is situated plum
in the centre of the city, very close to the
banks of the Rhine.
There is however more to Cologne than
the cathedral and we recommend a
visit to the Cologne zoo which is one of
the oldest (1860), yet one of the most
modern zoos in Europe. The Cologne
zoo features over 7000 animals and over
700 species of plants. Admission to the
zoo includes admission to the aquarium
which is also impressive.
Contrast this with our Jijamata Udyan in
Mumbai, India. The animals in Cologne
are less noisy, happier and the staff love
Turkey
their jobs and are highly dedicated. In
Jijamaata Udyan, you would be lucky
to see a happy animal and the grumpy,
disinterested staff are barely doing their
jobs! Fortunately, we believe things are
going to get better!
Rohinton Mehta
Tiger
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Rohinton Mehta
Chamelion
Closeup
Cheetah
Rohinton Mehta
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November 2014 Smart Photography
61
PHOTO FEATURE
Rohinton Mehta
Zoo
H. S. Billimoria
Llama
Flamingos
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Rohinton Mehta
www.smartphotography.in
H. S. Billimoria
Bactrian camel
Baboons
Capybara
H. S. Billimoria
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November 2014 Smart Photography
63
PHOTO FEATURE
H. S. Billimoria
Zoo
Giraffe
Rohinton Mehta
H. S. Billimoria
Tiger
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American bison
Meerkat
H. S. Billimoria
Baby Elephant
Rohinton Mehta
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November 2014 Smart Photography
65
MASTERCRAFTSMAN
Sudhir Shivaram
THE PRECIOUS
WILDERNESS
What invoked your interest in wildlife
photography? Did you always want to
become a photographer?
During my college days, I was a part
of Malnad Amateur Photographers
Club at Malnad College of Engineering,
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Smart Photography November 2014
Hassan. What started out as an
experiment in the enchanting world
of photography gradually gained
direction. I moved my focus specifically
to wildlife photography when I moved
to Bangalore. I owe this to two of my
very good friends - Chaitra Ramaiah
and Rajesh Puttaswamaiah. Chaitra
was the one who took me to BR
Hills and introduced me to wildlife.
The three of us frequently visited the
forests around Bangalore and Mysore.
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Tigers keeping an eye on a Gaur
Sudhir Shivaram is an accomplished wildlife
photographer who takes brilliant photos
of jungle cats and birds. He also conducts
workshops and classes on photography, and
is involved in protecting and conserving
nature. His images can be found on his
website www.sudhirshivaram.com
As told to Tanika Godbole
more nature lovers and my contacts
grew. Eventually, I started my own
photography venture called Elephas
Creations in 2009 and later co-founded
Toehold Travel & Photography in 2010
with my photographer friends Jayanth
Sharma, Giri Cavale and Venkatesh.
© Sudhir Shivaram
Your wildlife images, especially those
of mammals, are stunning. Which are
your favourite locations to take such
pictures?
The backwaters of Kabini river which is
part of the Rajiv Gandhi National Park
in South India is one of my favourite
destinations. This is considered one of
the top five wildlife destinations in the
world. Kabini is also known all over the
world for the congregation of Asiatic
elephants, where one does not have to
struggle to get a glimpse of the majestic
Elephas Maximus.
My sister Sunitha presented me the
Canon EOS Elan IIE and the Canon
75-300 IS lens, which helped me get
deeper into wildlife photography. I
later joined India-Nature-Pixs, a Yahoo
group and met more like-minded
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people. A few years later we started
IndiaNatureWatch.net and my network
of nature photographers grew. I also
started to travel all around India for
my photography. Social networking
websites also helped me reach out to
What inspires you? Who are the
photographers that you admire the
most?
I have closely followed work of various
photographers including Vijay Cavale,
John Shaw, Arthur Morris, etc. and
have been inspired and influenced by
their work. The internet too has helped
me learn and take my photography to
the next level. Interacting with likeminded people, participating in various
international photography forums have
helped me.
In this digital age, photo editing
techniques have made great
advancements. What are your feelings
on the use of these?
Post production software has advantages
as well as disadvantages. Some of the
November 2014 Smart Photography
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MASTERCRAFTSMAN
Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
Eye contact
Looking out
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© Sudhir Shivaram
Today’s catch
current crop of photographers seem to
believe that they can take shots and later
fix them in Photoshop. In my opinion,
that is a totally wrong approach. Get
the best you can in the field, and then
edit it so that it looks more real, in case
of nature photography. The dynamic
range of the D-SLR camera is in the
range of 8 to10 stops, whereas that of the
human eye is over 20 stops. This is the
predominant reason the camera cannot
capture what we see. It is here that postproduction tools help—to enhance the
image to match reality by adjusting the
contrast, brightness, vibrance, and so on.
There is a thin line between correction
and manipulation. Then there is also
black and white photography, which is
a totally different ballgame. You have
numerous post processing tools which
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can change the look and feel of an
image with a simple click. It all depends
on what you use editing tools for. It can
either be a boon or a bane.
You are also committed to
wildlife conservation. How can
photographers do their job without
disrupting nature?
I believe the singular aim of wildlife
photography is to share the joy of
nature. I also use my images for
conservation related activities and give
them away for free for this purpose.
It is used by many NGOs to create
awareness about our natural heritage.
including natural history, concepts of
photography and equipment. You need
to be a good naturalist first if you want
to be a good photographer. The same
applies to other genre of photography
as well. The second important aspect
to learn and be aware of, is the ethics of
wildlife photography. There is a general
lack of awareness about this issue,
rather than deliberate wrong-doing.
Spreading awareness, therefore, is the
need of the hour. Photographers should
also regulate themselves. Do not expect
someone else to control you. Take a
step back when you feel the line is being
crossed to get a particular image.
First of all, beginners should get
a good understanding of the core
fundamentals of nature photography,
You also conduct workshops and
webinars on photography. How do you
design your lessons?
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MASTERCRAFTSMAN
Sudhir Shivaram
Lazing leopard
I always try to understand the
participants before they attend the
workshop. I ask them to submit their
portfolio of images, which I review
before the workshop. This helps me
prepare the lessons that I need to cover
as a part of the workshop. I cover all the
basics and fundamentals of photography
and then take them through advance
concepts. After the classroom session,
I organize a field outing where those
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concepts are practiced. I spend time
with the participants and guide them.
The participants are given the flexibility
to contact me post the workshop for
getting their images reviewed, so that
they can evaluate how the workshop has
helped them improve.
What are the most important
things that novices should keep
in mind while going into the wild
with their cameras?
Focus on the three key fundamentals
of wildlife photography. First, being
a naturalist. Second, get acquainted
with the concepts of photography. And
finally, make the best possible use of
the available equipment. I would also
request people to be ethical in their
approach towards wildlife. Always
respect the rules of nature. Your
photography comes later.
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© Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
Hidden in the leaves
Up close and personal
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MASTERCRAFTSMAN
Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
It’s War
Great White Pelicans
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LEARNING
Understanding Photography
The author, Ashok Kandimalla has
been in the photographic field for
over three decades and has extensive
experience in both film and digital
photography. Being an electronics
engineer by profession and a
photographer, he possesses a unique
and deep insight into the technical
aspects of digital photography and
equipment. He has published several
articles on photography and some of
his writings have also been published
in the well-known international
magazine Popular Photography.
An avid collector of photographic
books and vintage cameras, Ashok
has a keen interest in the history
of photography and a passion
for sharing his knowledge on
photography through teaching and
writing. He is presently working
as a Management and Engineering
consultant. You can see his work at
http://www.flickr.com/photos/ashok_
kandimalla. He can be reached at
[email protected]
T
he four legged variety
(a dog) may be a man’s
best friend, but for a
photographer it is the three-legged
one – the tripod which deserves
that epithet! In fact, after the
camera body and the lenses, a
tripod has the most significant
impact on the quality of pictures
you produce. It helps to better
compose your pictures and
makes them sharper, with just a
small investment.
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a gear or a locking screw. The gear
gives more precise positioning at
the expense of slower operation.
Photographer’s
Best Friend!
Ashok Kandimalla
Picture 1: Twist Lock
Consider what a tripod
can do for you:
• It steadies your camera.
Whatever the fancy
technologies like VR/IS/OS
etc. can do for you, there is a
lower limit in shutter speeds
below which these technologies
are not effective. Typically this
can be around 1/15 sec or so.
At shutter speeds slower than
this you must use a tripod
even if your system has image
stabilization. If you want a
slow shutter speed to capture
a flowing stream, a night
scene, etc. there is simply no
alternative to a tripod.
• The tripod slows you down and
makes you to compose more
carefully and deliberately. It
helps to give due consideration
to background and extraneous
elements in your frame that can
potentially ruin a good picture.
• Even at hand-holdable speeds a
tripod has measurable impact
on sharpness especially when
high magnifications are used,
like in macro photography
or when using long telephoto
lenses. A steady camera means
sharper pictures.
• Some types of photographs that
involve capture of lightening,
light painting, star trails are
only possible with a tripod.
A tripod has two main components
– the legs and the head. Much
Smart Photography November 2014
Picture 2: Flip Lock (Closed)
Picture 3: Flip Lock (Released)
like a D-SLR camera body that
can accept interchangeable lenses,
more expensive tripod legs can
be mated with a suitable head.
In many cheaper tripods, the
legs come with a fixed head, thus
limiting your choice.
If you do a lot of table top,
copying, macro or low level work,
consider tripods that allow the
center column to be tilted. A very
good example of this type is the
Gitzo Explorer Series (Picture 6).
Some center columns also have
a hook to which you can attach a
weight. This will help you improve
the stability of the set up. The top
of the center column has a stud (a
bolt) which is of 1/4 inch or 3/8
inch in diameter. The tripod head
is screwed to this stud. The 3/8
inch stud is larger and hence can
support heavier loads.
At the end of each tripod leg you
will find the tripod foot which will
make contact with ground. These
are either made of rubber (most
popular) or have a metal spike.
So which is the best one for you?
Rubber feet are best when you use
your tripod on a hard or a smooth
surface. Spiked feet will simply
slip on such surfaces but are best
when you use your tripod on soft
soil or grass. Some tripods have
retractable or interchangeable feet
which offer the best of
both worlds.
Here is the description of these
two components for you in
more detail.
Legs: The legs can be made of
wood, or metals like aluminum or
titanium (their alloys) or carbon
fiber. The latter are lighter, more
rigid but expensive. Carbon
fiber tripods also absorb camera
vibration a lot better than the
aluminum type.
The legs are telescoping, that is,
the sections that make up the
leg slide into one another so that
when not extended, a tripod will
be short in length and easy to store
or carry. The number of sections
is normally three but you can get
four-section tripods too. These are
more compact when folded but are
less rigid.
Picture 4: A three-section tripod with center brace.
Head here is pan type
The telescoping legs naturally have
to be locked when the legs are
extended. This is done by the leg
locks. While there are many types
of locks, the two most popular
types are – twist locks (Picture 1)
and flip locks (Picture 2).
Twist locks, as the name implies,
need a twist to lock or release.
Hence, these are somewhat slower
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Picture 6: A Gitzo Explorer tripod with adjustable
and lockable leg spread plus a tiltable center
column. This type of tripod is unmatched for table
top, copying, macro or low level work. Note the
hook at the rear end of the center column to attach
a weight to increase stability.
Picture 5: A four-section tripod without
center brace. Head here is ball type
but give more positive locking.
Flip locks are like levers
which will allow you to lock
and release legs in a snap by
flipping the lever. You can also
make out, just by seeing whether a
flip lock is engaged or not as
the lever projects out when
released. (Picture 3) This is a
good safety measure.
There are some tripods that have
a center brace (Picture 4) to
increase stability. However, the
brace will prevent individual leg
angle adjustment and hence will
force all the three legs to be at the
same angle. This is actually very
restrictive on uneven ground. So
avoid this type and go for a tripod
without a center brace (Picture 5).
The leg spread (angle) should
be individually adjustable. Plus,
once you set the leg at a particular
angle, there should be a provision
to lock it at that angle.
The three legs are joined together
at center by a part commonly
called the ‘spider’. Through the
spider there will be column which
can be raised up or down through
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Photographer’s Best
Friend!
November 2014 Smart Photography
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75
LEARNING
Pic a1
the feel of a theatrical
spotlight. The position of
the light source has been
shown through image a.
Shadow Play
Dilip Yande
Having crossed over 20 active years in commercial photography,
Dilip Yande says his forte is Fashion and Portrait photography. He
believes variety is the spice of life, and to keep himself motivated
he does a lot of tabletop as well. For Dilip, names like Rembrandt,
Renoir, Gauguin, Picasso, Turner, Monet are household names
because of his childhood that was spent in a lineage of fine arts. This
‘fine art’ reflects in his work because he feels that there is always
a little bit of ‘you’ in everything one does. Having shot for many
advertising agencies, juried a few competitions, mentored many
workshops, and guided many photographers in their formative years,
for Dilip, photography is just another way to romance his first love –
art. He may be contacted at [email protected].
E
arlier I have touched
the subject of lighting
through many articles. I
have mentioned that there is no
standardized lighting, be it tabletop,
portrait or fashion shoot. Lighting
depends entirely on the molding
of an object, the composition, the
surface texture of the object, the
shape and the amount of foreground
and background that is present in
a composition. It also depends on
how the photographer wishes to put
forth this composition, and which
specific area he wishes to give more
importance to. Shooting white on
white or black on black is a different
game all together, while shooting
glass is a different ballgame.
In a broad sense there is always
something called good lighting and
bad lighting, rather than correct
lighting and wrong lighting.
So in this article let me redefine
lighting in a different way, by saying
that lighting is the art of casting a
shadow or shade at the right place, of
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the right density and right chracteristic
(hard / soft) and right size, such that
it brings out the molding of the subject
or defines a mood in the picture. In
pictures, shadows play an equally
important role as the subject or at
times even more. This is the game of
‘shadow play’.
Before proceeding further, let me
turn to fine arts for a moment. If
you refer to Japanese paintings,
say, of grand masters like Hokusai
or Heroshige, you will find that
importance is given more to the
form and there is very little or
no shade or shadow at all in the
paintings. While if you refer to the
paintings of the Renaissance period,
or of Indian grandmasters like Raja
Ravi Varma, then one will find a
lot of play of light and shade
cleverly used to bring out the
molding. Hence due to the shadows
in the paintings, a mysterious depth
is created, and this game of light
and shade is known as ‘Chiaroscuro’.
The lighting seen in Rembrandt’s
paintings is Chiaroscuro.
Smart Photography November 2014
The human mind reads shadows in
many different ways. As an example,
imagine a top-angle shot of a man
standing in a big hall or garden. If we
see a long, stretched shadow behind
him, we immediately relate this to a
late evening shot. Observe our mind’s
subtle interpretation – we first relate
this to a late evening shot and then we
may consider that it could also be an
early morning shot. Again, if the light
source is much below the chin of the
person, then the lighting on the face
looks ‘eerie’ and is termed as ‘horror
lighting’. Shadows that appear taller
than a person and which are cast on a
wall behind give a scary feel or create
a very serious mood in a picture.
Light modifiers play a
very important role in
controlling shadows.
Pic a2
Here are a few examples of pictures
taken with shadow play lighting:
1) Pic a1, a2- In these two pictures
one can see a circle of spot-light
falling on the face of the model.
This circle was generated by
using a light modifier known as
‘Mini Spot’. This light modifier
is attached in place of a light
reflector. This spot light has given
Shadows cast in a picture could
be hard or soft, or something in
between – semi-soft shadows. This
entirely depends on the kind of light
source that is being used. It also
depends on the distance between the
light source and the subject and the
distance between the subject and the
background on which this shadow
has been cast.
Image a
In some pictures one may see just
a shadow of an object, but not the
object that defines the shadow. Yet,
one may identify the form in the
shadow and relate this to what might
have cast the shadow. For example,
the shadow of leaves falling on a
background, shadow of window-bars
or a wire mesh falling on a face or
body, or even the shadow of venetian
blind. It creates depth in a picture,
adds mood and makes the picture
look more realistic. It may even add
a certain ‘time’ to the picture than
making it appear like a ‘timeless’
studio shot, taken with flat lighting.
Pic a
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2) Pic b1, b2 are perfect
examples of what one may
call as ‘mood lighting’.
It gives you the feeling
of a natural beam of
light coming through a
window pane. In pic b1
the model is closer to
the background while
in pic b2 the model is
a little away from the
background; hence we
find a separation between
the shadow of the model
and her
body. The
shadow
of the
model thus
generated
also has a
feminine
form to it.
Image b
shows you
how this
lighting was
done. In
this case,
the diffuser
from the
‘rectalight’
was
removed,
thus
transforming
it into a
harder source of light.
The light was cut using
a cutter at the top, while
the diffuser was stretched
between two light-stands,
as can be seen in the
image b thus controlling
the light passing through
it and falling on the legs
of the model. In Pic b3 I
have deliberately shot the
shadow of the model but
not taken the model in my
frame. A shadow usually
symbolizes a memory, a
past that may continue
to linger in someone’s
mind. It may symbolize a
November 2014 Smart Photography
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Shadow Play
LEARNING
lubricants
within the
lens/camera/
other optical
equipment,
besides
causing
micro-creases
in multiple
coatings of the
lens.
Equipment Care:
Controlling Relative Humidity
Rohinton Mehta
H
umidity, sometimes also
referred to as ‘absolute
humidity’, refers to the
amount of moisture in a given
volume of air. Relative Humidity
(RH) is the amount of moisture in
the given volume of air compared
to the maximum amount of
moisture the air can hold at that
particular temperature. When
we talk of humidity, temperature
of the air is not taken into
consideration; when we talk of
relative humidity, we take into
account the amount of water
vapour and the temperature of
the air.
Optical equipment (lenses,
camera bodies etc), if stored
above 50% RH, can develop
‘fungus’ (plural, ‘fungi’), which is
a bacterial growth that eventually
eats up the lens coatings, which
in turn could cause flare and
eventual loss of image quality.
Fungus looks somewhat
like a spider’s web. You
need to point the lens
at an open sky or some
other diffused light
source and carefully
see through it (with the
diaphragm blades wide
open). Sometimes it may
be necessary to turn the
focussing ring from one end
to the other; with a zoom lens,
you may even have to change
the zoom setting before you may
notice the fungus.
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Smart Photography November 2014
A camera technician can open the
lens and clean away the fungus,
but if the fungus has been there
for a long time, scar-marks may
remain where the fungus has eaten
up the lens coatings. There is also
a chance that the lens elements,
after the cleaning, do not fit
or align exactly in the original
position, causing focussing
problems. Use of wrong cleaning
chemicals or vigorous cleaning
can wipe away/partially wipe
away the lens coatings, essentially
lowering the lens quality. If fungus
penetrates between two joined
elements (a doublet), it becomes
impossible to remove it.
Lens cleaning can be a costly
affair. Besides the problems
mentioned in the above paragraph,
fungus can grow again within a
very short span of time, especially
if the relative humidity is high.
The best solution to avoid
fungus in the first place is
to use a specially designed
drying cabinet, which allows
the user to control the RH.
Some years ago, when drying
cabinets were not available,
photographers used indicating
type (blue coloured) silica gel to
control the RH but for various
reasons, the method was nowhere
as good or convenient as using a
drying cabinet.
not be stored in boxes made from
plywood. The various ply are
bonded together using adhesive
which give off gases that harm
the lens. For the same reason,
adhesives that carpenters use
should also be avoided.
Modern storage cabinets are
controlled electronically, consume
hardly any power and can be
actively monitored for RH. They
provide 20~50% RH control
depending on loading (how much
stuff you have in the cabinet) and
environmental conditions.
Some users store the equipment
in a box using a zero Watt bulb,
but this isn’t a perfect method of
protection – the user does not
know how much RH is in the
storage space. Furthermore, he
or she has to keep up with
frequent changes or re-heating of
the silica gel.
Photographic equipment is
best stored between 38-45% RH
and, on the higher side, should
never exceed 50% for prolonged
period. Very low RH can dry the
Note: Photo equipment should
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Lenses should
preferably be
kept on the
upper shelf
and camera
and other
equipment
in the lower
area. Although
these cabinets
require
hardly any
attention or no
maintenance, it
is worthwhile
to keep an eye
on the RH once
in a while. The
cabinet needs
to run 24 x 7.
Please do not
jam-pack your
equipment in
the cabinet;
there should
be adequate
empty space for air movement.
Once you have completed your
photography for the day, care
should be taken to clean the
lenses / camera of dust and other
physical dirt. Take special care to
clean the lens mount and camera
body mount. Ensure that both lens
caps as well as lens surfaces are
clean. Micro-fibre cloth that may
have been used to externally wipe
the camera / lens, should not be
used to clean the front / rear lens
element; for that you must use
another piece of micro-fibre cloth,
which after use, should be placed
in a clean zip-locked plastic pouch.
After the necessary cleaning, place
the items in the drying cabinet.
The lens and camera can be stored
with the cover caps on.
Do note that once fungus has
started, keeping the equipment in
a dying cabinet will not take away
the fungus; at the most, it may
prevent it from spreading further.
It is also advisable that such lenses
should be isolated from other
equipment and ideally, the
fungus should be removed by an
expert technician.
Look after your equipment and it
will give you many years of faithful
service.
November 2014 Smart Photography
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Equipment Care:
Controlling Relative
Humidity
LEARNING
The 4K Bug!
Rohinton Mehta
W
ell, there is 4K but
actually, there is no 4K
Bug! The title was just
meant to startle you and induce you
to read further. Recently, we have
seen some digital cameras boasting
of video capability in 4K. So what
exactly is 4K? Is this just another
clever marketing trick to make
you buy a new camera? Is this just
another ingenious trick to make you
buy a new TV with 4K capability?
4K video has its advantages as well as
disadvantages. But for now, let’s get
on to what’s 4K video.
First, let’s understand video
resolutions for the various formats.
When you mention Full High
Definition video, you are referring to
the maximum vertical resolution of
1080 pixels in each video frame, but
the pixel resolution is actually 1920
x 1080 pixels (only the vertical pixels
count is written; that’s why we say
1080p).
calculation, you’ll see that this
resolution is almost double that of
the Full HD video format. But since
the resolution doubles horizontally
as well as vertically, it actually
means that each video frame of
4K video has four times as many
pixels as that of Full HD. Televisions
that support 4K are known as UHD
(Ultra-High-Definition) TVs.
Realising the importance of 4K,
some still-camera manufacturers
have started incorporating 4K video
capability in some of their cameras
(Panasonic’s GH4, FZ1000, LX100,
Sony’s A7s - requires an external
4K recorder). It’s also possible to
extract an acceptable image quality
‘still-frame’ from the video (roughly
up to 8 x 12” size). That’s real good
news for the video buffs amongst us
still-camera users. But wait. Not all is
hunky-dory.
a) 4K recording requires UHS speed
Class 3 memory cards (minimum
write speed of 30MB/sec)
b) 4K video chews up space on the
memory card.
c) Video recording is only in JPEG;
no Raw.
d) 4K video needs a 4K compatible
TV (which currently sell at exorbitant
prices); you could play the 4K video
on a non-4K compatible TV but then
you do not get the advantage of the
higher resolution.
e) 4K transmissions are still to begin.
We expect more still-camera
manufacturers to incorporate 4K video
in their newer models. As time goes by,
we can expect UHD TVs to become
more affordable. So if you are a buff, 4K
should answer your prayers.
When you mention High Definition
video, you are referring to the
maximum vertical resolution of 720
pixels in each video frame, but the
pixel resolution is actually 1080 x 720
pixels (only the vertical pixel counts
is written; that’s why we say 720p).
As to why the vertical pixel count
was chosen to represent the two
video formats, beats me!
But with 4K, maybe someone
realised that the earlier
method was complicating
things and hence they
now mention the
maximum horizontal
resolution in pixels. 4K
refers to approximately
4000 pixels (actual frame
size is 3840 x 2160 pixels).
If you do some simple
90
Panasonic LX100
Sony A7s
Panasonic GH4
90
The 4K Bug!
Panasonic FZ1000
Smart Photography November 2014
www.smartphotography.in
Learnings
Smart
Photography has
been continually
receiving
requests to start
a basic course for
beginners. With
this in mind, we
have asked a very
knowledgeable
photographer
from Hyderabad
to take over
writing these
articles. We have also requested him
to be as jargon-free as it is possible,
so that newcomers to photography
feel comfortable to pursue the hobby.
LEARNING
Understanding Photography
Smart
Photography has
been continually
receiving
requests to start
a basic course for
beginners. With
this in mind, we
have asked a very
knowledgeable
photographer
from Hyderabad
to take over
writing these
articles. We have also requested him
to be as jargon-free as it is possible,
so that newcomers to photography
feel comfortable to pursue the hobby.
The author, Ashok Kandimalla has
been in the photographic field for
over three decades and has extensive
experience in both film and digital
photography. Being an electronics
engineer by profession and a
photographer, he possesses a unique
and deep insight into the technical
aspects of digital photography and
equipment. He has published several
articles on photography and some of
his writings have also been published
in the well-known international
magazine Popular Photography.
An avid collector of photographic
books and vintage cameras, Ashok
has a keen interest in the history
of photography and a passion
for sharing his knowledge on
photography through teaching and
writing. He is presently working
as a Management and Engineering
consultant. You can see his work at
http://www.flickr.com/photos/ashok_
kandimalla. He can be reached at
[email protected]
T
he four legged variety
(a dog) may be a man’s
best friend, but for a
photographer it is the three-legged
one – the tripod which deserves
that epithet! In fact, after the
camera body and the lenses, a
tripod has the most significant
impact on the quality of pictures
you produce. It helps to better
compose your pictures and
makes them sharper, with just a
small investment.
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Smart Photography November 2014
Photographer’s
Best Friend!
Ashok Kandimalla
Consider what a tripod
can do for you:
• It steadies your camera.
Whatever the fancy
technologies like VR/IS/OS
etc. can do for you, there is a
lower limit in shutter speeds
below which these technologies
are not effective. Typically this
can be around 1/15 sec or so.
At shutter speeds slower than
this you must use a tripod
even if your system has image
stabilization. If you want a
slow shutter speed to capture
a flowing stream, a night
scene, etc. there is simply no
alternative to a tripod.
• The tripod slows you down and
makes you to compose more
carefully and deliberately. It
helps to give due consideration
to background and extraneous
elements in your frame that can
potentially ruin a good picture.
• Even at hand-holdable speeds a
tripod has measurable impact
on sharpness especially when
high magnifications are used,
like in macro photography
or when using long telephoto
lenses. A steady camera means
sharper pictures.
• Some types of photographs that
involve capture of lightening,
light painting, star trails are
only possible with a tripod.
A tripod has two main components
– the legs and the head. Much
like a D-SLR camera body that
can accept interchangeable lenses,
more expensive tripod legs can
be mated with a suitable head.
In many cheaper tripods, the
legs come with a fixed head, thus
limiting your choice.
Here is the description of these
two components for you in
more detail.
Legs: The legs can be made of
wood, or metals like aluminum or
titanium (their alloys) or carbon
fiber. The latter are lighter, more
rigid but expensive. Carbon
fiber tripods also absorb camera
vibration a lot better than the
aluminum type.
The legs are telescoping, that is,
the sections that make up the
leg slide into one another so that
when not extended, a tripod will
be short in length and easy to store
or carry. The number of sections
is normally three but you can get
four-section tripods too. These are
more compact when folded but are
less rigid.
The telescoping legs naturally have
to be locked when the legs are
extended. This is done by the leg
locks. While there are many types
of locks, the two most popular
types are – twist locks (Picture 1)
and flip locks (Picture 2).
Twist locks, as the name implies,
need a twist to lock or release.
Hence, these are somewhat slower
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a gear or a locking screw. The gear
gives more precise positioning at
the expense of slower operation.
Picture 1: Twist Lock
Picture 2: Flip Lock (Closed)
Picture 3: Flip Lock (Released)
If you do a lot of table top,
copying, macro or low level work,
consider tripods that allow the
center column to be tilted. A very
good example of this type is the
Gitzo Explorer Series (Picture 6).
Some center columns also have
a hook to which you can attach a
weight. This will help you improve
the stability of the set up. The top
of the center column has a stud (a
bolt) which is of 1/4 inch or 3/8
inch in diameter. The tripod head
is screwed to this stud. The 3/8
inch stud is larger and hence can
support heavier loads.
At the end of each tripod leg you
will find the tripod foot which will
make contact with ground. These
are either made of rubber (most
popular) or have a metal spike.
So which is the best one for you?
Rubber feet are best when you use
your tripod on a hard or a smooth
surface. Spiked feet will simply
slip on such surfaces but are best
when you use your tripod on soft
soil or grass. Some tripods have
retractable or interchangeable feet
which offer the best of
both worlds.
Picture 4: A three-section tripod with center brace.
Head here is pan type
Picture 5: A four-section tripod without
center brace. Head here is ball type
but give more positive locking.
Flip locks are like levers
which will allow you to lock
and release legs in a snap by
flipping the lever. You can also
make out, just by seeing whether a
flip lock is engaged or not as
the lever projects out when
released. (Picture 3) This is a
good safety measure.
There are some tripods that have
a center brace (Picture 4) to
increase stability. However, the
brace will prevent individual leg
angle adjustment and hence will
force all the three legs to be at the
same angle. This is actually very
restrictive on uneven ground. So
avoid this type and go for a tripod
without a center brace (Picture 5).
The leg spread (angle) should
be individually adjustable. Plus,
once you set the leg at a particular
angle, there should be a provision
to lock it at that angle.
The three legs are joined together
at center by a part commonly
called the ‘spider’. Through the
spider there will be column which
can be raised up or down through
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Picture 6: A Gitzo Explorer tripod with adjustable
and lockable leg spread plus a tiltable center
column. This type of tripod is unmatched for table
top, copying, macro or low level work. Note the
hook at the rear end of the center column to attach
a weight to increase stability.
November 2014 Smart Photography
75
LEARNING
Understanding Photography
Picture 7: A, B and C are called Yaw, Roll and Pitch axes respectively
Picture 8: A three axis pan head with separate control knobs for each
axis. A is the pan (yaw), B is the roll and C is the pitch axis.
Picture 9: A multiple exposure showing
portrait (left) and landscape (right)
orientations with a pan head.
Tripod Heads: The most
important part of a tripod is the
head. For this reason you must
pay particular attention to this
issue. The most popular heads are
pan heads and ball heads. There is
another type of specialized head
called gimbal head which you will
see in brief.
sceneries, etc. This is also
sometimes called tilt axis.
The last axis is the
pitch axis (arrow “C”,
Picture 7). This allows
you to point the lens up
or down.
Pan heads: A pan head allows
the camera to be rotated
about the three axes which are
perpendicular to one another.
These three axes are called yaw
(or pan), roll (or tilt) and pitch
(Picture 7).
Rotating about the yaw axis
(arrow “A”, Picture 7), allows you
to rotate the camera left to right
or vice versa. Photographers call
this as the panning axis. It is
extensively used in videography.
The next axis is the roll axis
(arrow “B”, Picture 7) and is
needed to keep your camera
horizontal. It is also the axis
about which you position the
camera vertically or horizontally.
The vertical positioning is called
“portrait” orientation and is
useful for taking photographs
of subjects which are taller than
they are wider (e.g. a tall building,
a standing human, etc.). The
horizontal positioning is called
“landscape” orientation and as the
name implies it is best suited for
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Smart Photography November 2014
Picture 10: A multiple exposure showing pitch adjustment with a pan head.
Good pan heads have
three separate controls
one for each axis (Picture
8). These can be locked
by handles (or knobs).
Handles are more
convenient to use but
can be obstructive. Also
tripods with pan heads
having handles are difficult
to carry. Pan heads are
somewhat more precise in
operation than ball heads,
but are slow to operate
for the same reason: you
need to control movement
in each axis separately.
They are also cheaper than
ball heads. Pictures 9 and
10 show how a pan head
orients the camera.
Ball heads: In this
type is a ball with a
small stem to which the
www.smartphotography.in
Picture 11: A
multiple exposure
showing how a ball
head allows you to
position the camera
virtually anywhere in
the top hemisphere.
to be tightened in such a way that
there is enough friction to keep
the camera from flopping when
you release your hand but you can
yet move the camera by applying a
little force. This is invaluable when
you want to track moving subjects
as it allows very easy and quick
positioning. In fact with the image
stabilized (vibration reduction)
lenses, some photographers do
not even fully tighten the ball with
properly adjusted tension.
Ball heads have two disadvantages
– one, they are expensive. Second,
you need to exercise some caution
since if you loosen the ball head
inadvertently without holding the
camera it may flop to one side
damaging the camera or even
hurting you. All said and done
most professionals use ball heads.
camera is attached. The ball moves
in a socket in all the directions,
covering most of the upper
hemisphere (Picture 11). The ball
has just one control which locks
the ball at any position and hence
you can set up your camera in the
quickest possible way, especially
in field. Ball heads can also carry
heavy loads, more than 25 Kgs
depending on the model. They are
fairly light and compact and hence
easy to carry. A good ball head
should not shift in position when
the ball is locked. If it shifts, then
you will have a major problem
when doing precise framing (for
example, macro work).
More expensive ball heads have
a pan base with a separate lock
(Picture 12). This helps to pan
the camera without loosening
the ball. A good pan base should
have graduation in degrees. This
feature is useful if you plan to take
panoramic photographs.
The best ball heads have an
additional feature called “tension”
control. This is an interesting
feature which will allow the head
Picture 12: Left: A sophisticated ball head (made by Acratech) with an Arca-Swiss QR adapter and a graduated (in degrees) panning
base. The large knob on the left is for locking the ball and the small one opposite to it is for adjusting tension.
Center: A medium ball head with a QR adapter and panning base but no tension control.
Right: A small ball head with no panning base.
Gimbal Heads: These are
specialized devices meant for using
with very heavy and long lenses
like 400mm f/2.8, 500mm f/4.0
or 600mm f/4.0. By providing a
support which passes through the
center of gravity of the lens, they
provide a mechanism for “finger
tip” handling of heavy lenses. This
allows easy tracking of subjects
like flying birds, racing cars,
etc. which would otherwise be
impossible to follow. In fact they
provide unmatched performance
for this type of application.
However, they are useful only
for heavy long lenses and are
very costly.
Quick Release (QR) Adapter:
The top of the head also has a stud
(screw) which is of generally of
1/4 inch diameter. The bottom of
your camera will have a ¼ inch
receptacle (called tripod socket)
into which this screw can be
inserted and tightened. While
this is an acceptable method of
mounting your camera, it is a very
cumbersome way to attach and
remove your cameras from
the tripod.
For this reason you should look at
a head which has a quick release
(QR) adapter. The QR adapter has
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November 2014 Smart Photography
77
LEARNING
Understanding Photography
Picture 13: Top row: Long (left) and short (center) channel Arca-Swiss
compatible clamps. A typical closed clamp is on the right.
Bottom row: Long (left) and short (center) channel Arca-Swiss plates. Note
that due to open ended nature both the plates can be used with either of
the Arca-Swiss clamps. Plate for the closed clamp is on the right.
two components, a plate that you
fix to your camera and a clamp
which holds and locks the plate.
The clamp is fixed to the ball or
pan head. The clamp will have a
mechanism which will allow you
to lock or release the plate very fast
– hence the name quick release.
Thus you can securely fasten and
remove the camera (with the plate)
in an instant.
There are two types of QR
adapters (Picture 13). The first is
an open channel QR adapter, of
which the Arca-Swiss type is the
most popular and is widely used
around the world. Though first
designed by Arca-Swiss Company,
compatible plates and clamps
are made by several different
manufactures and can be used
mostly with one another. Being
open ended (see picture) you use
longer clamps and plates when you
want to carry heavier loads like
large tele lenses. This is the best
QR system and like all good things
in life, expensive!
The closed type has a fixed size
cavity and has a less robust
securing method but is faster to
use and cheaper. In our country it
is more popular even than the Arca
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Smart Photography November 2014
Swiss type. There is unfortunately
no standard for this type and you
need to buy a compatible pair
(plate and clamp).
Load capacity: Make sure that
the load capacity of the tripod
and head is sufficient to take the
heaviest equipment you want to
put (for e.g. the heaviest lens +
camera combination). All tripod
legs and heads will have a load
capacity associated with them.
This is measured in kilograms
(kgs) and will be mentioned in the
instruction manual or literature.
Remember that the tripod legs
have to bear the weight of the
head plus your equipment. So you
should choose tripod legs with a
suitable capacity.
Setting up a tripod: The most
important aspect when you set
up a tripod is the height which
will be based on your situational
needs. Once this is known you
can extend the legs to match this
height. This is how you do it: First
release all the leg locks on one leg.
Now adjust the tripod by pushing
it down or pulling it up till you
get the height you want. Tighten
the locks on this leg and adjust the
other two legs to the same length.
After this, you spread the legs of
the tripod. This method works
well if you are on an even ground.
If you are on an uneven ground,
after tightening the locks on the
first leg, do not tighten the rest.
Extend till they touch the ground
and then tighten them.
It is generally a good practice
to buy a tripod that has about
2 Kgs safety margin beyond the
maximum total load you want to
put. As an example if the tripod
head you are going to use is
half Kg in weight, your camera
is half Kg and lens is1 Kg, then
your tripod legs should have a
load capacity of 4 Kgs including
the margin. It is sensible to buy
something with a little higher
capacity so that when you buy a
heavier camera or lens the
tripod will continue to support
your needs.
Due to spreading, you will find
that tripod is now a little lower
than the height you wanted. Make
up for this lost height by pulling
up (raising) the center column
a little. Now, you may ask what
about the advice that you should
not raise the center column as
it causes instability. While this
is true to a certain extent, the
stability will not be compromised
if you raise the center column
by just 5 or 6 centi-meters.
However, it is not advisable to
extend the center column more
than this.
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After you set up the tripod and
fix the camera, move the camera
to left / right and top/down with
your hand. If the camera moves,
that means you have not fixed the
camera properly to the tripod.
Make sure you check this every
time you mount the camera on
a tripod as many times a loosely
fixed camera can fall once you
remove your hand thus damaging
expensive equipment.
Tip: Once you fix the camera on
a tripod your mobility will be
somewhat restricted. Hence, first
scout around to find a suitable
position and then only mount the
camera on the tripod.
Table Top Tripods: If you find
even the smallest and lightest
tripod too big then think of a
table top tripod. This is a real
handy gadget to have, especially
for travel photography or when
you want to travel light. These
typically do not have telescoping
legs but they can be folded and
the tripod will be very compact
(Picture 14). They are in fact quite
pocketable. Unfortunately a huge
number of mediocre products are
available bringing a bad name to
table top tripods. Hence, if you
are keen on having one, invest in
a good brand. A good table top
tripod with a suitable head can
easily hold a DSLR with a kit lens.
They are also excellent for CSCs
(compact system cameras) (Picture
15). Table top tripods cannot be
placed on ground since they are
only a few inches in height. So, you
need to find a suitable platform
to keep them. Look around for
these and you will find plenty
of them. Examples are - walls,
tables, chairs, cabinets, railings,
car roofs, boots and hoods
(yes!), etc.
Monopods: if you find regular
tripods cumber some you can
look at a monopod. These are
not substitutes for tripods as at
best they allow you to use shutter
speeds up to 2 stops slower
than the thumb rule shutter
speed. So, very long shutter
speeds are out of question.
Monopods are however, easy
to handle, compact and light.
They are also a lot more flexible
compared to tripods. If you are
going to buy a monopod, pay
How to choose a tripod?
Here are some tips to help you choose a tripod 1. Consider your application and choose as per the table
Application
Type of Tripod
Travel / trekking
Light and compact, four leg sections, ball head
Wildlife / birds / sports
High load capacity to support heavy lenses, ball head or gimbal head
Macro / table top
Individually adjustable leg angles, tiltable center column, pan head
2. Your height: A tripod should allow you to work comfortably (that is the viewfinder of the camera must be at your eye level)
without craning your neck too much or otherwise you will get neck cramps. Choose a tripod that reaches this height without
extending the center column by more than 5 centi-meters.
3. Material of legs: If you can afford, legs made of carbon fiber are the best. If not, go for aluminium or its alloys.
4. Material of head: The head should be strong and made of metal. Just avoid plastic heads. Period. Plastic heads flex and are not good.
5. Load capacity and Stability: The legs and head you are going to buy should have sufficient load capacity to handle the heaviest
equipment you have or plan to have (as explained). Plus a heavy head can cause instability due to top heaviness. To avoid this, the
weight of the tripod legs must be 2.5 times that of the head (either ball or pan or gimbal).
6. Number of sections: It is best to choose tripods with three (telescoping) leg sections than those with four sections unless
compactness is very important to you.
7. Leg locks: Go for twist locks if you are going support heavy loads. Otherwise flip locks are easier to use.
8. Quick Release: Do not buy a tripod head (or a tripod with a fixed head) without a QR adapter. If you already have one that does
not have a QR adapter, you should get a QR clamp and plate(s) for it. The best and the most popular QR system is the Arca system.
It is made by several manufacturers including Manfrotto.
9. Pay careful attention to the feet. The most versatile are the retractable or interchangeable type. If these are not available go for
rubber feet.
10. When buying a tripod remember the old adage - “buy smart buy once, buy cheap buy twice”.
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November 2014 Smart Photography
79
LEARNING
Understanding Photography
Picture 14: Folded
table top tripod, the
popular Manfrotto
Pixi (pen is for size
comparison).
Picture 15: A table
top tripod with a CSC
placed on a table.
Picture 16: A monopod head that allows
movement in only one direction.
work best with those lenses
which have a tripod collar as both
landscape and portrait orientations
are easily possible. Panning is done
by rotating the monopod itself.
So, how do you use a monopod?
The best way to use a monopod
is to use it like a tripod. Since a
monopod has only one leg where
do you get the other two legs from?
Well, you can supply them -! Keep
your two legs little apart and lean
slightly on the monopod so that the
monopod and your legs together
form a tripod (Picture 17). This
gives a good stable support.
CONCLUSION:
Resist the idea of buying a light, sturdy and cheap
tripod because such a thing does not exist. You can
get a relatively light and sturdy tripod that is made of
carbon fiber but expect to pay a very high price. Tripod
technology does not advance at the same speed as
that of cameras or even lenses. The result is that your
tripod will not get outdated fast. A good tripod will
also last forever and is a life time investment. In these
days of megapixel madness, a tripod is the cheapest way
to increase the sharpness and improve your pictures
with minimal investment. And hence, to you as a
photographer, your very best friend!
Picture 17: Using a monopod. Monopod
plus your legs should form a tripod !
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Smart Photography November 2014
www.smartphotography.in
All text diagrams and images © Ashok Kandimalla unless otherwise noted.
particular attention to
the head. Many make
the mistake of attaching
a normal ball head.
This is inconvenient
in practice as the ball
head allows movement
in all directions making
the set up difficult to
handle. Instead of a ball
head, buy a monopod
head (like Model 234
from Manfrotto, Picture
16). This rotates only
in one direction (pitch
movement) and is much
easier to handle. These
LEARNING
Shadow Play
Dilip Yande
Having crossed over 20 active years in commercial photography,
Dilip Yande says his forte is Fashion and Portrait photography. He
believes variety is the spice of life, and to keep himself motivated
he does a lot of tabletop as well. For Dilip, names like Rembrandt,
Renoir, Gauguin, Picasso, Turner, Monet are household names
because of his childhood that was spent in a lineage of fine arts. This
‘fine art’ reflects in his work because he feels that there is always
a little bit of ‘you’ in everything one does. Having shot for many
advertising agencies, juried a few competitions, mentored many
workshops, and guided many photographers in their formative years,
for Dilip, photography is just another way to romance his first love –
art. He may be contacted at [email protected].
E
arlier I have touched
the subject of lighting
through many articles. I
have mentioned that there is no
standardized lighting, be it tabletop,
portrait or fashion shoot. Lighting
depends entirely on the molding
of an object, the composition, the
surface texture of the object, the
shape and the amount of foreground
and background that is present in
a composition. It also depends on
how the photographer wishes to put
forth this composition, and which
specific area he wishes to give more
importance to. Shooting white on
white or black on black is a different
game all together, while shooting
glass is a different ballgame.
In a broad sense there is always
something called good lighting and
bad lighting, rather than correct
lighting and wrong lighting.
So in this article let me redefine
lighting in a different way, by saying
that lighting is the art of casting a
shadow or shade at the right place, of
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Smart Photography November 2014
the right density and right chracteristic
(hard / soft) and right size, such that
it brings out the molding of the subject
or defines a mood in the picture. In
pictures, shadows play an equally
important role as the subject or at
times even more. This is the game of
‘shadow play’.
Before proceeding further, let me
turn to fine arts for a moment. If
you refer to Japanese paintings,
say, of grand masters like Hokusai
or Heroshige, you will find that
importance is given more to the
form and there is very little or
no shade or shadow at all in the
paintings. While if you refer to the
paintings of the Renaissance period,
or of Indian grandmasters like Raja
Ravi Varma, then one will find a
lot of play of light and shade
cleverly used to bring out the
molding. Hence due to the shadows
in the paintings, a mysterious depth
is created, and this game of light
and shade is known as ‘Chiaroscuro’.
The lighting seen in Rembrandt’s
paintings is Chiaroscuro.
The human mind reads shadows in
many different ways. As an example,
imagine a top-angle shot of a man
standing in a big hall or garden. If we
see a long, stretched shadow behind
him, we immediately relate this to a
late evening shot. Observe our mind’s
subtle interpretation – we first relate
this to a late evening shot and then we
may consider that it could also be an
early morning shot. Again, if the light
source is much below the chin of the
person, then the lighting on the face
looks ‘eerie’ and is termed as ‘horror
lighting’. Shadows that appear taller
than a person and which are cast on a
wall behind give a scary feel or create
a very serious mood in a picture.
Shadows cast in a picture could
be hard or soft, or something in
between – semi-soft shadows. This
entirely depends on the kind of light
source that is being used. It also
depends on the distance between the
light source and the subject and the
distance between the subject and the
background on which this shadow
has been cast.
In some pictures one may see just
a shadow of an object, but not the
object that defines the shadow. Yet,
one may identify the form in the
shadow and relate this to what might
have cast the shadow. For example,
the shadow of leaves falling on a
background, shadow of window-bars
or a wire mesh falling on a face or
body, or even the shadow of venetian
blind. It creates depth in a picture,
adds mood and makes the picture
look more realistic. It may even add
a certain ‘time’ to the picture than
making it appear like a ‘timeless’
studio shot, taken with flat lighting.
www.smartphotography.in
Pic a1
the feel of a theatrical
spotlight. The position of
the light source has been
shown through image a.
Light modifiers play a
very important role in
controlling shadows.
Pic a2
Here are a few examples of pictures
taken with shadow play lighting:
1) Pic a1, a2- In these two pictures
one can see a circle of spot-light
falling on the face of the model.
This circle was generated by
using a light modifier known as
‘Mini Spot’. This light modifier
is attached in place of a light
reflector. This spot light has given
Image a
Pic a
www.smartphotography.in
2) Pic b1, b2 are perfect
examples of what one may
call as ‘mood lighting’.
It gives you the feeling
of a natural beam of
light coming through a
window pane. In pic b1
the model is closer to
the background while
in pic b2 the model is
a little away from the
background; hence we
find a separation between
the shadow of the model
and her
body. The
shadow
of the
model thus
generated
also has a
feminine
form to it.
Image b
shows you
how this
lighting was
done. In
this case,
the diffuser
from the
‘rectalight’
was
removed,
thus
transforming
it into a
harder source of light.
The light was cut using
a cutter at the top, while
the diffuser was stretched
between two light-stands,
as can be seen in the
image b thus controlling
the light passing through
it and falling on the legs
of the model. In Pic b3 I
have deliberately shot the
shadow of the model but
not taken the model in my
frame. A shadow usually
symbolizes a memory, a
past that may continue
to linger in someone’s
mind. It may symbolize a
November 2014 Smart Photography
83
LEARNING
Pic b2
Pic b1
Image b
Pic b3
mysterious thing and may have
a poetic blend to it. As pointed
out earlier, this shadow has a
feminine characteristic to it
and is defining a stylish female
form. I converted the image
84
Smart Photography November 2014
into a kind of greeting card by
superimposing appropriate
lines of a poem over the same.
There can be many creative
applications with anything that
one may shoot.
3) Pic c- In this picture I have
shown the shadow of a venetian
blind falling on the model as well
as the background. The shadow
generated by the vintage fan kept
behind has added to the picture.
www.smartphotography.in
Pic c
Image c
This effect of light passing
through the venetian blind was
created by using simple black
hair-ribbons, which were tied
in between two light stands as
can be seen in image c. The
main light source was a bare
flash light without a reflector to
make it more harder. The tone
to the picture was added in post
production to add a mood to
the same.
4) Pic d1, d2- I have used
a combination of an open
‘rectalight’ without a diffuser
and a spot light at the back using
a mini-spot as a light modifier.
The mini-spot is provided with
www.smartphotography.in
November 2014 Smart Photography
85
LEARNING
a slot to insert a cut-pattern
known as ‘gobos’, if one may
wish. In this case we inserted
a wire mesh in this slot. This
generated the pattern behind the
model. Cutters, as seen in image
d, were used to control the light
further. One can control the light
falling on the body of the model
by slightly changing the angle
of the cutter. This can be seen
in the difference between pic d1
and d2.
Image d
Hence it is a wrong notion that a
shadow or a shade in a picture is
bad and good lighting has to be
shadow-free.
Pic d1
Pic d2
Credit LinesStyling and modeling – Sonia Shingre
Make-up and hair - Anup Das.
Pics - Dilip Yande.
86
Smart Photography November 2014
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Address
LEARNING
Equipment Care:
Controlling Relative Humidity
Rohinton Mehta
H
umidity, sometimes also
referred to as ‘absolute
humidity’, refers to the
amount of moisture in a given
volume of air. Relative Humidity
(RH) is the amount of moisture in
the given volume of air compared
to the maximum amount of
moisture the air can hold at that
particular temperature. When
we talk of humidity, temperature
of the air is not taken into
consideration; when we talk of
relative humidity, we take into
account the amount of water
vapour and the temperature of
the air.
Optical equipment (lenses,
camera bodies etc), if stored
above 50% RH, can develop
‘fungus’ (plural, ‘fungi’), which is
a bacterial growth that eventually
eats up the lens coatings, which
in turn could cause flare and
eventual loss of image quality.
Fungus looks somewhat
like a spider’s web. You
need to point the lens
at an open sky or some
other diffused light
source and carefully
see through it (with the
diaphragm blades wide
open). Sometimes it may
be necessary to turn the
focussing ring from one end
to the other; with a zoom lens,
you may even have to change
the zoom setting before you may
notice the fungus.
88
Smart Photography November 2014
A camera technician can open the
lens and clean away the fungus,
but if the fungus has been there
for a long time, scar-marks may
remain where the fungus has eaten
up the lens coatings. There is also
a chance that the lens elements,
after the cleaning, do not fit
or align exactly in the original
position, causing focussing
problems. Use of wrong cleaning
chemicals or vigorous cleaning
can wipe away/partially wipe
away the lens coatings, essentially
lowering the lens quality. If fungus
penetrates between two joined
elements (a doublet), it becomes
impossible to remove it.
Lens cleaning can be a costly
affair. Besides the problems
mentioned in the above paragraph,
fungus can grow again within a
very short span of time, especially
if the relative humidity is high.
The best solution to avoid
fungus in the first place is
to use a specially designed
drying cabinet, which allows
the user to control the RH.
Some years ago, when drying
cabinets were not available,
photographers used indicating
type (blue coloured) silica gel to
control the RH but for various
reasons, the method was nowhere
as good or convenient as using a
drying cabinet.
Some users store the equipment
in a box using a zero Watt bulb,
but this isn’t a perfect method of
protection – the user does not
know how much RH is in the
storage space. Furthermore, he
or she has to keep up with
frequent changes or re-heating of
the silica gel.
Note: Photo equipment should
www.smartphotography.in
lubricants
within the
lens/camera/
other optical
equipment,
besides
causing
micro-creases
in multiple
coatings of the
lens.
not be stored in boxes made from
plywood. The various ply are
bonded together using adhesive
which give off gases that harm
the lens. For the same reason,
adhesives that carpenters use
should also be avoided.
Modern storage cabinets are
controlled electronically, consume
hardly any power and can be
actively monitored for RH. They
provide 20~50% RH control
depending on loading (how much
stuff you have in the cabinet) and
environmental conditions.
Photographic equipment is
best stored between 38-45% RH
and, on the higher side, should
never exceed 50% for prolonged
period. Very low RH can dry the
www.smartphotography.in
Lenses should
preferably be
kept on the
upper shelf
and camera
and other
equipment
in the lower
area. Although
these cabinets
require
hardly any
attention or no
maintenance, it
is worthwhile
to keep an eye
on the RH once
in a while. The
cabinet needs
to run 24 x 7.
Please do not
jam-pack your
equipment in
the cabinet;
there should
be adequate
empty space for air movement.
Once you have completed your
photography for the day, care
should be taken to clean the
lenses / camera of dust and other
physical dirt. Take special care to
clean the lens mount and camera
body mount. Ensure that both lens
caps as well as lens surfaces are
clean. Micro-fibre cloth that may
have been used to externally wipe
the camera / lens, should not be
used to clean the front / rear lens
element; for that you must use
another piece of micro-fibre cloth,
which after use, should be placed
in a clean zip-locked plastic pouch.
After the necessary cleaning, place
the items in the drying cabinet.
The lens and camera can be stored
with the cover caps on.
Do note that once fungus has
started, keeping the equipment in
a dying cabinet will not take away
the fungus; at the most, it may
prevent it from spreading further.
It is also advisable that such lenses
should be isolated from other
equipment and ideally, the
fungus should be removed by an
expert technician.
Look after your equipment and it
will give you many years of faithful
service.
November 2014 Smart Photography
89
LEARNING
The 4K Bug!
Rohinton Mehta
W
ell, there is 4K but
actually, there is no 4K
Bug! The title was just
meant to startle you and induce you
to read further. Recently, we have
seen some digital cameras boasting
of video capability in 4K. So what
exactly is 4K? Is this just another
clever marketing trick to make
you buy a new camera? Is this just
another ingenious trick to make you
buy a new TV with 4K capability?
4K video has its advantages as well as
disadvantages. But for now, let’s get
on to what’s 4K video.
First, let’s understand video
resolutions for the various formats.
When you mention Full High
Definition video, you are referring to
the maximum vertical resolution of
1080 pixels in each video frame, but
the pixel resolution is actually 1920
x 1080 pixels (only the vertical pixels
count is written; that’s why we say
1080p).
calculation, you’ll see that this
resolution is almost double that of
the Full HD video format. But since
the resolution doubles horizontally
as well as vertically, it actually
means that each video frame of
4K video has four times as many
pixels as that of Full HD. Televisions
that support 4K are known as UHD
(Ultra-High-Definition) TVs.
Realising the importance of 4K,
some still-camera manufacturers
have started incorporating 4K video
capability in some of their cameras
(Panasonic’s GH4, FZ1000, LX100,
Sony’s A7s - requires an external
4K recorder). It’s also possible to
extract an acceptable image quality
‘still-frame’ from the video (roughly
up to 8 x 12” size). That’s real good
news for the video buffs amongst us
still-camera users. But wait. Not all is
hunky-dory.
a) 4K recording requires UHS speed
Class 3 memory cards (minimum
write speed of 30MB/sec)
b) 4K video chews up space on the
memory card.
c) Video recording is only in JPEG;
no Raw.
d) 4K video needs a 4K compatible
TV (which currently sell at exorbitant
prices); you could play the 4K video
on a non-4K compatible TV but then
you do not get the advantage of the
higher resolution.
e) 4K transmissions are still to begin.
We expect more still-camera
manufacturers to incorporate 4K video
in their newer models. As time goes by,
we can expect UHD TVs to become
more affordable. So if you are a buff, 4K
should answer your prayers.
When you mention High Definition
video, you are referring to the
maximum vertical resolution of 720
pixels in each video frame, but the
pixel resolution is actually 1080 x 720
pixels (only the vertical pixel counts
is written; that’s why we say 720p).
As to why the vertical pixel count
was chosen to represent the two
video formats, beats me!
But with 4K, maybe someone
realised that the earlier
method was complicating
things and hence they
now mention the
maximum horizontal
resolution in pixels. 4K
refers to approximately
4000 pixels (actual frame
size is 3840 x 2160 pixels).
If you do some simple
90
Panasonic LX100
Sony A7s
Panasonic GH4
Panasonic FZ1000
Smart Photography November 2014
www.smartphotography.in
92
D-SLR Review
98
104
ILCC Review
Panasonic GH4
Lens Review
Leica DG Summilux 25mm
f/1.4 ASPH. lens
106
Reviews
NIKON D750
Smartphone Review
Sony Xperia Z3
Change in Rating System
Smart Photography’s new rating
system exercises stricter evaluation
in view of improvements in the
overall performance of photographic
equipment. Marks will be awarded for
the following parameters...
Final Rankings
Recommended ......................................... 75-80%
Best Buy .........................................81% and above
D-SLR CAMERAS
LENSES
COMPACT CAMERAS
Design & Build Quality .................... (out of 20)
Design & Build Quality .................... (out of 20)
Design & Build Quality .................... (out of 20)
Key Features........................................... (out of 20)
Key Features........................................... (out of 20)
Key Features........................................... (out of 20)
Ergonomics ............................................. (out of 20)
Ergonomics ............................................. (out of 20)
Ergonomics ............................................. (out of 20)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Sharpness.....................................................(out of 5)
Distortion control .................................(out of 5)
Aberrations ................................................(out of 5)
Darkening of corners.........................(out of 5)
Extra Features............................................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Value for Money ....................... (out of 10)
Value for Money ................................. (out of 10)
Value for Money ....................... (out of 10)
Grand Total ............................... (out of 100)
Grand Total ......................................... (out of 100)
Grand Total ............................... (out of 100)
D-SLR Review
NIKON D750
Small but Power-packed!
Rohinton Mehta
Design & Build Quality
` 134,450
Inside the Box
✓ Camera body
✓ Body cap
✓ Li-ion battery
✓ Battery charger
✓ USB cable
✓ Strap
✓ Eye-piece cap
✓ Software CD ROM
✓ User manual
✓ Warranty card
92
Smart Photography November 2014
T
he 24.3 megapixel Nikon
D750 was introduced during
Photokina 2014 (16th-21st
September) as a go-between the
expensive 36.3 megapixel D810 and
the less expensive 24 megapixel
D610. Incidentally, the D750 is the
third full-frame D-SLR from Nikon
in recent times. So why have yet
another model, and that too, so soon
after the other two? Well, some users
felt that the D810 was too expensive,
while others felt the need to have
some more ‘oomph’ than available in
the D610. Read on to know what we
feel about the D750...
The D750 is the smallest and probably
the lightest D-SLR body in the Nikon
stable. It is also the first Nikon to
have a monocoque body (it employs
an encased structure that does not
require a separate chassis). The top
and the rear cover uses magnesium
for durability and carbon-fibre for
front body and front cover, thus also
reducing weight while maintaining
strength. The synthetic-leather-covered
hand-grip is nice and deep. The body
is well-built and looks sleek and weighs
approximately 830g with battery and
memory card.
Key Features
Let’s first see the key differences
between the D750 and the D610:
www.smartphotography.in
Feature
Effective pixels
Image processor
AF detection range
ISO, without boost
File formats
AF points
LCD
LCD resolution
Shutter speed range
Scene modes
X-sync speed
Burst speed
USB connection
Wi-Fi
Weight, with battery
D750
24
Expeed 4
-3 to +19EV
100-12,800
JPEG, Raw
51
Tilting
1,229,000 dots
30-1/4000sec
Yes
1/200sec
6.5fps
USB 3
Built-in
830g
D610
24
Expeed 3
-1 to +19EV
100-6,400
JPEG, Raw
39
Fixed
921,000 dots
30-1/4000sec
Yes
1/200sec
6fps
USB 2
Optional
850g
Highlighting denotes advantage.
As you can see, there are differences
between the D750 and the D610,
some significant, some not so. To me,
the main difference is the Expeed
4 image processor (along with a
newly developed sensor), which of
course should provide overall better
image quality. Also, looking at the
specifications, the D750 should be
able to autofocus (in theory at least)
in much lower light than the D610.
Incidentally, -3EV (see ‘AF detection
range’, above) equates to lighting
conditions where you would have to
expose for 15 seconds at f/1.4 at ISO
100. If the camera can autofocus in
such low light, that’s good! Really
good! However, I am not much
enamoured by the 51 AF points;
don’t get me wrong, under certain
situations the extra AF points are
useful, but for the majority of times,
I use the central AF point (and I trust
most of you do too). The D750 has
a tilting LCD screen. For low-angle
shots, the screen can be flipped up
to approximately 90 degrees and
for high-angle shots, it can be tilted
outwards from the body by about
75 degrees.
The D750 is a 24.3 megapixel
(effective) full-frame sensor (35.9
x 24mm) D-SLR but also offers
shooting facility with the following
crop factors:1.2x (approximately
30 x 20mm area at the center of the
sensor is used. Resolution drops
to approx. 16.7 MP) and 1.5x (DX,
www.smartphotography.in
approximately 24 x 16mm area at
the center of the sensor is used.
Resolution drops to approx. 10.3
MP). Like all Nikon D-SLRs, the
D750 too offers automatic image
sensor cleaning facility. Images
can be shot in NEF (Raw) 12-bit
or 14-bit, lossless compressed or
compressed, JPEG (Fine/Normal/
Basic), and Raw+JPEG. Its Buffer
size allows approximately 85
JPEGs (Large/Fine) or 15 NEFs
in 14-bit lossless compressed
mode or about 25 NEFs in 12-bit
lossless compressed mode or 32
NEFs in compressed mode (these
figures would change, depending
on the memory card used). To
satisfy individual preferences, the
D750 offers the following Picture
Controls: Standard, Neutral, Vivid,
Monochrome, Portrait, Landscape
and Flat. Picture Controls can be
modified and Customised Picture
Controls can be stored. The following
lenses can be used: AF Nikkor lenses,
including type G, E and D (some
restrictions apply to PC lenses),
DX lenses, AI-P Nikkor lenses and
non-CPU AI lenses (A and M modes
only). IX Nikkor lenses, lenses
for the F3AF, and non-AI lenses
cannot be used. The camera uses an
electronically controlled, verticaltravel focal plane shutter with shutter
speeds ranging from 30 seconds to
1/4000sec, plus Bulb, Time and Flash
X-sync at 1/200sec. (Actually the
D750 can synchronize with flash at
shutter speed of 1/250sec or slower
but the flash range drops at speeds
between 1/200 and 1/250sec).
Metering system is TTL using an
RGB sensor with 91,000 pixels.
Metering modes are Matrix (3D
Colour Matrix metering III with
type G, E and D lenses, Colour
Matrix Metering III with other CPU
lenses, Colour Matrix metering with
non-CPU lenses if user provides
lens data; Center-weighted metering
(75% weightage given to the 12mm
circle in center of the frame); Spot
metering (4mm circle centered on
selected focus point) and Highlightweighted metering with type G,
E and D lenses. Exposures can be
compensated in values from -5 to
+5 EV. ISO sensitivity available is
from ISO 100-12,800 but can also
be set to approx. 0.3, 0.5, 0.7 or 1 EV
(ISO 50 equivalent) below ISO 100
or to approx. 0.3, 0.5, 0.7, 1 or 2 EV
(ISO 51200 equivalent) above ISO
12800; auto ISO sensitivity control
is also available.
White Balance (WB) can be set to
Auto (3500-8000K), Incandescent,
Fluorescent (7 types), Direct
sunlight, Flash, Cloudy, Shade,
Colour Temperature, and Preset
manual. WB can be fine-tuned if
required. Active D-Lighting, which
preserves details in highlights and
JPEG Compression
JPEG, Fine Quality,
100% (18 MB)
JPEG, Basic Quality,
100% (5.4 MB)
November 2014 Smart Photography
93
D-SLR Review
NIKON D750
shadows in contrasty lighting, can
be set to Auto, Extra high, High,
Normal, Low or off. The D750 uses
Nikon’s Advanced Multi-CAM 3500
II AF module with TTL phasedetection along with 51 focus points.
15 of these are cross-type sensors,
out of which 11 sensors support
lenses up to f/8. Autofocus can
be set to AF-S (Single-servo AF),
AF-C (Continuous-servo AF) or
AF-A (automatic selection of AF-S/
AF-C, depending on the status of
the subject). Manual focussing is
available. Focus can be selected from
51 or 11 focus points. Five AF- area
modes are available: Single-point
AF, 9, 21 or 51-point dynamic area
AF, 3D-tracking, group-area AF, and
Auto-area AF.
At the top left of the body is the
Mode Dial, along with a Mode Dial
Lock (a safety feature so that you
don’t change the shooting mode
unintentionally). The modes available
are: Auto, and Flash Off – using
these your D750 becomes a high-end
point-and-shoot camera (Actually,
both are identical except that if you
opt for the Flash Off setting, the flash
will not fire); SCENE (the camera
automatically optimises the settings
to suit the selected scene); U1 & U2
(the user can assign frequently used
settings to U1 and U2); Effects (Night
vision, Colour sketch, Miniature
effect, Selective colour, Silhouette,
High key and Low key), and the
regular P, A, S, M modes for the
advanced photographer.
Underneath the Mode Dial, is the
Release Mode Dial (also with a
safety lock), which allows you to
choose between S (Single frame), CL
(Continuous low), CH (Continuous
High), Q (Quiet shutter release), QC
(Quiet continuous shutter release),
Self-timer and MUP (Mirror up).
In Continuous low speed shooting,
the user can select between 1- 6fps
with maximum continuous release
up to 100 frames; in Continuous
high speed shooting, the frame rate is
6.5fps (but could slow down if there
is not enough memory in the buffer
or if the shutter speed is slower
than 1/200sec).
The D750 offers a built-in flash with
a Guide Number of 12m/39ft at
ISO 100, along with the usual flash
features. Flash control is i-TTL using
RGB sensor with approx. 91,000
pixels. i-TTL balanced fill flash for
digital SLR is used with Matrix,
Center-weighted and Highlightweighted metering; with Spotmetering, i-TTL flash for digital SLR
is used. Flash can be compensated by
-3 to +1 EV in steps of 1/3 or 1/2 EV.
The camera supports Nikon’s Creative
Lighting System.
The D750 can record Full HD movies
at 1920 x 1080 – 60p, 50p, 30p, 25p,
and 24p; 1280 x 720 – 60p and 50p,
NOISE
ISO 200
ISO 800
ISO 1600
ISO 3200
ISO 6400
ISO 12800
94
Smart Photography November 2014
www.smartphotography.in
using H.264/MPEG-4 video
compression. The camera uses a
rechargeable EN-EL15 Lithiumion battery
Aperture: f/8.0 Shutter Speed: 1/250sec . ISO: 400
Ergonomics
The D750 was reviewed using a
AF-S Nikkor 50mm f/1.4G lens.
The balance was perfect and the
user interface was as easy as it is
on all Nikon D-SLRs. The tiltable
LCD screen was very convenient
for low-angle / high-angle shots.
Performance
Overall, the D750 performed
to our satisfaction. Images were
sharp and punchy. We were most
impressed by its control over
digital noise. The native image
size was 20.053 x 13.387 inches
at 300 ppi. At 25% screen size,
images were perfectly usable all
the way up to ISO 12,800. At 50%
screen size, once again images
were perfectly usable all the way
up to ISO 12,800 though at ISO
12,800, images were slightly ‘soft’,
probably due to the internal
noise reduction kicking in rather
vigorously. At 100% screen size,
when observed carefully, some
noise could be seen at ISO 800
and upwards; images were
slightly ‘soft’ but I wouldn’t
hesitate using the images all the
way till ISO 12,800.
The ‘Lo’ ISOs: Lo 0.3, 0.7, 1.0
(equivalent to ISO 80, 64, and 50
respectively). At these equivalent
ISO sensitivities, I found it
difficult to notice any visible
differences between the images.
All three were excellent.
Mahesh Reddy
The ‘Hi’ ISOs: Hi 0.3, 0.7, 1.0, 2.0
(equivalent to – approximately –
ISO 16,000, 21,000, 25,600 and
51,200 respectively). At 25%
screen size, Hi 0.3 and 0.7 were
‘clean’ and usable, 1.0 had some
noise and 2.0 could be used in an
emergency. At 50% screen size,
Hi 0.3 was good, 0.7 usable, but
1.0 and 2.0 were noisy. At 100%
screen size, all four – Hi 0.3, 0.7,
1.0 and 2.0 – were noisy.
In White Balance performance,
www.smartphotography.in
November 2014 Smart Photography
95
D-SLR Review
NIKON D750
AWB and Preset WB (Sunlight)
were accurate while under all other
lighting situations, a slight colour
cast was noticed, which could be
easily corrected in post-processing.
Autofocus was fast, even in low
light. Exposure metering was quite
accurate. The Highlight-weighted
metering ensured that the highlights
were not overexposed, but it did that
at the expense of underexposing
the pictures by about 0.7 to 1 stop
(a rough judgement). Images on the
LCD and in the viewfinder were crisp.
Prominent darkening of corners was
noticed at f/1.4, which improved at f/2
and was negligible by f/2.8.
Video
PLUS
The video performance of the
Nikon D750 was excellent. On a
side-by-side comparison with one of
the latest 4K compatible mirrorless
interchangeable lens cameras, we
noticed that it autofocussed quicker
(in AF-C mode) during video
in Live View. The videos did not
capture any focussing sound, which
is good.
• Small and
lightweight
• Excellent
noise control
• Built-in
Wi-Fi
• Tiltable LCD
Value for Money
The Nikon D750 body is available
at an MRP of Rs.1,34,450. We
consider this to be fair to good
value for money.
VERDICT
Should you go in for a D750 if you already own a D610? That’s
not easy to answer, but for me, the Expeed 4 image processor
would draw me towards the D750. If you want a full-frame
camera body, that also includes 1.2x and 1.5x crops, a better
resolution LCD, a camera capable of autofocussing in very
low light, and the advantages of USB 3 connection, then the
D750 may be what you should be looking at. Best Buy!
MINUS
• Will the
monocoque
body stand
up to rough
handling?
FINAL SCORE
83%
Design and Build Quality 16/20
Key Features
17/20
Ergonomics
17/20
Performance
Autofocus
Metering
Noise Control
Sharpness
4/5
4/5
5/5
4/5
(also depends on the lens/shooting technique)
LCD/EVF
Auto W/B
4/5
4/5
Sub-Total
25/30
Value for Money
8/10
KEY SPECIFICATIONS
Camera type
:
Effective pixels
:
Imaging sensor
:
File format
:
Picture Control System :
Storage media
No. of card slots
DOF Preview
Compatible lenses
:
:
:
:
Shutter speeds
Flash sync
:
:
Release mode
:
Frame advance rate :
Metering method :
Metering range
:
Autofocus
:
Autofocus detection range :
96
D-SLR
24.3 million
CMOS (35.9 x 24mm)
Raw, JPEG, Raw+JPEG
Standard, Neutral Vivid, Monochrome, Portrait,
Landscape, Flat
SD/SDHC/SDXC memory cards
Two
Yes
AF Nikkor lenses, including type G, E and D
(some restrictions apply to PC lenses), DX lenses,
AI-P Nikkor lenses and non-CPU AI lenses (A and
M modes only). IX Nikkor lenses, lenses for the
F3AF, and non-AI lenses cannot be used
30 seconds - 1/4000sec, Bulb, Time, X200
Up to 1/200sec (Can sync between 1/200 and
1/250sec, but flash range drops)
S, CL, CH, Q (Quiet shutter release), Qc (Quiet
continuous shutter release), Self-timer, Mirror-up
1-6fps (CL), 6.5fps (CH) or 3fps (Qc)
Matrix, Centre-weighted, Spot, Highlight-weighted
0-20 EV (Matrix, Centre-weighted, Highlightweighted metering) 2-20 EV (Spot metering)
51 focus points, including 15 cross-type sensors,
11 sensors support f/8
-3 to +19 EV (ISO 100, 20 degrees C/68 degrees F)
Smart Photography November 2014
Lens servo
: AF-S, AF-C, AF-A (automatic AF-S/AF-C
selection), Manual focus
Focus point
: Can be selected from 51 or 11 focus points
AF-area mode
: Single-point AF, 9/21/51-point dynamic area AF,
3D-tracking, group-area AF, Auto-area AF
Exposure modes : P, A, S, M. User settings U1 & U2, Auto, Scene
(16 settings), Special effects (7)
Exposure compensation : +/- 5 EV
Exposure & Flash bracketing : 2-9 frames in 1/3, 1/2, 2/3 or 1 EV step, 2-5 frames
in 2 or 3 EV steps
White Balance bracketing : 2-3 frames
ISO sensitivity
: 100-12,800, can also be set to equivalent of (min.)
ISO 50 and (max.) ISO 51, 200 Auto ISO control available
Active D-Lighting : Auto, Extra-high, High, Normal, Low, Off
Built-in flash
: GN 12m/39’ at ISO 100. Support for Nikon
Creative Lighting System
Flash compensation : -3 to +1 EV
White Balance
: Auto (2 types), incandescent, fluorescent (7 types),
direct sunlight, flash, cloudy, shade, preset manual,
colour temperature setting
Live View
: Yes
Movie file format : MOV
Frame size, frame rate, movies : 1920 x 1080; 60p, 50p, 30p, 25p, 24p
1280 x 720; 60p, 50p
Dimensions
: Approx. 140.5 x 113 x 78 mm (W x H x D)
Weight, with battery : Approx. 830g
www.smartphotography.in
PAGE
180 ISSUE
RS.125
ISSUE 6
VOLUME 09
SEPTEMBER 2013
THE BIG FIGHT: NORMAL LENSES
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RS.125
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RS.125
INTERVIEW
SURAJ DAS
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November 2014*
City
ILCC Review
Panasonic GH4
4K at Your Fingertips
Sujith Gopinath
tripod receptacle are metal. Overall,
the camera looks and feels like a
professionally built device ready to
stand the test of time.
Key Features
Inside the Box
Design and Build Quality
The Panasonic Lumix GH4 is
a highly capable mirrorless
interchangeable lens camera
set to replace the GH3.
The GH4 uses the same
16.05-megapixel Four
Thirds (17.3 x 13mm)
Live MOS sensor that was
used by the GH3. But the
similarities end with the
sensor and a few less-thancrucial features. Let us first
look at the improvements over
the GH3. A major improvement
is in the processing power of the
camera. The GH4 uses a refined
Venus Engine IX image processor,
which is Panasonic’s latest QuadCore processor that also powers
the FZ1000 camera. This processor
satisfies the processing speed that 4K
videos demand. The GH4 offers an
ISO sensitivity range of ISO 200 to
25,600, one stop more than the GH3.
It has 49 focus points compared
to 23 in the GH3. The maximum
shutter speed has increased from
1/4000 to 1/8000 sec. Apart from
these, there are the usual, predictable
improvements such as screen and
viewfinder resolution.
✓ Panasonic GH4 camera
✓ Battery
✓ Battery charger
✓ Power adapter
✓ USB cable
✓ Camera front cap
✓ Hot-shoe cover
✓ Basic Manual
✓ CD-ROM
The Panasonic GH4 is built very
sturdy. The chassis is built with
magnesium alloy and even the
exterior feels rock solid. The
rubberised exterior offers a good
grip, and the hand grip is deep
enough to provide a firm hold. The
fully articulated LCD can be rotated
and docked at the back, protecting
it from scratches when not in
use. Both the lens mount and the
Now let us dive further into the
features of the GH4. The camera’s
sensor uses a primary colour filter
and houses a supersonic wave filter
to shake off dust particles. Panasonic
uses Lens-based Optical Image
Stabilisation and hence the body
does not feature image stabilisation.
The camera uses an OLED Live View
Finder with 2359k dot resolution.
` Rs.111,990
(body only)
98
Smart Photography November 2014
P
anasonic Micro Four Thirds
interchangeable lens cameras
are known to deliver excellent
performance. The 16.05 megapixel
GH4 boasts 4K video recording, high
quality still images and a weather
sealed magnesium alloy body.
www.smartphotography.in
Mahesh Reddy
Aperture: f/5.6 Shutter Speed: 1/80sec . ISO: 800
www.smartphotography.in
November 2014 Smart Photography
99
ILCC Review
Panasonic GH4
Mahesh Reddy
Aperture: f/5.6 Shutter Speed: 1/5000sec. ISO: 800
The monitor is a 3.0-inch free
angle OLED screen with static
touch control having 1036k dot
resolution. The live view provides
Level Gauge, Real-time Histogram,
JPEG Compression
JPEG, Fine Quality,
100% (8.4 MB)
100
JPEG, Normal Quality,
100% (4.5 MB)
Smart Photography November 2014
Guide Lines (with 3 patterns),
Centre marker, Highlight display,
and Zebra pattern. The camera
uses an advanced type of Contrast
Detection AF system with DFD
(Depth from Defocus) technology.
This precisely calculates the direction
and amount of correction needed in
the lens position to achieve correct
focus. This is done by the side-byside comparison of two images
with different depths of field. Focus
modes present are AFS (Single), AFF
(Flexible), AFC (Continuous), and
MF (Manual). Autofocus methods
are Face/Eye detection, Tracking, 49area, Custom, Multi, 1-area, Pinpoint
(with full area touch).
The GH4 uses a 1728-zone multipattern metering system and has
the usual three metering modes—
Multiple, Centre-weighted, and
Spot. Exposure can be compensated
up to +/-5 EV in 1/3 EV steps for
still images and +/-3 EV for motion
pictures. AE bracketing can be done
for 3, 5, or 7 frames in 1/3, 2/3, or
1EV steps.
ISO sensitivity
ranges from ISO
200 to 25,600
in the case of
still images,
which can be
expanded to
ISO 100. The
maximum
ISO sensitivity
is limited to
ISO 6400 in the case of motion
pictures. White Balance options
are Auto, Daylight, Cloudy, Shade,
Incandescent, Flash, White Set (four
settings) and Colour Temperature
setting. White Balance can be finetuned manually along two axes.
The GH4 uses a focal plane shutter.
Apart from the usual mechanical
shutter, the camera also incorporates
an electronic shutter for faster and
quieter shutter operation. Shutter
speed ranges from 60 to 1/8000 sec,
with an additional Bulb option (max.
60 minutes). The shutter has a life of
approximately 200,000 actuations.
The camera’s self-timer can be set to
10 sec for 3 images, or 10 or 2 sec for
single image. The GH4 can capture
continuous frames at up to 12 frames
per second (H) using the mechanical
shutter or up to 40 frames per second
(SH) using electronic shutter. It
can maintain the 12 fps speed for
approximately 40 images when there
are Raw images, and about 100
images when there are no Raw files.
This can go up to 120 images when
www.smartphotography.in
NOISE
ISO 200
ISO 800
ISO 1600
ISO 6400
ISO 12800
ISO 25600
using electronic shutter. Please note
that this speed and performance
depends on the type and size of the
memory card, battery power etc.
The built-in flash of the GH4 has a
Guide Number of 12m at ISO100 and
has an angular coverage of 24mm
equivalent. The flash synchronises
up to 1/250 sec. Flash power can be
adjusted up to +/-3 EV in 1/3-EV
steps. Still images are recorded at a
maximum size of 4608 x 3456 pixels
in Raw or JPEG format (with options
to record both simultaneously).
The camera can also record 3D still
images using a 3D lens in MPO
format. Motion pictures are recorded
in MOV (Linear PCM audio), MP4
(Linear PCM/AAC 2 channel), or
AVCHD (Dolby Digital 2 channel
audio) format. Motion pictures can
be recorded at up to 4K (3840 x
2160) standards with various bit rate
and frequency options. Continuous
motion picture recording is limited
to approximately 220 minutes. The
camera features built-in Wi-Fi and
www.smartphotography.in
NFC, which enable you to pair it with
Smart devices and share images or
trigger the camera remotely.
(70-200mm equivalent) lens that
Panasonic provided with it.
The Panasonic GH4 accepts an
SD/SDHC/SDXC memory card
(compatible with UHS-I standard).
The camera is powered by a Li-ion
battery pack (7.2V, 1860mAh, 14Wh,
Included). The GH4 has dimensions
of 132.9 x 93.4 x 83.9mm (W x H x
D, excluding protrusions) and weighs
approximately 560g.
The GH4 performed like a champion
in our tests. Autofocus was very fast
and precise. The system did not have
any problem focussing under low
light. Images were sharp out of the
box. Please note that the sharpness
mainly depends on the optical
quality of the lens used. Metering
performed well as expected. Auto
White Balance performed well. The
slight casts observed under certain
light sources were easily removable
during post-processing.
Ergonomics
The Panasonic GH4 is quite
comfortable to use. Both the
viewfinder and the LCD are of top
quality and the images appeared crisp
on both. The electronic viewfinder
effectively matches the quality of
optical viewfinders. It is bright and
sharp, with images looking realistic.
The menu and shortcut buttons
are quite intuitive, and the fully
articulated LCD makes the camera
truly versatile. The GH4 balanced
very well with the 35-100mm f/2.8
Performance
The native image size was 11.52 x
15.36 inches at 300 ppi. At 25 percent
of screen size, the images were noisefree up to ISO 3200. ISO 12,800
and 25,600 were noisy. Images up to
ISO 6400 were perfectly usable. At
50 percent of the screen size, slight
noise was observed at ISO 6400,
but it was still usable. Viewed at 100
percent, images remained absolutely
November 2014 Smart Photography
101
ILCC Review
Panasonic GH4
noise-free up to ISO 1600. A tinge of
noise could be observed at ISO 3200,
though it was almost imperceptible.
ISO 6400 was very noisy at this
enlargement.
We used a Kingston UHS-3 (UHS-I
standard, Class 3) card for testing
the video and high speed shooting.
The videos were perfect without any
problem. The autofocus sound was
not audible in any of the captured
videos. The GH4 lived up to its claims
of high burst speed, and the writing
speed was excellent. The buffer never
filled to its capacity. In burst mode,
the camera captures 100 images
(JPEG) with the electronic shutter
enabled (SH mode). Once a batch of
100 images are captured, you only
need to take the finger off the shutter
release button and depress it again to
capture the next batch of 100, without
any waiting period for the buffer to
be cleared.
PLUS
• Excellent
build quality
• Impressive
features
• 4K video
recording
• 40 fps burst
speed
• Great
performance
Overall, we were impressed by the
performance of the GH4.
FINAL SCORE
86.5%
Design and Build Quality 19/20
Value for Money
The GH4 retails in India at an
MRP of Rs.111,990 (body only).
It is available in kit form with the
12-35mm f/2.8 HD (24-70mm
equivalent) lens at a price tag of
Rs.172,990. We would consider this
fair for a camera that can capture
4K videos and offer superlative
performance.
MINUS
VERDICT
• Could be
beyond the
budget for
potential
buyers
The Panasonic GH4 can
be considered a hybrid
camera, which delivers
professional quality stills
and videos. The impressive
features and great
performance make it one of
the top cameras on our list.
Key Features
18/20
Ergonomics
18/20
Performance
Autofocus
Metering
Noise Control
Sharpness
LCD/EVF
Auto W/B
Sub-Total
4.5/5
4.5/5
4/5
4/5
4/5
3.5/5
24.5/30
Value for Money
7/10
KEY SPECIFICATIONS
Effective pixels
:
Sensor size
:
Lens mount
:
Sensor Type
:
Colour filter
:
Dust reduction system :
Recording file format :
Aspect ratio
Image quality
:
:
Colour Space
:
Max. Pixel dimensions :
16.05 million
Four-Thirds (17.3 x 13.0 mm)
Micro Four Thirds mount
Live MOS
Primary colour filter
Supersonic wave filter
Still image: JPEG, Raw, MPO (With 3D lens)
Motion picture: MOV, MP4, AVCHD
(Audio format: Dolby Digital 2ch)
4:3, 3:2, 16:9, 1:1
Raw, Raw+Fine, Raw+Standard, Fine,
Standard/MPO+Fine / MPO+Standard
sRGB, AdobeRGB
Still Image: 4608x3456
Motion picture: 3840x2160; 30p/24p/25.00p, 100Mbps (4K)
Continuous rcd time
(Video) AVCHD : Approx. 220 min
WiFi
: WPA / WPA2, Infrastructure mode, WPS, Wi-Fi Direct
NFC
: ISO/IEC 18092, NFC-F (Passive Mode)
QR Code Connection :Yes
Viewfinder Type : OLED Live View Finder (2,359K dots)
Eye point
: Approx. 21 mm from eyepiece lens
Diopter adjustment : -4.0 - +4.0 (dpt)
Eye sensor
: Yes
Eye sensor adjustment : High / Low
Focus Type
: Contrast AF system
DFD technology : Yes
Focus mode
: AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
AF mode
: Face/Eye Detection / Tracking / 49-Area / Custom
Multi / 1-Area / Pinpoint/(Full area touch is available)
AF detective range : EV -4 - 18 (ISO100 equivalent)
102
Smart Photography November 2014
AF lock
Metering modes
Metering range
Shooting modes
ISO sensitivity
Exposure compensation
AE lock
AE bracket
White balance
:
:
:
:
:
:
:
:
:
White balance bracket :
Shutter Type
:
Shutter speed
:
Shutter life
:
Self timer
:
Burst speed
:
No of recordable images :
Built in flash type :
Synchronization speed :
Flash output adjustment :
Flash synchronization :
Function Buttons :
Monitor Type
:
Monitor size
:
Pixels
:
Power Source
:
Dimensions (W x H x D) :
Weight
:
Yes (AF/AE LOCK button)
1,728-zone multi-pattern, Centre-Weighted, Spot
EV0-18 (F2.0 lens, ISO100 equivalent)
Program AE, Aperture Priority, Shutter Priority, Manual
Auto / Intelligent ISO / ISO 100 (Extended) to 25600
±5EV in 1/3 EV step
Yes (AF/AE LOCK button)
3, 5, 7 frames in 1/3, 2/3 or 1 EV Step, Max. ±3 EV
Auto, Daylight, Cloudy, Shade, Incandescent, Flash,
White Set 1, 2, 3, 4, Colour temperature setting
3 exposures in blue/amber axis or in magenta/green axis
Focal-plane shutter
Bulb (Max. 60 minutes), 60 to 1/8,000 sec
Approx. 200,000 images
10sec, 3 images / 2sec / 10sec
Mechanical shutter: H: up to 12 frames per sec (with AFS)
Electronic shutter: SH: up to 40 frames per sec
Approx. 40 images (RAW); Approx. 100 images
(JPEG)(depending on memory card size, battery
power, picture size, and compression)
TTL Flash, GN 12m equivalent (ISO100)
Less than 1/250 second
1/3EV step ±3EV
1st. Curtain Sync, 2nd Curtain Sync.
Fn1 to 10
OLED monitor with static touch control
Free-angle 3.0-inch / 3:2 aspect / Wide viewing angle
Approx. 1036K dots
Li-ion Battery Pack (7.2V, 1860mAh, 14Wh) (Included)
132.9 x 93.4 x 83.9mm (excluding protrusions)
Approx. 560g
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LENS REVIEW
Leica DG Summilux 25mm f/1.4 ASPH. lens
A high quality normal
lens for MFT format
Ashok Kandimalla
L
eica Camera AG is one of the
most venerable companies in the
world of optics and photography.
Leica generally names its f/1.4 lenses
as “Summilux” (called “Lux” lenses by
Leica aficionados) and this lens follows
that naming convention. This lens is
the result of the collaboration between
an equally well known Japanese
firm, Panasonic. The literature of this
lens states that “Leica DG lenses are
manufactured using the measurement
instruments and quality assurance
systems that have been certified
by Leica Camera AG based on
company’s quality standards.” In
short, this lens is a Leica optical design,
manufactured by Panasonic to the
exacting standards of Leica. So, you
need not have any doubts about its
pedigree or optical quality!
This lens is specifically designed to be
used on the Micro Four Thirds (MFT)
cameras, made by both Olympus and
Panasonic. Considering that the MFT
format has a crop factor of two, the
angle of view is same as that of a 50mm
lens on a full frame D-SLR. This, as you
might recall, is the classic “normal” lens,
once the standard lens supplied with all
` Rs.41,990
Inside the Box
✓ Lens
✓ Front & rear caps
✓ Lens hood
✓ Lens pouch
✓ User Manual
✓ Warranty card
104
Smart Photography November 2014
(DOF) scales and no AF/MF switch.
The lens uses an internal focusing
design and hence its overall length
does not change while focusing. There
is a dull metallic coloured ring at the
top, giving it a smart look. It is slightly
large for an MFT lens. This, plus its
solid build makes it tip the scales at a
hefty 200 grams. The filter size is 46mm
(diameter) which is standard for many
MFT lenses.
Key Features
SLRs, till the slow “kit lenses”
took over! Fortunately,
the normal lens has been
undergoing a resurrection
with many photographers realizing the
virtues of the so called “nifty-fifty”. This
is a rather apt description, considering
that a normal lens can used for virtually
any type of photography - portraits,
landscapes, street, photo-journalism
and what not. Another advantage is that
normal lenses are generally the fastest
available and are ideal for low light work
and for getting shallow depth of field.
Design And Build
This lens is finished handsomely
in typical Panasonic dark grey. It
uses polycarbonate for most of
the construction but the mount is
machined nicely in metal. As with most
modern lenses there is no aperture
ring, the aperture being controlled
from the camera body. There is a nice
rubber-ribbed focusing ring, and that’s
about it. There is nothing else on the
lens – sadly, no distance or depth of field
The Summilux lens has a fast aperture
of f/1.4 and has a complex and modern
tele-centric design with 9 elements
in 7 groups. It also uses Ultra High
Refractive index lens and glass molded
aspherical elements (hence the word
ASPH) to maintain edge to edge
sharpness and to cut down aberrations.
The lens also uses the sophisticated
“nano surface” coating to reduce flare
and ghosting. The diaphragm is made
of seven rounded blades for a good
bokeh. The front element does not
rotate, making it easy to use polarizing
and graduated neutral density filters.
Ergonomics
This lens was tested on the popular
Olympus OM-D E-M5 MFT body.
The lens/body combination balances
reasonably well but is a tad front heavy.
The whole set up is very compact and
is easy to handle – ideal for discrete
candid or low light work.
The AF/MF switching is only through
the camera menu which is a bit of a
nuisance. The focusing ring is smooth
but a little underdamped. There are
no distance or DOF scales, so forget
about setting this lens to hyper focal
www.smartphotography.in
Ashok Kandimalla
Aperture: f/1.8 Shutter Speed: 1/50sec ISO: 1250
distance and do “from the hip” snapshot
shooting in the true Leica style! There
is a very visible red index mark which is
raised and this is of great help when you
are mounting the lens in low light.
The lens comes with a solidly
made “Leica-ish” square lens hood.
Unfortunately, it can’t be reversed on
the lens for storing. This is one major
drawback as the hood is very large
and occupies a great amount of space
in your bag. The pouch included will
accommodate the lens plus the hood
though. We are really surprised how
two very famous names together could
design such a bad hood!
Performance
As you would expect from the Leica
name (and the
price) the Summilux
25mm lens is an
excellent performer.
Autofocusing is
accurate and quiet.
The lens’ main plus
point is its optical
performance.
True to its name
it is sharp even
wide open. Just by
stopping by half a
stop to f/1.8 makes
it very sharp. Peak
performance is
around f/2.8. At this
setting, the lens is
exceedingly sharp
right up to the
edges. However, the
performance starts
getting degraded
beyond this due to
diffraction and it is
best you don’t use
this lens at apertures
narrower than f/5.6.
Typical to MFT
lenses, images
show practically no
distortion at all, this being partly achieved
through software either in camera
or external. Due to the same reason,
vignetting is negligible even at the fairly
wide aperture of f/2.0. There is no visible
chromatic aberration.
PLUS
• Vey sharp
• Low
distortion and
aberrations
• Excellent
overall image
quality.
• Solid build
quality
MINUS
• A little big
and heavy for
an MFT lens
• Badly
designed lens
hood
VERDICT
This is a fast normal lens that is ideal for
portraits, landscapes, street photography
and photojournalism. It is excellent for low
light work due to its fast aperture. The lens
is solidly built, offers fast focus and is sharp
even wide open. While the price is not low
(but don’t forget that a normal Summilux
lens for a Leica full frame digital camera is
a few lakhs of Rupees), considering its build
quality and optical performance you can
consider it to be fair.
The quality of bokeh is excellent as you
would expect German designs. It is very
smoothly rendered and is ideal
for portraits.
Value For Money
The MRP of this lens is Rs. 41,990/-.
Admittedly this is not a low price. It is
a bit higher than the full frame normal
lenses from major manufacturers.
However, in all fairness, it outclasses
them easily. It has a very sophisticated
design and nano coatings. Also, glass
molded aspheric elements (a Leica
specialty) as opposed to resin based
compound ones (used by most) are
expensive. Being a tele-centric design it
is optimized for digital sensors and this
clearly shows up in its performance. So,
to see this price in proper perspective,
you need to consider the solid
construction, fast aperture and superb
performance.
FINAL SCORE
86%
Design and Build Quality 19/20
Key Features
16/20
Ergonomics
16/20
Performance
Autofocus
Sharpness
Distortion Control
Aberrations
Darkening
of Corners
Extra Features
Sub-Total
Value for Money
5/5
5/5
4/5
5/5
5/5
4/5
28/30
7/10
SPECIFICATIONS
Focal length
Angle of view
Maximum aperture
Minimum aperture
Lens construction
Closest focusing distance
www.smartphotography.in
:
:
:
:
:
:
25mm (equivalent to 50mm on full frame)
47º
f/1.4
f/16
9 elements in 7 groups
0.25m
Maximum reproduction ratio :
No. of diaphragm blades :
Filter attachment size
:
Dimensions (Dia x L)
:
Weight
:
0.22x
7, Circular aperture diaphragm
46mm
63 X 54.5 mm, (approximately)
200gms, (approximately)
November 2014 Smart Photography
105
SMARTPHONE Review
Sony Xperia Z3
The Price-keeper
Sujith Gopinath
B
arely two months after
we reviewed the Xperia
Z2, Sony released the Z3,
an upgrade to the Z2. But we
would consider this an attempt to
arrest the price rather than a real
upgrade. Hence we do not wish to
go into the common features in
detail.
Design and Build Quality
The Xperia Z3 looks significantly
different from Z1 and Z2. The
body features the same front-andback glass design, but the Z3 has a
slim and trim construction. Unlike
the straight and slightly rough
aluminium bezels of the earlier
Z-series Smartphones, the Z3 has
smoother and rounded aluminium
bezel tipped with rounded, plastic
corner pieces. Sony has done away
with the microphone mesh (Z1)
and the three microphone holes
(Z2) at the base in favour of a
horizontal slot on the front surface
identical to its earpiece slot. This
takes it closer to the iPhone 6 Plus
in design (going by the published
images of iPhone 6 Plus).
Key Features
Apart from the improvements in
design elements and subtle changes
in features, the Z3 is not very
different from the Z1 and Z2.
Feature-wise, the Xperia Z3 is not
significantly different from the Z2.
Both feature the same Qualcomm
Snapdragon 801 processor, but
the Z3’s processor clocks slightly
faster at 2.5 GHz against the Z2’s
clock speed of 2.3 GHz. Both are
powered by Adreno 330 GPU.
Both provide 3GB RAM and
16GB internal memory, of which
11.8GB is available for the user. It
can accept an external microSD
card of up to 128GB. The device
can also connect with an external
USB storage (with an OTG cable),
which provides virtually unlimited
memory. The only change worth
noting is that the Z3 offers PS4
remote play, which allows you to
access your PS4 console remotely
using WiFi. But this concerns only
a handful of PS4 users.
The new phone has a higher
ingress protection rating (IP68
instead of IP58), which may seem
significantly higher, but is not so
in reality. This only means that
the Z3 is upgraded to dust-proof
from dust-resistant. All other
parameters remain the same.
` 51,990
Inside the Box
✓ Xperia Z3 Smartphone
✓ Adapter
✓ USB Cable
106
Smart Photography November 2014
The camera also has the same
specifications, but the built-in
effects have been improved in
numbers. Still, this is not very
significant. The camera feature
the Z2’s 20.7-megapixel, 1/2.3inch Type (6.16 x 4.62mm) Exmor
www.smartphotography.in
Aperture: f/2.4 Shutter Speed: 1/180sec. ISO: 100
RS for mobile sensor that was
also used in the Z1. This high
sensitivity sensor is believed
to reduce digital noise while
maintaining high resolution. The
camera features a BIONZ for
mobile processor, which aids in
fast sutofocus, motion detection,
and noise reduction. The
camera features a Sony G 27mm
equivalent f/2.0 lens. It also
features a pulsed LED light that
can function as a camera light
and a torch. The Z3 is capable
of recording 4K (3840 x 2160)
Ultra High Definition videos.
The camera features SteadyShot,
which compensates for camera
movements by boosting the
sensitivity as required.
The Z3 uses a 5-inch Full HD
IPS Triluminos Display with
X-Reality for mobile technology.
The display has a resolution
of 1920 x 1080 pixels, which
translates to a pixel density of
441 pixels per inch. It offers
multi-touch feature with support
for up to 10 fingers. The device
measures approximately 146
x 72 x 7.3mm and weighs
approximately 152g.
Ergonomics
Since the Z3 uses identical
hardware as that of the Z2,
everything remains the same. The
screen is big, bright and clear.
The device is slightly lighter and
easily slips into the pocket. The
camera interface is the same, with
some subtle enhancements in
the built-in effects. Buttons are
rounded and overall, the device
has soft contours.
Performance
Though we put the Z3 through
the usual tests that we do with
other Smartphones, we would
not like to repeat what we said in
the Z2 review since it is the same
device in a re-designed shell. The
phone and camera performed
well, even while accessing
resource-intensive applications.
Images appeared crisp and the
camera interface was quite userfriendly.
www.smartphotography.in
November 2014 Smart Photography
107
SMARTPHONE Review
Sony Xperia Z3
Native image size was 13.12 x
17.49 inches at 300 ppi. At 25
percent screen size, we observed
slight noise at ISO 800. Observed
at 50 percent of the screen size,
slight noise was observed
at ISO 400 and above.
At 100 percent screen
size, though the camera
produced noise at all
ISOs, images remained
usable up to ISO 200.
Auto White Balance
performed well. Slight
cast produced under
artificial lighting
could be easily removed in postprocessing. The Z3 particularly
impressed us in close-ups.
Value for Money
The Xperia Z3 retails at an
PLUS
• Powerful
hardware
• Waterproof
• Dust Proof
• Good
camera
MRP of Rs.51,990. While the
Z2 is listed at Rs.41,000 and the
Z1 at Rs. 34,000. So the same or
comparable hardware is marketed
at steeply varying price-tags along
with some subtle improvements.
We would leave the judgement to
you.
FINAL SCORE
83%
Design and Build Quality 19/20
MINUS
Key Features
16/20
Ergonomics
17/20
Performance
17/20
Value for Money
14/10
• Steep price
VERDICT
The Sony Xperia Z3 is a high-end water
and dust proof Smartphone that competes
in the premium class of products. While
it is good to have the latest product in the
market (mainly due to the longer support
commitments from Sony), the Z3 does not
break any new barrier. But still it is a Best
Buy.
KEY SPECIFICATIONS
Size
:
Weight
:
Screen
:
Memory
:
Platform
:
Camera Effective Pixels :
Camera sensor
:
Lens
:
Camera features
:
Approx. 146 x 72 x 7.3mm
Approx. 152g
Full HD 1920 x 1080 pixels
16GB internal, microSD card, up to 128GB (Not included)
Google Android 4.4.4 (KitKat)
20.7 Million
Sony Exmor , RS™ for mobile
25 mm equivalent
AR Effect, AR Fun, Auto focus, Background Defocus,
Burst mode, Creative effects, HDR for photos and
movies, Face detection, Face in, Flash/Pulsed LED,
Flash/Photo light
Front-facing camera : 2.2 MP with Sony Exmor R™ for mobile image sensor
Image stabiliser
: Yes
Input/Output
: 3.5 mm audio jack; Digital Noise Cancelling (DNC),
GLONASS, Synchronization Synchronisation via
Facebook, Google, SyncML, Exchange, ActiveSync
108
Smart Photography November 2014
Connectivity
Design
Organizer
: NFC, PC Companion, Screen mirroring, Smart Connect,
USB charging, USB High speed 2.0 support, USB Host,
Xperia Link, Wi-Fi, Wi-Fi Hotspot functionality, Wi-Fi
CERTIFIED Miracast
: Auto rotation, Battery STAMINA mode, Bluetooth®
unlock, Direct touch, Face Unlock, Gesture input, IPX5
and IPX8 (waterproof), IP6X (Dust tight), Live Colour
LED, On-screen QWERTY keyboard, Screenshot
capturing, Screen video recording, Small Apps, Smart
backlight control, Smart screen rotation, Super-vivid
mode, Throw, Xperia™ Home, X-Reality for mobile,
Touch screen, TRILUMINOS Display for mobile, Voice
input, Wallpaper
: Airplane mode, Alarm clock, Calculator, Calendar,
Contacts, Document readers/editors, eCompass™, Setup
guide, Sketch, Stopwatch, Timer
www.smartphotography.in
FIRST LOOK
Transcend SD Card / HDD
Now Fire at Will...!
Sujith Gopinath
H
ave you just bought
a camera that
claims to fire the
shutter at 20 frames per
second and capable of 4K
video recording? But do you
notice that the camera goes
slow after a few high-speed
frames or stops recording
4K videos abruptly? Before
blaming your camera or the
manufacturer (it is easier to
do so), check the memory
card you have paired with
the camera. High-speed
recording requires a card
capable of writing data fast
enough to free the camera’s
buffer during shooting. With
fast data transfer rates and
large storage capacities, the
new generation memory
cards from Transcend are
ideal companions to highend digital cameras and highspeed devices.
Low power consumption
and fast write speeds of the
cards also help in conserving
power, thereby prolonging
the runtime of the battery.
The cards have in-built
hardware error correction
code for detecting and
correcting errors in the card.
The UHS-I U3X cards have
a maximum read speed
of 95MB per second and
maximum write speed of 85
MB per second. These cards
are available in 32 to 128GB
capacities.
The 32GB SDHC
memory cards retail at
approximately Rs.3600
and are available at all
leading stores and e-shops.
The cards carry a Limited
Lifetime Warranty.
FIRST LOOK
Transcend External HDD
A Photographer’s
Companion
Sujith Gopinath
T
ranscend’s new StoreJet
portable Series external
hard drives combine
compact footprint and rugged
build quality with a gloss
finish. The drives offer up to
1TB of storage capacity, and
are available in USB 3.0 and
USB 2.0 versions. These drives
are built to last, meeting U.S.
Military drop-test standards.
It prevents data loss resulting
from accidental shock or
collision. The small footprint
and light weight of the device
allows it to be easily carried
around.
110
We received the SJ25M3
External Hard Drive, which
features a rubber case and a
Quick reconnect/Auto backup
button. The Quick reconnect
button allows you to re-enable
safely removed USB hard
drive without unplugging and
reinserting. The drive offers
free download of Transcend
Elite and RecoveRx software.
The Elite software allows
you to backup your data and
synchronise the drive with
your computer. The RecoveRx
software will help you in case
you want to retrieve data that
Smart Photography November 2014
has been accidentally deleted
from the device.
The SJ25M3 enables plug-andplay operation and does not
require any device driver to
connect to the computer. The
device does not require an
external power adapter to work.
It draws power through the USB
port on your computer. The
supplied USB cable provides
two USB adapters (Y-adapter)
so that you can use two USB
ports to supply enough power
for operation. However, do note
that the device should not be
connected through an USB hub.
An LED power/data transfer
indicator provides real-time
information.
The SJ25M3 retails at
approximately Rs. 6060 and carries
a limited warranty of three years. It
is available at all leading stores.
www.smartphotography.in
READERS CAN CHECK THE ENTIRE BUYER’S GUIDE,
THAT FEATURES SPECS AND PRICES OF
D-SLRS, ILCCS, DIGITAL COMPACTS AND LENSES VIDE LINK
http://www.smartphotography.in/buyers-guide
www.smartphotography.in
November 2014 Smart Photography
111
Buyers’ Guide - Digital SLRs
CANON EOS-1D X
Sensor Type/size
priority AE, Manual
ISO Equivalence
Shutter Speed
White Balance
LCD Monitor
Storage Type
Weight
: Full Frame 36 x
24 mm CMOS
Effective Pixels
: 18.1 million
File Formats
: RAW /JPEG
Metering Modes : Multi, Centerweighted,
Average, Spot
Exposure Modes : Program AE,
Shutter priority
AE, Aperture
: 100-51200 (50, 102400 and 204800
with boost)
: 30 sec-1/8000 sec.
: Auto, Daylight, Shade, Cloudy, Tungsten,
White Fluorescent light, Flash, Custom
(up to 5), Color Temperature (Kelvin)
: 3.2 inches/ 1040000 pixels
: Compact Flash (Type I or II),
UDMA compatible
: 185g
Sensor Type/size
Effective Pixels
Supported
File Formats
Metering Modes
Exposure Modes
:
:
ISO Equivalence
Shutter Speed
White Balance
:
:
:
LCD Monitor/Dots
Storage Type
:
:
Weight
:
Price: Rs. 4,55,995 (body only)
Effective Pixels
Supported File
Formats
ISO equivalence
Exposure Modes
:
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
: RAW/JPEG
: Auto, 100, 200,
400, 800, 1600,
3200, 6400,
12,800, 25,600
Program AE , Shutter- priority AE,
Aperture-priority AE, Manual exposure
Evaluative, Partial, Spot, Centerweighted average
30 sec to 1/4000
3.0-inch/1.04 million dots
SC/SDHC/SDXC
407g
CANON EOS 1200D
:
:
:
:
:
:
Effective Pixels : 18 Million
Sensor Type : CMOS, 22.3 x
14.9mm
Supported File
Type
: JPEG, RAW (14 bit)
Exposure
Modes
: Program AE, Shutterpriority AE, Aperturepriority AE, Manual
Centre-weighted, Evaluative
3.0-in. approx. 460,000 dots TFT
ISO 100 - 6400
30 – 1/4000 sec
SD/SDHC/SDXC
480g (with battery)
Price: Rs. 27,995 (Body only)
112
: JPEG (Exif 2.3 [Exif
Print] compliant)
RAW: RAW,
sRAW1, sRAW2
(14bit, Canon
original RAW 2nd edition)
Multi, Center-weighted, Spot, Partial
Auto+ Program AE, Shutter priority AE,
Aperture priority AE Manual (Stills and
Movie), Custom (x3)
100-25600 (50-102400 in expanded mode)
30 sec - 1/8000 sec
Auto, Daylight, Shade, Cloudy, Tungsten
SPNO[>OP[LÅ\VYLZJLU[SPNO[-SHZO*\Z[VT
WB, Color temperature
3.2-inch, 1,040,000 dots
Compact Flash Type I (UDMA compatible),
SD/SDHC/SDXC
950 gms
Exposure Modes
:
ISO equivalence
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
Sensor Type/Size : CMOS sensor
(22.5 x
15.0mm)
Effective Pixels
: Approx.
20.20MP
Supported File
Formats
: RAW/JPEG
ISO equivalence : Auto, 100, 200,
400, 800,
1600, 3200,
6400, 12800 (25600 with boost)
Exposure Modes
: Program AE , Shutter-priority AE,
Aperture-priority AE, Manual
exposure, Bulb exposure
Metering Modes
: Evaluative, Partial, Spot, Centerweighted average
Shutter Speeds
: 30 sec to 1/8000 sec
LCD Monitor/ Dots : 3.0-inch/1.04 million dots
Storage Type
: SC/SDHC/SDXC
Weight
: 675 g
CANON 700D
Smart Photography November 2014
Sensor Type/Size
Effective Pixels
Supported File
Formats
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
Effective Pixels
Sensor Type
:
:
:
Shutter Speed
Storage Type
Weight
:
:
:
Price: Rs. 4,19, 950 (Body only)
: RAW/JPEG/ RAW
+ JPEG
ISO equivalence
: ISO100 ISO12800
Exposure Modes
: Program AE,
Shutter-priority AE,
Aperture-priority AE, Manual exposure
Evaluative, Partial, Spot, Center-weighted
average
30 sec to 1/4000 sec
3.0-inch/1.04 million dots
SC/SDHC/SDXC
675 g
NIKON D610
NIKON D4s
Metering Modes
LCD Monitor
ISO Equivalence
: CMOS sensor
(22.5 x 15.0mm)
: Approx. 18MP
Price: Rs. 43,995
Price: Rs. 79,995 (body only)
: 16.2 Million
: 36.0 x 23.9 mm
CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes : Program with
ÅL_PISLWYVNYHT
(P); shutterpriority (S);
aperture-priority (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-in., approx. 921k-dot (VGA) TFT
ISO 200 – 25,600 (Expandable
to 409,600)
30 – 1/8000 sec
XQD and Type I CF (x2)
1350g (with battery and card)
: CMOS, 35.8mm
x 23.9mm
Effective pixels
: Approx. 20.2
million
Supported File formats: JPEG, RAW (14bit, Canon
original),
RAW+JPEG
Metering Modes : Evaluative
metering (315
zones), Partial,
Spot, Center-weighted
Program AE for movie shooting, Manual
exposure
100-25600 (expansion possible to ISO
50, ISO 51200 and 102400)
1/4000 to 30 sec.
3.0-inches, 1,040,000 dots
SD card, SDHC card, SDXC memory card
680g (Body only)
Price: Rs. 1,32,995 (body only)
CANON EOS 70D
: CMOS (22.3 x
14.9mm)
: Approx.
18.00MP
Price: Rs. 43,995 (body only)
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Sensor Type/size
: CMOS, Full
frame 36 x 24 mm
: 22.3 million
Price: Rs. 2,17,995 (body only)
CANON EOS 100D
Sensor Type/Size
CANON EOS 6D
CANON EOS 5D MARK III
Sensor Type/Size
Effective Pixels
Supported File
Formats
ISO Equivalence
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
: CMOS sensor
(35.9 x 24.0 mm)
: 24.3 million
: NEF (RAW)/JPEG
: ISO 100-6400 in
steps of 1/3 or
1/2 EV
Exposure Modes
: Auto; scene;
programmed
H\[V^P[OÅL_PISLWYVNYHT7"
shutter-priority auto (S); aperture-priority
auto (A); manual (M)
Matrix, Center-weighted, Spot
30 sec to 1/4000 sec
3.2-inch/ approx. 921k-dot
SC/SDHC/SDXC
850 g
Price: Rs. 1,29,950 (Body only)
www.smartphotography.in
Buyers’ Guide - Digital SLRs
NIKON D810
NIKON D750
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
:
:
:
:
:
Weight
:
: 37.09 Million
: 35.9mm,
x24.0mm CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes
: Program with
ÅL_PISLWYVNYHT
(P); shutterpriority (S); aperture-priority (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-inch, approx.1229k-dot TFT
64-12800 (Expandable to 51,200)
30 – 1/8000 sec
CF (Type I, UDMA compliant), SD/SDHC/
SDXC (dual slot)
980g (with battery and card)
Metering Modes
:
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
: 24.93million
: 35.9mm, x24.0mm
CMOS
Supported File Type : JPEG, RAW (12 or
14 bit)
Exposure Modes
: Auto, Scene,
Special Effects,
Program with
ÅL_PISLWYVNYHT
(P); shutter-priority
(S); aperture-priority (A); manual (M)
Matrix, center-weighted, or
highlight-weighted
3.2-inch, approx.1229k-dot tilting TFT
100-12800 (expandable to 51,200)
30 – 1/4000 sec
SD/SDHC/SDXC (Dual Slots)
840g (with battery and card)
Price: Rs. 1,99,950 (Body only)
NIKON D5300
Sensor Type/Size
Effective Pixels
Supported File
Formats
ISO Equivalence
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
: CMOS sensor (23.5
x 15.6 mm)
: 24.2 million
: NEF (RAW)/JPEG
: Auto, 100 - 12800
(25600 with boost)
Exposure Modes
: Auto; programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority auto (S); aperture-priority
auto (A); manual (M); scene modes;
special effects modes
Matrix, colour Matrix, Center-weighted,
Spot
30 sec to 1/4000 sec
3.2-inch, approx. 1037k-dot
SC and UHS-I compliant SDHC/SDXC
480 g
PENTAX K3
:
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
Sensor Type/Size: CMOS sensor (23.5
x 15.6mm )
Effective Pixels : 23.35 MP
ISO Equivalence : Auto: ISO 100-51200
(1, 1/2, 1/3 steps),
Auto ISO range
selectable
Supported File
Formats
: RAW (PEF, DNG),
JPG (EXIF 2.30), DCF
Green, Hyper Program (P), Sensitivity
Priority (Sv), Shutter Priority (Tv), Aperture
Priority (Av), Shutter and Aperture Priority
(Tav), Metered Manual (M), Bulb, X-Speed
Multi, Center-weighted, Spot
30 sec to 1/8000sec
3.2-inch/1037k-dot
SD/SDHC/SDXC
799 g
Price: Rs. 85,365 (Body only)
www.smartphotography.in
Effective Pixels
Sensor Type
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
NIKON DF
: 24.2 Million
: 23.5 x 15.6 mm
CMOS sensor
Supported File Type : JPEG, RAW
(12 bit)
Exposure Modes : Auto, Programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority
auto (S); aperture-priority auto (A);
manual (M); scene, special effects
Matrix, Centre-weighted, Spot
3-in., approx. 921k-dot (VGA) TFT
ISO 100-12800 (Expandable up to 25,600)
30 to 1/4000 sec
SD/SDHC/SDXC memory card
460g (with battery and card)
:
:
:
:
:
:
Price: Rs. 29,450 (Body only)
Price: TBA
NIKON D7100
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
:
: 16.2 million
: 36.0 x 23.9 mm
CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes
: Programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority
auto (S); aperture-priority auto (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-in., approx. 921k-dot (VGA)
ISO 100 - 12800 (Expandable to 204,800)
30 to 1/4000 sec
SD/SDHC/SDXC memory card
765g (including battery and card)
Effective pixels
Sensor size/type
Effective Pixels
Sensor Type
ISO equivalent
Shutter speeds
LCD monitor
Storage type
Weight
Price: 1,64,950 (Body only)
Price: Rs. 49,450 (Body only)
Exposure Modes
NIKON D3300
Effective Pixels
Sensor Type
Effective Pixels
Sensor Type
PENTAX K50
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
Sensor Type/Size : APS-C sensor (23.7 x
15.7mm )
Effective Pixels : 16.3 MP
ISO Equivalence: Auto, 100 to 51600,
in 1, 1/2, 1/3 EV steps
Supported File
Formats
: RAW (PEF, DNG),
JPG (EXIF 2.30), DCF
Exposure Modes : AF.A (auto), AF.S
(single, w focus lock,
focus/shutter priority selectable), AF.C
(continuous, w focus/FPS priority
selectable), Manual
Center-Weighted Average, Spot
30 sec to 1/8000sec
3.2-inch/1037k-dot
SD/SDHC
649 g
Price: Rs. 48,995 (Body only)
:
:
:
:
:
: 24.1 million
: 23.5x15.6mm,
CMOS
Metering modes
: Matrix,
Center-weighted,
Spot
Exposure modes
: A, P (with
Flexible P), S, M
100-6400, extended up to 25,600
30-1/8000sec, plus Bulb
3.2”, 1,228,800 dots
SD, SDHC, SDXC
675g, body only
Price: Rs. 79,450 (Body only)
SONY SLT A77 II
Effective pixels
Sensor Type
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
:
:
:
:
Weight
:
: 24 million
: 23.5 x 15.6 mm
CMOS
Supported File Types : JPEG, Raw
Exposure Modes : iAuto, Program,
Aperture priority,
Shutter priority,
Manual, Scene
Metering Modes : Multi, Centreweighted, Spot
Fully articulated 3-inch, 1,229,000-dot TFT
SO 100-25600
30 to 1/8000 sec
SD/ SDHC/SDXC, Memory Stick Pro Duo/
Pro-HG Duo
647 g
Price: Rs. 84,990 (Body only)
November 2014 Smart Photography
113
Buyers’ Guide - ILCCs (Mirrorless)
FUJIFILM X-T1
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
: 16.3 million
: 23.6mm x 15.6mm X-Trans CMOS
: JPEG, RAW
: Program, Shutter priority,
Aperture priority, Manual
: Multi / Spot / Average
: 3.0-inch, approx. 1,040K-dot,
Tilt type
: ISO 200 - 6400 (Extended up
to ISO 100-51200)
: 30 to 1/4000 sec., Bulb
: SD/SDHC/SDXC (UHS-II)
: Approx. 440g (including
battery and memory card)
FUJIFILM X-E2
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Price: Rs. 91,999 (Body only)
FUJIFILM X-A1
Effective Pixels
: 16.3 million
Sensor Type
: 23.6mm x 15.6mm CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: Program, Shutter priority,
Aperture priority, Manual
Metering Modes
: Multi, Spot, Average
LCD Monitor
: 3.0-inch, Approx. 920K-dot
Tilt type TFT
ISO Equivalence
: ISO200 – 6400 expandable
to ISO100-25600
Shutter Speed
: 30 to 1/4000 sec., Bulb
Storage Type
: SD/SDHC/SDXC (UHS-I)
Weight
: Approx. 330g (including
battery and memory card)
Price: Rs. 44,999 (with 16-50mm lens)
OLYMPUS PEN E-PL7
Effective Pixels
: 16.1 million
Sensor Type
: 4/3 Live MOS Sensor
Supported File Type : RAW, JPEG
Exposure Modes
: iAuto, P, A, S, M, Bulb, Time,
Scene select, Art Filter
Metering Modes
: Digital ESP, Centre-weighted
average, Spot
LCD Monitor
: Approx.1037k-dot,
3.0-inch tilting
ISO Equivalence
: ISO 100 - 25600
Shutter Speed
: 60 – 1/4000 sec
Storage Type
: SDHC, SDXC, UHS-I
compatible
Weight
: Approx. 357g with battery
and Memory card
Price: TBA
114
Smart Photography November 2014
: 16.3 million
: 23.6mm x 15.6mm X-Trans CMOS
: JPEG, Raw
: Program, Shutter priority,
Aperture priority, Manual
: Multi / Spot / Average
: 3.0-inch, approx. 1,040K-dot
: ISO 200 – 6400 (Expandable
up to ISO 100-25600)
: 30 to 1/4000 sec; Bulb
: SD/ SDHC/ SDXC
: Approx. 350g (including
battery and memory card)
FUJIFILM X-M1
Sensor Type/Size
: APS-C X-Trans CMOS
(23.6mm x 15.6mm)
Effective Pixels
: 16 MP
ISO equivalence
: Auto / ISO 200 - 6400
Supported File Formats : RAW/JPEG
Exposure Modes
: Advanced SR AUTO, Program
AE, Shutter Priority, Aperture
Priority, Manual, Custom,
Portrait, Landscape, Sport, SP,
Adv., AUTO
Metering Modes
: Multi, Average, Spot
Shutter Speeds
: 30 sec to 1/4000 sec
LCD Monitor/ Dots : 3.0-inch Type 920K-dot
Storage Type
: SD/SDHC/SDXC (UHS-I)
Weight
: 330 g
Price: Rs. 1,09,999
OLYMPUS OM-D E-M5
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speeds
LCD Monitor/Dots
Storage Type
Weight
: 16.1 million
: Sensor Size/Type: 4/3 Live MOS Sensor
: Multi Center-weighted, Spot
: i Auto, P: Program AE (Program
shift can be performed)
: UTO: ISO 200 - 25600 (customizable,
Default 200-1600) / Manual ISO 200 25600, 1/3 or 1 EV steps selectable
: 11/4000 - 60 sec. (1/3, 1/2, or 1EV steps
selectable.)Bulb: default setting 8min.
(1/2/4/8/15/20/25/30 min.
: 3.0-inch tilting OLED monitor
Approx. 610,000 dots
: SD/SDHC/SDXC
: 425 gms (excluding battery)
Price: Rs. 66,990 (Body only)
OLYMPUS OM-D E-M1
Sensor Type/Size
Effective Pixels
ISO equivalence
: CMOS sensor (17.3 x 13 mm)
: 16MP
: 100-25600 in 1/3EV or
1EV increments
Supported File
: JPEG/RAW (ORF)/ MPO
Exposure Modes
: Auto/Program, Shutter Priority,
Aperture priority, Manual,
7OV[VZ[VY`(Y[
!(Y[ÄS[LY:*54V]PL
Metering Modes
: Multi, Center-weighted, Spot
Shutter Speeds
: 60 sec to 1/8000 sec
LCD Monitor/ Dots : 3-inch 1037 k-dot
Storage Type
: SD/SDHC/SDXC , Eye-Fi
Movie
: MPEG-4 AVC/H.264/Motion
JPEG
Weight
: 497 g
Price: Rs. 1,05,000 (Body only)
Price: Rs. 47,999
OLYMPUS PEN E-PL5
Effective Pixels
Seensor Size/ Type
Metering Modes
ISO
: 16.1 million
: 17.3 x 13 mm, CMOS
: Multi, Center-weighted, Spot
: Auto (200 - 1600), 100, 200, 400,
800, 1600, 3200, 6400, 12800
Exposure Modes
: P, A, S, M , Bulb, Time, iAuto, Scene Modes, Art Filter
ISO equivalence
: Auto ISO 200 - 25600 (customis
able, default ISO 200 – 1600),
Manual ISO 200 - 25600 in 1/3 or
1 EV ISO steps
Shutter Speeds
: 60-1/4000 sec
LCD Monitor/ Dots : 3-inch, 460,000 dots
Storage Type
: SD/SDHC/SDXC
Weight
: 279g (body only)
Price: 44,990 (with 14-42mm lens)
PANASONIC DMC GF5
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
LCD Monitor
Storage Type
Weight
: 12.10 Megapixels
: Live MOS Sensor
: Intelligent Multiple / Center
Weighted / Spot
: Program AE / Aperture Priority
AE / Shutter Priority AE / Manual
: Auto, 160, 200, 400, 800,
1600, 3200, 6400, 12800
: 60 sec - 1/4000 sec
: 3-inch, 920,000 dots
: SD/SDHC/SDXC
:267 gms
Price: Rs. 39,990/-
www.smartphotography.in
Buyers’ Guide - ILCCs (Mirrorless)
PANASONIC DMC G6
Sensor Type/Size
Effective Pixels
ISO equivalence
: CMOS sensor (17.3 x 13 mm)
: 16 MP
: Auto / 160, 200, 400, 800,
1600, 3200, 6400, 12800,
25600 (Extended)
Supported File
: RAW/JPEG/MPO Video:
MPEG4/AVCHD
Exposure Modes
: Program AE / Aperture Priority
AE / Shutter Priority AE / Manual
Metering Modes
: Intelligent Multiple / Center
Weighted / Spot
Shutter Speeds
: 60 sec to 1/4000 sec
LCD Monitor/ Dots : 3.0-inch Type 1036k-dot
Storage Type
: SD/SDHC/SDXC
Weight
: 390 g
PANASONIC DMC-GH3
Effective Pixels
Sensor Size/ Type
Metering Modes
Exposure Modes
: 16.05 million
: 17.3 x 13.0 mm, Live MOS Sensor
: Intelligent Multiple / Spot
: Program AE/Aperture Priority
AE/Shutter Priority AE / Manual
ISO equivalence
: Auto / Intelligent ISO / 200 - 12800
(Changeable to 1/3, 1 EV step)
(Extended ISO125 - less under 200,
ISO more over 12800 - 25600
available) (Up to ISO3200 in Auto)
Shutter speeds
: Still Images: 1/4,000 - 60 and Bulb and
Motion Images: 1/16,000 - 1/30
LCD monitor/ Dots : 3 inch, 614K dots
Storage Type
: SD/ SDHC/ SDXC
Weight
: 460 g
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
LCD Monitor
Storage Type
Weight
: 20.3 megapixels
: APS-C type CMOS,
23.5 x 15.7 mm
: Multi, Center-weighted, Spot
: Program, Aperture Priority,
Shutter Priority, Manual,
Lens Priority, Magic, cene,
Movie, Wi-Fi
: Auto, 100, 200, 400, 800,
1600, 3200, 6400, 12800
(1 or 1/3EV step)
: 30 sec - 1/4000 sec
: 3-inch, 921,000 dots
: SD/SDHC/SDXC
: 222 gms
SONY ALPHA 7
Effective Pixels
: 36.4 million
Sensor Type
: 35.9×24.0mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Movie
Metering Modes
: Multi-segment, centreweighted, spot
LCD Monitor
: 3.0-type wide type TFT
with 921,600 dots
ISO Equivalence
: ISO100 to 25600
Shutter Speed
: 30 to 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 465 g with battery
and memory card
Price: Rs.1,24,990 (Body only)
www.smartphotography.in
Storage type
Weight
: 20.3 Million
: 23.5 x 15.7mm CMOS
: JPEG, Raw
: Multi, Centre-weighted, Spot
: Smart Auto, P, A, S, M
: 100-25,600
: 30-1/6000 sec
: 3.31 inch AMOLED
with Touch
: SD, SDHC, SDXC
: 284 g (without battery)
Price: 48,900 (with 18-55mm lens)
SONY ALPHA 7S
Effective Pixels
: 24.3 million
Sensor Type
: 35.8×23.9mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Scene
Metering Modes
: Multi-segment,
centre-weighted, spot
LCD Monitor
: 3.0-type wide TFT with
921,600 dots
ISO Equivalence
: ISO100 to 25600
Shutter Speed
: 30 – 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 474 g with
battery and card
Effective Pixels
: 12.2 million
Sensor Type
: 35.6×23.8mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Movie
Metering Modes
: Multi-segment, centreweighted, spot
LCD Monitor
: 3.0-type TFT 921,600 dots
ISO Equivalence
: ISO 100-409,600
Shutter Speed
: 30 to 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 489 g
Price: Rs.94,990 (Body only)
Price: Rs.1,54,990 (Body only)
Price: Rs.34,900
SONY ALPHA 7R
Effective pixels
Sensor size/type
File formats
Metering modes
Exposure modes
ISO equivalent
Shutter speeds
LCD monitor
Price: Rs. 86,363 (only body)
Price: Rs 59,990
SAMSUNG NX1000
SAMSUNG NX 300
SONY NEX-6
Effective pixels
Sensor size/ type
Metering modes
Exposure modes
: 16.1 million approx.
: 23.5 X 15.6mm, CMOS sensor
: Multi-segment, Center-weighted, Spot
: iAUTO, Superior Auto, Programmed
AE (P), Manual (M), Sweep Panorama
ISO equivalence
: Still images: Auto (ISO 100-3200),
Selectable (ISO 100-25600)
Movies: Auto (ISO 100-3200)
Shutter Speed
: Still images: 1/4000 to 30s (Bulb). Movies:
1/4000 to 1/4 (1/3 steps) up to 1/60 in
AUTO mode (up to 1/30 in Auto slow shutter)
LCD Monitor/ Dots : 3.0 inch, 921,600 dots
Storage Type
: Memory Stick PRO Duo™, PRO-HG
Duo™, SD, SDHC, SDXC memory card
Weight
: 287 g
Price: Rs. 45,990 (with 16-50mm lens)
SONY NEX - 7
Effective pixels
Sensor type
: Approx. 24.3 megapixels
: APS-C type (23.5x15.6mm),
“Exmor” APS HD CMOS sensor
Metering Modes
: Multi / Center / Spot selectable
Exposure Modes
: Programmed AE (iAUTO, P), Aperture
priority (A), Manual (M), 3D Sweep
Panorama, Anti Motion Blur
ISO equivalence
: AUTO (ISO100-1600), ISO100
to 16000 selectable
Shutter Speed
: 1/4000 to 30 sec, Bulb
LCD Monitor/ Dots : 7.6 cm (3.0-type) wide type TFT,
921,600 dots
Storage Type
: Memory Stick PRO Duo / PRO-HG
Duo and SD/SDHC/SDXC card
Weight
: Approx. 291g
Price: Rs. 79,990 (with 18-55mm lens)
November 2014 Smart Photography
115
Lens Nomenclature Guide
Lens manufacturers use different suffixes to identify certain lens characteristics.
Here they are, along with simple explanation (wherever required) of how they help.
Rohinton Mehta
CANON
DO
EF
EF-S
IS
L
NIKON
AF-S
CRC
D
DX
FX
ED
G
N
IF
RF
: Diffractive Optics: Special lens elements that reduce colour aberrations to the minimum, thus
improving image quality.
: Denotes that the lens is designed for full-frame cameras
: Denotes that the lens is designed for APS-C cameras
: Image Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure.
: ‘Luxury’-series lens: Canon’s high-end, professional lenses.
: Denotes that the lens is using a Silent Wave Motor: For fast and quiet autofocus
: Close Range Correction: Allows lenses to focus closer, while still maintaining good sharpness. This is
done using a ‘floating lens element’ design. Generally used in macro and wide-angle lenses.
: Distance information passed on to the camera body: Helps to provide more accurate exposures
: APS-C camera lens
: Full-frame camera lens
: Extra Low Dispersion glass element: Corrects for chromatic aberrations
: Lens without aperture ring; aperture is controlled from the camera body
: Nano Crystal Coat: Greatly reduces flare due to internal reflections of light.
: Internal focussing: Instead of moving all the elements further away or closer to the film/sensor to
focus, IF lenses move only certain internal elements. This allows for much faster focussing.
: Rear Focussing: Similar to IF but only the rear group of elements move to focus the lens.
OLYMPUS
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
PANASONIC
OIS
: Optical Image Stabilizer: Helps to eliminate/reduce blur caused by camera movement during exposure.
Mega OIS : Mega Optical Image Stabilizer
Power OIS : Power Optical Image Stabilizer: A superior design of Mega OIS.
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
116
Smart Photography November 2014
www.smartphotography.in
SIGMA
APO
ASP
DC
DG
HSM
OS
RF
EX
:
:
:
:
:
:
:
:
Apochromatic lens element: Corrects for chromatic as well as spherical aberrations
Aspherical lens element: Corrects chromatic aberrations
APS-C camera lens
Full-frame camera lens
Hyper Sonic Motor: Internal motor, for fast and quiet autofocus
Optical Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure
Rear Focussing: Only the rear group of elements move to focus the lens
‘Excellent’ series lens
TAMRON
AD
USD
ASL
Di
Di-II
HID
LD
IRF
VC
PZD
:
:
:
:
:
:
:
:
:
:
Anomalous Dispersion element: Eliminates lateral chromatic aberration
UltraSonic Silent Drive
Aspherical lens element: Corrects chromatic aberrations
Digitally integrated: Full-frame camera lens designed for digital cameras
Digitally integrated: APS-C camera lens
High Index Dispersion glass element: Special glass for improving optical performance
Low Dispersion glass: Corrects for chromatic aberrations
Internal Rear Focussing: Only the rear group of elements move to focus the lens
Vibration Correction: Helps to eliminate/reduce blur caused by camera movement during exposure
Piezo Drive: Internal motor, for fast and quiet autofocus
TOKINA
AT-X
PRO
SD
: ‘Advanced Technology Extra’- range of lenses
: Professional lens
: Super-low Dispersion element: Corrects chromatic aberrations
PENTAX
SDM
DA
: Sonic Direct-drive Motor: Internal motor, for fast and quiet autofocus
: APS-C camera lens
SONY
DT
: APS-C camera lens
www.smartphotography.in
November 2014 Smart Photography
117
GLOSSARY
Jargon
Photographic
Terms used in photography can often confuse a photographer, especially a beginner. Here is a list of
photographic jargon, with as-simple-as-possible explanations.
Rohinton Mehta
APS-C: Describes a imaging sensor size
or a camera using this size of sensor.
24mm
Full
Frame
15.7mm
36mm
APS-C
23.7mm
APS-C stands for Advance Photo
System, type C . Sensor size 15.7 x
23.7mm approximately. Varies slightly
between manufacturers
Aperture: Set of metal blades
that control the amount of light
entering a lens (same as Diaphragm)
AVCHD: Advanced Video Coding
High Definition. A format for digital
recording and playback
AF Sensor: A sensor used in achieving
autofocus
Buffer: Temporary storage of data
before the images are written to the
memory card
Sensor
118
Buffer
Memory
card
Smart Photography November 2014
Bridge camera:
Describes a
camera that
fits between a
compact and
a D-SLR. Also
known as Prosumer camera
Ballhead: (Used on a tripod). Performs
similar functions as a
pan and tilt head but
uses a central ball as
a pivot to allow for
camera movements
Battery Grip: A
device that attaches to the base
of a D-SLR.
The battery
grip, not only
provides
better grip
for vertical shooting, but uses extra
batteries to supply power to the
camera when the camera battery
dies down. In some cases, it helps
to increase the frames-per-second
firing rate
Burst mode: A camera mode that
allows continuous firing
Barrel distortion: The outward
bulging of
straight lines
in the centre
of the frame
due to lens
imperfection
Bit: Refers
to a binary digit – the smallest unit of
computer data, either 0 or 1
Bit depth: A measure of the number of
possible colours/tones in an image. Our
images are basically formed using the
three primary colours (also known as
channels), red, green and blue. JPEG
files are 8-bits per channel (which is the
same thing as 24-bit. When we say 24bit, we should not say “per channel”).
Raw files can be 12-bits per
channel or 14-bits per channel, that is
36-bit or 42-bit respectively
Bracketing: A method of taking three
or more shots in succession (using
different exposures), with a hope that at
least one of them will be accurate. We
also bracket when shooting for HDR
imaging. Bracketing could also be for
White Balance and ISO
www.smartphotography.in
CCD/CMOS: Types of imaging
sensors. CCD stands for Charged
Coupled Device. CMOS stands
for Complementary Metal-Oxide
Semiconductor
Compact camera:
Describes a small,
point-and-shoot
type of camera
Center-weighted meter: One of the
in-built exposure meter that places
greater emphasises on the central area
of the frame. The user generally has
the choice of selecting the area (8, 12,
20mm circle at the center)
Circular Polariser (CPL): A polarising
filter designed to be used with digital
cameras (as well as certain film cameras).
A CPL prevents secondary polarisation
of light at the reflex mirror, thereby
preventing exposure/focussing error.
Contrast-detection AF: A system
of autofocussing wherein the camera
uses contrast as the basis of evaluating
correct focus
Chromatic Aberration: The inability
of all the three primary colours (Red,
Green, Blue) to focus on the same
plane. This manifests itself in the form
of colour fringing at the edges and is
most noticeable against high-contrast
elements in the picture
Clipping: Overexposing of highlights.
Underexposing of shadows.
Crop factor: A factor by which the
focal length of a lens needs to be
multiplied to get the equivalent focal
length of a full frame 35mm sensor
Close-up lens/filter: A magnifying
glass that is attached to the front of a
lens to make the lens focus closer. The
magnifications are described by the
term ‘dioptre’. Eg. +1, +2, +3 etc.
www.smartphotography.in
CMYK: Cyan, Magenta, Yellow, Black.
These are the colours used in books/
magazines printing
Colour temperature: A measure of
the colour of light.
D-SLR: Digital
Single Lens Reflex
camera. An
interchangeable
lens camera that
uses a reflex mirror
for viewing
Diaphragm: Set of
metal blades that
control the amount
of light entering
a lens (same as
Aperture)
Depth-of-field: The zone of sharpness
in a photo.
DOF Preview Button: A button on the
camera that allows you to visually check
the depth-of-field.
Dynamic Range: The range of brightness
that can be captured by a film or digital
imaging sensor. This range is much
lower than the dynamic range of our eyes
Digital zoom: In-camera electronic
enlargement of the central area of
a frame. Use of digital zoom should
be avoided if high image quality is
required. The same effect can be
achieved during post-processing, by
cropping an area and enlarging it
DPI: Dots Per Inch. A measure of print
resolution
Diffuser: (1) A camera filter that softens
an image (generally used with portraits).
(2) Any material that softens
the light from a ‘hard light source’ like
the sun or a flashgun. Placed between
the light source and the subject
Exposure meter: A light-meter that
recommends the aperture and shutter
speed for a given lighting condition.
An exposure meter can be
built into the camera or can
be an external hand-held
variety. To use any light
meter, you first need to set
the ISO sensitivity.
EVF: Short form of
Electronic View Finder
Evaluative meter: One of the in-built
exposure meter that divides the frame
into various segments and based on
thousands of pre-set exposures built
into the camera’s memory, selects a
suitable exposure depending on the
lighting conditions and the set ISO
sensitivity. Also known as Segmented/
Matrix meter
Frame rate: A measure of how many
frames a camera can fire in one second
Flare: Image degrading, unwanted
reflection of light within the lens
Full-frame: Denotes a camera/imaging
sensor that is the same size as a 35mm
film (24 x 36mm)
Focal plane: Describes the location
of the film/imaging sensor within the
camera
Focal plane shutter: A type of shutter
used in SLRs/D-SLRs. This shutter is
placed in front of the film/sensor.
Focal length: In a simple convex lens
(a magnifying glass for example) and
with light coming from infinity – the
Focal Length
November 2014 Smart Photography
119
GLOSSARY
distribution of tones in an image. The
horizontal axis shows the gradation of
tones from the darkest to the left, to the
brightest at the right. The vertical axis
shows how many pixels are there in any
particular tone.
120
Smart Photography November 2014
Intervalometer: A device that allows
you to automatically take pictures at
fixed intervals
IS: Image Stabilizer– a feature that
eliminates/reduces the effect of handshake (Originally a Canon Moniker)
ILCC: Interchangeable Lens
Compact Camera. Describes a
mirror-less digital camera with
interchangeable lenses,
Incident Light Meter: A hand-held
light meter that reads the amount of
light incident to (falling on) the subject.
(see image, Exposure meter)
Interpolation: (As related to digital
imaging) The act of introducing new
elements (pixels) in an image
Linear Polariser (PL): A polarising
filter designed to be used with film
cameras that do not use a ‘light-splitter’
in the exposure metering system
Live View: A camera feature that allows
the LCD to be used as a viewfinder
LCD: Liquid Crystal Display – the display
(monitor) at the rear of digital cameras
Luminosity: Brightness of colour,
without considering hue or saturation
LZW: An option while saving TIFF files.
LZW compresses the file size without
loss of data. LZW actually stands for
– Lempel – Ziv – Welch, the names of
three persons who devised it
Matrix meter: See Evaluative meter
Multi-segmented meter: See
Evaluative meter
Micro Four Thirds: A sensor format
jointly created by Kodak, Olympus and
36mm
JPEG: Joint Photographic Experts Group
– a compressed (data losing) file format
Jitter: Another way to describe the
effects of hand-shake
Kelvin: A unit of measurement of colour
temperature based on absolute zero.
Lateral CA:
Chromatic
aberration in
which all the
colours are in focus in the same plane but
are not placed along the optical axis
Longitudenal CA: Chromatic
aberration
in which
different
colours do
not focus at the same point
Leaf shutter: A type of shutter used in
rangefinder cameras. Situated between
the lens elements
Full
Frame
Micro Four
Thirds
24mm
H.264: A standard for video
compression
Hardware: (In terms of computers)
The physical elements that make up a
computer system
HDR Imaging: High Dynamic Range
Imaging. A technique of extending the
dynamic range beyond the normal
capacity of the imaging sensor. Three (or
more) shots are taken from various areas
of the scene (one from the shadows, one
from the highlights and one from the midtones) and then combined in a computer
program to create a picture with good
detail in shadows as well as highlights.
HDR technique is used when the lighting
contrast is very high.
Histogram: A graph showing the
HSB: Hue, Saturation, Brightness. The
standard colour model for adjusting
colour in image editing programs
13mm
distance between the vertical centre
of the lens and the point where the
light rays meet. Focal length tells us how
much of the scene will be covered by
the lens and what the magnification will
be
Firmware: A downloadable software
offered by the camera manufacturer.
Generally used to upgrade/improve
on a camera’s performance
Filter: (As applicable to a camera) A thin
glass/plastic or gelatine placed in front
of the lens to modify the colour/quality/
quantity of light entering the lens
17mm
Panasonic. Sensor size approx. 13 x
17mm
MOV: A common multi-media format
for saving movies and other video films.
Macro lens: A special lens designed
for life-size (1:1) photography
Memory card: The removable module
within a digital camera, that stores the
images
Mid-tone: Average tone. Neither too
dark or too light; an in-between tone
Noise: The digital equivalent of film
grain. Noise is caused mainly due to
underexposure.
Normal lens: A lens having a focal
length equivalent to the diagonal of the
given format
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Optical Viewfinder: The normal
viewing device in a camera, through
which you view and frame a subject.
It uses optical glass as opposed
to Electronic Viewfinder that uses
electronic circuitry to boost the
information within
Pan and Tilt head: A camera support
used along with a
tripod, that allows
the camera to be
tilted (up/down)
and
panned
sideways. It is different from a ‘ballhead’ in that it uses separate levers to
control the pan and tilt
Perspective Control/Tilt-Shift lens:
A special lens designed for correcting
perspective distortion
Polariser: A filter that cuts off polarised
light from entering the lens. This filter,
when used correctly, has the ability to
darken blue sky, cut reflections from
water, glass, painted metal, wood,
paper etc.
Phase-detection AF: A method of
autofocussing that splits the image
in two and compares the images for
similar light intensity patterns
Perspective: The size relationship
between the foreground, mid-ground
and background objects in a photo.
Pin cushion
distortion:
The inward
pulling of
straight lines in
the centre of
the frame due
to lens imperfection.
Prosumer camera: Same as Bridge
camera
Partial metering: Found mostly in
Canon cameras, roughly 10-15% of the
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frame is measured in the centre.
Pixel: The building block of any digital
image; the smallest unit of any digital
image. Short form of Picture Element
Plug-in: A software designed to
supplement a computer program’s
performance or features. Generally
created by third parties
PPI: Pixels Per Inch. A measure of image
resolution (applies to images on the
computer screen)
Raw: Refers to the data received
directly from the imaging sensor,
without any image parameters applied
to it
Reflected Light meter: A light meter
that reads the amount of light reflected
from a subject. Light meters built into
cameras are reflected light meters.
RGB: The primary colours (Red, Green,
Blue) of the additive colour system
RAID: Redundant Array of
Independent Disks. A stack of hard
disks, functioning as one
Reflector: Any material that can reflect
some light back onto a subject
Resampling: The act of increasing or
decreasing the resolution of an image
by interpolation
Sensor: (Imaging Sensor): Digital
equivalent of film.
Spot meter: One of the in-built
exposure meter that reads a very small
area of the frame (typically 3-5% area).
External, hand-held 1-degree spot
meters are also
available.
Softbox: A
type of light
modifier,
generally used
with studio
lights
Software: A computer program that
instructs a computer what to do, when
to do and how to do
TIFF: Tagged Image File Format – a
lossless file format
Telephoto lens: A lens having an
angle-of-view narrower than that of a
Normal lens (Eg. 70, 85,
100, 200, 300mm etc)
Teleconverter: A lens
that fits between the
camera body and the
main lens. Its job is to
increase the focal length, thereby
offering a larger image
Umbrella: A light modifier in the shape
of an umbrella
VR: Stands for Vibration Reduction –
a feature that eliminates/reduces the
effect of hand-shake
White Balance: A process of getting
rid of colour casts. White objects
should appear white in prints (there
could be several reasons why that may
not be so). Once white objects appear
white, all other colours appear without
any colour casts
Wide-angle lens: A lens having an
angle-of-view greater than that of a
Normal lens (Eg. 35, 28, 24, 20mm etc)
X-sync speed: Shutter speeds
compatible with electronic flash
Zoom lens: A lens having multiple focal
lengths
November 2014 Smart Photography
121
SP
Recommends
Compact Cameras
Canon PowerShot
G7X
Canon PowerShot
SX60 HS
Fujifilm Finepix
X100s
Nikon Coolpix
P7800
Nikon Coolpix P600
With a 1-inch Type
20.2-megapixel BSI
CMOS sensor, the
PowerShot G7 X is
expected to deliver
superior image quality
in this category of
compact cameras. It
has a 24 – 100mm
equivalent f/1.8 – 2.8
lens along with Wi-Fi
and NFC capabilities.
The 16.1 megapixel
PowerShot SX60 HS
boasts 65X optical
zoom equivalent to 21
to 1365mm, believed
to be the longest
zoom range in the
world for a compact
in this category.
It provides 6.4fps
continuous shooting,
Full HD 60p videos
and Wi-Fi and NFC
connectivity.
The Fujifilm Finepix
X100s comes with a 16
MP APS-C size CMOS
sensor, paired with a
35mm equivalent f/2
lens and a 2.8” LCD
screen. The X100’s
noise control and
hybrid viewfinder are
very impressive, and
it produces pleasing
pictures with good
accuracy.
The Coolpix 7800
is Nikon’s top
professional compact.
It features a 12.2
megapixel 1/1.7inch Type CMOS
sensor, a 28-200mm
f/2.0-4.0 lens, a 3”
articulated LCD
monitor and an EVF.
Overall, the Coolpix
7800 produces very
good results, with an
impressive Auto White
Balance system.
The Coolpix P600 is a
16.1-megapixel superzoom camera with 60x
optical zoom equivalent
to 24-1440 mm. This
features Optical
Vibration Reduction
along with Wi-Fi
connectivity. The lens
is constructed with 4
ED and 1 super ED lens
elements for superior
image quality.
Panasonic Lumix
DMC TZ40
Panasonic Lumix
FZ1000
Sony Cyber-shot
RX10
Sony Cyber-shot
DSC RX1
Sony Cyber-shot DSC
RX100 M3
The TZ40 is the
successor to the TZ30
in Panasonic’s popular
TZ (Travel Zoom)
series. Featuring the
first ever 18.1 MP MOS
sensor, a 24-480mm
F/3.3-6.4 lens, and a
3” touch screen, the
camera, with its Leica
lens, ensures optimum
picture quality, and
overall results are
impressive.
The latest entrant from
the Panasonic stables,
the 20.1-megapixel
FZ1000 uses a 1-inch high
sensitivity MOS Sensor. It
has an impressive LEICA
DC VARIO-ELMARIT 27432mm equivalent f/2.8
- 4.0 lens constructed
with 5 Aspherical and 4
ED elements. It provides
a HYBRID O.I.S, 4K
video recording and a
shutter speed range of
1-1/16000 sec.
Featuring a 24-200mm
f/2.8 lens, the 20.2
megapixel RX10 is
powered by a 1.0inch type Exmor R
BSI CMOS sensor,
supported by a BIONZ
X image processing
engine. The camera
has an Optical Image
Stabilisation system and
a high-resolution OLED
Truefinder EVF.
The RX 1 is the world’s
first compact camera
with a full frame 24.3
MP CMOS sensor. It
has a Carl Zeiss Sonnar
35mm f/2 lens that
can be switched to
macro mode. There is a
built in 3” LCD screen.
Anyone wanting a
compact camera that
produces high quality
results should look at
the RX1.
122
Smart Photography November 2014
The RX100 M3 features
a bright f/1.8-2.8 ZEISS
Vario-Sonnar 24-70mm
equivalent lens. The
camera has a 20.1MP
Exmor R CMOS sensor
and a bright and
clear built-in EVF with
ZEISS T coating and
high resolution OLED
display. It also features
a 3.0-inch, multi-angle
X-tra Fine LCD along
with NFC and Wi-Fi.
www.smartphotography.in
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TIDBITS
P
anasonic owners have been left high
and dry by Tamron’s 14-150mm
f3.5-5.8 Di III all-in-one zoom lens
as the Micro Four Thirds version lacks
optical stabilization. Olympus owners
are OK as Olympus has sensor based
stabilization built into the camera body.
At last, Micro Four Thirds camera owners
get a TTL option from a third party flash
manufacturer. At just 3.5 inches tall and
205g in weight, the Nissin i40 is poised
to become an attractive proposition for
Olympus and Panasonic camera owners.
The i40 offers wireless TTL exposure,
sync speeds upto 1/8000 sec, and flash
output of GN40 in meters at 105mm.
Add a studio slave mode, 180-degree
rotating head, built-in diffuser for 16mm
coverage, zoom range of 24-105mm,
and LED light with nine steps of output
for video, and you’ve got a winner. The
i40 uses 4AA batteries and comes with
a diffuser, stand, and case. Nissin also
makes versions for Canon and Nikon
D-SLRs, and Sony and Fujifilm models
are promised in the future.
Good news for Tamrac fans. Utahbased camera bag maker Gura Gear has
acquired Tamrac, rescuing the recently
bankrupt company from oblivion.
Say goodbye to Aperture. Apple has
ended further developments to the
photo app. Instead, Apple will focus on
Photos for OS X for the upcoming Mac
OS X 10.10 Yosemite. However, all is
not lost. Adobe is working on a tool to
help photographers migrate images from
Apple’s doomed photo-editing software to
a new home in Photoshop Lightroom.
The latest version of Adobe Lightroom
allows past subscribers to continue
accessing and organizing their edited
and unedited photos, even after the
subscription ends.
Superzoom cameras are going strong!
Pentax has joined the bandwagon with
the XGwww-1 which, in addition to its
52X zoom range, offers shooters a burst
of 9 frames per second.
A group of Hollywood studios and
directors - Quentin Tarantino,
Christopher Nolan, Judd Apatow and JJ
Abrams among them - plan to buy a large
stock of Kodak movie film to help keep
146
Smart Photography November 2014
the Rochester factory in production.
Drone maker DJI is developing a reusable
parachute system, DJI DropSafe, to help
keep its S800 and S1000 units (and the
cameras they carry) from smashing to the
ground.
Rivals Panasonic and Sony have come
together to push the development of small
and midsize organic light-emitting diode
(OLED) displays. The move is meant to
provide displays for Tablets; any advances
could likely find their way into OLEDs in
cameras too.
40% of camera models introduced in 2013
had wireless capabilities built-in.
15% of cameras introduced in 2012 had
similar wireless connectivity.
Manchester United, the famous English
Premier League football team has barred
fans from photographing with Tablets
during games. The League has also
banned fans’ posting videos of goals to
social media.
3.78 billions CMOS sensors were shipped
globally in 2013. Good going indeed for
CMOS sensor vendors.
Former Iron Curtain country, Hungary,
has ushered in some harsh laws. It is now
illegal to take photos in Hungary without
first getting permission from each subject
in the photograph. Unsurprisingly,
Hungarian photo-journalists are some of
the new law’s harshest critics.
We photographers have a heart. The
National Press Photographers Association
awarded Miami Herald photographer Al
Diaz the NPPA Humanitarian Award for
assisting in a roadside emergency before
fulfilling his duties as a photographer.
Panasonic and Toshiba got together to
launch the SD card. The SD card was
followed by the micro SD card with a
128MB storage capacity. 128 GB is the
storage capacity of SanDisk’s newly
released microSD UHS-1 model. Some
progress, this.
News to warm the hearts of our top
Indian photographers. A collection of
Edward Weston photos was expected
to fetch up to $3 million at an auction.
The single-lot sale, at Sotheby’s New
York, comprised 548 images printed
by the photographer’s son Cole, also a
photographer, who died in 2003. The
archive is currently in private hands.
Edward Weston died in 1958.
Olympus has reacted to the selfie wave
by unveiling the Olympus Pen E-PL7,
featuring a tiltable LCD screen and
built-in Wi-Fi. The LCD screen flips
down and around, so you can frame and
shoot a series of pre-timed, sequential
still or video selfies without your hand
blocking the shot. The fact that the
screen tilts downwards for selfies, instead
of upwards, should mean that less of the
screen is obscured by the camera or flash.
Olympus seems to have forgotten the
tripod mount.
A photographer in Manchester, had
his lens-cleaning air blower confiscated
by airport security staff and banned
from the flight because it resembled
a hand grenade. Photographer Bioel
Patterson was set to travel to Reykjavik
on Icelandair, when the innocent
photo accessory caught the attention of
Manchester Airport security staff. The
air-blower device, as we all know, helps to
keep camera gear free of dust and dirt.
TIME named Makati City, Phillippines,
the Selfiest City in the world, on the basis
that there are 258 selfie-takers per 100000
people in the Phillipines’ financial capital.
It ranked first among 100 selfie-obssessed
cities.
SMARTPHONE photography is fast
becoming a serious discipline rather
than a niche medium. Peter Cope’s
“Smartphone Photography Guide”
explains the basics of photography using
a smartphone rather than a camera.
Strictly for Smartphone addicts.
The new Mecablitz 64 AF-1 from Metz is
TTL compatible with all camera brands,
has a guide number of 210, feet at ISO
100, a zoom range of 12-200mm plus a
PC and USB port.
At Photokina, one major source of
humour was the ridiculous image of
snappers trying to shoot images with
Tablets. Grow up, guys, and get a proper
camera!
It wasn’t long ago when SanDisk,
H. S. Billimoria
www.smartphotography.in
148
ISSUE 8
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NOVEMBER 2014
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Our team is updated with all the benchmarks
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and imaging across the globe experiences.
This helps us record the changes in the global
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which products will be a rage in the Indian
markets.
A
part from the mainstream launches, Photokina
2014 was notable for certain other factors.
WE’RE IMPARTIAL
Loyalty towards our readers is a given, and
their best interests are always on our mind.
Every verdict is honest and not influenced by
advertisers or personal favorites. So when we say
a product is a ‘BEST BUY’, then, it is just that!
1) The complete absence of Smartphone manufacturers
from the show. Apart from Samsung and Sony, no
other cellphone manufacturer was present.
2) Action cameras or video cameras are the new
growth areas. Apart from Go Pro and Black Magic,
regular manufacturers like Panasonic and Pentax also
exhibited action cameras.
OUR TESTS ARE CONDUCTED BY
EXPERTS
All equipment go through a series of tests at the
hands of our experts. Our reviewers are experts
in the field of photography across the country
and have many years of experience. That
gives us the foresight to distinguish between
a passing trend and a big change in the field
of photography and imaging. And finally, our
reviews are not extended to just fill up the pages!
3) Companies enabling photographers to store images
whether off site or on the cloud were present in good
numbers.
Meanwhile in India e-tailers have taken the market
by storm and cameras like Canon’s EOS 1200 D were
advertised at less than Rs.14000! The brick and mortar
retail price is more than double. Obviously, the camera
was a loss leader but will it rub the sheen off the Canon
brand? Camera manufacturers need to take a quick
call on that one.
WE ARE HERE TO HELP YOU
There is no debate on why we are here. Our sole
goal is to provide you options and better your
judgement in product purchase while, sharing
tips and tricks to improve your images. Our
biggest joy is in building a bridge between you
and your perfect picture!
EDITOR
Hoshang S. Billimoria
TECHNICAL EDITOR
Rohinton Mehta
SENIOR CORRESPONDENT
Sujith Gopinath
COPY EDITOR
Tanika Godbole
PHOTOGRAPHY
Mahesh Reddy
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Ravi Parmar
DESIGN
Nandkishor Sawant
ADVERTISE DESIGN
Sanjay Awad, Shubham Rohatgi
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Dinesh Bhajnik
PICTURES DESK
Deepak Narkar
H. S. Billimoria
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Editor – Hoshang S Billimoria
November 2014 Smart Photography
5
Contents
32
50
ISSUE 116 / NOVEMBER 2014
RS.125
ISSUE 8
VOLUME 10
NOVEMBER 2014
SUBSCRIBER’S COPY
REGULARS
INDIA’S NUMBER 1 IMAGING MAGAZINE!
WEDDING
PHOTO FEATURE
PHOTOGRAPHY
SPECIAL
THE COLOGNE ZOO
LEARNING
ALL ABOUT TRIPODS
USE SHADOWS CREATIVELY
HOW TO CONTROL MOISTURE
IN STORAGE
WHAT IS 4K?
08 Mail Bag
10 News Watch
28 Picture of the Month
146 Tidbits
REVIEWS NIKON D750 • PANASONIC GH4 • LEICA DG SUMMILUX 25MM F/1.4 ASPH. LENS • SONY XPERIA Z3
INTERVIEW SUDHIR SHIVARAM
PROFILE MOHAN GIDWANI
Cover credits: Mayuresh Patil
Just a moment!
Readers can find the updated Buyer’s Guide, log on http://smartphotography.in/news/monthly-special
Smart Photography thanks the readers who participate in the Picture of the Month contest. We would like to
bring to your attention a few changes in the rules for submission. From now on, you may send in your images with
the longer side measuring atleast 17 inches. Please note that the images have to be horizontal. This permits readers
to submit panoramic shots, which was not possible with the current size of 17 x 11 inches.
32 Kaleidoscope
A platform for budding photographers to
exhibit their talent and get noticed!
38 Showcase
A photographic profile of the person
behind the lens
44 If I Were You
Our expert comments on how your pictures can be taken to another level
47 Ask Uncle Ronnie
Your photo queries answered by Uncle
Ronnie
66 MasterCraftsman
The masters of the craft share their insights and photographs
50 Wedding Special
Merry Tales
Happily Ever After
6
Smart Photography November 2014
www.smartphotography.in
SUBSCRIPTION
OFFER
9782
page
66
74
BUYERS GUIDE
LEARNINGS
REVIEWS
74 Photographer’s Best Friend!
92 Nikon D750
82 Shadow Play
98 Panasonic GH4
88 Equipment Care:
104 Leica DG Summilux
Controlling Relative Humidity
25mm f/1.4 ASPH. lens
90 The 4K Bug!
106 Sony Xperia Z3
www.smartphotography.in
112 DSLR Guide
114 ILCC Guide
116 Lens Nomenclature
118 Photo Jargon
122 SP Recommended:
10 Compact Cameras
November 2014 Smart Photography
7
MAILBAG
REVIEWS: CANON EF-S 10-18MM F/4.5-5.6 IS STM CANON EF 16-35MM F/4L IS USM AF-S NIKKOR 16-35MM F/4G ED VR
●
●
RS.125
ISSUE 7
VOLUME 10
OCTOBER 2014
SUBSCRIBER’S COPY
INDIA’S NUMBER 1 IMAGING MAGAZINE!
16 page EPSON supplement with October 2014 issue.
PHOTO FEATURE
115
Write to us at:
Mail Bag
Smart Photography,
Trade World, C-Wing, 2nd Floor, Kamala Mills Compound, Senapati
Bapat Marg, Lower Parel(W), Mumbai 400013.
E-mail:
[email protected]
INDIA
VE
LUSI
EXC VIEW
RE
NIC
Waari Pilgrimage
SO
PANA 00
FZ10
LEARNING
SETTING UP YOUR D-SLR
POSTCARDS FROM LAHORE
LET’S PHOTOGRAPH A WRISTWATCH
TRAVELOGUE
AUSCHWITZ
INTERVIEW MITAL PATEL
PROFILE NAVANEETH UNNIKRISHNAN
Conquering Goals
Revising Tactics
I, Aditya ,am a 14-yearold student from Daund,
near Pune. I am a big fan
of SP and read it every
month. This is a great
magazine for young and
amateur photographers
like me. I love to click
monochrome portraits.
I feel proud that Dr.
Amit Bidwe, my father’s
photo feature, ‘Waari’
was published in the October issue. He creates a
chart of goals every year. This year, his goal was
to get published in SP, and he made it happen. I
never took my Papa’s goal chart seriously, but now
that I’ve seen one of his dreams come true, I am
also going to make my goal list for the upcoming
year. I heartily thank Uncle Ronnie and the team
of Smart
Photography.
The ‘10 How to Tips’ in the September
issue were extremely useful. Many
beginners like me often feel the necessity
of being reminded of these basics. This
is one of the many good reasons, why I
prefer to read Smart Photography, where
teachers like Rohinton Mehta, with their
vast experience, clarify the doubts that
come to our minds.
Here is my
Papa’s photo
(clicked by
me), as well
as a photo of
myself.
Aditya Bidwe
Somojit Ghosh
Packed with knowledge
I picked up a copy of SP from a stall a
few months ago. Once I started reading,
I finished it cover to cover, all in one go. I
was wondering, when so much has been
covered in a single issue, what would be
left to be covered in the subsequent ones?
But no. You have been delivering issues
that are packed with information. There
is so much to know about the magic of
photography. I love it even though I am
a casual photographer, not a professional
one. Furthermore, I feel that SP has a
personal touch to it, an element missing
in other magazines.
S S Sharma
Grim Sights
When I read Mr. Ajay Soods Auschwitz Photo feature, (October 2014 issue) I remembered
all the books of World War II. In Schindlers List, I had read details of the Nazi concentration
camps, but I had never seen such magnificient photos, as clicked by Mr. Sood. The prisoner’s
uniform, the architectural model, shoes, gas chambers and the barrack’s photos narrated
thousands of stories of the prisoners kept there.
I admire Mr. Sood for selecting the sepia tone for these images. Sepia reflects sadness,
seriousness and increases the value of this images. In my opinion this is one of the best Photo
features by him.
Prasad Mantri
8
Smart Photography November 2014
www.smartphotography.in
NEWS
International
SNIPPETS
According to GfK
market research, global
sales of consumer
electronics experienced
a peak year in 2013, with
US $1.06 trillion in total
sales. But GfK expects
worldwide sales to dip
to $967 billion in 2014.
The biggest sales value
rests in Smartphones.
In 2013, Smartphones
accounted for 34% of the
dollar value of consumer
sales. GfK expects
Smartphone sales to rise
to 39% in 2014.
Canon announced
five models in the new
Maxify series of wireless
inkjet printers for small
office/ home office users.
The Wi-Fi enabled
features include highquality, low cost per
print, quick first print
and cloud printing.
Panasonic and
Leica have expanded
partnership in the
digital camera business,
according to AVC
Network Company, a
subsidiary of Panasonic
and Leica camera. The
agreement includes the
extension of license
agreement for use of
Leica’s trademark on
Panasonic’s digital
camera products, as
well as the expansion
and strengthening
of technological cooperation between the
two companies.
10
Smart Photography November 2014
Photokina 2014 attracts
around 185,000 Visitors
T
he 33rd Photokina held in
Cologne, Germany, which
ended on September
21, 2014, was a great success.
Around 185,000 visitors from
more than 160 countries
attended the imaging trade fair.
Action and lifestyle cameras,
wearables, multicopters and
professional film equipment
supplemented the diverse array
of photography and imaging
products. The international
visitors were able to take full
advantage of the opportunity
to try out new offerings and
exchange news and views with
other photo enthusiasts. The
exhibitors accounted for 47.7%
of visitors. Of these, 44.3%
were from abroad. The growth
in number of visitors from the
USA, Asia, South-east Asia
and from the Oceania region
was particularly strong. Gerald
Boese, President and CEO
of Koelnmesse GmbH (the
organizer) said, “Cologne is the
place to be for the photography
and imaging industry. This is
where the industry charts the
future course of the business.”
The unanimous opinion on the
stands was that Photokina 2014
will exert a strong bell-weather
effect. Katharina C. Hamma,
COO of Koelnmesse GmbH
emphasized the trade fair’s
importance as a trendsetter.
“The industry is now benefiting
from the fact that Photokina
has constantly embraced trend
topics and developed product
segments so that it constantly
reflects the current market
situation,” she said. This is also
evident from the number of
companies making their debut
at the fair. This year saw around
180 first-time exhibitors, the
highest ever. They included
companies like Google, GoPro,
RED Digital and Blackmagic,
as well as young companies like
Lytro, Helipro and the start-up
Panono.
For Christoph Thomas, President
of the Photographic Industry
Association, the way the trade
fair turned out is confirmation
of the industry’s appetite for
innovation. He said, “Photokina
2014 has impressively illustrated
that nowadays there is scarcely
any walk of life in which visual
information and communication
does not play a significant
role. All the companies have
demonstrated with new
and fresh ideas, innovative
products and fascinating
technical developments, that
the photographic and imaging
industry has its finger on the
contemporary pulse and is in
fine fettle for the future.”
www.smartphotography.in
NEWS
International
Leica Camera showcases
30 Products at Photokina
L
eica Camera AG exhibited around 30
products at Hall 1 of Photokina 2014,
celebrating their 100th anniversary. Leica
alone occupied the Hall 1, of which about twothirds was dedicated to the Photo Exhibits.
Among these products, professional mediumformat cameras stood out, with high speed
video recording and optimum image quality.
The top-of-the-line Leica S-007 features the
Leica CMOS sensor and the Leica Maestro
II image processor, which offers the highest
burst-shooting speed, extreme sensor
sensitivity and comprehensive capture modes
for still photography as well is exceptional
video quality. The
company also offers an
entry level model for Leica
S medium-format systems,
the Leica S-E. The camera
provides practically all the
technical advantages of the
Leica S-006 and presents
an alternative within the
Leica S-System. The Leica X features the new
Summilux 23mm f/1.7 ASPH prime lens and
an APS-C size 16 MP CMOS sensor. It also
allows full HD video recording.
The latest model of the Leica V-Lux (Typ 114)
line-up was also showcased at Photokina.
The camera offers a Leica DC Vario-Elmarit
9.1-146mm f/2.8-4 ASPH super zoom lens
(25-400mm equivalent in 35mm format), with
a broad spectrum of capabilities from macro to
telephoto. It has a 1-inch Type 20 MP CMOS
sensor and 4K video capability.
Sony launches 16-35mm E-mount
Lens and Lens Style Camera
Sony announced the 16-35mm
f/4 FE Zeiss lens, which has five
aspherical elements, including
one large AA (advanced
aspherical) element and three
ED glass elements. The new
Sony lens can be used with
Sony A7, A7R and other APS-C
sensor cameras with a 1.5x crop
factor. The lens is dust and
moisture proof.
Sony also announced their new
lens style camera, the ILCE-QX1
and lens kit ILCE-QX1L, which
12
Smart Photography November 2014
were first introduced at
the IFA Berlin show in
September. The ILCE-QX1
has an interchangeable
lens so that Sony E mount
lenses for mirrorless
cameras can be used with
it. The camera has a 20 MP
Exmor APS HD CMOS
sensor, Bionz X image
processor, a built-in flash
and Wi-Fi. The ILCEQX1L is a kit with a power
zoom E PZ 16-50mm f.3.55.6 OSS lens.
www.smartphotography.in
NEWS
International
GoPro Introduces the Hero4 Line-up
G
oPro announced its line-up of
the Hero4 cameras. This includes
three models—the flagship Hero4
Black, the Hero4 Silver and the entrylevel Hero, priced at US $499, $399 and
$129 respectively. GoPro also announced
several updates to its popular GoPro
Studio desktop editing software and
mobile GoPro App.
The Hero4 Black captures cinemaquality 4K video at 30 fps, 2.7K video
at 50fps and 1080p video at 120fps, and
features slow motion effects too. It also
features a redesigned audio system that
captures high fidelity sound. Additional
enhancements include improved image
quality, low light performance, highlight
moment tagging and an improved
user interface that allows for easier
discoverability and access to key features
and controls. The Hero4 Black also allows
extraction of 8.3MP still images from the
video. The Hero4 Silver delivers the same
professional image quality as HERO4
Black, excluding some of the features.
Hero4 Silver includes a built-in touch
display and records 2.7K video at 30 fps,
1080 at 60 fps and 720 at 120 fps. Both
cameras can capture 12MP stills at 30 fps,
and GoPro claims to have improved Wi-Fi
performance in both models. They have
expanded the Protune manual control to
include colour, sharpness, ISO limit and
exposure controls for both photo and
video capture. The entry-level Hero can
capture high-quality 1080p video at 30fps
and 720p video at 60fps.
Zhongyi
Panasonic announces
Optics
announces two CM1 Smart Camera
Panasonic’s new Lumix
the recent
new lenses
CM1 Smart Camera looks
Photokina
Chinese lens manufacturer
Zhongyi Optics announced
a pair of fast prime lenses for
Sony E-mount (Micro FourThirds) and Fuji X-mount.
The Zhongyi Mitakon 42.5mm
f/1.2 lens includes 9 elements
in 7 groups and weighs 310g.
The Zhongyi Mitakon 24mm
f/1.7 lens offers a 0.15m
minimum focus distance. It
has 9 elements in 8 groups and
weighs 246g. Both the lenses
have manual focus only.
14
Smart Photography November 2014
like a Smartphone. It is
Smartphone capable of LTE
telecommunication with a
2.3 GHz quad-core processor,
a SIM card slot and runs
on Android 4.4. However
the CM1 is a camera with a
large-size 1-inch Type 20 MP
Live MOS sensor and a Venus
image processing engine. The
CM1 can capture 4K video
and images in RAQ format.
The lens is a fixed 28mm
equivalent Leica DC lens. At
trade
fair in
Cologne,
Germany,
the Lumix
CM1 won
praises and
an award for its
surprising image
quality, generally associated
with much larger dedicated
cameras. It will be made
available later this year
in Germany and France,
albeit in limited quantities.
There is no decision from
Panasonic to make it available
in Japan, the USA or any part
of Asia.
www.smartphotography.in
NEWS
International
Panasonic announces single-chip
CMOS 4K camera
P
anasonic announced
a $3,500 single-chip
CMOS 4K camera,
the HC-X1000 at the recent
IFA Consumer Electronics
Show in Berlin, Germany.
The camera is designed
for run-and-gun style
videography. It is smaller
and lighter than Sony’s
similar featured camera
AX-1 priced at $4,500. The
Panasonic X100 has an 18.9
MP 3-inch Type BSI CMOS
sensor. Its fixed Leica
Dicomar lens has a 20x
optical zoom, starting from
29.8mm on the wide end.
The camera can read UHD
(3840x2160) up to 60p (and
150 Mbps) and records full
4K resolution.
Ricoh launches rugged models
WG-30 and WG-30W
WG-30 and WG-30W are the latest
digital compact cameras to join the
WG-series from Ricoh Imaging.
These models feature 16 MP backilluminated CMOS image sensors
and a newly developed engine. The
company promises better low-light
and low noise performance. The
triple anti-shake protection also
prevents blurred images. It features
six macro lights to assist closeup shooting, with a Self-Portrait
Assist mode. These compact,
lightweight cameras have water-
proof bodies, and are made tough
to cope with various elements that
a photographer faces in the field.
Both the cameras are water-proof to
a depth of 12 metres, shock-proof
against falls from 1.5 metres, and
freeze-proof to temperatures up
to -10 degrees Celsius. They also
offer full HD (1920 x 1080 pixels)
movie recording capability and a
2.7-inch LCD. The WG-30W offers
Wi-Fi connectivity while the WG30 doesn’t, but other than that the
models are identical.
Sigma announces One Macro and
Two Telephoto lenses
Sigma has announced a new superzoom lens
for APS-C format D-SLRs, the 18-300mm
f/3.5-6.3 DC Macro OS HSM. The new lens
will be available in Sigma, Nikon, Canon,
Pentax and Sony mounts. The models for
Pentax and Sony mounts will not feature OS
optical image stabilization.
Sigma also announced a pair of new telephoto
lenses, utlising Sigma’s OS optical image
stabilization system. Both are 150-600mm
f/5-6.3 DG OS HSM lenses, but one is a
Contemporary lens, whereas the other is
16
Smart Photography November 2014
categorized as a Sports lens.
The 150-600mm f/5-6.3 DG OS HSM Sports
is aimed at professionals and is constructed
from 24 lens elements in 16 groups, including
two FLD and three SLD glass elements. It is
dust and splash-proof. The 150-600mm f/5-6.3
DG OS HSM Contemporary lens construction
comprises of 20 elements in 14 groups, including
one FLD and three SLD glass elements. Two
new teleconverters have also been announced,
the TC-1401 and TC2001, that offer 1.4x and 2x
focal length multiplication respectively.
www.smartphotography.in
NEWS
International
Seiko Epson renew IJ Printer Line-up
for Year-end Holiday Season
O
n September 2, 2014, Seiko
Epson announced a series of
new inkjet printer models, for
the year end holiday season. The SCPX5VII is a new model in the Pro Series,
targeting professional
photographers and
hobbyists. This replaces
the PX-5V that was
launched in February
2011. The new A3
plus model utlizes the
newly-developed Epson
UltraChrome K3 INK.
The new photo black ink
reproduces a deeper or
richer shade of black,
and helps produce other
colours with vivid colour
gradations. The printer will become
available in November.
In the Colorio Series, the company is
offering an A3 format multi-functional EP977A3, A4 format,
EP-907F with fax
function, A4-format
MF models of EP807AW, EP-807AB,
EP807-AR, EP-777A
and EP-707A, all
of which utilize 6
colour inks. Another
two models in A4
format, the PX-437A
and PX-047A use 4
colour inks.
The Colorio PF-70 is a compact and
versatile printer which produces photos
from digital cameras via memory card
slot and from Smartphones via Wi-Fi.
The printer accepts a wider range of
papers including seal paper and 60mm
wide roll paper. The printer measures
249x176x85mm, and will sell for around
20,000 Yen from late October.
The Colorio-Me E0850 is specifically
designed to make postcards. It uses a
7-inch colour LCD monitor and keyboard
with pre-installed 1,571 kinds of design
templates and 3,476 kinds of illustrations.
Photos taken by digital cameras and
Smartphones are downloadable via USB
cable. The E-850 will sell for around 53,000
Yen.
Kowa introduces Canon introduces new IJ Printers for
new Micro-Four Year-end Holiday Season
Thirds format
Canon Inc. announced new
models of inkjet printers
lenses
targeting consumers for the
year end holiday season, aimed
to prepare greeting cards.
The company will also target
Smartphone users by allowing
printing via Wi-Fi connection.
Kowa Co. announced that
it has developed three new
interchangeable lenses, the first in
several decades. The lenses are for
the Micro-Four Thirds format in
the Prominar brand—the Kowa
Prominar 8.5mm f/2.8, Prominar
12mm f/1.8 and Prominar 25mm
f/1.8. The Kowa Prominar 8.5mm
f/2.8 features a wide angle of
106 degrees, with a geometric
distortion index of 0.12%. This
lens has already been launched in
Japan; the availability of the other
two has to be announced. Kowa
will offer each of these lenses in
black, white and green.
18
Smart Photography November 2014
Four models—PIXUS MG7530,
MG6730 and MG 5630 and
PIXUS iP110 in the PIXUS
series were announced. The
three models from the MG line
have been available in Japan
since September, and iP110 will
debut in early November. These
models have the PIXUS Cloud
Link, a cloud computing service
feature.
The top-of-the-line MG7530
is compatible with NFC, so
if the user has a Smartphone
with NFC function, printing
can be carried out by facing
the Smartphone towards the
printer. The main features of the
MG7530/6730 include 6 colour
inks in large tanks, wireless
printing via Wi-Fi. The 7530
can produce an L-size print in
18 seconds. The MG5630 uses
5 colour inks and can produce
an L-Size print in 37 seconds.
The iP110 is a compact mobile
printer with 5 colour inks and a
printing time of 44 seconds per
print.
Canon will also release
PIXUS Atelier based on the
MG7530 in beige colour. This
is targeted mainly towards
women customers and can print
items such as a label, a kit for
a gift box, seal prints etc. The
company will offer only 30,000
units of this model.
www.smartphotography.in
NEWS
Business
Nikon to report slightly milder
Operating Profit drop
N
ikon’s operating profit for the AprilSeptember 2014 period appears to
have dropped roughly 77% on the
year, better than the previous forecast of
82%. While global sales of digital cameras
were sluggish, highly profitable mid-tier and
high-end cameras accounted for a larger
proportion of sales. The company’s operating
profit for the fiscal first half came around to
5 billion Yen (US $45.4 million), above its
earlier projection of 4 billion Yen (US $36.3
million). On August 7, Nikon had lowered
forecasts for the first half as well as the entire
year, ending March 2015 while announcing
the results for the April-June quarter.
Sales for the first half apparently sank
by 21% year-on-year to 370 billion
Yen (US $3.36 billion). Sales of digital
cameras and semi-conductor lithography
systems—both key products—fell short
compared to the forecasts. Sales of
interchangeable lens cameras, which
includes single-lens reflex and mirrorless
cameras, appears to have sold around
2.25 million units in the first half, down
by 24% on the year and trailing forecasts
by roughly 100,000 units. But Nikon saw
better sales from mid-range and high-end
cameras, thanks to the release of new SLR
cameras, including the D810 in July and
the D750 in September. Profit margins on
entry-level SLR cameras improved as the
company refrained from discounts.
Nikon is likely to keep its yearly forecasts
unchanged when it releases its AprilSeptember results. The company
expects sales to decline by 8% to 900
billion Yen (US $8.18 billion) and
operating profit to slide by 16% to 53
billion Yen (US $481 million).
Sony raises net loss
Samsung sees 60%
forecast to $2.11 billion
for fiscal 2014
decline in Operating Profit
during July-Sept period
Sony Corp. said it predicts a 230
billion Yen (US $2.11 billion)
net loss for the year ending
in March 2015, compared to
their previous forecast of 50
billion Yen (US $458.7 million)
loss. The company curtailed
the value of their mobile
communications unit after the
drop of its Smartphone sales. In
July, Sony sharply cut its forecast
for Smartphone sales, giving a
stiff blow to one of the pillars on
which it had hoped to rebuild its
troubled electronics business.
In the April-June quarter, Sony’s
mobile phone business unit,
which was once a star performer,
posted an operating loss amid
lagging sales. This forced Sony
to cut their annual sales target
to 43 million handsets. The
company said it will now book
a 180 billion Yen (US $1.65
billion) impairment charge—the
entire amount of goodwill in the
segment—in the second quarter
of this fiscal year.
20
Smart Photography November 2014
Along with games and imaging
products, Smartphones are
positioned as a core business
in Sony’s electronics operation.
The company had high hopes
for the segment as the main
growth driver, with sales
surging by 55% in fiscal 2013.
However, maintaining that level
of growth has become untenable
as competition heats up with
Apple’s iPhone on the highend segment of the market and
Chinese manufacturers at the
low end. The company’s latest
earnings downgrade reflects the
reckoning of that reality.
This will mark the sixth time
Sony ends a year in the red
since fiscal 2008, the year of
the Lehman collapse. The
company had continued to
pay dividends despite the
deterioration in earnings,
but the dire situation is now
forcing Sony to skip dividends
for the first time and focus on
improving its finances.
It has been reported that
the South Korean company
Samsung Electronics incurred
a 60% year-on-year drop in
operating profit in the JulySeptember quarter, mainly due
to slowing sales of Smartphones.
For this quarter, the company
posted the operating profit of 4.1
trillion won (US $3.87 billion),
sinking to the levels that were
last seen about three years ago.
Sales for the quarter declined
20% to 47 trillion won.
Samsung still outperforms
many Japanese companies in
both, profit level and profit
margin. Its profitability has
been declining steeply in recent
months, mostly due to a severe
price competition by local
Smartphone makers in China
and emerging markets.
Kodak opens Technology
Centre in Shanghai
Kodak opened a new Asia
Pacific Technology Centre in
Shanghai to bring together the
company’s technology platform
for the printing industry in Asia.
The construction of the facility
began in early 2014. It combines
demonstrations of Kodak’s
leading pinting sector partners
and showcases, through
winning applications, successful
new business models.
www.smartphotography.in
NEWS
National
Canson Infinity Inkjet Fine Art Paper
now available in India
Picasso, Chagall, Warhol, Ingress,
Miro and Alechinsky.
T
TechNova has recently expanded
its portfolio of inkjet digital media
products by partnering with
Canson, one of the world’s most reputed
manufacturers of Inkjet Fine Art and
Photographic Papers. As per this tie-up,
TechNova will offer a select range of media
from Canson’s Infinity Paper series to
Indian fine art printers.
Canson Infinity Papers are manufactured
by the Canson and Arches fine art paper
mills, located in France. Products from
these two leading mills have been embraced
by leading artists over the years, including
This paper range offers Optical
Brightness Additives (OBAs), so
that the paper does not turn yellow
over time. Cotton fibres give the
paper and canvas a soft texture
that resists ageing. The paper is
acid-free. The Wilhelm Imaging
Research organization has certified
that the Canson Media passes all
industry standard permanence
tests regarding life expectancy
of inkjet prints. It is regarded as
museum-grade archival papers,
and is trusted by museums, artists,
photographers, restorers and many
others for their proven ability to preserve
prints for very long durations.
Vimal Parmar, DGM, Marketing - Digital
Print Media, TechNova, states, “The Canson
Infinity range offers wide colour gamut,
deep blacks and excellent image sharpness.
This makes it the perfect choice for digital
printmakers, artists and photographers, as
it allows them to express their creativity and
ideas in the best way possible.” He adds that
Canson Infinity product applications include
Fine Art and Photographic Reproductions,
Photo Restorations, Art and Photo Portfolio,
Capture One Express
software for Sony
The ‘Capture One’ RAW
converter and image editing
software from Phase One
has been newly adapted for
Sony. ‘Capture One Express
(for Sony)’ will be provided
at no extra charge to users
who purchase an Alpha
series interchangeable-lens
camera or Cyber-shot RX
digital still camera. This
image processing tool
22
incorporates an advanced
RAW image processing
engine to enable delicate
images to be refined to
produce a higher quality
image.
To download the free
software, visit the following
link: http://www.phaseone.
com/en/Imaging-Software/
Capture-One-for-Sony.aspx
Smart Photography November 2014
and many other creative applications.
TechNova is currently marketing a select
range of premium papers from the Canson
Infinity Range. These include:
BFK Rives—This is a mould-made
traditional printing paper, with a pure white
tone obtained without the use of OBAs. It is
ideal for fine art prints and photographs.
Rag Photographique— A100% cotton
museum-grade white fine art and photo
paper, specifically suited to address the
needs of the digital fine art industry.
Plantine Fibre Rag—This digital darkroom
paper has the feel of the original Baryta
fibre paper.
Baryta Photographique—This is museumgrade Baryta paper developed for inkjet
technology, with better black density and
image sharpness, making it ideal for black
and white photography.
Arches Aquarelle Rag—A Genuine 100%
rag, this is mould-made water colour paper
which is strong and has a unique texture and
a warm white tone, like traditional fine art
paper. This paper complies with the highest
archival standard and is age-resistant.
NatGeo conducted
Photo Walk
In an initiative of the
National Geographic Society,
‘The Great Nature Project’
was organized. The first in
the series of the National
Geographic Great Nature
Photo Walks were conducted
in Mumbai, Kolkata, Guwahati,
Jorhat, Hyderabad, Delhi
and Nashik. Photography
enthusiasts and nature lovers
were taken for a nature trail
at Anjaneri (Nashik) on
September 14, 2014.
The participants also got
guidance on photography
techniques free of cost. Dr
Caesar’s Photography (DCP)
Expeditions, a wildlife
photography training
academy, conducted the free
photo-walk. The group was led
by Pratik Padhye.
www.smartphotography.in
November 2014 Smart Photography
23
NEWS
National
Picobattery
Store in New
Delhi
Based in New Delhi,
Picobattery is an online
power accessory store. They
have recently been awarded
Google’s ‘Trusted Store’
Badge. Picobattery provides
their customers with
premium quality batteries
for cameras, camcorders,
laptops, Smartphones as
well as battery chargers,
D-SLR battery grips,
memory cards, power
adapters, and other
replacement accessories for
various electronic gadgets
at competitive prices. They
keep a warehouse stocked
with equipment and have
trained staff and technicians
who are available to assist
customers and ship off the
products without damage.
Wildlife Photography
Exhibition at Thane
A
A wildlife photography
exhibition of 15 young
freelancers was on
show at Thane Kala Bhavan,
Kapurbawdi, Thane, from
October 2 – 5, 2014. The
photographers were Parin Gala,
Saleel Gharpure, Amol Pawar,
Manjeet Thakoor, Anvay
Ganoo, Nandish Songire,
Rohit Kadam, Nimish Sabnis,
Saurabh Mahajan, Swapnil
Samarth, Dhananjay Talekar,
Mandar Nalawade, Chinmay
Amrute, Akshay Mokal
and Ashutosh Shinde. This
Exhibition gave the audience
a walk through of more than
150 species of mammals, birds,
reptiles, butterflies, etc.
Parin Gala and Saleel
Gharpure’s new photo-book
on reptiles was also displayed
at the exhibition. It includes
photographs of 60 species
of reptiles found in around
Maharashtra along with brief
details, and also explains basic
concepts about how reptiles
live and survive in the wild.
‘Clean
India’ Photo
Competition
The new government’s initiative
of ‘Swachh Bharat’ or ‘Clean
India’ is gaining ground. To
promote the campaign, a
photography competition was
announced by Canvas, an
initiative of the New Media
Wing, Ministry of Information
and Broadcasting. The Photo
Contest offered cash prizes
of Rs.10,000, Rs.7,000 and
Rs.5,000 for the first, second
and third places respectively..
An Animation/Video contest
was also launched, offering
prizes of Rs.30,000, Rs.20,000
and Rs.10,000 to the first,
second and third place winners
respectively. To know more, log
on to www.dv.inbministry.com.
24
Smart Photography November 2014
www.smartphotography.in
NEWS
National
SignedPRINTS Photography
Contest 2014
T
he third SignedPRINTS
Photography Competition,
with the theme ‘Colourful
Abstracts’ is now accepting entries. The
contest is open to all Indian residents
and the deadline for submission is
December 15, 2014. The 1st, 2nd and
3rd place winners will receive cash
prices of Rs.5000, Rs.3000 and Rs.2000
respectively. Log on to www.threedots.
in for more information or to enter.
Huawei ties up with
Flipkart to sell ‘Honor’
series Devices
Chinese networking and telecommunications equipment
company, Huawei tied up with Flipkart to sell their ‘Honor’
range of devices. Huawei is the third-largest Smartphone
maker in the world with a 6.7% market share, and Flipkart is
India’s largest e-commerce platform. Huawei launched four
devices, that are available exclusively on Flipkart.
“Our product line up for the next quarter is exciting and
promising and we are confident that our tie-up with Flipkart
will further fuel our growth and success in India,” said Cai
Liqun, CEO, Huawei Telecommunications, India.
Fashion Photography Workshop
at New Delhi a success
Shoots and Shoots Academy,
with the support of Tamron,
held a Fashion Photography
Workshop on September 14, 2014
at New Delhi. The workshop
had about 10 participants who
were keen to learn about Indian
and International fashion
photography. It was held at
the premises of Shoots and
Shoots Photography Academy,
New Delhi, an institute of
photography courses.
The mentor and teacher for this
event was Mr. Shyam Prasad,
who himself is a national
award winner in photography.
Contents of the workshop
included basics of fashion
photography, the understanding
and placement of lights and the
play of shadows, some editing
lessons that are required to
enhance the pictures, and other
useful skills such as building
contacts in the field.
The flagship device, Honor 6, is a 4G phone, with 3GB RAM
and 13 megapixel rear camera. It is priced at Rs.19,999. “At
the onset of the festive season, the devices including two
Smartphones — the Honor 6 and Honor Holly and two
Tablets — Honor X1 and Honor T1, will be available to the
26 million regular visitors of Flipkart,” said Allen Wang,
Huawei India President of the Consumer Business Group.
Top brands ask Amazon to
limit Diwali sale discounts
As the festive season is approaching, top electronic brands asked
Amazon India to offer moderate discounts, not more than 15%,
for their Diwali sale. The companies reportedly asked for the
Amazon pricing not go below the ‘landing price’ or the rate at
which brick-and-mortar stores buys goods from them.
26
Smart Photography November 2014
www.smartphotography.in
Fotothon 2014 to be held on December 13
I
nitiated on March 26, 2011,
Fotothon is a unique photography
marathon. The second edition was
held on the Earth Day, April 22, 2012.
A new concept of ‘Fotothon Focus’
was introduced to address various
issues facing the city. The third
edition was held on Nov 16, 2013.
The focus was to create awareness
about flamingos of Mumbai city,
which are awaited visitors during winters.
Several photo-walks were organized across
the city, with experts leading the walks.
The Photothon 2014 will be held at
Maharashtra Nature Park. The event begins
at 10 am on December 13, and will last for
24 hours, during which participants have to
click the photographs based on the theme
for Foto Story is disclosed to the
participants on the day of the event.
Best Fotograph- The participating
photographers can submit a
photograph relating to nature and
environment under this category.
revealed to them on the same day. Entries
will be accepted in the following categories:
Foto Story- This category tests the
participant’s skills of narrating an
environment-based issue through a series
of 3 to 5 photographs thus weaving out a
story with the help of pictures and detailed
description through captions. The topic
Best Portrait- Under this category,
photographers can click portraits or
interesting images of people.
Best Picture ( Mobile Phone)Photographers will have to submit a single
image on a subject that will be announced
on the day of the event.
To know more or enter, log on to
www.fotothon.in
NatGeo Covershot Season 3 set in Mumbai
National Geographic Channel’s show,
Covershot (Season 3) will be based in the
maximum city, Mumbai. The photography
based TV reality show will feature 16
budding photographers from across India,
who compete to be featured on the cover
of the National Geographic Traveller India
magazine.
The photographers have to capture the city
that never stays still, in a still photograph.
Mentoring the participants and judging
the show will be the photographer Samar
Singh Jodha and film director Abhinay
Deo, while photographer Raghu Rai joins
them for the finale. The series will be
hosted by Shibani Dandekar.
This edition of the show is dedicated to the
larger than life spirit of the city of Mumbai.
The themes of the series are Ganpati
Visarjan, Malkhamb and Akhada,
People who drive Mumbai, Dharavi and
an undisclosed theme for the Finale.
Covershot: Maximum City premieres on
November 15, 2014, and will air every
Saturday at 10 pm on National Geographic
Channel.
Somesh Goyal’s
work exhibited
Somesh Goyal, Inspector General
in Sashastra Seema Bal (SSB) and
also an avid wildlife photographer,
recently showcased a photography
exhibition for his love for the
wild. It was held at Chanakyapuri,
Delhi, from October 1 to 9, 2014,
and was inaugurated by SSB
Director General, BD Sharma.
The exhibition was titled ‘Walk by
the Wild Side’ and was a tribute
to Machli, the tigress living in
Ranthambore.
www.smartphotography.in
November 2014 Smart Photography
27
PICTURE OF THE MONTH
A NOTE TO OUR READERS
1. The picture has to be horizontal.
2. Kindly ensure that the longer side should measure atleast 17 inches, at 300ppi.
3. Low resolution images will not be accepted.
4. We do not check images on online galleries.
5. Kindly ensure complete contact/address details are provided. Winners will have
to collect their prize from SP’s Mumbai office or send an authorised representative
to do so.
6. Please make sure that your picture does not have your name/logo on it.
h by
n
a
j
a
R
r
a
m
u
k
a
y
a
Ud
ap
Photogr
PICTURE OF THE
MONTH
We are sure that all of you have a few pictures
that you think are prize worthy. It happens
very often that you don’t know where to send
the image that could put a feather in your cap.
If you have such images (we’re sure you have
many!), send us ONE such horizontal image.
If it qualifies, we shall publish it as a doublespread.
a. You have to guarantee that the picture was
shot by you
b. If there are people in the picture who can be
identified, we’ll need a model release
c. The picture should not have been printed
elsewhere (magazine newspaper, or offered
to any publication)
d. Mark the entry as “Picture of the Month” and
rename the file using your name
e. You may send images via print/e-mail to: Next
Gen Publishing Ltd.,2nd Floor, C Wing, Trade
World, Kamala Mills Compound, Senapati
Bapat Marg, Lower Parel (W), Mumbai 400013
(or) [email protected]
WIN!
MK 393 PD
Tripod
Sponsored by:
KALEIDOSCOPE
Finally, a platform for budding photographers
to exhibit their talent and GET NOTICED!
Long
Way To
Go
Holi Splashes
Camera: Canon EOS 5D Mark III
Lens Canon 24-70mm
Aperture : f/3.2; Shutter speed: 1/2000sec.; ISO: 1250
Focal Length 70mm
B
orn and brought up in Ludhiana,
Punjab, Rajeev Kashyap is a
devoted photographer. He
began his journey in this field about
fourteen years back, as the assistant of
a commercial photographer. He soon
established himself as an independent
photo-artist. His zest for learning
Rajeev Kashyap,
provided him with the opportunity
Ludhiana
to meet a well-known photo-artist of
Ludhiana, Mr. Rakesh Syal. Rajeev was
very impressed and influenced by Mr. Syal’s style of
work. He started visiting Mr. Rakesh Syal’s place and
was mentored by him. Syal suggested that he should
join IIPC and attend its workshops. He attended the
IIPC workshop in Delhi in 2008. This workshop was a
great learning experience for him.
Today he is a popular photo-artist of his town. He
practises pictorial photography and tries to add
pictorial value even to his commercial shoots.
Rajeev regularly participates in the competitions of
art photography. He has a number of awards and
recognitions to his credit.
32
Smart Photography November 2014
www.smartphotography.in
www.smartphotography.in
November 2014 Smart Photography
33
Kailash Kher
Camera: Canon 5D MK III
Lens Canon 24-70mm
Aperture : f/5.6; Shutter speed: 1/160sec.;
ISO: 1600
On Two Horses
Camera: Canon EOS 40D
Lens Canon 18-135
Aperture : f/8.0;
Shutter speed: 1/125sec.; ISO: 200
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Smart Photography November 2014
www.smartphotography.in
Calm Waters
Camera: Canon EOS 40D
Lens Canon 18-135
Aperture : f/10.0; Shutter speed:
1/400sec.; ISO: 200
Focal Length 47mm
Bridal Jewellery
Camera: Canon 5D MK III
Lens Canon 85mm. 1.8
Aperture : f/2.8; Shutter
speed: 1/125sec.; ISO: 1600
Focal Length 70mm.
Shy Bride Camera: Canon EOS 40D; Lens Sigma 70-300mm
Aperture : f/8.0; Shutter speed: 1/125sec.; ISO: 200
www.smartphotography.in
Focal Length 168mm
November 2014 Smart Photography
35
38
Smart Photography October 2014
October 2014 Smart Photography
39
SHOWCASE
FROM
SWEETS TO
SIGHTS
As told to Tanika Godbole
Beak Wide Open
Meal Together
Mohan
Gidwani is a
nature lover
who loves
capturing the beauty of nature and
wildlife in his images. He is passionate
about photography and believes in
expressing and showing beautiful sights
through this medium.
38
Smart Photography November 2014
www.smartphotography.in
B
orn in 1959 in a family of
well-known confectioners of
Delhi _ Chaina Ram Sindhi
Confectioners _ Mohan Gidwani
graduated from Delhi University and
got involved with his family business.
Mohan Gidwani was inclined
towards art and creativity since his
childhood. He used to observe the
works of the masters of photography
very keenly in magazines, and
often attended the art exhibitions
organised in his city. The images
that he was exposed to touched his
soul, and motivated him to step
into the realm of art. Gradually,
photography became his obsession.
Mohan Gidwani is a nature lover
and he prefers to capture the beauty
A close-up
www.smartphotography.in
November 2014 Smart Photography
39
SHOWCASE
Twins
of nature at its
best. This nature
photographer
believes that
photography
is a journey of
the soul, which
accompanies an
artist throughout
his life. Gidwani
says, “After so
many years of
my involvement
in photography,
I think of it
not only as a
form of art,
but an integral
part of my life.
Photography has
been a driving
passion for me.”
He further adds,
“Photography
is a medium of
expression. It
Birds of a feather
40
Smart Photography November 2014
www.smartphotography.in
Peek-a-boo
is just like a window,
which lets you look
deeper into the
beautiful picturesque
world.”
Gidwani likes to keep
his pictures simple
and uncomplicated.
He has won more
than 400 Awards and
Certificates of Merit,
and has had over 1400
of his works exhibited
in International
and National
photography Salons.
The India International
Photographic Council
has honoured him
with the prestigious
Associateship Honour
and Diamond Grading.
His work has also
been published in
several magazines and
catalogues.
Looking for nuts
www.smartphotography.in
November 2014 Smart Photography
41
Advertorial
Positioning your
Lights!
VV Ramana of Villart
Photography is one
of the premier league
photographers in the country.
Within the professional
fraternity, he is well known
for his technical expertise.
A man high on spirit, with
an inherently burning need
to showcase subjects in the
most beautiful manner – he
is dedicated to producing
photographs and videos
with precision. He is very
particular about the quality
of the work he does.
Lighting creates a mood when it’s done well.
It is incredibly important to any images, but
especially wedding photography. Whether the
ceremony is taking place indoors or outdoors,
it’s crucial to ensure that you have good quality
lighting in order to take the best possible
photographs. Whether you’re a professional
photographer or not – you need to take a good
look at the venue prior to the ceremony to find
out how much additional lighting equipment
will be needed, as well as what type. This will
ensure that the photos turn out great. With
wedding photography, there are inevitable time
constraints. It is therefore imperative that you,
as the wedding photographer, are able to keep
everything running as smoothly as possible on
your side, which implies that it is important that
you (and your equipment) are adaptable. And it
is also important that your gear is easy to set up,
and very reliable. While setting up the lighting for
wedding formals in the halls, the question often
crops up – where do you place the lights?
While shooting these images, the concept is
quite challenging. It is practically impossible
to shoot using ambient light. The use of an
external flash here will ensure that your subjects
are correctly exposed. To prevent harsh
Indirect Lightbank Octa 190 cm
It has 360° rotating system also
accepts all Elinchrom Flashheads
including the Ranger Quadra Heads,
with Adapter Ring 26339
Camera used: EOS-1Ds Mark III with 15mm f/2.8 fisheye lens.
shadows being cast behind your
subject, you should – at all
times – avoid pointing the flash
directly at them.
Here, to give a live kick to the
background, we positioned the
Ranger Quadra hybrid behind the
subject. This battery flash system is
ELC Pro HD 500
The ELC features three exciting
shooting modes I.e; Sequence Mode,
Delayed Mode, and Strobo Mode
compact, lightweight and it supports
full power flash durations as short as
1/6000, and recycle times as short
as 2s. This helped us in highlighting
the whole background. Further, for
highlighting the subject, we arranged
the light setup in front using ELC pro
HD 500 a compact studio flash with
the bounce light. The distance was
approximately 5 to 6 feet between
the subject and light. The closer you
bring the light, the greater is the risk
of having the light fall from too steep
an angle and creating shadowed eyes.
This flash was used to fill up the dark
place and bounce light to ensure that
there is no lens flare. For enhancing
the soft and warm effect, we have
used the Lightbank Octa
190 cm. Likewise, you can
conceptualise and use your
imagination any way you want. After
all, getting the right frame and taking a
good picture is what drives you.
Ranger Quadra hybrid Pro SET with
Lamphead A Type
The kit includes a Ranger Quadra Hybrid Rx
Pack with a Lead-Gel Battery, multi-voltage
charger, 2 small, very lightweight RQ Hybrid
A (Action) flash heads, El-Skyport wireless
transmitter and a case to store and transport
it all.
Tips and techniques while shooting a wedding
• Never complicate the lighting setup. You should try to keep the setup as simple as possible. It
is advisable to carry portable lights and reflectors to get better shots. At the same time, in low
lighting conditions, use the widest possible aperture or smallest possible f-value to get correct
exposure. You can also boost your ISO value but it increases the noise in your images.
• The official shot is better done before the reception and not right after the wedding.
• Capture candid bridal moments especially when she’s getting dressed, her jewelry, her
preparations to look her best. These shots can be caught from different vantage points with a
prime lens and have no one feel that you are intruding. Shooting using a zoom or prime lens
lets you capture some close shots from a distance and can be used to capture photographs of
props such as wedding rings, bouquet, etc, as well.
• Create fine compositions instead of asking the subjects to move, and be aware of the lighting.
If, in your viewfinder, the lighting looks harsh on your subjects’ faces, it may look even harsher
in the final image.
• For getting a close-up image of the couple so the lighting is flat and even... It’s pretty easy
to achieve this effect – all you need to do is place two soft boxes on either side of your subject
at the same angle and at an equal distance. Set the power so it’s the same from each light.
Try using a reflector under the face – your model should easily be able to hold this. This will
bounce light up and onto the face
• In case of shots of friends and relatives, try taking images from the side lines while others
have their photograph taken in front of them for a more natural looking shot.
• While capturing bride and groom portraits always aim to take natural images which convey
love and happiness rather than endless posed images. For getting these types of wedding shots,
shoot from a distance and from different angles to create interesting compositions.
• You can capture the wide angle of emotions of family, friends, and the groom during the
‘Vidaii’ by creating a panorama and also use two cameras to get those candid shots. You can
also try a more creative approach to capture these shots using a fish-eye lens. Fish-eye lenses
create some distinct images with radial blurs and curved looks which will distinguish your
pictures from other photographers.
IF I WERE YOU
E-mail your images at [email protected]
Our Imaging Expert
No one can take a picture that
everyone likes. But, almost
every picture can have scope of
improvement. Often, we are not
our best critics, while others can
immediately point out the faults. In If
I were you, our expert comments on
how your pictures could be taken to
another level.
Rohinton Mehta,
Technical Editor, Smart Photography
Original Image
The Monkey
This picture of a monkey, semisilhouetted against the setting sun,
has been sent for evaluation by
Prakash Lalpotu, a reader of SP and
a retired lecturer of zoology.
The first guideline for composition
Camera: Nikon D3100
Lens: Nikon 55-200mm at 200mm
(equivalent to 300mm)
Aperture: F/7.1; Shutter speed: 1/320sec;
ISO: 200
says that ‘thou shall not place the
center of interest in the center of the
picture’.
The EXIF data tells me that you
took the photo using a 55-200mm
telephoto zoom lens set to 200mm.
Please note that what you did was
dangerous and should be avoided.
Your eyes are more precious than
any photo on earth. Photographing
the sun when it is still bright (and
the sun in your picture is bright!)
and that too using a telephoto lens
could cause blindness (the effect
may be noticed even months later).
Shooting straight into the sun has
caused red fringing all around the
monkey. This does not look good.
Using Photoshop, we have got rid
of the same and also re-framed the
monkey. To keep things simple, I
have not explained the method of
getting rid of the red fringing.
Matheran Landscape
Andrew S, the author of this photo
has been into photography for quite
some time, but he admits he does
not shoot regularly. He wants some
tips on how he could improve his
photography.
Well Andrew, practice makes a man
perfect. Unless one takes pictures
regularly, and analyses the pictures
for their good and bad points, it’s
difficult to improve. A photographer
needs to have patience as well as
perseverance. When you go to a
picturesque location, the first thing
to consider is the lighting on the
subject. If the light is ‘flat’ or if the
light is coming from the wrong
direction, your pictures are not
going to ‘stand out’. The next thing
to consider is the point where you
should stand; move around and see
if the view improves when seen from
another viewpoint. Then consider
the focal length that you should use.
Finally, compose the frame to your
liking and ensure that your camera
is absolutely steady during the
exposure.
I have a picture very similar to the
one you have sent (it’s taken at Echo
Point. You probably stood almost at
Edited Image 1
44
Smart Photography November 2014
www.smartphotography.in
Original Image
the same point as
I). The location/
viewpoint is fine
but the lighting
isn’t. The light is
quite ‘flat’ (may
be it had become
overcast). If I were
you, I would have
waited till the sun
broke through the
clouds. Angular/
cross lighting
brings out details
that flat lighting
subdues.
In the edited
picture, using
Photoshop, I
have adjusted the
contrast, cropped
a part of the sky
that wasn’t adding
to the picture and
sharpened the
image.
Sunset Time
This picture has
been sent to us by
Avinash Ghorpade
from Nashik. Says
Avinash, “This
picture was shot
years ago. I like
the photo but
don’t know how to
get rid of the red
colour cast. Can
you help?”
Edited Image
Camera: Canon PowerShot G7
Aperture: F/4.5; Shutter speed: 1/250 sec; ISO: 100
www.smartphotography.in
Most certainly I
can, but remember
that all colour
casts are not bad.
Sometimes, colour
casts can actually
make you like the
photo even more.
Here’s how you do
it (actually there
are a couple of
ways to get rid of
the colour cast;
this is just one of
them).
1. Open the image
in Photoshop
November 2014 Smart Photography
45
IF I WERE YOU
E-mail your images at [email protected]
Note: If I Were You is meant to encourage and guide readers, and help them improve their
photography. Please ensure that the required camera/exposure details are sent to us (or are
available in the EXIF data). We shall not accept images for this section if the required data is
not available. Readers are requested to send their images at 300ppi for 8 x 10-inch size. If they
are too small, working on them is difficult, and hence they may be rejected.
Original Image
Camera: Olympus 5060
Aperture: F/5.6 ;
Shutter speed: 1/125 sec;
ISO: 80
Printscreen 2
Edited Image
and create an adjustment layer
for Levels (you first press the F7
key on the keyboard to open the
Layers panel. Then click on the
half-black half-white circle at the
bottom of the Layers panel and
select Levels).
2. Click on the white eyedropper
in Levels (See PS 1) and click on
the brightest area in the photo (I
clicked at the point marked X).
This will get rid of the colour cast
in the highlights.
Printscreen 1
46
Smart Photography November 2014
3. You could then take the black
eyedropper and click on the
darkest area, but instead I merely
lightened the foreground by
moving to the right the black slider
of the Output Levels (See PS 2).
That’s it!
www.smartphotography.in
Q&A
Ask Uncle Ronnie
Did you know...
Ronnie has
over 35 years of
experience in
photography?
In fact, he has
taught several
thousand photoenthusiasts
in various
institutions
and through
workshops, as well as judged
many national and international
photo contests, including the
prestigious International Photo
Contest held at Colombo, Sri
Lanka. So, if you have any photoqueries, whether conventional or
digital, don’t hesitate. Just go ahead
and Ask Uncle Ronnie at sp@
nextgenpublishing.net, ‘cause he
knows it all!
Image Curruption
Will my images get lost/currupted
if I switch off my camera before all
the images have been written to the
memory card?
We regularly get requests to suggest a camera or a lens. While some do their preliminary
homework, most don’t. It is important for you to do some spadework and narrow down
your options before writing in to us. You also need to give us an idea of what genre of
photography you are interested in and how much you are willing to spend. We would then be
in a better position to evaluate your query and suggest suitable gear. We have received one
such ‘homework-done’ request from a reader who has narrowed down his choice but wants
to know if the extra amount that he would spend is justifiable or not. The questions he has
asked are relevant to every reader. Read on...
Tip: There is no need to power off
the camera unless you definitely do
not want to use it for a long period.
When the exposure meter goes off
(which depends on the time you have
set for it), the camera automatically
goes into ‘sleep mode’, thus saving
battery power. As soon as you halfpress the shutter release button, the
camera ‘wakes up’.
Don’t want to carry
bulky D-SLRs
I read your answers with a lot
of interest and always find them
precise and very helpful. I also
Realising this, some manufacturers
now design the camera to not switch
off even if you put the on/off switch
to the off position while images are
being written to the memory card.
Only after the images are safely in
the memory card, the camera will
switch off.
www.smartphotography.in
Shyam S. Sharma, via email
Thank you for your kind words.
A camera dealer may
suggest you to go in for
a D-SLR for any of the
following three reasons:
A. S. Pujari, Ahmedabad
Depends on your camera. Some
earlier digital cameras did not have
this safety feature and many users
lost their precious images when they
switched off the camera before the
access lamp had stopped blinking
(for those who are not conversant
with digital cameras, all digital
cameras have what is known as
‘access lamp’ which blink to show
that images are being written to the
memory card. You are not supposed
to switch off the camera till the lamp
stops blinking). However, many
users have a habit of switching off
the camera as soon as the exposure
is over (they wrongly believe that
they will save on battery power by
doing so).
basic needs are fully vari-angle
LCD, a little bigger sensor (1/1.7
or more), a zoom of about 15- 20 X
and 1920x1080p video recording.
Price within 40,000. This I want
to use as a travel camera and also
to record videos. I do not want to
carry bulky D-SLRs, nor do I like
the hassle of changing lenses. I have
an eye on Nikon Coolpix P7800, but
the dealers want to always push me
towards D-SLR. Could you please
suggest me a good choice.
a) His dealer margin may
be higher.
b) Further business
from you (when you buy
another lens or accessory)
c) He may be genuinely
trying to help you to
achieve better image
quality
Nikon Coolpix P7800
have a question.
I take photos and
videos and use
Panasonic HDC HS
60 camcorder and
Panasonic DMC
ZS 27 compact.
Now I need a
better compact
camera and my
Panasonic LX100
November 2014 Smart Photography
47
Q&A
Ask Uncle Ronnie
A compact camera (may not fit in
a shirt pocket though) that I can
recommend is the Panasonic Lumix
LX100. It has a non-interchangeable
Leica Vario-Summilux 24-75mm
equivalent f/1.7-2.8 lens and a
Micro Four Thirds sensor (approx.
17.3 x 13mm). The 1.7-inch Type
sensor by way of comparison is
only 7.6 x 5.7mm. Any small sensor
camera will have higher digital noise
when compared to a larger sensor
model, everything else being equal.
The LX100 also offers 4K video
recording. What you will not get with
the LX100 is the zoom range you are
looking for and the vari-angle LCD.
The price will definitely be higher
than your budgeted amount, but it
will make an excellent travel camera.
Though we have not tested this
model yet, I am confident that
its image quality (stills as well as
video) will be absolutely stunning.
The zoom range being small, will
help you achieve very sharp images
throughout its range. The Nikon
P7800 that you mention is also a
very nice camera. It has a 28-200mm
equivalent zoom range, the widest
aperture is f/2 at the 28mm end
and f/4 at the 200mm end. I like the
camera but at the same time I prefer
cameras with larger sensors as used
in the LX100. With the LX100, you
of course do not get the focal reach
that you get with the Nikon P7800.
Buying a camera is almost always
a compromise between the various
features.
Remote Operation
These days some cameras can be
operated via the Smartphone. What
are the benefits of doing so?
R. K. Pawar, Pune.
To enable a Smartphone (or any
other Smart device, like a Tablet) to
operate the camera, you first have
to download a dedicated app on
your Smartphone. Note that not
all cameras can be operated this
way; the camera must have Wi-Fi
capability. Your camera User Manual
will tell you how to set-up the camera
for this purpose.
The main advantages are:
1) You can wirelessly trigger the
camera without the need to purchase
a wireless remote controller.
2) You can see the scene/subject (that
your camera is viewing) right on the
screen of your Smartphone.
3) You can, in some cases, change the
shutter speed, aperture, ISO, focus,
and a few other parameters on the
camera from the Smart device.
4) Images can be automatically backed
up on the Smart device.
To give a practical example of its usage,
let’s say you have the camera on a tripod
or on a clamp and attached to a fence
or a tree and
are trying to
photograph a
bird/animal.
You could stay
out of sight of
the subject and
remotely focus
the camera and
trip the shutter
when required.
Obviously you
cannot move the
camera using
this feature.
your camera:
Canon: EOS Remote
Fujifilm: Fujifilm Photo Receiver
Nikon: WMU (Wireless Mobile
Utility)
Olympus: Olympus Image Share
Panasonic: Panasonic Image App
Sony: Play Memories Mobile
The apps can be downloaded from
Google Play Store.
Overexposed Skies
I recently photographed some
landscapes. While I was very
happy with the colour and detail
in the foreground, the sky was
overexposed and almost toneless
in most of the shots. I realise that
Here are the
apps that you
would have
to download
depending on
your make of
Printscreen
48
Smart Photography November 2014
www.smartphotography.in
Original Image
3. By default, the Colours
field will show Red
colour. Click in that field
and select Whites (since
the sky is white and that
is the colour we want
to replace)
4. If the sky is very much
overexposed (as in the
example I have shown),
select the Absolute
button. Move the Cyan
and Magenta sliders to
the right till you get a
blue tone in the sky (I
am assuming you would
like to make the sky blue;
cyan + magenta equals
blue. A sky usually has
more cyan than blue,
hence you can see in
the printscreen that
cyan and magenta
sliders are moved by
different amounts)
5. When you take
the above step, you
will notice that some
light-tone areas in the
foreground will also get
the blue colour. We need
to get rid of the blue
colour in these areas.
Hence create a white
mask by clicking on the
square with the circle
at the bottom of the
Layers panel.
Edited Image
I should have used a graduated
neutral density filter while taking
the shots, but now that I have
not done that, is there any way to
improve the sky?
Praveen, via email
Yes there is. Since you have not
sent me the problem image, I am
using one of mine to demonstrate.
www.smartphotography.in
1. Open the photo in
Photoshop. Press the F7 key to
open the Layers panel if it is not
already open.
2. Create an adjustment layer for
Selective Colour (click on the
half-black, half-white icon at the
bottom of the Layers panel and
choose Selective Colour)
6. Select the Gradient
Tool from the Toolbox.
From the Options
Bar at the top, select
Linear Gradient
and Foreground to
Transparent. Place the
mouse cursor at the
bottom end of the picture and
drag it up till it just crosses the
mountains (some trial and error
may be required). Keeping the
Shift key pressed while doing
this will help you draw the line
straight up.
7. Flatten the image and save the
file using the Save As command.
November 2014 Smart Photography
49
PHOTO FEATURE
Wedding Special
Expressions
W
edding photography gives you
a chance to show your talent
in all genres of photography.
Instead of using the standard style of flash
photography, you can develop your own
style and shoot in available light.
Artography: Artography is when the
producer of a given work aims for
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Smart Photography November 2014
something more than a merely realistic
rendering of the subject, and creatively
conveys personal expressions and feelings.
A picture can be worth a thousand words.
if you capture the right moment, it leaves a
lasting impression. Every moment at a wedding
is precious. People don’t remember days and
events, they remember moments and feelings!
A wedding is one of the most important
occasions in a person’s life, and Indian
weddings are the most colourful weddings
in the world. These days, families are
warming up to a different style or type of
candid wedding photography. Sangeet,
mehendi, haldi, cocktails, bachelor parties
and get-together functions before the
actual wedding have become a part of the
www.smartphotography.in
Merry
Tales
Vinayak Puranik and Archana Joshi,
Art Photography Adventure Craft (APAC)
www.apackala.com
culture. Some clients plan destination, theme,
or beach weddings. This gives the photographer
the freedom to develop new ideas and make
the occasion look more beautiful and artistic.
Without a photo-video artist team, weddings
are incomplete.
Nowadays, digital media is everywhere and it is
a blessing for wedding photographers. It gives
you a chance to capture as many pictures as
you wish. But you must also remember that the
more you shoot, the more difficult the selection
process becomes while making an album.
Wedding photographers can keep the following
pointers in mind before they get down to
business.
1) The general rule of photography is
that before you go ahead and photograph
something, you need to understand the subject
in detail and plan your work meticulously.
2) Never depend on correction and editing
tools. Instead, try to get the right shots first.
Use the software to enhance the images; not to
manipulate them.
3) You must also consider the lighting
conditions at the venue so that you can plan
accordingly.
4) Having a time-table for each and every
function is a must.
Wedding Shopping
www.smartphotography.in
November 2014 Smart Photography
51
PHOTO FEATURE
Wedding Special
Bridal Portrait
52
Smart Photography November 2014
www.smartphotography.in
Puja
Vidhi
Colourful weddings
Senior citizens
5) Confirm the details of all the ceremonies
with your clients. Clearly mention your
additional charges for overtime in the
assignment form.
8) Always discuss what the client wants
from your side—coffee table albums,
calendar, photo frames, short clip DVD,
pre-wedding films etc.
6) Specify the terms and conditions for
payment. If you intend to use the photos
or videos for your exhibitions or publicity,
have written permission from your clients
in advance.
Remember, you are an artist, and not just a
photographer. Wedding photography is not
an easy job, since there is no action replay
and no excuses if anything goes wrong
while shooting. No matter how famous you
are or how much good work you have done
in past, you have to be on your toes for
every new assignment.
7) Clearly state what type of
photography you will do and what kind
of albums you will design. This is to
avoid any discrepancies or problems in
the future.
www.smartphotography.in
Using a team of four to six photographers,
you can capture various aspects of
photography like children, senior
citizens, fashion, food, decor, jewellery
as well as bride and groom in different
moods. Such shots make for the best
memories. Get to know the people you
are going to photograph, and capture their
personality in your pictures. A passionate
photographer’s team lead by a competent
art director can create the best customized
wedding pictures.
Venue and Decoration: The first thing
on your list should be to visit the venue.
If possible, suggest a venue which has the
ambience and lighting that you prefer.
Check if the wedding is indoor or outdoor.
November 2014 Smart Photography
53
PHOTO FEATURE
Wedding Special
Sitting Arrangement
Check whether the light source is natural
or artificial. Know the directions (north,
east, west, and south). How many lights
you require for the function should be
decided as per height, width and length of
the venue and the size of the vidhi mandap
for the big day. Consider things such as
cutters, reflectors, extra tables and extra
standing platform for your team. The sitting
area for guests is also great for acquiring
natural, emotional pictures. Remember,
the decoration should help you enhance
the pictures. It should not overpower
the main subjects. The guests’ costumes
cannot be controlled, but core family’s
costume colours should balance against the
backdrop. You must give suggestions for
ambience and decoration too.
Lighting on the stage and on ground:
Study colours, perspective and material
54
Smart Photography November 2014
used (like real/ artificial flowers) and the
type of lighting (PAR/ LED/Point/ Spot/
Rays). Understand all obstacles as per
bride and groom’s costume colours. To
shoot in available light, you need proper
ambience. Any external flash light makes
a person conscious. So try to limit the use
of flash only to traditional style portraits.
Food area: Co-ordinate with caterers
so that they will give you prior notice
before they start serving food to get nice,
well-decorated food pictures. Try to avoid
photographing people while they are
eating or drinking; it makes them very
uncomfortable.
Emotions: Get to know the culture and
relations in the core family. Understand
the emotional bonding. The pre-wedding
shoot must cover the background story of
the couple and not an arranged drama, be
it love marriage or arranged marriage. Try
to shoot the real story behind the families’
union. Shooting while purchasing jewelry
and costumes for the bride and groom is
a good way to capture emotions too.
Art direction: An art director plans the
function as per the budget and interest of
the client. Having commercial or fine arts
background gives justice to the project.
Plan before starting the actual work
like arranging neat and clean havankunda, decorative thalis, fresh flowers,
new sparkling utensils and all other
puja material used in the rituals of the
ceremony. Also guide the bride for her
bridal wear, make-up, hairstyle, grooming
and diet planning before heading for the
day. Instead of taking customized standing
group photos, make seating arrangements
www.smartphotography.in
on stage. People are more
comfortable while sitting.
Portraiture in weddings
is a real challenge to
photographers. Making
studio arrangement and using
external flash is a standard style
of doing it. But if you want to
show someone’s personality,
you need to understand and
capture the essence of the
person you shoot. While
photographing, make them feel
comfortable. If you succeed in
capturing the right moment
at the right time without their
knowledge, your picture can
make a huge difference in the
coverage of the event.
Video: Video shooting is
important for every wedding.
While shooting you must
capture all the ‘vidhi’ as
well as guests, food, venue
along with all the cheers and
laughter. Editing is a crucial
part. Montage is the heart of
a film. Using three to four
video-camera set-ups, you
can capture every corner of
the function and then mix the
same. You can make a glimpses
clip along with regular video.
Gimmicks should be avoided
in wedding videos because it is
an auspicious sacred ceremony.
No one’s sentiments should
be hurt directly or indirectly.
Let the client enjoy their
function while you do your job
professionally.
Perspective
www.smartphotography.in
Wedding photography is not
a one-man job, it’s team work.
You should co-ordinate with
the decorator, caterer, costume
designer, make-up artist,
dietitian as well as your client.
As Ansel Adams says,
“Photography is more
than a medium for factual
communication of ideas. It is a
creative art.”
November 2014 Smart Photography
55
PHOTO FEATURE
Wedding Special
Mayuresh Patil
I
started photographing weddings in
a candid /artistic way in the US. I
moved back to India in 2009. Back
then, candid wedding photography was
fairly new and not many people were
practising it. I photographed my first
Indian wedding for a friend in 2010.
Ever since, I started getting a lot of
offers to photograph weddings through
referrals. During a wedding, people
are high on energy. They are in a good
mood and look beautiful. Capturing
such moments is fun. Also, the fleeting
emotional moments that catch you
by surprise are priceless. It’s a treat to
photograph an Indian wedding.
This is why I chose to become a
wedding photographer.
Candid Confessions
For a candid photographer, it is very
56
Smart Photography November 2014
important to build up a story on the
wedding day. Even though there is
usually a lot of chaos, it is absolutely
necessary to capture ceremonies such as
the barat, varmala, pheras, mangalsutra,
kanya daan and bidai. All this involves
moving around quickly and being there
at the right moment to capture the right
frames. It’s all about timing and having
good reflexes.
Candid is the way to go. Nowadays,
couples want their weddings to be
captured realistically, in an artistic way.
They are tired of looking at traditional
posed photographs, which look flat and
boring. People want to see some life
in their photographs. They want their
photographer to envision a story, which
will remain engraved in their hearts.
Candid photos are a pleasant surprise.
Love Blossoms
My individual style involves creating
colourful and energetic imagery. I pay
special attention to the light that is
used during making the photos. This
could be natural or LED lights. Shooting
with directional light that gives a
surreal feel to the photo is something
that I love. I also pay special attention
in documenting personalities and
emotions.
www.smartphotography.in
All Smiles
www.smartphotography.in
November 2014 Smart Photography
57
PHOTO FEATURE
Wedding Special
Business as usual
To capture special
moments during the
wedding, there needs to
be a personal connection
between the couple and
the photographer. So
I definitely make it a
point to meet the couple
before the ‘D-day’. This
way, they have a certain
degree of confidence in
me and are comfortable.
On some occasions, I
meet the decorators and
ask them to use coloured
lights in such a way that
it does not directly hit
the face. Nobody wants to
see multi-coloured faces
in the photos. Halogen
lights placed properly
are sufficient for candid
photography. My team
also carries along direct
lighting with us. We do
not use a lot of flash.
Pre-wedding shoots have
become a trend in recent
years. These are usually
more relaxed and casual
than the actual wedding.
Such shoots bring out
the chemistry between
the couple, enabling the
photographer to create
some precious memorable
moments. People love the
results and they’re great
for enlarging and hanging
on the walls at home.
On the actual wedding
day, it makes sense to
reach early. Once I reach
the venue, I walk around
and observe the location.
This helps in deciding how
to place the lights, and
also to visualize certain
frames and shots. After
that, I try to mix around
with the family of the
bride and groom. Families
are an important part of
the ceremony and it is
essential that they too, are
completely at ease with the
photographer.
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Smart Photography November 2014
Jumping with joy
In anticipation
Waiting for you
www.smartphotography.in
Sharing laughs
Special Effects
Post-processing is very important because
it takes the level of your imagery from
good to excellent. Personally, I love vibrant
images with a fair amount of contrast.
Of course, one cannot really fix a bad
image just by using post-processing. I use
Lightroom, which is the most essential tool
www.smartphotography.in
for a wedding photographer. One can edit a
set of thousand photos in couple of hours.
There are sets of presets that are already
defined by me in the program. This makes
it even faster to edit photos
For Beginners
There are thousands of beginners
wanting to get into candid wedding
photography. For them, the best way to
get into candid wedding photography
would be to observe established wedding
photographers and practice accordingly.
Also, one should never stop seeking
inspiration from good photographers
across the globe.
November 2014 Smart Photography
59
H. S. Billimoria
PHOTO FEATURE
Zoo
THE COLOGNE
Zoo
H. S. Billimoria/ Rohinton Mehta
V
isitors to Cologne normally
head straight to see the Cologne
Cathedral which is the city’s
main point of attraction. The Roman
Catholic monument dates back to the
thirteenth century and is situated plum
in the centre of the city, very close to the
banks of the Rhine.
There is however more to Cologne than
the cathedral and we recommend a
visit to the Cologne zoo which is one of
the oldest (1860), yet one of the most
modern zoos in Europe. The Cologne
zoo features over 7000 animals and over
700 species of plants. Admission to the
zoo includes admission to the aquarium
which is also impressive.
Contrast this with our Jijamata Udyan in
Mumbai, India. The animals in Cologne
are less noisy, happier and the staff love
Turkey
their jobs and are highly dedicated. In
Jijamaata Udyan, you would be lucky
to see a happy animal and the grumpy,
disinterested staff are barely doing their
jobs! Fortunately, we believe things are
going to get better!
Rohinton Mehta
Tiger
60
Smart Photography November 2014
www.smartphotography.in
Rohinton Mehta
Chamelion
Closeup
Cheetah
Rohinton Mehta
www.smartphotography.in
November 2014 Smart Photography
61
PHOTO FEATURE
Rohinton Mehta
Zoo
H. S. Billimoria
Llama
Flamingos
62
Smart Photography November 2014
Rohinton Mehta
www.smartphotography.in
H. S. Billimoria
Bactrian camel
Baboons
Capybara
H. S. Billimoria
www.smartphotography.in
November 2014 Smart Photography
63
PHOTO FEATURE
H. S. Billimoria
Zoo
Giraffe
Rohinton Mehta
H. S. Billimoria
Tiger
64
Smart Photography November 2014
www.smartphotography.in
American bison
Meerkat
H. S. Billimoria
Baby Elephant
Rohinton Mehta
www.smartphotography.in
November 2014 Smart Photography
65
MASTERCRAFTSMAN
Sudhir Shivaram
THE PRECIOUS
WILDERNESS
What invoked your interest in wildlife
photography? Did you always want to
become a photographer?
During my college days, I was a part
of Malnad Amateur Photographers
Club at Malnad College of Engineering,
66
Smart Photography November 2014
Hassan. What started out as an
experiment in the enchanting world
of photography gradually gained
direction. I moved my focus specifically
to wildlife photography when I moved
to Bangalore. I owe this to two of my
very good friends - Chaitra Ramaiah
and Rajesh Puttaswamaiah. Chaitra
was the one who took me to BR
Hills and introduced me to wildlife.
The three of us frequently visited the
forests around Bangalore and Mysore.
www.smartphotography.in
Tigers keeping an eye on a Gaur
Sudhir Shivaram is an accomplished wildlife
photographer who takes brilliant photos
of jungle cats and birds. He also conducts
workshops and classes on photography, and
is involved in protecting and conserving
nature. His images can be found on his
website www.sudhirshivaram.com
As told to Tanika Godbole
more nature lovers and my contacts
grew. Eventually, I started my own
photography venture called Elephas
Creations in 2009 and later co-founded
Toehold Travel & Photography in 2010
with my photographer friends Jayanth
Sharma, Giri Cavale and Venkatesh.
© Sudhir Shivaram
Your wildlife images, especially those
of mammals, are stunning. Which are
your favourite locations to take such
pictures?
The backwaters of Kabini river which is
part of the Rajiv Gandhi National Park
in South India is one of my favourite
destinations. This is considered one of
the top five wildlife destinations in the
world. Kabini is also known all over the
world for the congregation of Asiatic
elephants, where one does not have to
struggle to get a glimpse of the majestic
Elephas Maximus.
My sister Sunitha presented me the
Canon EOS Elan IIE and the Canon
75-300 IS lens, which helped me get
deeper into wildlife photography. I
later joined India-Nature-Pixs, a Yahoo
group and met more like-minded
www.smartphotography.in
people. A few years later we started
IndiaNatureWatch.net and my network
of nature photographers grew. I also
started to travel all around India for
my photography. Social networking
websites also helped me reach out to
What inspires you? Who are the
photographers that you admire the
most?
I have closely followed work of various
photographers including Vijay Cavale,
John Shaw, Arthur Morris, etc. and
have been inspired and influenced by
their work. The internet too has helped
me learn and take my photography to
the next level. Interacting with likeminded people, participating in various
international photography forums have
helped me.
In this digital age, photo editing
techniques have made great
advancements. What are your feelings
on the use of these?
Post production software has advantages
as well as disadvantages. Some of the
November 2014 Smart Photography
67
MASTERCRAFTSMAN
Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
Eye contact
Looking out
68
Smart Photography November 2014
www.smartphotography.in
© Sudhir Shivaram
Today’s catch
current crop of photographers seem to
believe that they can take shots and later
fix them in Photoshop. In my opinion,
that is a totally wrong approach. Get
the best you can in the field, and then
edit it so that it looks more real, in case
of nature photography. The dynamic
range of the D-SLR camera is in the
range of 8 to10 stops, whereas that of the
human eye is over 20 stops. This is the
predominant reason the camera cannot
capture what we see. It is here that postproduction tools help—to enhance the
image to match reality by adjusting the
contrast, brightness, vibrance, and so on.
There is a thin line between correction
and manipulation. Then there is also
black and white photography, which is
a totally different ballgame. You have
numerous post processing tools which
www.smartphotography.in
can change the look and feel of an
image with a simple click. It all depends
on what you use editing tools for. It can
either be a boon or a bane.
You are also committed to
wildlife conservation. How can
photographers do their job without
disrupting nature?
I believe the singular aim of wildlife
photography is to share the joy of
nature. I also use my images for
conservation related activities and give
them away for free for this purpose.
It is used by many NGOs to create
awareness about our natural heritage.
including natural history, concepts of
photography and equipment. You need
to be a good naturalist first if you want
to be a good photographer. The same
applies to other genre of photography
as well. The second important aspect
to learn and be aware of, is the ethics of
wildlife photography. There is a general
lack of awareness about this issue,
rather than deliberate wrong-doing.
Spreading awareness, therefore, is the
need of the hour. Photographers should
also regulate themselves. Do not expect
someone else to control you. Take a
step back when you feel the line is being
crossed to get a particular image.
First of all, beginners should get
a good understanding of the core
fundamentals of nature photography,
You also conduct workshops and
webinars on photography. How do you
design your lessons?
November 2014 Smart Photography
69
MASTERCRAFTSMAN
Sudhir Shivaram
Lazing leopard
I always try to understand the
participants before they attend the
workshop. I ask them to submit their
portfolio of images, which I review
before the workshop. This helps me
prepare the lessons that I need to cover
as a part of the workshop. I cover all the
basics and fundamentals of photography
and then take them through advance
concepts. After the classroom session,
I organize a field outing where those
70
Smart Photography November 2014
concepts are practiced. I spend time
with the participants and guide them.
The participants are given the flexibility
to contact me post the workshop for
getting their images reviewed, so that
they can evaluate how the workshop has
helped them improve.
What are the most important
things that novices should keep
in mind while going into the wild
with their cameras?
Focus on the three key fundamentals
of wildlife photography. First, being
a naturalist. Second, get acquainted
with the concepts of photography. And
finally, make the best possible use of
the available equipment. I would also
request people to be ethical in their
approach towards wildlife. Always
respect the rules of nature. Your
photography comes later.
www.smartphotography.in
© Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
Hidden in the leaves
Up close and personal
www.smartphotography.in
November 2014 Smart Photography
71
MASTERCRAFTSMAN
Sudhir Shivaram
© Sudhir Shivaram
© Sudhir Shivaram
It’s War
Great White Pelicans
72
Smart Photography November 2014
www.smartphotography.in
LEARNING
Understanding Photography
The author, Ashok Kandimalla has
been in the photographic field for
over three decades and has extensive
experience in both film and digital
photography. Being an electronics
engineer by profession and a
photographer, he possesses a unique
and deep insight into the technical
aspects of digital photography and
equipment. He has published several
articles on photography and some of
his writings have also been published
in the well-known international
magazine Popular Photography.
An avid collector of photographic
books and vintage cameras, Ashok
has a keen interest in the history
of photography and a passion
for sharing his knowledge on
photography through teaching and
writing. He is presently working
as a Management and Engineering
consultant. You can see his work at
http://www.flickr.com/photos/ashok_
kandimalla. He can be reached at
[email protected]
T
he four legged variety
(a dog) may be a man’s
best friend, but for a
photographer it is the three-legged
one – the tripod which deserves
that epithet! In fact, after the
camera body and the lenses, a
tripod has the most significant
impact on the quality of pictures
you produce. It helps to better
compose your pictures and
makes them sharper, with just a
small investment.
74
a gear or a locking screw. The gear
gives more precise positioning at
the expense of slower operation.
Photographer’s
Best Friend!
Ashok Kandimalla
Picture 1: Twist Lock
Consider what a tripod
can do for you:
• It steadies your camera.
Whatever the fancy
technologies like VR/IS/OS
etc. can do for you, there is a
lower limit in shutter speeds
below which these technologies
are not effective. Typically this
can be around 1/15 sec or so.
At shutter speeds slower than
this you must use a tripod
even if your system has image
stabilization. If you want a
slow shutter speed to capture
a flowing stream, a night
scene, etc. there is simply no
alternative to a tripod.
• The tripod slows you down and
makes you to compose more
carefully and deliberately. It
helps to give due consideration
to background and extraneous
elements in your frame that can
potentially ruin a good picture.
• Even at hand-holdable speeds a
tripod has measurable impact
on sharpness especially when
high magnifications are used,
like in macro photography
or when using long telephoto
lenses. A steady camera means
sharper pictures.
• Some types of photographs that
involve capture of lightening,
light painting, star trails are
only possible with a tripod.
A tripod has two main components
– the legs and the head. Much
Smart Photography November 2014
Picture 2: Flip Lock (Closed)
Picture 3: Flip Lock (Released)
like a D-SLR camera body that
can accept interchangeable lenses,
more expensive tripod legs can
be mated with a suitable head.
In many cheaper tripods, the
legs come with a fixed head, thus
limiting your choice.
If you do a lot of table top,
copying, macro or low level work,
consider tripods that allow the
center column to be tilted. A very
good example of this type is the
Gitzo Explorer Series (Picture 6).
Some center columns also have
a hook to which you can attach a
weight. This will help you improve
the stability of the set up. The top
of the center column has a stud (a
bolt) which is of 1/4 inch or 3/8
inch in diameter. The tripod head
is screwed to this stud. The 3/8
inch stud is larger and hence can
support heavier loads.
At the end of each tripod leg you
will find the tripod foot which will
make contact with ground. These
are either made of rubber (most
popular) or have a metal spike.
So which is the best one for you?
Rubber feet are best when you use
your tripod on a hard or a smooth
surface. Spiked feet will simply
slip on such surfaces but are best
when you use your tripod on soft
soil or grass. Some tripods have
retractable or interchangeable feet
which offer the best of
both worlds.
Here is the description of these
two components for you in
more detail.
Legs: The legs can be made of
wood, or metals like aluminum or
titanium (their alloys) or carbon
fiber. The latter are lighter, more
rigid but expensive. Carbon
fiber tripods also absorb camera
vibration a lot better than the
aluminum type.
The legs are telescoping, that is,
the sections that make up the
leg slide into one another so that
when not extended, a tripod will
be short in length and easy to store
or carry. The number of sections
is normally three but you can get
four-section tripods too. These are
more compact when folded but are
less rigid.
Picture 4: A three-section tripod with center brace.
Head here is pan type
The telescoping legs naturally have
to be locked when the legs are
extended. This is done by the leg
locks. While there are many types
of locks, the two most popular
types are – twist locks (Picture 1)
and flip locks (Picture 2).
Twist locks, as the name implies,
need a twist to lock or release.
Hence, these are somewhat slower
www.smartphotography.in
Picture 6: A Gitzo Explorer tripod with adjustable
and lockable leg spread plus a tiltable center
column. This type of tripod is unmatched for table
top, copying, macro or low level work. Note the
hook at the rear end of the center column to attach
a weight to increase stability.
Picture 5: A four-section tripod without
center brace. Head here is ball type
but give more positive locking.
Flip locks are like levers
which will allow you to lock
and release legs in a snap by
flipping the lever. You can also
make out, just by seeing whether a
flip lock is engaged or not as
the lever projects out when
released. (Picture 3) This is a
good safety measure.
There are some tripods that have
a center brace (Picture 4) to
increase stability. However, the
brace will prevent individual leg
angle adjustment and hence will
force all the three legs to be at the
same angle. This is actually very
restrictive on uneven ground. So
avoid this type and go for a tripod
without a center brace (Picture 5).
The leg spread (angle) should
be individually adjustable. Plus,
once you set the leg at a particular
angle, there should be a provision
to lock it at that angle.
The three legs are joined together
at center by a part commonly
called the ‘spider’. Through the
spider there will be column which
can be raised up or down through
74
Photographer’s Best
Friend!
November 2014 Smart Photography
www.smartphotography.in
75
LEARNING
Pic a1
the feel of a theatrical
spotlight. The position of
the light source has been
shown through image a.
Shadow Play
Dilip Yande
Having crossed over 20 active years in commercial photography,
Dilip Yande says his forte is Fashion and Portrait photography. He
believes variety is the spice of life, and to keep himself motivated
he does a lot of tabletop as well. For Dilip, names like Rembrandt,
Renoir, Gauguin, Picasso, Turner, Monet are household names
because of his childhood that was spent in a lineage of fine arts. This
‘fine art’ reflects in his work because he feels that there is always
a little bit of ‘you’ in everything one does. Having shot for many
advertising agencies, juried a few competitions, mentored many
workshops, and guided many photographers in their formative years,
for Dilip, photography is just another way to romance his first love –
art. He may be contacted at [email protected].
E
arlier I have touched
the subject of lighting
through many articles. I
have mentioned that there is no
standardized lighting, be it tabletop,
portrait or fashion shoot. Lighting
depends entirely on the molding
of an object, the composition, the
surface texture of the object, the
shape and the amount of foreground
and background that is present in
a composition. It also depends on
how the photographer wishes to put
forth this composition, and which
specific area he wishes to give more
importance to. Shooting white on
white or black on black is a different
game all together, while shooting
glass is a different ballgame.
In a broad sense there is always
something called good lighting and
bad lighting, rather than correct
lighting and wrong lighting.
So in this article let me redefine
lighting in a different way, by saying
that lighting is the art of casting a
shadow or shade at the right place, of
82
the right density and right chracteristic
(hard / soft) and right size, such that
it brings out the molding of the subject
or defines a mood in the picture. In
pictures, shadows play an equally
important role as the subject or at
times even more. This is the game of
‘shadow play’.
Before proceeding further, let me
turn to fine arts for a moment. If
you refer to Japanese paintings,
say, of grand masters like Hokusai
or Heroshige, you will find that
importance is given more to the
form and there is very little or
no shade or shadow at all in the
paintings. While if you refer to the
paintings of the Renaissance period,
or of Indian grandmasters like Raja
Ravi Varma, then one will find a
lot of play of light and shade
cleverly used to bring out the
molding. Hence due to the shadows
in the paintings, a mysterious depth
is created, and this game of light
and shade is known as ‘Chiaroscuro’.
The lighting seen in Rembrandt’s
paintings is Chiaroscuro.
Smart Photography November 2014
The human mind reads shadows in
many different ways. As an example,
imagine a top-angle shot of a man
standing in a big hall or garden. If we
see a long, stretched shadow behind
him, we immediately relate this to a
late evening shot. Observe our mind’s
subtle interpretation – we first relate
this to a late evening shot and then we
may consider that it could also be an
early morning shot. Again, if the light
source is much below the chin of the
person, then the lighting on the face
looks ‘eerie’ and is termed as ‘horror
lighting’. Shadows that appear taller
than a person and which are cast on a
wall behind give a scary feel or create
a very serious mood in a picture.
Light modifiers play a
very important role in
controlling shadows.
Pic a2
Here are a few examples of pictures
taken with shadow play lighting:
1) Pic a1, a2- In these two pictures
one can see a circle of spot-light
falling on the face of the model.
This circle was generated by
using a light modifier known as
‘Mini Spot’. This light modifier
is attached in place of a light
reflector. This spot light has given
Shadows cast in a picture could
be hard or soft, or something in
between – semi-soft shadows. This
entirely depends on the kind of light
source that is being used. It also
depends on the distance between the
light source and the subject and the
distance between the subject and the
background on which this shadow
has been cast.
Image a
In some pictures one may see just
a shadow of an object, but not the
object that defines the shadow. Yet,
one may identify the form in the
shadow and relate this to what might
have cast the shadow. For example,
the shadow of leaves falling on a
background, shadow of window-bars
or a wire mesh falling on a face or
body, or even the shadow of venetian
blind. It creates depth in a picture,
adds mood and makes the picture
look more realistic. It may even add
a certain ‘time’ to the picture than
making it appear like a ‘timeless’
studio shot, taken with flat lighting.
Pic a
www.smartphotography.in
2) Pic b1, b2 are perfect
examples of what one may
call as ‘mood lighting’.
It gives you the feeling
of a natural beam of
light coming through a
window pane. In pic b1
the model is closer to
the background while
in pic b2 the model is
a little away from the
background; hence we
find a separation between
the shadow of the model
and her
body. The
shadow
of the
model thus
generated
also has a
feminine
form to it.
Image b
shows you
how this
lighting was
done. In
this case,
the diffuser
from the
‘rectalight’
was
removed,
thus
transforming
it into a
harder source of light.
The light was cut using
a cutter at the top, while
the diffuser was stretched
between two light-stands,
as can be seen in the
image b thus controlling
the light passing through
it and falling on the legs
of the model. In Pic b3 I
have deliberately shot the
shadow of the model but
not taken the model in my
frame. A shadow usually
symbolizes a memory, a
past that may continue
to linger in someone’s
mind. It may symbolize a
November 2014 Smart Photography
www.smartphotography.in
83
82
Shadow Play
LEARNING
lubricants
within the
lens/camera/
other optical
equipment,
besides
causing
micro-creases
in multiple
coatings of the
lens.
Equipment Care:
Controlling Relative Humidity
Rohinton Mehta
H
umidity, sometimes also
referred to as ‘absolute
humidity’, refers to the
amount of moisture in a given
volume of air. Relative Humidity
(RH) is the amount of moisture in
the given volume of air compared
to the maximum amount of
moisture the air can hold at that
particular temperature. When
we talk of humidity, temperature
of the air is not taken into
consideration; when we talk of
relative humidity, we take into
account the amount of water
vapour and the temperature of
the air.
Optical equipment (lenses,
camera bodies etc), if stored
above 50% RH, can develop
‘fungus’ (plural, ‘fungi’), which is
a bacterial growth that eventually
eats up the lens coatings, which
in turn could cause flare and
eventual loss of image quality.
Fungus looks somewhat
like a spider’s web. You
need to point the lens
at an open sky or some
other diffused light
source and carefully
see through it (with the
diaphragm blades wide
open). Sometimes it may
be necessary to turn the
focussing ring from one end
to the other; with a zoom lens,
you may even have to change
the zoom setting before you may
notice the fungus.
88
Smart Photography November 2014
A camera technician can open the
lens and clean away the fungus,
but if the fungus has been there
for a long time, scar-marks may
remain where the fungus has eaten
up the lens coatings. There is also
a chance that the lens elements,
after the cleaning, do not fit
or align exactly in the original
position, causing focussing
problems. Use of wrong cleaning
chemicals or vigorous cleaning
can wipe away/partially wipe
away the lens coatings, essentially
lowering the lens quality. If fungus
penetrates between two joined
elements (a doublet), it becomes
impossible to remove it.
Lens cleaning can be a costly
affair. Besides the problems
mentioned in the above paragraph,
fungus can grow again within a
very short span of time, especially
if the relative humidity is high.
The best solution to avoid
fungus in the first place is
to use a specially designed
drying cabinet, which allows
the user to control the RH.
Some years ago, when drying
cabinets were not available,
photographers used indicating
type (blue coloured) silica gel to
control the RH but for various
reasons, the method was nowhere
as good or convenient as using a
drying cabinet.
not be stored in boxes made from
plywood. The various ply are
bonded together using adhesive
which give off gases that harm
the lens. For the same reason,
adhesives that carpenters use
should also be avoided.
Modern storage cabinets are
controlled electronically, consume
hardly any power and can be
actively monitored for RH. They
provide 20~50% RH control
depending on loading (how much
stuff you have in the cabinet) and
environmental conditions.
Some users store the equipment
in a box using a zero Watt bulb,
but this isn’t a perfect method of
protection – the user does not
know how much RH is in the
storage space. Furthermore, he
or she has to keep up with
frequent changes or re-heating of
the silica gel.
Photographic equipment is
best stored between 38-45% RH
and, on the higher side, should
never exceed 50% for prolonged
period. Very low RH can dry the
Note: Photo equipment should
www.smartphotography.in
Lenses should
preferably be
kept on the
upper shelf
and camera
and other
equipment
in the lower
area. Although
these cabinets
require
hardly any
attention or no
maintenance, it
is worthwhile
to keep an eye
on the RH once
in a while. The
cabinet needs
to run 24 x 7.
Please do not
jam-pack your
equipment in
the cabinet;
there should
be adequate
empty space for air movement.
Once you have completed your
photography for the day, care
should be taken to clean the
lenses / camera of dust and other
physical dirt. Take special care to
clean the lens mount and camera
body mount. Ensure that both lens
caps as well as lens surfaces are
clean. Micro-fibre cloth that may
have been used to externally wipe
the camera / lens, should not be
used to clean the front / rear lens
element; for that you must use
another piece of micro-fibre cloth,
which after use, should be placed
in a clean zip-locked plastic pouch.
After the necessary cleaning, place
the items in the drying cabinet.
The lens and camera can be stored
with the cover caps on.
Do note that once fungus has
started, keeping the equipment in
a dying cabinet will not take away
the fungus; at the most, it may
prevent it from spreading further.
It is also advisable that such lenses
should be isolated from other
equipment and ideally, the
fungus should be removed by an
expert technician.
Look after your equipment and it
will give you many years of faithful
service.
November 2014 Smart Photography
www.smartphotography.in
89
88
Equipment Care:
Controlling Relative
Humidity
LEARNING
The 4K Bug!
Rohinton Mehta
W
ell, there is 4K but
actually, there is no 4K
Bug! The title was just
meant to startle you and induce you
to read further. Recently, we have
seen some digital cameras boasting
of video capability in 4K. So what
exactly is 4K? Is this just another
clever marketing trick to make
you buy a new camera? Is this just
another ingenious trick to make you
buy a new TV with 4K capability?
4K video has its advantages as well as
disadvantages. But for now, let’s get
on to what’s 4K video.
First, let’s understand video
resolutions for the various formats.
When you mention Full High
Definition video, you are referring to
the maximum vertical resolution of
1080 pixels in each video frame, but
the pixel resolution is actually 1920
x 1080 pixels (only the vertical pixels
count is written; that’s why we say
1080p).
calculation, you’ll see that this
resolution is almost double that of
the Full HD video format. But since
the resolution doubles horizontally
as well as vertically, it actually
means that each video frame of
4K video has four times as many
pixels as that of Full HD. Televisions
that support 4K are known as UHD
(Ultra-High-Definition) TVs.
Realising the importance of 4K,
some still-camera manufacturers
have started incorporating 4K video
capability in some of their cameras
(Panasonic’s GH4, FZ1000, LX100,
Sony’s A7s - requires an external
4K recorder). It’s also possible to
extract an acceptable image quality
‘still-frame’ from the video (roughly
up to 8 x 12” size). That’s real good
news for the video buffs amongst us
still-camera users. But wait. Not all is
hunky-dory.
a) 4K recording requires UHS speed
Class 3 memory cards (minimum
write speed of 30MB/sec)
b) 4K video chews up space on the
memory card.
c) Video recording is only in JPEG;
no Raw.
d) 4K video needs a 4K compatible
TV (which currently sell at exorbitant
prices); you could play the 4K video
on a non-4K compatible TV but then
you do not get the advantage of the
higher resolution.
e) 4K transmissions are still to begin.
We expect more still-camera
manufacturers to incorporate 4K video
in their newer models. As time goes by,
we can expect UHD TVs to become
more affordable. So if you are a buff, 4K
should answer your prayers.
When you mention High Definition
video, you are referring to the
maximum vertical resolution of 720
pixels in each video frame, but the
pixel resolution is actually 1080 x 720
pixels (only the vertical pixel counts
is written; that’s why we say 720p).
As to why the vertical pixel count
was chosen to represent the two
video formats, beats me!
But with 4K, maybe someone
realised that the earlier
method was complicating
things and hence they
now mention the
maximum horizontal
resolution in pixels. 4K
refers to approximately
4000 pixels (actual frame
size is 3840 x 2160 pixels).
If you do some simple
90
Panasonic LX100
Sony A7s
Panasonic GH4
90
The 4K Bug!
Panasonic FZ1000
Smart Photography November 2014
www.smartphotography.in
Learnings
Smart
Photography has
been continually
receiving
requests to start
a basic course for
beginners. With
this in mind, we
have asked a very
knowledgeable
photographer
from Hyderabad
to take over
writing these
articles. We have also requested him
to be as jargon-free as it is possible,
so that newcomers to photography
feel comfortable to pursue the hobby.
LEARNING
Understanding Photography
Smart
Photography has
been continually
receiving
requests to start
a basic course for
beginners. With
this in mind, we
have asked a very
knowledgeable
photographer
from Hyderabad
to take over
writing these
articles. We have also requested him
to be as jargon-free as it is possible,
so that newcomers to photography
feel comfortable to pursue the hobby.
The author, Ashok Kandimalla has
been in the photographic field for
over three decades and has extensive
experience in both film and digital
photography. Being an electronics
engineer by profession and a
photographer, he possesses a unique
and deep insight into the technical
aspects of digital photography and
equipment. He has published several
articles on photography and some of
his writings have also been published
in the well-known international
magazine Popular Photography.
An avid collector of photographic
books and vintage cameras, Ashok
has a keen interest in the history
of photography and a passion
for sharing his knowledge on
photography through teaching and
writing. He is presently working
as a Management and Engineering
consultant. You can see his work at
http://www.flickr.com/photos/ashok_
kandimalla. He can be reached at
[email protected]
T
he four legged variety
(a dog) may be a man’s
best friend, but for a
photographer it is the three-legged
one – the tripod which deserves
that epithet! In fact, after the
camera body and the lenses, a
tripod has the most significant
impact on the quality of pictures
you produce. It helps to better
compose your pictures and
makes them sharper, with just a
small investment.
74
Smart Photography November 2014
Photographer’s
Best Friend!
Ashok Kandimalla
Consider what a tripod
can do for you:
• It steadies your camera.
Whatever the fancy
technologies like VR/IS/OS
etc. can do for you, there is a
lower limit in shutter speeds
below which these technologies
are not effective. Typically this
can be around 1/15 sec or so.
At shutter speeds slower than
this you must use a tripod
even if your system has image
stabilization. If you want a
slow shutter speed to capture
a flowing stream, a night
scene, etc. there is simply no
alternative to a tripod.
• The tripod slows you down and
makes you to compose more
carefully and deliberately. It
helps to give due consideration
to background and extraneous
elements in your frame that can
potentially ruin a good picture.
• Even at hand-holdable speeds a
tripod has measurable impact
on sharpness especially when
high magnifications are used,
like in macro photography
or when using long telephoto
lenses. A steady camera means
sharper pictures.
• Some types of photographs that
involve capture of lightening,
light painting, star trails are
only possible with a tripod.
A tripod has two main components
– the legs and the head. Much
like a D-SLR camera body that
can accept interchangeable lenses,
more expensive tripod legs can
be mated with a suitable head.
In many cheaper tripods, the
legs come with a fixed head, thus
limiting your choice.
Here is the description of these
two components for you in
more detail.
Legs: The legs can be made of
wood, or metals like aluminum or
titanium (their alloys) or carbon
fiber. The latter are lighter, more
rigid but expensive. Carbon
fiber tripods also absorb camera
vibration a lot better than the
aluminum type.
The legs are telescoping, that is,
the sections that make up the
leg slide into one another so that
when not extended, a tripod will
be short in length and easy to store
or carry. The number of sections
is normally three but you can get
four-section tripods too. These are
more compact when folded but are
less rigid.
The telescoping legs naturally have
to be locked when the legs are
extended. This is done by the leg
locks. While there are many types
of locks, the two most popular
types are – twist locks (Picture 1)
and flip locks (Picture 2).
Twist locks, as the name implies,
need a twist to lock or release.
Hence, these are somewhat slower
www.smartphotography.in
a gear or a locking screw. The gear
gives more precise positioning at
the expense of slower operation.
Picture 1: Twist Lock
Picture 2: Flip Lock (Closed)
Picture 3: Flip Lock (Released)
If you do a lot of table top,
copying, macro or low level work,
consider tripods that allow the
center column to be tilted. A very
good example of this type is the
Gitzo Explorer Series (Picture 6).
Some center columns also have
a hook to which you can attach a
weight. This will help you improve
the stability of the set up. The top
of the center column has a stud (a
bolt) which is of 1/4 inch or 3/8
inch in diameter. The tripod head
is screwed to this stud. The 3/8
inch stud is larger and hence can
support heavier loads.
At the end of each tripod leg you
will find the tripod foot which will
make contact with ground. These
are either made of rubber (most
popular) or have a metal spike.
So which is the best one for you?
Rubber feet are best when you use
your tripod on a hard or a smooth
surface. Spiked feet will simply
slip on such surfaces but are best
when you use your tripod on soft
soil or grass. Some tripods have
retractable or interchangeable feet
which offer the best of
both worlds.
Picture 4: A three-section tripod with center brace.
Head here is pan type
Picture 5: A four-section tripod without
center brace. Head here is ball type
but give more positive locking.
Flip locks are like levers
which will allow you to lock
and release legs in a snap by
flipping the lever. You can also
make out, just by seeing whether a
flip lock is engaged or not as
the lever projects out when
released. (Picture 3) This is a
good safety measure.
There are some tripods that have
a center brace (Picture 4) to
increase stability. However, the
brace will prevent individual leg
angle adjustment and hence will
force all the three legs to be at the
same angle. This is actually very
restrictive on uneven ground. So
avoid this type and go for a tripod
without a center brace (Picture 5).
The leg spread (angle) should
be individually adjustable. Plus,
once you set the leg at a particular
angle, there should be a provision
to lock it at that angle.
The three legs are joined together
at center by a part commonly
called the ‘spider’. Through the
spider there will be column which
can be raised up or down through
www.smartphotography.in
Picture 6: A Gitzo Explorer tripod with adjustable
and lockable leg spread plus a tiltable center
column. This type of tripod is unmatched for table
top, copying, macro or low level work. Note the
hook at the rear end of the center column to attach
a weight to increase stability.
November 2014 Smart Photography
75
LEARNING
Understanding Photography
Picture 7: A, B and C are called Yaw, Roll and Pitch axes respectively
Picture 8: A three axis pan head with separate control knobs for each
axis. A is the pan (yaw), B is the roll and C is the pitch axis.
Picture 9: A multiple exposure showing
portrait (left) and landscape (right)
orientations with a pan head.
Tripod Heads: The most
important part of a tripod is the
head. For this reason you must
pay particular attention to this
issue. The most popular heads are
pan heads and ball heads. There is
another type of specialized head
called gimbal head which you will
see in brief.
sceneries, etc. This is also
sometimes called tilt axis.
The last axis is the
pitch axis (arrow “C”,
Picture 7). This allows
you to point the lens up
or down.
Pan heads: A pan head allows
the camera to be rotated
about the three axes which are
perpendicular to one another.
These three axes are called yaw
(or pan), roll (or tilt) and pitch
(Picture 7).
Rotating about the yaw axis
(arrow “A”, Picture 7), allows you
to rotate the camera left to right
or vice versa. Photographers call
this as the panning axis. It is
extensively used in videography.
The next axis is the roll axis
(arrow “B”, Picture 7) and is
needed to keep your camera
horizontal. It is also the axis
about which you position the
camera vertically or horizontally.
The vertical positioning is called
“portrait” orientation and is
useful for taking photographs
of subjects which are taller than
they are wider (e.g. a tall building,
a standing human, etc.). The
horizontal positioning is called
“landscape” orientation and as the
name implies it is best suited for
76
Smart Photography November 2014
Picture 10: A multiple exposure showing pitch adjustment with a pan head.
Good pan heads have
three separate controls
one for each axis (Picture
8). These can be locked
by handles (or knobs).
Handles are more
convenient to use but
can be obstructive. Also
tripods with pan heads
having handles are difficult
to carry. Pan heads are
somewhat more precise in
operation than ball heads,
but are slow to operate
for the same reason: you
need to control movement
in each axis separately.
They are also cheaper than
ball heads. Pictures 9 and
10 show how a pan head
orients the camera.
Ball heads: In this
type is a ball with a
small stem to which the
www.smartphotography.in
Picture 11: A
multiple exposure
showing how a ball
head allows you to
position the camera
virtually anywhere in
the top hemisphere.
to be tightened in such a way that
there is enough friction to keep
the camera from flopping when
you release your hand but you can
yet move the camera by applying a
little force. This is invaluable when
you want to track moving subjects
as it allows very easy and quick
positioning. In fact with the image
stabilized (vibration reduction)
lenses, some photographers do
not even fully tighten the ball with
properly adjusted tension.
Ball heads have two disadvantages
– one, they are expensive. Second,
you need to exercise some caution
since if you loosen the ball head
inadvertently without holding the
camera it may flop to one side
damaging the camera or even
hurting you. All said and done
most professionals use ball heads.
camera is attached. The ball moves
in a socket in all the directions,
covering most of the upper
hemisphere (Picture 11). The ball
has just one control which locks
the ball at any position and hence
you can set up your camera in the
quickest possible way, especially
in field. Ball heads can also carry
heavy loads, more than 25 Kgs
depending on the model. They are
fairly light and compact and hence
easy to carry. A good ball head
should not shift in position when
the ball is locked. If it shifts, then
you will have a major problem
when doing precise framing (for
example, macro work).
More expensive ball heads have
a pan base with a separate lock
(Picture 12). This helps to pan
the camera without loosening
the ball. A good pan base should
have graduation in degrees. This
feature is useful if you plan to take
panoramic photographs.
The best ball heads have an
additional feature called “tension”
control. This is an interesting
feature which will allow the head
Picture 12: Left: A sophisticated ball head (made by Acratech) with an Arca-Swiss QR adapter and a graduated (in degrees) panning
base. The large knob on the left is for locking the ball and the small one opposite to it is for adjusting tension.
Center: A medium ball head with a QR adapter and panning base but no tension control.
Right: A small ball head with no panning base.
Gimbal Heads: These are
specialized devices meant for using
with very heavy and long lenses
like 400mm f/2.8, 500mm f/4.0
or 600mm f/4.0. By providing a
support which passes through the
center of gravity of the lens, they
provide a mechanism for “finger
tip” handling of heavy lenses. This
allows easy tracking of subjects
like flying birds, racing cars,
etc. which would otherwise be
impossible to follow. In fact they
provide unmatched performance
for this type of application.
However, they are useful only
for heavy long lenses and are
very costly.
Quick Release (QR) Adapter:
The top of the head also has a stud
(screw) which is of generally of
1/4 inch diameter. The bottom of
your camera will have a ¼ inch
receptacle (called tripod socket)
into which this screw can be
inserted and tightened. While
this is an acceptable method of
mounting your camera, it is a very
cumbersome way to attach and
remove your cameras from
the tripod.
For this reason you should look at
a head which has a quick release
(QR) adapter. The QR adapter has
www.smartphotography.in
November 2014 Smart Photography
77
LEARNING
Understanding Photography
Picture 13: Top row: Long (left) and short (center) channel Arca-Swiss
compatible clamps. A typical closed clamp is on the right.
Bottom row: Long (left) and short (center) channel Arca-Swiss plates. Note
that due to open ended nature both the plates can be used with either of
the Arca-Swiss clamps. Plate for the closed clamp is on the right.
two components, a plate that you
fix to your camera and a clamp
which holds and locks the plate.
The clamp is fixed to the ball or
pan head. The clamp will have a
mechanism which will allow you
to lock or release the plate very fast
– hence the name quick release.
Thus you can securely fasten and
remove the camera (with the plate)
in an instant.
There are two types of QR
adapters (Picture 13). The first is
an open channel QR adapter, of
which the Arca-Swiss type is the
most popular and is widely used
around the world. Though first
designed by Arca-Swiss Company,
compatible plates and clamps
are made by several different
manufactures and can be used
mostly with one another. Being
open ended (see picture) you use
longer clamps and plates when you
want to carry heavier loads like
large tele lenses. This is the best
QR system and like all good things
in life, expensive!
The closed type has a fixed size
cavity and has a less robust
securing method but is faster to
use and cheaper. In our country it
is more popular even than the Arca
78
Smart Photography November 2014
Swiss type. There is unfortunately
no standard for this type and you
need to buy a compatible pair
(plate and clamp).
Load capacity: Make sure that
the load capacity of the tripod
and head is sufficient to take the
heaviest equipment you want to
put (for e.g. the heaviest lens +
camera combination). All tripod
legs and heads will have a load
capacity associated with them.
This is measured in kilograms
(kgs) and will be mentioned in the
instruction manual or literature.
Remember that the tripod legs
have to bear the weight of the
head plus your equipment. So you
should choose tripod legs with a
suitable capacity.
Setting up a tripod: The most
important aspect when you set
up a tripod is the height which
will be based on your situational
needs. Once this is known you
can extend the legs to match this
height. This is how you do it: First
release all the leg locks on one leg.
Now adjust the tripod by pushing
it down or pulling it up till you
get the height you want. Tighten
the locks on this leg and adjust the
other two legs to the same length.
After this, you spread the legs of
the tripod. This method works
well if you are on an even ground.
If you are on an uneven ground,
after tightening the locks on the
first leg, do not tighten the rest.
Extend till they touch the ground
and then tighten them.
It is generally a good practice
to buy a tripod that has about
2 Kgs safety margin beyond the
maximum total load you want to
put. As an example if the tripod
head you are going to use is
half Kg in weight, your camera
is half Kg and lens is1 Kg, then
your tripod legs should have a
load capacity of 4 Kgs including
the margin. It is sensible to buy
something with a little higher
capacity so that when you buy a
heavier camera or lens the
tripod will continue to support
your needs.
Due to spreading, you will find
that tripod is now a little lower
than the height you wanted. Make
up for this lost height by pulling
up (raising) the center column
a little. Now, you may ask what
about the advice that you should
not raise the center column as
it causes instability. While this
is true to a certain extent, the
stability will not be compromised
if you raise the center column
by just 5 or 6 centi-meters.
However, it is not advisable to
extend the center column more
than this.
www.smartphotography.in
After you set up the tripod and
fix the camera, move the camera
to left / right and top/down with
your hand. If the camera moves,
that means you have not fixed the
camera properly to the tripod.
Make sure you check this every
time you mount the camera on
a tripod as many times a loosely
fixed camera can fall once you
remove your hand thus damaging
expensive equipment.
Tip: Once you fix the camera on
a tripod your mobility will be
somewhat restricted. Hence, first
scout around to find a suitable
position and then only mount the
camera on the tripod.
Table Top Tripods: If you find
even the smallest and lightest
tripod too big then think of a
table top tripod. This is a real
handy gadget to have, especially
for travel photography or when
you want to travel light. These
typically do not have telescoping
legs but they can be folded and
the tripod will be very compact
(Picture 14). They are in fact quite
pocketable. Unfortunately a huge
number of mediocre products are
available bringing a bad name to
table top tripods. Hence, if you
are keen on having one, invest in
a good brand. A good table top
tripod with a suitable head can
easily hold a DSLR with a kit lens.
They are also excellent for CSCs
(compact system cameras) (Picture
15). Table top tripods cannot be
placed on ground since they are
only a few inches in height. So, you
need to find a suitable platform
to keep them. Look around for
these and you will find plenty
of them. Examples are - walls,
tables, chairs, cabinets, railings,
car roofs, boots and hoods
(yes!), etc.
Monopods: if you find regular
tripods cumber some you can
look at a monopod. These are
not substitutes for tripods as at
best they allow you to use shutter
speeds up to 2 stops slower
than the thumb rule shutter
speed. So, very long shutter
speeds are out of question.
Monopods are however, easy
to handle, compact and light.
They are also a lot more flexible
compared to tripods. If you are
going to buy a monopod, pay
How to choose a tripod?
Here are some tips to help you choose a tripod 1. Consider your application and choose as per the table
Application
Type of Tripod
Travel / trekking
Light and compact, four leg sections, ball head
Wildlife / birds / sports
High load capacity to support heavy lenses, ball head or gimbal head
Macro / table top
Individually adjustable leg angles, tiltable center column, pan head
2. Your height: A tripod should allow you to work comfortably (that is the viewfinder of the camera must be at your eye level)
without craning your neck too much or otherwise you will get neck cramps. Choose a tripod that reaches this height without
extending the center column by more than 5 centi-meters.
3. Material of legs: If you can afford, legs made of carbon fiber are the best. If not, go for aluminium or its alloys.
4. Material of head: The head should be strong and made of metal. Just avoid plastic heads. Period. Plastic heads flex and are not good.
5. Load capacity and Stability: The legs and head you are going to buy should have sufficient load capacity to handle the heaviest
equipment you have or plan to have (as explained). Plus a heavy head can cause instability due to top heaviness. To avoid this, the
weight of the tripod legs must be 2.5 times that of the head (either ball or pan or gimbal).
6. Number of sections: It is best to choose tripods with three (telescoping) leg sections than those with four sections unless
compactness is very important to you.
7. Leg locks: Go for twist locks if you are going support heavy loads. Otherwise flip locks are easier to use.
8. Quick Release: Do not buy a tripod head (or a tripod with a fixed head) without a QR adapter. If you already have one that does
not have a QR adapter, you should get a QR clamp and plate(s) for it. The best and the most popular QR system is the Arca system.
It is made by several manufacturers including Manfrotto.
9. Pay careful attention to the feet. The most versatile are the retractable or interchangeable type. If these are not available go for
rubber feet.
10. When buying a tripod remember the old adage - “buy smart buy once, buy cheap buy twice”.
www.smartphotography.in
November 2014 Smart Photography
79
LEARNING
Understanding Photography
Picture 14: Folded
table top tripod, the
popular Manfrotto
Pixi (pen is for size
comparison).
Picture 15: A table
top tripod with a CSC
placed on a table.
Picture 16: A monopod head that allows
movement in only one direction.
work best with those lenses
which have a tripod collar as both
landscape and portrait orientations
are easily possible. Panning is done
by rotating the monopod itself.
So, how do you use a monopod?
The best way to use a monopod
is to use it like a tripod. Since a
monopod has only one leg where
do you get the other two legs from?
Well, you can supply them -! Keep
your two legs little apart and lean
slightly on the monopod so that the
monopod and your legs together
form a tripod (Picture 17). This
gives a good stable support.
CONCLUSION:
Resist the idea of buying a light, sturdy and cheap
tripod because such a thing does not exist. You can
get a relatively light and sturdy tripod that is made of
carbon fiber but expect to pay a very high price. Tripod
technology does not advance at the same speed as
that of cameras or even lenses. The result is that your
tripod will not get outdated fast. A good tripod will
also last forever and is a life time investment. In these
days of megapixel madness, a tripod is the cheapest way
to increase the sharpness and improve your pictures
with minimal investment. And hence, to you as a
photographer, your very best friend!
Picture 17: Using a monopod. Monopod
plus your legs should form a tripod !
80
Smart Photography November 2014
www.smartphotography.in
All text diagrams and images © Ashok Kandimalla unless otherwise noted.
particular attention to
the head. Many make
the mistake of attaching
a normal ball head.
This is inconvenient
in practice as the ball
head allows movement
in all directions making
the set up difficult to
handle. Instead of a ball
head, buy a monopod
head (like Model 234
from Manfrotto, Picture
16). This rotates only
in one direction (pitch
movement) and is much
easier to handle. These
LEARNING
Shadow Play
Dilip Yande
Having crossed over 20 active years in commercial photography,
Dilip Yande says his forte is Fashion and Portrait photography. He
believes variety is the spice of life, and to keep himself motivated
he does a lot of tabletop as well. For Dilip, names like Rembrandt,
Renoir, Gauguin, Picasso, Turner, Monet are household names
because of his childhood that was spent in a lineage of fine arts. This
‘fine art’ reflects in his work because he feels that there is always
a little bit of ‘you’ in everything one does. Having shot for many
advertising agencies, juried a few competitions, mentored many
workshops, and guided many photographers in their formative years,
for Dilip, photography is just another way to romance his first love –
art. He may be contacted at [email protected].
E
arlier I have touched
the subject of lighting
through many articles. I
have mentioned that there is no
standardized lighting, be it tabletop,
portrait or fashion shoot. Lighting
depends entirely on the molding
of an object, the composition, the
surface texture of the object, the
shape and the amount of foreground
and background that is present in
a composition. It also depends on
how the photographer wishes to put
forth this composition, and which
specific area he wishes to give more
importance to. Shooting white on
white or black on black is a different
game all together, while shooting
glass is a different ballgame.
In a broad sense there is always
something called good lighting and
bad lighting, rather than correct
lighting and wrong lighting.
So in this article let me redefine
lighting in a different way, by saying
that lighting is the art of casting a
shadow or shade at the right place, of
82
Smart Photography November 2014
the right density and right chracteristic
(hard / soft) and right size, such that
it brings out the molding of the subject
or defines a mood in the picture. In
pictures, shadows play an equally
important role as the subject or at
times even more. This is the game of
‘shadow play’.
Before proceeding further, let me
turn to fine arts for a moment. If
you refer to Japanese paintings,
say, of grand masters like Hokusai
or Heroshige, you will find that
importance is given more to the
form and there is very little or
no shade or shadow at all in the
paintings. While if you refer to the
paintings of the Renaissance period,
or of Indian grandmasters like Raja
Ravi Varma, then one will find a
lot of play of light and shade
cleverly used to bring out the
molding. Hence due to the shadows
in the paintings, a mysterious depth
is created, and this game of light
and shade is known as ‘Chiaroscuro’.
The lighting seen in Rembrandt’s
paintings is Chiaroscuro.
The human mind reads shadows in
many different ways. As an example,
imagine a top-angle shot of a man
standing in a big hall or garden. If we
see a long, stretched shadow behind
him, we immediately relate this to a
late evening shot. Observe our mind’s
subtle interpretation – we first relate
this to a late evening shot and then we
may consider that it could also be an
early morning shot. Again, if the light
source is much below the chin of the
person, then the lighting on the face
looks ‘eerie’ and is termed as ‘horror
lighting’. Shadows that appear taller
than a person and which are cast on a
wall behind give a scary feel or create
a very serious mood in a picture.
Shadows cast in a picture could
be hard or soft, or something in
between – semi-soft shadows. This
entirely depends on the kind of light
source that is being used. It also
depends on the distance between the
light source and the subject and the
distance between the subject and the
background on which this shadow
has been cast.
In some pictures one may see just
a shadow of an object, but not the
object that defines the shadow. Yet,
one may identify the form in the
shadow and relate this to what might
have cast the shadow. For example,
the shadow of leaves falling on a
background, shadow of window-bars
or a wire mesh falling on a face or
body, or even the shadow of venetian
blind. It creates depth in a picture,
adds mood and makes the picture
look more realistic. It may even add
a certain ‘time’ to the picture than
making it appear like a ‘timeless’
studio shot, taken with flat lighting.
www.smartphotography.in
Pic a1
the feel of a theatrical
spotlight. The position of
the light source has been
shown through image a.
Light modifiers play a
very important role in
controlling shadows.
Pic a2
Here are a few examples of pictures
taken with shadow play lighting:
1) Pic a1, a2- In these two pictures
one can see a circle of spot-light
falling on the face of the model.
This circle was generated by
using a light modifier known as
‘Mini Spot’. This light modifier
is attached in place of a light
reflector. This spot light has given
Image a
Pic a
www.smartphotography.in
2) Pic b1, b2 are perfect
examples of what one may
call as ‘mood lighting’.
It gives you the feeling
of a natural beam of
light coming through a
window pane. In pic b1
the model is closer to
the background while
in pic b2 the model is
a little away from the
background; hence we
find a separation between
the shadow of the model
and her
body. The
shadow
of the
model thus
generated
also has a
feminine
form to it.
Image b
shows you
how this
lighting was
done. In
this case,
the diffuser
from the
‘rectalight’
was
removed,
thus
transforming
it into a
harder source of light.
The light was cut using
a cutter at the top, while
the diffuser was stretched
between two light-stands,
as can be seen in the
image b thus controlling
the light passing through
it and falling on the legs
of the model. In Pic b3 I
have deliberately shot the
shadow of the model but
not taken the model in my
frame. A shadow usually
symbolizes a memory, a
past that may continue
to linger in someone’s
mind. It may symbolize a
November 2014 Smart Photography
83
LEARNING
Pic b2
Pic b1
Image b
Pic b3
mysterious thing and may have
a poetic blend to it. As pointed
out earlier, this shadow has a
feminine characteristic to it
and is defining a stylish female
form. I converted the image
84
Smart Photography November 2014
into a kind of greeting card by
superimposing appropriate
lines of a poem over the same.
There can be many creative
applications with anything that
one may shoot.
3) Pic c- In this picture I have
shown the shadow of a venetian
blind falling on the model as well
as the background. The shadow
generated by the vintage fan kept
behind has added to the picture.
www.smartphotography.in
Pic c
Image c
This effect of light passing
through the venetian blind was
created by using simple black
hair-ribbons, which were tied
in between two light stands as
can be seen in image c. The
main light source was a bare
flash light without a reflector to
make it more harder. The tone
to the picture was added in post
production to add a mood to
the same.
4) Pic d1, d2- I have used
a combination of an open
‘rectalight’ without a diffuser
and a spot light at the back using
a mini-spot as a light modifier.
The mini-spot is provided with
www.smartphotography.in
November 2014 Smart Photography
85
LEARNING
a slot to insert a cut-pattern
known as ‘gobos’, if one may
wish. In this case we inserted
a wire mesh in this slot. This
generated the pattern behind the
model. Cutters, as seen in image
d, were used to control the light
further. One can control the light
falling on the body of the model
by slightly changing the angle
of the cutter. This can be seen
in the difference between pic d1
and d2.
Image d
Hence it is a wrong notion that a
shadow or a shade in a picture is
bad and good lighting has to be
shadow-free.
Pic d1
Pic d2
Credit LinesStyling and modeling – Sonia Shingre
Make-up and hair - Anup Das.
Pics - Dilip Yande.
86
Smart Photography November 2014
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LEARNING
Equipment Care:
Controlling Relative Humidity
Rohinton Mehta
H
umidity, sometimes also
referred to as ‘absolute
humidity’, refers to the
amount of moisture in a given
volume of air. Relative Humidity
(RH) is the amount of moisture in
the given volume of air compared
to the maximum amount of
moisture the air can hold at that
particular temperature. When
we talk of humidity, temperature
of the air is not taken into
consideration; when we talk of
relative humidity, we take into
account the amount of water
vapour and the temperature of
the air.
Optical equipment (lenses,
camera bodies etc), if stored
above 50% RH, can develop
‘fungus’ (plural, ‘fungi’), which is
a bacterial growth that eventually
eats up the lens coatings, which
in turn could cause flare and
eventual loss of image quality.
Fungus looks somewhat
like a spider’s web. You
need to point the lens
at an open sky or some
other diffused light
source and carefully
see through it (with the
diaphragm blades wide
open). Sometimes it may
be necessary to turn the
focussing ring from one end
to the other; with a zoom lens,
you may even have to change
the zoom setting before you may
notice the fungus.
88
Smart Photography November 2014
A camera technician can open the
lens and clean away the fungus,
but if the fungus has been there
for a long time, scar-marks may
remain where the fungus has eaten
up the lens coatings. There is also
a chance that the lens elements,
after the cleaning, do not fit
or align exactly in the original
position, causing focussing
problems. Use of wrong cleaning
chemicals or vigorous cleaning
can wipe away/partially wipe
away the lens coatings, essentially
lowering the lens quality. If fungus
penetrates between two joined
elements (a doublet), it becomes
impossible to remove it.
Lens cleaning can be a costly
affair. Besides the problems
mentioned in the above paragraph,
fungus can grow again within a
very short span of time, especially
if the relative humidity is high.
The best solution to avoid
fungus in the first place is
to use a specially designed
drying cabinet, which allows
the user to control the RH.
Some years ago, when drying
cabinets were not available,
photographers used indicating
type (blue coloured) silica gel to
control the RH but for various
reasons, the method was nowhere
as good or convenient as using a
drying cabinet.
Some users store the equipment
in a box using a zero Watt bulb,
but this isn’t a perfect method of
protection – the user does not
know how much RH is in the
storage space. Furthermore, he
or she has to keep up with
frequent changes or re-heating of
the silica gel.
Note: Photo equipment should
www.smartphotography.in
lubricants
within the
lens/camera/
other optical
equipment,
besides
causing
micro-creases
in multiple
coatings of the
lens.
not be stored in boxes made from
plywood. The various ply are
bonded together using adhesive
which give off gases that harm
the lens. For the same reason,
adhesives that carpenters use
should also be avoided.
Modern storage cabinets are
controlled electronically, consume
hardly any power and can be
actively monitored for RH. They
provide 20~50% RH control
depending on loading (how much
stuff you have in the cabinet) and
environmental conditions.
Photographic equipment is
best stored between 38-45% RH
and, on the higher side, should
never exceed 50% for prolonged
period. Very low RH can dry the
www.smartphotography.in
Lenses should
preferably be
kept on the
upper shelf
and camera
and other
equipment
in the lower
area. Although
these cabinets
require
hardly any
attention or no
maintenance, it
is worthwhile
to keep an eye
on the RH once
in a while. The
cabinet needs
to run 24 x 7.
Please do not
jam-pack your
equipment in
the cabinet;
there should
be adequate
empty space for air movement.
Once you have completed your
photography for the day, care
should be taken to clean the
lenses / camera of dust and other
physical dirt. Take special care to
clean the lens mount and camera
body mount. Ensure that both lens
caps as well as lens surfaces are
clean. Micro-fibre cloth that may
have been used to externally wipe
the camera / lens, should not be
used to clean the front / rear lens
element; for that you must use
another piece of micro-fibre cloth,
which after use, should be placed
in a clean zip-locked plastic pouch.
After the necessary cleaning, place
the items in the drying cabinet.
The lens and camera can be stored
with the cover caps on.
Do note that once fungus has
started, keeping the equipment in
a dying cabinet will not take away
the fungus; at the most, it may
prevent it from spreading further.
It is also advisable that such lenses
should be isolated from other
equipment and ideally, the
fungus should be removed by an
expert technician.
Look after your equipment and it
will give you many years of faithful
service.
November 2014 Smart Photography
89
LEARNING
The 4K Bug!
Rohinton Mehta
W
ell, there is 4K but
actually, there is no 4K
Bug! The title was just
meant to startle you and induce you
to read further. Recently, we have
seen some digital cameras boasting
of video capability in 4K. So what
exactly is 4K? Is this just another
clever marketing trick to make
you buy a new camera? Is this just
another ingenious trick to make you
buy a new TV with 4K capability?
4K video has its advantages as well as
disadvantages. But for now, let’s get
on to what’s 4K video.
First, let’s understand video
resolutions for the various formats.
When you mention Full High
Definition video, you are referring to
the maximum vertical resolution of
1080 pixels in each video frame, but
the pixel resolution is actually 1920
x 1080 pixels (only the vertical pixels
count is written; that’s why we say
1080p).
calculation, you’ll see that this
resolution is almost double that of
the Full HD video format. But since
the resolution doubles horizontally
as well as vertically, it actually
means that each video frame of
4K video has four times as many
pixels as that of Full HD. Televisions
that support 4K are known as UHD
(Ultra-High-Definition) TVs.
Realising the importance of 4K,
some still-camera manufacturers
have started incorporating 4K video
capability in some of their cameras
(Panasonic’s GH4, FZ1000, LX100,
Sony’s A7s - requires an external
4K recorder). It’s also possible to
extract an acceptable image quality
‘still-frame’ from the video (roughly
up to 8 x 12” size). That’s real good
news for the video buffs amongst us
still-camera users. But wait. Not all is
hunky-dory.
a) 4K recording requires UHS speed
Class 3 memory cards (minimum
write speed of 30MB/sec)
b) 4K video chews up space on the
memory card.
c) Video recording is only in JPEG;
no Raw.
d) 4K video needs a 4K compatible
TV (which currently sell at exorbitant
prices); you could play the 4K video
on a non-4K compatible TV but then
you do not get the advantage of the
higher resolution.
e) 4K transmissions are still to begin.
We expect more still-camera
manufacturers to incorporate 4K video
in their newer models. As time goes by,
we can expect UHD TVs to become
more affordable. So if you are a buff, 4K
should answer your prayers.
When you mention High Definition
video, you are referring to the
maximum vertical resolution of 720
pixels in each video frame, but the
pixel resolution is actually 1080 x 720
pixels (only the vertical pixel counts
is written; that’s why we say 720p).
As to why the vertical pixel count
was chosen to represent the two
video formats, beats me!
But with 4K, maybe someone
realised that the earlier
method was complicating
things and hence they
now mention the
maximum horizontal
resolution in pixels. 4K
refers to approximately
4000 pixels (actual frame
size is 3840 x 2160 pixels).
If you do some simple
90
Panasonic LX100
Sony A7s
Panasonic GH4
Panasonic FZ1000
Smart Photography November 2014
www.smartphotography.in
92
D-SLR Review
98
104
ILCC Review
Panasonic GH4
Lens Review
Leica DG Summilux 25mm
f/1.4 ASPH. lens
106
Reviews
NIKON D750
Smartphone Review
Sony Xperia Z3
Change in Rating System
Smart Photography’s new rating
system exercises stricter evaluation
in view of improvements in the
overall performance of photographic
equipment. Marks will be awarded for
the following parameters...
Final Rankings
Recommended ......................................... 75-80%
Best Buy .........................................81% and above
D-SLR CAMERAS
LENSES
COMPACT CAMERAS
Design & Build Quality .................... (out of 20)
Design & Build Quality .................... (out of 20)
Design & Build Quality .................... (out of 20)
Key Features........................................... (out of 20)
Key Features........................................... (out of 20)
Key Features........................................... (out of 20)
Ergonomics ............................................. (out of 20)
Ergonomics ............................................. (out of 20)
Ergonomics ............................................. (out of 20)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Sharpness.....................................................(out of 5)
Distortion control .................................(out of 5)
Aberrations ................................................(out of 5)
Darkening of corners.........................(out of 5)
Extra Features............................................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Value for Money ....................... (out of 10)
Value for Money ................................. (out of 10)
Value for Money ....................... (out of 10)
Grand Total ............................... (out of 100)
Grand Total ......................................... (out of 100)
Grand Total ............................... (out of 100)
D-SLR Review
NIKON D750
Small but Power-packed!
Rohinton Mehta
Design & Build Quality
` 134,450
Inside the Box
✓ Camera body
✓ Body cap
✓ Li-ion battery
✓ Battery charger
✓ USB cable
✓ Strap
✓ Eye-piece cap
✓ Software CD ROM
✓ User manual
✓ Warranty card
92
Smart Photography November 2014
T
he 24.3 megapixel Nikon
D750 was introduced during
Photokina 2014 (16th-21st
September) as a go-between the
expensive 36.3 megapixel D810 and
the less expensive 24 megapixel
D610. Incidentally, the D750 is the
third full-frame D-SLR from Nikon
in recent times. So why have yet
another model, and that too, so soon
after the other two? Well, some users
felt that the D810 was too expensive,
while others felt the need to have
some more ‘oomph’ than available in
the D610. Read on to know what we
feel about the D750...
The D750 is the smallest and probably
the lightest D-SLR body in the Nikon
stable. It is also the first Nikon to
have a monocoque body (it employs
an encased structure that does not
require a separate chassis). The top
and the rear cover uses magnesium
for durability and carbon-fibre for
front body and front cover, thus also
reducing weight while maintaining
strength. The synthetic-leather-covered
hand-grip is nice and deep. The body
is well-built and looks sleek and weighs
approximately 830g with battery and
memory card.
Key Features
Let’s first see the key differences
between the D750 and the D610:
www.smartphotography.in
Feature
Effective pixels
Image processor
AF detection range
ISO, without boost
File formats
AF points
LCD
LCD resolution
Shutter speed range
Scene modes
X-sync speed
Burst speed
USB connection
Wi-Fi
Weight, with battery
D750
24
Expeed 4
-3 to +19EV
100-12,800
JPEG, Raw
51
Tilting
1,229,000 dots
30-1/4000sec
Yes
1/200sec
6.5fps
USB 3
Built-in
830g
D610
24
Expeed 3
-1 to +19EV
100-6,400
JPEG, Raw
39
Fixed
921,000 dots
30-1/4000sec
Yes
1/200sec
6fps
USB 2
Optional
850g
Highlighting denotes advantage.
As you can see, there are differences
between the D750 and the D610,
some significant, some not so. To me,
the main difference is the Expeed
4 image processor (along with a
newly developed sensor), which of
course should provide overall better
image quality. Also, looking at the
specifications, the D750 should be
able to autofocus (in theory at least)
in much lower light than the D610.
Incidentally, -3EV (see ‘AF detection
range’, above) equates to lighting
conditions where you would have to
expose for 15 seconds at f/1.4 at ISO
100. If the camera can autofocus in
such low light, that’s good! Really
good! However, I am not much
enamoured by the 51 AF points;
don’t get me wrong, under certain
situations the extra AF points are
useful, but for the majority of times,
I use the central AF point (and I trust
most of you do too). The D750 has
a tilting LCD screen. For low-angle
shots, the screen can be flipped up
to approximately 90 degrees and
for high-angle shots, it can be tilted
outwards from the body by about
75 degrees.
The D750 is a 24.3 megapixel
(effective) full-frame sensor (35.9
x 24mm) D-SLR but also offers
shooting facility with the following
crop factors:1.2x (approximately
30 x 20mm area at the center of the
sensor is used. Resolution drops
to approx. 16.7 MP) and 1.5x (DX,
www.smartphotography.in
approximately 24 x 16mm area at
the center of the sensor is used.
Resolution drops to approx. 10.3
MP). Like all Nikon D-SLRs, the
D750 too offers automatic image
sensor cleaning facility. Images
can be shot in NEF (Raw) 12-bit
or 14-bit, lossless compressed or
compressed, JPEG (Fine/Normal/
Basic), and Raw+JPEG. Its Buffer
size allows approximately 85
JPEGs (Large/Fine) or 15 NEFs
in 14-bit lossless compressed
mode or about 25 NEFs in 12-bit
lossless compressed mode or 32
NEFs in compressed mode (these
figures would change, depending
on the memory card used). To
satisfy individual preferences, the
D750 offers the following Picture
Controls: Standard, Neutral, Vivid,
Monochrome, Portrait, Landscape
and Flat. Picture Controls can be
modified and Customised Picture
Controls can be stored. The following
lenses can be used: AF Nikkor lenses,
including type G, E and D (some
restrictions apply to PC lenses),
DX lenses, AI-P Nikkor lenses and
non-CPU AI lenses (A and M modes
only). IX Nikkor lenses, lenses
for the F3AF, and non-AI lenses
cannot be used. The camera uses an
electronically controlled, verticaltravel focal plane shutter with shutter
speeds ranging from 30 seconds to
1/4000sec, plus Bulb, Time and Flash
X-sync at 1/200sec. (Actually the
D750 can synchronize with flash at
shutter speed of 1/250sec or slower
but the flash range drops at speeds
between 1/200 and 1/250sec).
Metering system is TTL using an
RGB sensor with 91,000 pixels.
Metering modes are Matrix (3D
Colour Matrix metering III with
type G, E and D lenses, Colour
Matrix Metering III with other CPU
lenses, Colour Matrix metering with
non-CPU lenses if user provides
lens data; Center-weighted metering
(75% weightage given to the 12mm
circle in center of the frame); Spot
metering (4mm circle centered on
selected focus point) and Highlightweighted metering with type G,
E and D lenses. Exposures can be
compensated in values from -5 to
+5 EV. ISO sensitivity available is
from ISO 100-12,800 but can also
be set to approx. 0.3, 0.5, 0.7 or 1 EV
(ISO 50 equivalent) below ISO 100
or to approx. 0.3, 0.5, 0.7, 1 or 2 EV
(ISO 51200 equivalent) above ISO
12800; auto ISO sensitivity control
is also available.
White Balance (WB) can be set to
Auto (3500-8000K), Incandescent,
Fluorescent (7 types), Direct
sunlight, Flash, Cloudy, Shade,
Colour Temperature, and Preset
manual. WB can be fine-tuned if
required. Active D-Lighting, which
preserves details in highlights and
JPEG Compression
JPEG, Fine Quality,
100% (18 MB)
JPEG, Basic Quality,
100% (5.4 MB)
November 2014 Smart Photography
93
D-SLR Review
NIKON D750
shadows in contrasty lighting, can
be set to Auto, Extra high, High,
Normal, Low or off. The D750 uses
Nikon’s Advanced Multi-CAM 3500
II AF module with TTL phasedetection along with 51 focus points.
15 of these are cross-type sensors,
out of which 11 sensors support
lenses up to f/8. Autofocus can
be set to AF-S (Single-servo AF),
AF-C (Continuous-servo AF) or
AF-A (automatic selection of AF-S/
AF-C, depending on the status of
the subject). Manual focussing is
available. Focus can be selected from
51 or 11 focus points. Five AF- area
modes are available: Single-point
AF, 9, 21 or 51-point dynamic area
AF, 3D-tracking, group-area AF, and
Auto-area AF.
At the top left of the body is the
Mode Dial, along with a Mode Dial
Lock (a safety feature so that you
don’t change the shooting mode
unintentionally). The modes available
are: Auto, and Flash Off – using
these your D750 becomes a high-end
point-and-shoot camera (Actually,
both are identical except that if you
opt for the Flash Off setting, the flash
will not fire); SCENE (the camera
automatically optimises the settings
to suit the selected scene); U1 & U2
(the user can assign frequently used
settings to U1 and U2); Effects (Night
vision, Colour sketch, Miniature
effect, Selective colour, Silhouette,
High key and Low key), and the
regular P, A, S, M modes for the
advanced photographer.
Underneath the Mode Dial, is the
Release Mode Dial (also with a
safety lock), which allows you to
choose between S (Single frame), CL
(Continuous low), CH (Continuous
High), Q (Quiet shutter release), QC
(Quiet continuous shutter release),
Self-timer and MUP (Mirror up).
In Continuous low speed shooting,
the user can select between 1- 6fps
with maximum continuous release
up to 100 frames; in Continuous
high speed shooting, the frame rate is
6.5fps (but could slow down if there
is not enough memory in the buffer
or if the shutter speed is slower
than 1/200sec).
The D750 offers a built-in flash with
a Guide Number of 12m/39ft at
ISO 100, along with the usual flash
features. Flash control is i-TTL using
RGB sensor with approx. 91,000
pixels. i-TTL balanced fill flash for
digital SLR is used with Matrix,
Center-weighted and Highlightweighted metering; with Spotmetering, i-TTL flash for digital SLR
is used. Flash can be compensated by
-3 to +1 EV in steps of 1/3 or 1/2 EV.
The camera supports Nikon’s Creative
Lighting System.
The D750 can record Full HD movies
at 1920 x 1080 – 60p, 50p, 30p, 25p,
and 24p; 1280 x 720 – 60p and 50p,
NOISE
ISO 200
ISO 800
ISO 1600
ISO 3200
ISO 6400
ISO 12800
94
Smart Photography November 2014
www.smartphotography.in
using H.264/MPEG-4 video
compression. The camera uses a
rechargeable EN-EL15 Lithiumion battery
Aperture: f/8.0 Shutter Speed: 1/250sec . ISO: 400
Ergonomics
The D750 was reviewed using a
AF-S Nikkor 50mm f/1.4G lens.
The balance was perfect and the
user interface was as easy as it is
on all Nikon D-SLRs. The tiltable
LCD screen was very convenient
for low-angle / high-angle shots.
Performance
Overall, the D750 performed
to our satisfaction. Images were
sharp and punchy. We were most
impressed by its control over
digital noise. The native image
size was 20.053 x 13.387 inches
at 300 ppi. At 25% screen size,
images were perfectly usable all
the way up to ISO 12,800. At 50%
screen size, once again images
were perfectly usable all the way
up to ISO 12,800 though at ISO
12,800, images were slightly ‘soft’,
probably due to the internal
noise reduction kicking in rather
vigorously. At 100% screen size,
when observed carefully, some
noise could be seen at ISO 800
and upwards; images were
slightly ‘soft’ but I wouldn’t
hesitate using the images all the
way till ISO 12,800.
The ‘Lo’ ISOs: Lo 0.3, 0.7, 1.0
(equivalent to ISO 80, 64, and 50
respectively). At these equivalent
ISO sensitivities, I found it
difficult to notice any visible
differences between the images.
All three were excellent.
Mahesh Reddy
The ‘Hi’ ISOs: Hi 0.3, 0.7, 1.0, 2.0
(equivalent to – approximately –
ISO 16,000, 21,000, 25,600 and
51,200 respectively). At 25%
screen size, Hi 0.3 and 0.7 were
‘clean’ and usable, 1.0 had some
noise and 2.0 could be used in an
emergency. At 50% screen size,
Hi 0.3 was good, 0.7 usable, but
1.0 and 2.0 were noisy. At 100%
screen size, all four – Hi 0.3, 0.7,
1.0 and 2.0 – were noisy.
In White Balance performance,
www.smartphotography.in
November 2014 Smart Photography
95
D-SLR Review
NIKON D750
AWB and Preset WB (Sunlight)
were accurate while under all other
lighting situations, a slight colour
cast was noticed, which could be
easily corrected in post-processing.
Autofocus was fast, even in low
light. Exposure metering was quite
accurate. The Highlight-weighted
metering ensured that the highlights
were not overexposed, but it did that
at the expense of underexposing
the pictures by about 0.7 to 1 stop
(a rough judgement). Images on the
LCD and in the viewfinder were crisp.
Prominent darkening of corners was
noticed at f/1.4, which improved at f/2
and was negligible by f/2.8.
Video
PLUS
The video performance of the
Nikon D750 was excellent. On a
side-by-side comparison with one of
the latest 4K compatible mirrorless
interchangeable lens cameras, we
noticed that it autofocussed quicker
(in AF-C mode) during video
in Live View. The videos did not
capture any focussing sound, which
is good.
• Small and
lightweight
• Excellent
noise control
• Built-in
Wi-Fi
• Tiltable LCD
Value for Money
The Nikon D750 body is available
at an MRP of Rs.1,34,450. We
consider this to be fair to good
value for money.
VERDICT
Should you go in for a D750 if you already own a D610? That’s
not easy to answer, but for me, the Expeed 4 image processor
would draw me towards the D750. If you want a full-frame
camera body, that also includes 1.2x and 1.5x crops, a better
resolution LCD, a camera capable of autofocussing in very
low light, and the advantages of USB 3 connection, then the
D750 may be what you should be looking at. Best Buy!
MINUS
• Will the
monocoque
body stand
up to rough
handling?
FINAL SCORE
83%
Design and Build Quality 16/20
Key Features
17/20
Ergonomics
17/20
Performance
Autofocus
Metering
Noise Control
Sharpness
4/5
4/5
5/5
4/5
(also depends on the lens/shooting technique)
LCD/EVF
Auto W/B
4/5
4/5
Sub-Total
25/30
Value for Money
8/10
KEY SPECIFICATIONS
Camera type
:
Effective pixels
:
Imaging sensor
:
File format
:
Picture Control System :
Storage media
No. of card slots
DOF Preview
Compatible lenses
:
:
:
:
Shutter speeds
Flash sync
:
:
Release mode
:
Frame advance rate :
Metering method :
Metering range
:
Autofocus
:
Autofocus detection range :
96
D-SLR
24.3 million
CMOS (35.9 x 24mm)
Raw, JPEG, Raw+JPEG
Standard, Neutral Vivid, Monochrome, Portrait,
Landscape, Flat
SD/SDHC/SDXC memory cards
Two
Yes
AF Nikkor lenses, including type G, E and D
(some restrictions apply to PC lenses), DX lenses,
AI-P Nikkor lenses and non-CPU AI lenses (A and
M modes only). IX Nikkor lenses, lenses for the
F3AF, and non-AI lenses cannot be used
30 seconds - 1/4000sec, Bulb, Time, X200
Up to 1/200sec (Can sync between 1/200 and
1/250sec, but flash range drops)
S, CL, CH, Q (Quiet shutter release), Qc (Quiet
continuous shutter release), Self-timer, Mirror-up
1-6fps (CL), 6.5fps (CH) or 3fps (Qc)
Matrix, Centre-weighted, Spot, Highlight-weighted
0-20 EV (Matrix, Centre-weighted, Highlightweighted metering) 2-20 EV (Spot metering)
51 focus points, including 15 cross-type sensors,
11 sensors support f/8
-3 to +19 EV (ISO 100, 20 degrees C/68 degrees F)
Smart Photography November 2014
Lens servo
: AF-S, AF-C, AF-A (automatic AF-S/AF-C
selection), Manual focus
Focus point
: Can be selected from 51 or 11 focus points
AF-area mode
: Single-point AF, 9/21/51-point dynamic area AF,
3D-tracking, group-area AF, Auto-area AF
Exposure modes : P, A, S, M. User settings U1 & U2, Auto, Scene
(16 settings), Special effects (7)
Exposure compensation : +/- 5 EV
Exposure & Flash bracketing : 2-9 frames in 1/3, 1/2, 2/3 or 1 EV step, 2-5 frames
in 2 or 3 EV steps
White Balance bracketing : 2-3 frames
ISO sensitivity
: 100-12,800, can also be set to equivalent of (min.)
ISO 50 and (max.) ISO 51, 200 Auto ISO control available
Active D-Lighting : Auto, Extra-high, High, Normal, Low, Off
Built-in flash
: GN 12m/39’ at ISO 100. Support for Nikon
Creative Lighting System
Flash compensation : -3 to +1 EV
White Balance
: Auto (2 types), incandescent, fluorescent (7 types),
direct sunlight, flash, cloudy, shade, preset manual,
colour temperature setting
Live View
: Yes
Movie file format : MOV
Frame size, frame rate, movies : 1920 x 1080; 60p, 50p, 30p, 25p, 24p
1280 x 720; 60p, 50p
Dimensions
: Approx. 140.5 x 113 x 78 mm (W x H x D)
Weight, with battery : Approx. 830g
www.smartphotography.in
PAGE
180 ISSUE
RS.125
ISSUE 6
VOLUME 09
SEPTEMBER 2013
THE BIG FIGHT: NORMAL LENSES
●
PREMIUM COMPACTS
●
REVIEWS: CANON EOS 70D
TOUGH CAMERAS
RS.125
SAMSUNG GALAXY S4 ZOOM
●
PENTAX K-50
RS.125
INTERVIEW
SURAJ DAS
LEARNING: STAR TRAIL
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PENTAX K30
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KAUSHIK BHATIA
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Canon EOS 70D
EXPERT TECHNIQUES
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City
ILCC Review
Panasonic GH4
4K at Your Fingertips
Sujith Gopinath
tripod receptacle are metal. Overall,
the camera looks and feels like a
professionally built device ready to
stand the test of time.
Key Features
Inside the Box
Design and Build Quality
The Panasonic Lumix GH4 is
a highly capable mirrorless
interchangeable lens camera
set to replace the GH3.
The GH4 uses the same
16.05-megapixel Four
Thirds (17.3 x 13mm)
Live MOS sensor that was
used by the GH3. But the
similarities end with the
sensor and a few less-thancrucial features. Let us first
look at the improvements over
the GH3. A major improvement
is in the processing power of the
camera. The GH4 uses a refined
Venus Engine IX image processor,
which is Panasonic’s latest QuadCore processor that also powers
the FZ1000 camera. This processor
satisfies the processing speed that 4K
videos demand. The GH4 offers an
ISO sensitivity range of ISO 200 to
25,600, one stop more than the GH3.
It has 49 focus points compared
to 23 in the GH3. The maximum
shutter speed has increased from
1/4000 to 1/8000 sec. Apart from
these, there are the usual, predictable
improvements such as screen and
viewfinder resolution.
✓ Panasonic GH4 camera
✓ Battery
✓ Battery charger
✓ Power adapter
✓ USB cable
✓ Camera front cap
✓ Hot-shoe cover
✓ Basic Manual
✓ CD-ROM
The Panasonic GH4 is built very
sturdy. The chassis is built with
magnesium alloy and even the
exterior feels rock solid. The
rubberised exterior offers a good
grip, and the hand grip is deep
enough to provide a firm hold. The
fully articulated LCD can be rotated
and docked at the back, protecting
it from scratches when not in
use. Both the lens mount and the
Now let us dive further into the
features of the GH4. The camera’s
sensor uses a primary colour filter
and houses a supersonic wave filter
to shake off dust particles. Panasonic
uses Lens-based Optical Image
Stabilisation and hence the body
does not feature image stabilisation.
The camera uses an OLED Live View
Finder with 2359k dot resolution.
` Rs.111,990
(body only)
98
Smart Photography November 2014
P
anasonic Micro Four Thirds
interchangeable lens cameras
are known to deliver excellent
performance. The 16.05 megapixel
GH4 boasts 4K video recording, high
quality still images and a weather
sealed magnesium alloy body.
www.smartphotography.in
Mahesh Reddy
Aperture: f/5.6 Shutter Speed: 1/80sec . ISO: 800
www.smartphotography.in
November 2014 Smart Photography
99
ILCC Review
Panasonic GH4
Mahesh Reddy
Aperture: f/5.6 Shutter Speed: 1/5000sec. ISO: 800
The monitor is a 3.0-inch free
angle OLED screen with static
touch control having 1036k dot
resolution. The live view provides
Level Gauge, Real-time Histogram,
JPEG Compression
JPEG, Fine Quality,
100% (8.4 MB)
100
JPEG, Normal Quality,
100% (4.5 MB)
Smart Photography November 2014
Guide Lines (with 3 patterns),
Centre marker, Highlight display,
and Zebra pattern. The camera
uses an advanced type of Contrast
Detection AF system with DFD
(Depth from Defocus) technology.
This precisely calculates the direction
and amount of correction needed in
the lens position to achieve correct
focus. This is done by the side-byside comparison of two images
with different depths of field. Focus
modes present are AFS (Single), AFF
(Flexible), AFC (Continuous), and
MF (Manual). Autofocus methods
are Face/Eye detection, Tracking, 49area, Custom, Multi, 1-area, Pinpoint
(with full area touch).
The GH4 uses a 1728-zone multipattern metering system and has
the usual three metering modes—
Multiple, Centre-weighted, and
Spot. Exposure can be compensated
up to +/-5 EV in 1/3 EV steps for
still images and +/-3 EV for motion
pictures. AE bracketing can be done
for 3, 5, or 7 frames in 1/3, 2/3, or
1EV steps.
ISO sensitivity
ranges from ISO
200 to 25,600
in the case of
still images,
which can be
expanded to
ISO 100. The
maximum
ISO sensitivity
is limited to
ISO 6400 in the case of motion
pictures. White Balance options
are Auto, Daylight, Cloudy, Shade,
Incandescent, Flash, White Set (four
settings) and Colour Temperature
setting. White Balance can be finetuned manually along two axes.
The GH4 uses a focal plane shutter.
Apart from the usual mechanical
shutter, the camera also incorporates
an electronic shutter for faster and
quieter shutter operation. Shutter
speed ranges from 60 to 1/8000 sec,
with an additional Bulb option (max.
60 minutes). The shutter has a life of
approximately 200,000 actuations.
The camera’s self-timer can be set to
10 sec for 3 images, or 10 or 2 sec for
single image. The GH4 can capture
continuous frames at up to 12 frames
per second (H) using the mechanical
shutter or up to 40 frames per second
(SH) using electronic shutter. It
can maintain the 12 fps speed for
approximately 40 images when there
are Raw images, and about 100
images when there are no Raw files.
This can go up to 120 images when
www.smartphotography.in
NOISE
ISO 200
ISO 800
ISO 1600
ISO 6400
ISO 12800
ISO 25600
using electronic shutter. Please note
that this speed and performance
depends on the type and size of the
memory card, battery power etc.
The built-in flash of the GH4 has a
Guide Number of 12m at ISO100 and
has an angular coverage of 24mm
equivalent. The flash synchronises
up to 1/250 sec. Flash power can be
adjusted up to +/-3 EV in 1/3-EV
steps. Still images are recorded at a
maximum size of 4608 x 3456 pixels
in Raw or JPEG format (with options
to record both simultaneously).
The camera can also record 3D still
images using a 3D lens in MPO
format. Motion pictures are recorded
in MOV (Linear PCM audio), MP4
(Linear PCM/AAC 2 channel), or
AVCHD (Dolby Digital 2 channel
audio) format. Motion pictures can
be recorded at up to 4K (3840 x
2160) standards with various bit rate
and frequency options. Continuous
motion picture recording is limited
to approximately 220 minutes. The
camera features built-in Wi-Fi and
www.smartphotography.in
NFC, which enable you to pair it with
Smart devices and share images or
trigger the camera remotely.
(70-200mm equivalent) lens that
Panasonic provided with it.
The Panasonic GH4 accepts an
SD/SDHC/SDXC memory card
(compatible with UHS-I standard).
The camera is powered by a Li-ion
battery pack (7.2V, 1860mAh, 14Wh,
Included). The GH4 has dimensions
of 132.9 x 93.4 x 83.9mm (W x H x
D, excluding protrusions) and weighs
approximately 560g.
The GH4 performed like a champion
in our tests. Autofocus was very fast
and precise. The system did not have
any problem focussing under low
light. Images were sharp out of the
box. Please note that the sharpness
mainly depends on the optical
quality of the lens used. Metering
performed well as expected. Auto
White Balance performed well. The
slight casts observed under certain
light sources were easily removable
during post-processing.
Ergonomics
The Panasonic GH4 is quite
comfortable to use. Both the
viewfinder and the LCD are of top
quality and the images appeared crisp
on both. The electronic viewfinder
effectively matches the quality of
optical viewfinders. It is bright and
sharp, with images looking realistic.
The menu and shortcut buttons
are quite intuitive, and the fully
articulated LCD makes the camera
truly versatile. The GH4 balanced
very well with the 35-100mm f/2.8
Performance
The native image size was 11.52 x
15.36 inches at 300 ppi. At 25 percent
of screen size, the images were noisefree up to ISO 3200. ISO 12,800
and 25,600 were noisy. Images up to
ISO 6400 were perfectly usable. At
50 percent of the screen size, slight
noise was observed at ISO 6400,
but it was still usable. Viewed at 100
percent, images remained absolutely
November 2014 Smart Photography
101
ILCC Review
Panasonic GH4
noise-free up to ISO 1600. A tinge of
noise could be observed at ISO 3200,
though it was almost imperceptible.
ISO 6400 was very noisy at this
enlargement.
We used a Kingston UHS-3 (UHS-I
standard, Class 3) card for testing
the video and high speed shooting.
The videos were perfect without any
problem. The autofocus sound was
not audible in any of the captured
videos. The GH4 lived up to its claims
of high burst speed, and the writing
speed was excellent. The buffer never
filled to its capacity. In burst mode,
the camera captures 100 images
(JPEG) with the electronic shutter
enabled (SH mode). Once a batch of
100 images are captured, you only
need to take the finger off the shutter
release button and depress it again to
capture the next batch of 100, without
any waiting period for the buffer to
be cleared.
PLUS
• Excellent
build quality
• Impressive
features
• 4K video
recording
• 40 fps burst
speed
• Great
performance
Overall, we were impressed by the
performance of the GH4.
FINAL SCORE
86.5%
Design and Build Quality 19/20
Value for Money
The GH4 retails in India at an
MRP of Rs.111,990 (body only).
It is available in kit form with the
12-35mm f/2.8 HD (24-70mm
equivalent) lens at a price tag of
Rs.172,990. We would consider this
fair for a camera that can capture
4K videos and offer superlative
performance.
MINUS
VERDICT
• Could be
beyond the
budget for
potential
buyers
The Panasonic GH4 can
be considered a hybrid
camera, which delivers
professional quality stills
and videos. The impressive
features and great
performance make it one of
the top cameras on our list.
Key Features
18/20
Ergonomics
18/20
Performance
Autofocus
Metering
Noise Control
Sharpness
LCD/EVF
Auto W/B
Sub-Total
4.5/5
4.5/5
4/5
4/5
4/5
3.5/5
24.5/30
Value for Money
7/10
KEY SPECIFICATIONS
Effective pixels
:
Sensor size
:
Lens mount
:
Sensor Type
:
Colour filter
:
Dust reduction system :
Recording file format :
Aspect ratio
Image quality
:
:
Colour Space
:
Max. Pixel dimensions :
16.05 million
Four-Thirds (17.3 x 13.0 mm)
Micro Four Thirds mount
Live MOS
Primary colour filter
Supersonic wave filter
Still image: JPEG, Raw, MPO (With 3D lens)
Motion picture: MOV, MP4, AVCHD
(Audio format: Dolby Digital 2ch)
4:3, 3:2, 16:9, 1:1
Raw, Raw+Fine, Raw+Standard, Fine,
Standard/MPO+Fine / MPO+Standard
sRGB, AdobeRGB
Still Image: 4608x3456
Motion picture: 3840x2160; 30p/24p/25.00p, 100Mbps (4K)
Continuous rcd time
(Video) AVCHD : Approx. 220 min
WiFi
: WPA / WPA2, Infrastructure mode, WPS, Wi-Fi Direct
NFC
: ISO/IEC 18092, NFC-F (Passive Mode)
QR Code Connection :Yes
Viewfinder Type : OLED Live View Finder (2,359K dots)
Eye point
: Approx. 21 mm from eyepiece lens
Diopter adjustment : -4.0 - +4.0 (dpt)
Eye sensor
: Yes
Eye sensor adjustment : High / Low
Focus Type
: Contrast AF system
DFD technology : Yes
Focus mode
: AFS (Single) / AFF (Flexible) / AFC (Continuous) / MF
AF mode
: Face/Eye Detection / Tracking / 49-Area / Custom
Multi / 1-Area / Pinpoint/(Full area touch is available)
AF detective range : EV -4 - 18 (ISO100 equivalent)
102
Smart Photography November 2014
AF lock
Metering modes
Metering range
Shooting modes
ISO sensitivity
Exposure compensation
AE lock
AE bracket
White balance
:
:
:
:
:
:
:
:
:
White balance bracket :
Shutter Type
:
Shutter speed
:
Shutter life
:
Self timer
:
Burst speed
:
No of recordable images :
Built in flash type :
Synchronization speed :
Flash output adjustment :
Flash synchronization :
Function Buttons :
Monitor Type
:
Monitor size
:
Pixels
:
Power Source
:
Dimensions (W x H x D) :
Weight
:
Yes (AF/AE LOCK button)
1,728-zone multi-pattern, Centre-Weighted, Spot
EV0-18 (F2.0 lens, ISO100 equivalent)
Program AE, Aperture Priority, Shutter Priority, Manual
Auto / Intelligent ISO / ISO 100 (Extended) to 25600
±5EV in 1/3 EV step
Yes (AF/AE LOCK button)
3, 5, 7 frames in 1/3, 2/3 or 1 EV Step, Max. ±3 EV
Auto, Daylight, Cloudy, Shade, Incandescent, Flash,
White Set 1, 2, 3, 4, Colour temperature setting
3 exposures in blue/amber axis or in magenta/green axis
Focal-plane shutter
Bulb (Max. 60 minutes), 60 to 1/8,000 sec
Approx. 200,000 images
10sec, 3 images / 2sec / 10sec
Mechanical shutter: H: up to 12 frames per sec (with AFS)
Electronic shutter: SH: up to 40 frames per sec
Approx. 40 images (RAW); Approx. 100 images
(JPEG)(depending on memory card size, battery
power, picture size, and compression)
TTL Flash, GN 12m equivalent (ISO100)
Less than 1/250 second
1/3EV step ±3EV
1st. Curtain Sync, 2nd Curtain Sync.
Fn1 to 10
OLED monitor with static touch control
Free-angle 3.0-inch / 3:2 aspect / Wide viewing angle
Approx. 1036K dots
Li-ion Battery Pack (7.2V, 1860mAh, 14Wh) (Included)
132.9 x 93.4 x 83.9mm (excluding protrusions)
Approx. 560g
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LENS REVIEW
Leica DG Summilux 25mm f/1.4 ASPH. lens
A high quality normal
lens for MFT format
Ashok Kandimalla
L
eica Camera AG is one of the
most venerable companies in the
world of optics and photography.
Leica generally names its f/1.4 lenses
as “Summilux” (called “Lux” lenses by
Leica aficionados) and this lens follows
that naming convention. This lens is
the result of the collaboration between
an equally well known Japanese
firm, Panasonic. The literature of this
lens states that “Leica DG lenses are
manufactured using the measurement
instruments and quality assurance
systems that have been certified
by Leica Camera AG based on
company’s quality standards.” In
short, this lens is a Leica optical design,
manufactured by Panasonic to the
exacting standards of Leica. So, you
need not have any doubts about its
pedigree or optical quality!
This lens is specifically designed to be
used on the Micro Four Thirds (MFT)
cameras, made by both Olympus and
Panasonic. Considering that the MFT
format has a crop factor of two, the
angle of view is same as that of a 50mm
lens on a full frame D-SLR. This, as you
might recall, is the classic “normal” lens,
once the standard lens supplied with all
` Rs.41,990
Inside the Box
✓ Lens
✓ Front & rear caps
✓ Lens hood
✓ Lens pouch
✓ User Manual
✓ Warranty card
104
Smart Photography November 2014
(DOF) scales and no AF/MF switch.
The lens uses an internal focusing
design and hence its overall length
does not change while focusing. There
is a dull metallic coloured ring at the
top, giving it a smart look. It is slightly
large for an MFT lens. This, plus its
solid build makes it tip the scales at a
hefty 200 grams. The filter size is 46mm
(diameter) which is standard for many
MFT lenses.
Key Features
SLRs, till the slow “kit lenses”
took over! Fortunately,
the normal lens has been
undergoing a resurrection
with many photographers realizing the
virtues of the so called “nifty-fifty”. This
is a rather apt description, considering
that a normal lens can used for virtually
any type of photography - portraits,
landscapes, street, photo-journalism
and what not. Another advantage is that
normal lenses are generally the fastest
available and are ideal for low light work
and for getting shallow depth of field.
Design And Build
This lens is finished handsomely
in typical Panasonic dark grey. It
uses polycarbonate for most of
the construction but the mount is
machined nicely in metal. As with most
modern lenses there is no aperture
ring, the aperture being controlled
from the camera body. There is a nice
rubber-ribbed focusing ring, and that’s
about it. There is nothing else on the
lens – sadly, no distance or depth of field
The Summilux lens has a fast aperture
of f/1.4 and has a complex and modern
tele-centric design with 9 elements
in 7 groups. It also uses Ultra High
Refractive index lens and glass molded
aspherical elements (hence the word
ASPH) to maintain edge to edge
sharpness and to cut down aberrations.
The lens also uses the sophisticated
“nano surface” coating to reduce flare
and ghosting. The diaphragm is made
of seven rounded blades for a good
bokeh. The front element does not
rotate, making it easy to use polarizing
and graduated neutral density filters.
Ergonomics
This lens was tested on the popular
Olympus OM-D E-M5 MFT body.
The lens/body combination balances
reasonably well but is a tad front heavy.
The whole set up is very compact and
is easy to handle – ideal for discrete
candid or low light work.
The AF/MF switching is only through
the camera menu which is a bit of a
nuisance. The focusing ring is smooth
but a little underdamped. There are
no distance or DOF scales, so forget
about setting this lens to hyper focal
www.smartphotography.in
Ashok Kandimalla
Aperture: f/1.8 Shutter Speed: 1/50sec ISO: 1250
distance and do “from the hip” snapshot
shooting in the true Leica style! There
is a very visible red index mark which is
raised and this is of great help when you
are mounting the lens in low light.
The lens comes with a solidly
made “Leica-ish” square lens hood.
Unfortunately, it can’t be reversed on
the lens for storing. This is one major
drawback as the hood is very large
and occupies a great amount of space
in your bag. The pouch included will
accommodate the lens plus the hood
though. We are really surprised how
two very famous names together could
design such a bad hood!
Performance
As you would expect from the Leica
name (and the
price) the Summilux
25mm lens is an
excellent performer.
Autofocusing is
accurate and quiet.
The lens’ main plus
point is its optical
performance.
True to its name
it is sharp even
wide open. Just by
stopping by half a
stop to f/1.8 makes
it very sharp. Peak
performance is
around f/2.8. At this
setting, the lens is
exceedingly sharp
right up to the
edges. However, the
performance starts
getting degraded
beyond this due to
diffraction and it is
best you don’t use
this lens at apertures
narrower than f/5.6.
Typical to MFT
lenses, images
show practically no
distortion at all, this being partly achieved
through software either in camera
or external. Due to the same reason,
vignetting is negligible even at the fairly
wide aperture of f/2.0. There is no visible
chromatic aberration.
PLUS
• Vey sharp
• Low
distortion and
aberrations
• Excellent
overall image
quality.
• Solid build
quality
MINUS
• A little big
and heavy for
an MFT lens
• Badly
designed lens
hood
VERDICT
This is a fast normal lens that is ideal for
portraits, landscapes, street photography
and photojournalism. It is excellent for low
light work due to its fast aperture. The lens
is solidly built, offers fast focus and is sharp
even wide open. While the price is not low
(but don’t forget that a normal Summilux
lens for a Leica full frame digital camera is
a few lakhs of Rupees), considering its build
quality and optical performance you can
consider it to be fair.
The quality of bokeh is excellent as you
would expect German designs. It is very
smoothly rendered and is ideal
for portraits.
Value For Money
The MRP of this lens is Rs. 41,990/-.
Admittedly this is not a low price. It is
a bit higher than the full frame normal
lenses from major manufacturers.
However, in all fairness, it outclasses
them easily. It has a very sophisticated
design and nano coatings. Also, glass
molded aspheric elements (a Leica
specialty) as opposed to resin based
compound ones (used by most) are
expensive. Being a tele-centric design it
is optimized for digital sensors and this
clearly shows up in its performance. So,
to see this price in proper perspective,
you need to consider the solid
construction, fast aperture and superb
performance.
FINAL SCORE
86%
Design and Build Quality 19/20
Key Features
16/20
Ergonomics
16/20
Performance
Autofocus
Sharpness
Distortion Control
Aberrations
Darkening
of Corners
Extra Features
Sub-Total
Value for Money
5/5
5/5
4/5
5/5
5/5
4/5
28/30
7/10
SPECIFICATIONS
Focal length
Angle of view
Maximum aperture
Minimum aperture
Lens construction
Closest focusing distance
www.smartphotography.in
:
:
:
:
:
:
25mm (equivalent to 50mm on full frame)
47º
f/1.4
f/16
9 elements in 7 groups
0.25m
Maximum reproduction ratio :
No. of diaphragm blades :
Filter attachment size
:
Dimensions (Dia x L)
:
Weight
:
0.22x
7, Circular aperture diaphragm
46mm
63 X 54.5 mm, (approximately)
200gms, (approximately)
November 2014 Smart Photography
105
SMARTPHONE Review
Sony Xperia Z3
The Price-keeper
Sujith Gopinath
B
arely two months after
we reviewed the Xperia
Z2, Sony released the Z3,
an upgrade to the Z2. But we
would consider this an attempt to
arrest the price rather than a real
upgrade. Hence we do not wish to
go into the common features in
detail.
Design and Build Quality
The Xperia Z3 looks significantly
different from Z1 and Z2. The
body features the same front-andback glass design, but the Z3 has a
slim and trim construction. Unlike
the straight and slightly rough
aluminium bezels of the earlier
Z-series Smartphones, the Z3 has
smoother and rounded aluminium
bezel tipped with rounded, plastic
corner pieces. Sony has done away
with the microphone mesh (Z1)
and the three microphone holes
(Z2) at the base in favour of a
horizontal slot on the front surface
identical to its earpiece slot. This
takes it closer to the iPhone 6 Plus
in design (going by the published
images of iPhone 6 Plus).
Key Features
Apart from the improvements in
design elements and subtle changes
in features, the Z3 is not very
different from the Z1 and Z2.
Feature-wise, the Xperia Z3 is not
significantly different from the Z2.
Both feature the same Qualcomm
Snapdragon 801 processor, but
the Z3’s processor clocks slightly
faster at 2.5 GHz against the Z2’s
clock speed of 2.3 GHz. Both are
powered by Adreno 330 GPU.
Both provide 3GB RAM and
16GB internal memory, of which
11.8GB is available for the user. It
can accept an external microSD
card of up to 128GB. The device
can also connect with an external
USB storage (with an OTG cable),
which provides virtually unlimited
memory. The only change worth
noting is that the Z3 offers PS4
remote play, which allows you to
access your PS4 console remotely
using WiFi. But this concerns only
a handful of PS4 users.
The new phone has a higher
ingress protection rating (IP68
instead of IP58), which may seem
significantly higher, but is not so
in reality. This only means that
the Z3 is upgraded to dust-proof
from dust-resistant. All other
parameters remain the same.
` 51,990
Inside the Box
✓ Xperia Z3 Smartphone
✓ Adapter
✓ USB Cable
106
Smart Photography November 2014
The camera also has the same
specifications, but the built-in
effects have been improved in
numbers. Still, this is not very
significant. The camera feature
the Z2’s 20.7-megapixel, 1/2.3inch Type (6.16 x 4.62mm) Exmor
www.smartphotography.in
Aperture: f/2.4 Shutter Speed: 1/180sec. ISO: 100
RS for mobile sensor that was
also used in the Z1. This high
sensitivity sensor is believed
to reduce digital noise while
maintaining high resolution. The
camera features a BIONZ for
mobile processor, which aids in
fast sutofocus, motion detection,
and noise reduction. The
camera features a Sony G 27mm
equivalent f/2.0 lens. It also
features a pulsed LED light that
can function as a camera light
and a torch. The Z3 is capable
of recording 4K (3840 x 2160)
Ultra High Definition videos.
The camera features SteadyShot,
which compensates for camera
movements by boosting the
sensitivity as required.
The Z3 uses a 5-inch Full HD
IPS Triluminos Display with
X-Reality for mobile technology.
The display has a resolution
of 1920 x 1080 pixels, which
translates to a pixel density of
441 pixels per inch. It offers
multi-touch feature with support
for up to 10 fingers. The device
measures approximately 146
x 72 x 7.3mm and weighs
approximately 152g.
Ergonomics
Since the Z3 uses identical
hardware as that of the Z2,
everything remains the same. The
screen is big, bright and clear.
The device is slightly lighter and
easily slips into the pocket. The
camera interface is the same, with
some subtle enhancements in
the built-in effects. Buttons are
rounded and overall, the device
has soft contours.
Performance
Though we put the Z3 through
the usual tests that we do with
other Smartphones, we would
not like to repeat what we said in
the Z2 review since it is the same
device in a re-designed shell. The
phone and camera performed
well, even while accessing
resource-intensive applications.
Images appeared crisp and the
camera interface was quite userfriendly.
www.smartphotography.in
November 2014 Smart Photography
107
SMARTPHONE Review
Sony Xperia Z3
Native image size was 13.12 x
17.49 inches at 300 ppi. At 25
percent screen size, we observed
slight noise at ISO 800. Observed
at 50 percent of the screen size,
slight noise was observed
at ISO 400 and above.
At 100 percent screen
size, though the camera
produced noise at all
ISOs, images remained
usable up to ISO 200.
Auto White Balance
performed well. Slight
cast produced under
artificial lighting
could be easily removed in postprocessing. The Z3 particularly
impressed us in close-ups.
Value for Money
The Xperia Z3 retails at an
PLUS
• Powerful
hardware
• Waterproof
• Dust Proof
• Good
camera
MRP of Rs.51,990. While the
Z2 is listed at Rs.41,000 and the
Z1 at Rs. 34,000. So the same or
comparable hardware is marketed
at steeply varying price-tags along
with some subtle improvements.
We would leave the judgement to
you.
FINAL SCORE
83%
Design and Build Quality 19/20
MINUS
Key Features
16/20
Ergonomics
17/20
Performance
17/20
Value for Money
14/10
• Steep price
VERDICT
The Sony Xperia Z3 is a high-end water
and dust proof Smartphone that competes
in the premium class of products. While
it is good to have the latest product in the
market (mainly due to the longer support
commitments from Sony), the Z3 does not
break any new barrier. But still it is a Best
Buy.
KEY SPECIFICATIONS
Size
:
Weight
:
Screen
:
Memory
:
Platform
:
Camera Effective Pixels :
Camera sensor
:
Lens
:
Camera features
:
Approx. 146 x 72 x 7.3mm
Approx. 152g
Full HD 1920 x 1080 pixels
16GB internal, microSD card, up to 128GB (Not included)
Google Android 4.4.4 (KitKat)
20.7 Million
Sony Exmor , RS™ for mobile
25 mm equivalent
AR Effect, AR Fun, Auto focus, Background Defocus,
Burst mode, Creative effects, HDR for photos and
movies, Face detection, Face in, Flash/Pulsed LED,
Flash/Photo light
Front-facing camera : 2.2 MP with Sony Exmor R™ for mobile image sensor
Image stabiliser
: Yes
Input/Output
: 3.5 mm audio jack; Digital Noise Cancelling (DNC),
GLONASS, Synchronization Synchronisation via
Facebook, Google, SyncML, Exchange, ActiveSync
108
Smart Photography November 2014
Connectivity
Design
Organizer
: NFC, PC Companion, Screen mirroring, Smart Connect,
USB charging, USB High speed 2.0 support, USB Host,
Xperia Link, Wi-Fi, Wi-Fi Hotspot functionality, Wi-Fi
CERTIFIED Miracast
: Auto rotation, Battery STAMINA mode, Bluetooth®
unlock, Direct touch, Face Unlock, Gesture input, IPX5
and IPX8 (waterproof), IP6X (Dust tight), Live Colour
LED, On-screen QWERTY keyboard, Screenshot
capturing, Screen video recording, Small Apps, Smart
backlight control, Smart screen rotation, Super-vivid
mode, Throw, Xperia™ Home, X-Reality for mobile,
Touch screen, TRILUMINOS Display for mobile, Voice
input, Wallpaper
: Airplane mode, Alarm clock, Calculator, Calendar,
Contacts, Document readers/editors, eCompass™, Setup
guide, Sketch, Stopwatch, Timer
www.smartphotography.in
FIRST LOOK
Transcend SD Card / HDD
Now Fire at Will...!
Sujith Gopinath
H
ave you just bought
a camera that
claims to fire the
shutter at 20 frames per
second and capable of 4K
video recording? But do you
notice that the camera goes
slow after a few high-speed
frames or stops recording
4K videos abruptly? Before
blaming your camera or the
manufacturer (it is easier to
do so), check the memory
card you have paired with
the camera. High-speed
recording requires a card
capable of writing data fast
enough to free the camera’s
buffer during shooting. With
fast data transfer rates and
large storage capacities, the
new generation memory
cards from Transcend are
ideal companions to highend digital cameras and highspeed devices.
Low power consumption
and fast write speeds of the
cards also help in conserving
power, thereby prolonging
the runtime of the battery.
The cards have in-built
hardware error correction
code for detecting and
correcting errors in the card.
The UHS-I U3X cards have
a maximum read speed
of 95MB per second and
maximum write speed of 85
MB per second. These cards
are available in 32 to 128GB
capacities.
The 32GB SDHC
memory cards retail at
approximately Rs.3600
and are available at all
leading stores and e-shops.
The cards carry a Limited
Lifetime Warranty.
FIRST LOOK
Transcend External HDD
A Photographer’s
Companion
Sujith Gopinath
T
ranscend’s new StoreJet
portable Series external
hard drives combine
compact footprint and rugged
build quality with a gloss
finish. The drives offer up to
1TB of storage capacity, and
are available in USB 3.0 and
USB 2.0 versions. These drives
are built to last, meeting U.S.
Military drop-test standards.
It prevents data loss resulting
from accidental shock or
collision. The small footprint
and light weight of the device
allows it to be easily carried
around.
110
We received the SJ25M3
External Hard Drive, which
features a rubber case and a
Quick reconnect/Auto backup
button. The Quick reconnect
button allows you to re-enable
safely removed USB hard
drive without unplugging and
reinserting. The drive offers
free download of Transcend
Elite and RecoveRx software.
The Elite software allows
you to backup your data and
synchronise the drive with
your computer. The RecoveRx
software will help you in case
you want to retrieve data that
Smart Photography November 2014
has been accidentally deleted
from the device.
The SJ25M3 enables plug-andplay operation and does not
require any device driver to
connect to the computer. The
device does not require an
external power adapter to work.
It draws power through the USB
port on your computer. The
supplied USB cable provides
two USB adapters (Y-adapter)
so that you can use two USB
ports to supply enough power
for operation. However, do note
that the device should not be
connected through an USB hub.
An LED power/data transfer
indicator provides real-time
information.
The SJ25M3 retails at
approximately Rs. 6060 and carries
a limited warranty of three years. It
is available at all leading stores.
www.smartphotography.in
READERS CAN CHECK THE ENTIRE BUYER’S GUIDE,
THAT FEATURES SPECS AND PRICES OF
D-SLRS, ILCCS, DIGITAL COMPACTS AND LENSES VIDE LINK
http://www.smartphotography.in/buyers-guide
www.smartphotography.in
November 2014 Smart Photography
111
Buyers’ Guide - Digital SLRs
CANON EOS-1D X
Sensor Type/size
priority AE, Manual
ISO Equivalence
Shutter Speed
White Balance
LCD Monitor
Storage Type
Weight
: Full Frame 36 x
24 mm CMOS
Effective Pixels
: 18.1 million
File Formats
: RAW /JPEG
Metering Modes : Multi, Centerweighted,
Average, Spot
Exposure Modes : Program AE,
Shutter priority
AE, Aperture
: 100-51200 (50, 102400 and 204800
with boost)
: 30 sec-1/8000 sec.
: Auto, Daylight, Shade, Cloudy, Tungsten,
White Fluorescent light, Flash, Custom
(up to 5), Color Temperature (Kelvin)
: 3.2 inches/ 1040000 pixels
: Compact Flash (Type I or II),
UDMA compatible
: 185g
Sensor Type/size
Effective Pixels
Supported
File Formats
Metering Modes
Exposure Modes
:
:
ISO Equivalence
Shutter Speed
White Balance
:
:
:
LCD Monitor/Dots
Storage Type
:
:
Weight
:
Price: Rs. 4,55,995 (body only)
Effective Pixels
Supported File
Formats
ISO equivalence
Exposure Modes
:
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
: RAW/JPEG
: Auto, 100, 200,
400, 800, 1600,
3200, 6400,
12,800, 25,600
Program AE , Shutter- priority AE,
Aperture-priority AE, Manual exposure
Evaluative, Partial, Spot, Centerweighted average
30 sec to 1/4000
3.0-inch/1.04 million dots
SC/SDHC/SDXC
407g
CANON EOS 1200D
:
:
:
:
:
:
Effective Pixels : 18 Million
Sensor Type : CMOS, 22.3 x
14.9mm
Supported File
Type
: JPEG, RAW (14 bit)
Exposure
Modes
: Program AE, Shutterpriority AE, Aperturepriority AE, Manual
Centre-weighted, Evaluative
3.0-in. approx. 460,000 dots TFT
ISO 100 - 6400
30 – 1/4000 sec
SD/SDHC/SDXC
480g (with battery)
Price: Rs. 27,995 (Body only)
112
: JPEG (Exif 2.3 [Exif
Print] compliant)
RAW: RAW,
sRAW1, sRAW2
(14bit, Canon
original RAW 2nd edition)
Multi, Center-weighted, Spot, Partial
Auto+ Program AE, Shutter priority AE,
Aperture priority AE Manual (Stills and
Movie), Custom (x3)
100-25600 (50-102400 in expanded mode)
30 sec - 1/8000 sec
Auto, Daylight, Shade, Cloudy, Tungsten
SPNO[>OP[LÅ\VYLZJLU[SPNO[-SHZO*\Z[VT
WB, Color temperature
3.2-inch, 1,040,000 dots
Compact Flash Type I (UDMA compatible),
SD/SDHC/SDXC
950 gms
Exposure Modes
:
ISO equivalence
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
Sensor Type/Size : CMOS sensor
(22.5 x
15.0mm)
Effective Pixels
: Approx.
20.20MP
Supported File
Formats
: RAW/JPEG
ISO equivalence : Auto, 100, 200,
400, 800,
1600, 3200,
6400, 12800 (25600 with boost)
Exposure Modes
: Program AE , Shutter-priority AE,
Aperture-priority AE, Manual
exposure, Bulb exposure
Metering Modes
: Evaluative, Partial, Spot, Centerweighted average
Shutter Speeds
: 30 sec to 1/8000 sec
LCD Monitor/ Dots : 3.0-inch/1.04 million dots
Storage Type
: SC/SDHC/SDXC
Weight
: 675 g
CANON 700D
Smart Photography November 2014
Sensor Type/Size
Effective Pixels
Supported File
Formats
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
Effective Pixels
Sensor Type
:
:
:
Shutter Speed
Storage Type
Weight
:
:
:
Price: Rs. 4,19, 950 (Body only)
: RAW/JPEG/ RAW
+ JPEG
ISO equivalence
: ISO100 ISO12800
Exposure Modes
: Program AE,
Shutter-priority AE,
Aperture-priority AE, Manual exposure
Evaluative, Partial, Spot, Center-weighted
average
30 sec to 1/4000 sec
3.0-inch/1.04 million dots
SC/SDHC/SDXC
675 g
NIKON D610
NIKON D4s
Metering Modes
LCD Monitor
ISO Equivalence
: CMOS sensor
(22.5 x 15.0mm)
: Approx. 18MP
Price: Rs. 43,995
Price: Rs. 79,995 (body only)
: 16.2 Million
: 36.0 x 23.9 mm
CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes : Program with
ÅL_PISLWYVNYHT
(P); shutterpriority (S);
aperture-priority (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-in., approx. 921k-dot (VGA) TFT
ISO 200 – 25,600 (Expandable
to 409,600)
30 – 1/8000 sec
XQD and Type I CF (x2)
1350g (with battery and card)
: CMOS, 35.8mm
x 23.9mm
Effective pixels
: Approx. 20.2
million
Supported File formats: JPEG, RAW (14bit, Canon
original),
RAW+JPEG
Metering Modes : Evaluative
metering (315
zones), Partial,
Spot, Center-weighted
Program AE for movie shooting, Manual
exposure
100-25600 (expansion possible to ISO
50, ISO 51200 and 102400)
1/4000 to 30 sec.
3.0-inches, 1,040,000 dots
SD card, SDHC card, SDXC memory card
680g (Body only)
Price: Rs. 1,32,995 (body only)
CANON EOS 70D
: CMOS (22.3 x
14.9mm)
: Approx.
18.00MP
Price: Rs. 43,995 (body only)
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Sensor Type/size
: CMOS, Full
frame 36 x 24 mm
: 22.3 million
Price: Rs. 2,17,995 (body only)
CANON EOS 100D
Sensor Type/Size
CANON EOS 6D
CANON EOS 5D MARK III
Sensor Type/Size
Effective Pixels
Supported File
Formats
ISO Equivalence
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
: CMOS sensor
(35.9 x 24.0 mm)
: 24.3 million
: NEF (RAW)/JPEG
: ISO 100-6400 in
steps of 1/3 or
1/2 EV
Exposure Modes
: Auto; scene;
programmed
H\[V^P[OÅL_PISLWYVNYHT7"
shutter-priority auto (S); aperture-priority
auto (A); manual (M)
Matrix, Center-weighted, Spot
30 sec to 1/4000 sec
3.2-inch/ approx. 921k-dot
SC/SDHC/SDXC
850 g
Price: Rs. 1,29,950 (Body only)
www.smartphotography.in
Buyers’ Guide - Digital SLRs
NIKON D810
NIKON D750
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
:
:
:
:
:
Weight
:
: 37.09 Million
: 35.9mm,
x24.0mm CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes
: Program with
ÅL_PISLWYVNYHT
(P); shutterpriority (S); aperture-priority (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-inch, approx.1229k-dot TFT
64-12800 (Expandable to 51,200)
30 – 1/8000 sec
CF (Type I, UDMA compliant), SD/SDHC/
SDXC (dual slot)
980g (with battery and card)
Metering Modes
:
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
: 24.93million
: 35.9mm, x24.0mm
CMOS
Supported File Type : JPEG, RAW (12 or
14 bit)
Exposure Modes
: Auto, Scene,
Special Effects,
Program with
ÅL_PISLWYVNYHT
(P); shutter-priority
(S); aperture-priority (A); manual (M)
Matrix, center-weighted, or
highlight-weighted
3.2-inch, approx.1229k-dot tilting TFT
100-12800 (expandable to 51,200)
30 – 1/4000 sec
SD/SDHC/SDXC (Dual Slots)
840g (with battery and card)
Price: Rs. 1,99,950 (Body only)
NIKON D5300
Sensor Type/Size
Effective Pixels
Supported File
Formats
ISO Equivalence
Metering Modes
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
: CMOS sensor (23.5
x 15.6 mm)
: 24.2 million
: NEF (RAW)/JPEG
: Auto, 100 - 12800
(25600 with boost)
Exposure Modes
: Auto; programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority auto (S); aperture-priority
auto (A); manual (M); scene modes;
special effects modes
Matrix, colour Matrix, Center-weighted,
Spot
30 sec to 1/4000 sec
3.2-inch, approx. 1037k-dot
SC and UHS-I compliant SDHC/SDXC
480 g
PENTAX K3
:
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
Sensor Type/Size: CMOS sensor (23.5
x 15.6mm )
Effective Pixels : 23.35 MP
ISO Equivalence : Auto: ISO 100-51200
(1, 1/2, 1/3 steps),
Auto ISO range
selectable
Supported File
Formats
: RAW (PEF, DNG),
JPG (EXIF 2.30), DCF
Green, Hyper Program (P), Sensitivity
Priority (Sv), Shutter Priority (Tv), Aperture
Priority (Av), Shutter and Aperture Priority
(Tav), Metered Manual (M), Bulb, X-Speed
Multi, Center-weighted, Spot
30 sec to 1/8000sec
3.2-inch/1037k-dot
SD/SDHC/SDXC
799 g
Price: Rs. 85,365 (Body only)
www.smartphotography.in
Effective Pixels
Sensor Type
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
NIKON DF
: 24.2 Million
: 23.5 x 15.6 mm
CMOS sensor
Supported File Type : JPEG, RAW
(12 bit)
Exposure Modes : Auto, Programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority
auto (S); aperture-priority auto (A);
manual (M); scene, special effects
Matrix, Centre-weighted, Spot
3-in., approx. 921k-dot (VGA) TFT
ISO 100-12800 (Expandable up to 25,600)
30 to 1/4000 sec
SD/SDHC/SDXC memory card
460g (with battery and card)
:
:
:
:
:
:
Price: Rs. 29,450 (Body only)
Price: TBA
NIKON D7100
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
:
: 16.2 million
: 36.0 x 23.9 mm
CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes
: Programmed
H\[V^P[OÅL_PISL
program (P);
shutter-priority
auto (S); aperture-priority auto (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-in., approx. 921k-dot (VGA)
ISO 100 - 12800 (Expandable to 204,800)
30 to 1/4000 sec
SD/SDHC/SDXC memory card
765g (including battery and card)
Effective pixels
Sensor size/type
Effective Pixels
Sensor Type
ISO equivalent
Shutter speeds
LCD monitor
Storage type
Weight
Price: 1,64,950 (Body only)
Price: Rs. 49,450 (Body only)
Exposure Modes
NIKON D3300
Effective Pixels
Sensor Type
Effective Pixels
Sensor Type
PENTAX K50
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
:
Sensor Type/Size : APS-C sensor (23.7 x
15.7mm )
Effective Pixels : 16.3 MP
ISO Equivalence: Auto, 100 to 51600,
in 1, 1/2, 1/3 EV steps
Supported File
Formats
: RAW (PEF, DNG),
JPG (EXIF 2.30), DCF
Exposure Modes : AF.A (auto), AF.S
(single, w focus lock,
focus/shutter priority selectable), AF.C
(continuous, w focus/FPS priority
selectable), Manual
Center-Weighted Average, Spot
30 sec to 1/8000sec
3.2-inch/1037k-dot
SD/SDHC
649 g
Price: Rs. 48,995 (Body only)
:
:
:
:
:
: 24.1 million
: 23.5x15.6mm,
CMOS
Metering modes
: Matrix,
Center-weighted,
Spot
Exposure modes
: A, P (with
Flexible P), S, M
100-6400, extended up to 25,600
30-1/8000sec, plus Bulb
3.2”, 1,228,800 dots
SD, SDHC, SDXC
675g, body only
Price: Rs. 79,450 (Body only)
SONY SLT A77 II
Effective pixels
Sensor Type
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
:
:
:
:
Weight
:
: 24 million
: 23.5 x 15.6 mm
CMOS
Supported File Types : JPEG, Raw
Exposure Modes : iAuto, Program,
Aperture priority,
Shutter priority,
Manual, Scene
Metering Modes : Multi, Centreweighted, Spot
Fully articulated 3-inch, 1,229,000-dot TFT
SO 100-25600
30 to 1/8000 sec
SD/ SDHC/SDXC, Memory Stick Pro Duo/
Pro-HG Duo
647 g
Price: Rs. 84,990 (Body only)
November 2014 Smart Photography
113
Buyers’ Guide - ILCCs (Mirrorless)
FUJIFILM X-T1
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
: 16.3 million
: 23.6mm x 15.6mm X-Trans CMOS
: JPEG, RAW
: Program, Shutter priority,
Aperture priority, Manual
: Multi / Spot / Average
: 3.0-inch, approx. 1,040K-dot,
Tilt type
: ISO 200 - 6400 (Extended up
to ISO 100-51200)
: 30 to 1/4000 sec., Bulb
: SD/SDHC/SDXC (UHS-II)
: Approx. 440g (including
battery and memory card)
FUJIFILM X-E2
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Price: Rs. 91,999 (Body only)
FUJIFILM X-A1
Effective Pixels
: 16.3 million
Sensor Type
: 23.6mm x 15.6mm CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: Program, Shutter priority,
Aperture priority, Manual
Metering Modes
: Multi, Spot, Average
LCD Monitor
: 3.0-inch, Approx. 920K-dot
Tilt type TFT
ISO Equivalence
: ISO200 – 6400 expandable
to ISO100-25600
Shutter Speed
: 30 to 1/4000 sec., Bulb
Storage Type
: SD/SDHC/SDXC (UHS-I)
Weight
: Approx. 330g (including
battery and memory card)
Price: Rs. 44,999 (with 16-50mm lens)
OLYMPUS PEN E-PL7
Effective Pixels
: 16.1 million
Sensor Type
: 4/3 Live MOS Sensor
Supported File Type : RAW, JPEG
Exposure Modes
: iAuto, P, A, S, M, Bulb, Time,
Scene select, Art Filter
Metering Modes
: Digital ESP, Centre-weighted
average, Spot
LCD Monitor
: Approx.1037k-dot,
3.0-inch tilting
ISO Equivalence
: ISO 100 - 25600
Shutter Speed
: 60 – 1/4000 sec
Storage Type
: SDHC, SDXC, UHS-I
compatible
Weight
: Approx. 357g with battery
and Memory card
Price: TBA
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Smart Photography November 2014
: 16.3 million
: 23.6mm x 15.6mm X-Trans CMOS
: JPEG, Raw
: Program, Shutter priority,
Aperture priority, Manual
: Multi / Spot / Average
: 3.0-inch, approx. 1,040K-dot
: ISO 200 – 6400 (Expandable
up to ISO 100-25600)
: 30 to 1/4000 sec; Bulb
: SD/ SDHC/ SDXC
: Approx. 350g (including
battery and memory card)
FUJIFILM X-M1
Sensor Type/Size
: APS-C X-Trans CMOS
(23.6mm x 15.6mm)
Effective Pixels
: 16 MP
ISO equivalence
: Auto / ISO 200 - 6400
Supported File Formats : RAW/JPEG
Exposure Modes
: Advanced SR AUTO, Program
AE, Shutter Priority, Aperture
Priority, Manual, Custom,
Portrait, Landscape, Sport, SP,
Adv., AUTO
Metering Modes
: Multi, Average, Spot
Shutter Speeds
: 30 sec to 1/4000 sec
LCD Monitor/ Dots : 3.0-inch Type 920K-dot
Storage Type
: SD/SDHC/SDXC (UHS-I)
Weight
: 330 g
Price: Rs. 1,09,999
OLYMPUS OM-D E-M5
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speeds
LCD Monitor/Dots
Storage Type
Weight
: 16.1 million
: Sensor Size/Type: 4/3 Live MOS Sensor
: Multi Center-weighted, Spot
: i Auto, P: Program AE (Program
shift can be performed)
: UTO: ISO 200 - 25600 (customizable,
Default 200-1600) / Manual ISO 200 25600, 1/3 or 1 EV steps selectable
: 11/4000 - 60 sec. (1/3, 1/2, or 1EV steps
selectable.)Bulb: default setting 8min.
(1/2/4/8/15/20/25/30 min.
: 3.0-inch tilting OLED monitor
Approx. 610,000 dots
: SD/SDHC/SDXC
: 425 gms (excluding battery)
Price: Rs. 66,990 (Body only)
OLYMPUS OM-D E-M1
Sensor Type/Size
Effective Pixels
ISO equivalence
: CMOS sensor (17.3 x 13 mm)
: 16MP
: 100-25600 in 1/3EV or
1EV increments
Supported File
: JPEG/RAW (ORF)/ MPO
Exposure Modes
: Auto/Program, Shutter Priority,
Aperture priority, Manual,
7OV[VZ[VY`(Y[
!(Y[ÄS[LY:*54V]PL
Metering Modes
: Multi, Center-weighted, Spot
Shutter Speeds
: 60 sec to 1/8000 sec
LCD Monitor/ Dots : 3-inch 1037 k-dot
Storage Type
: SD/SDHC/SDXC , Eye-Fi
Movie
: MPEG-4 AVC/H.264/Motion
JPEG
Weight
: 497 g
Price: Rs. 1,05,000 (Body only)
Price: Rs. 47,999
OLYMPUS PEN E-PL5
Effective Pixels
Seensor Size/ Type
Metering Modes
ISO
: 16.1 million
: 17.3 x 13 mm, CMOS
: Multi, Center-weighted, Spot
: Auto (200 - 1600), 100, 200, 400,
800, 1600, 3200, 6400, 12800
Exposure Modes
: P, A, S, M , Bulb, Time, iAuto, Scene Modes, Art Filter
ISO equivalence
: Auto ISO 200 - 25600 (customis
able, default ISO 200 – 1600),
Manual ISO 200 - 25600 in 1/3 or
1 EV ISO steps
Shutter Speeds
: 60-1/4000 sec
LCD Monitor/ Dots : 3-inch, 460,000 dots
Storage Type
: SD/SDHC/SDXC
Weight
: 279g (body only)
Price: 44,990 (with 14-42mm lens)
PANASONIC DMC GF5
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
LCD Monitor
Storage Type
Weight
: 12.10 Megapixels
: Live MOS Sensor
: Intelligent Multiple / Center
Weighted / Spot
: Program AE / Aperture Priority
AE / Shutter Priority AE / Manual
: Auto, 160, 200, 400, 800,
1600, 3200, 6400, 12800
: 60 sec - 1/4000 sec
: 3-inch, 920,000 dots
: SD/SDHC/SDXC
:267 gms
Price: Rs. 39,990/-
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Buyers’ Guide - ILCCs (Mirrorless)
PANASONIC DMC G6
Sensor Type/Size
Effective Pixels
ISO equivalence
: CMOS sensor (17.3 x 13 mm)
: 16 MP
: Auto / 160, 200, 400, 800,
1600, 3200, 6400, 12800,
25600 (Extended)
Supported File
: RAW/JPEG/MPO Video:
MPEG4/AVCHD
Exposure Modes
: Program AE / Aperture Priority
AE / Shutter Priority AE / Manual
Metering Modes
: Intelligent Multiple / Center
Weighted / Spot
Shutter Speeds
: 60 sec to 1/4000 sec
LCD Monitor/ Dots : 3.0-inch Type 1036k-dot
Storage Type
: SD/SDHC/SDXC
Weight
: 390 g
PANASONIC DMC-GH3
Effective Pixels
Sensor Size/ Type
Metering Modes
Exposure Modes
: 16.05 million
: 17.3 x 13.0 mm, Live MOS Sensor
: Intelligent Multiple / Spot
: Program AE/Aperture Priority
AE/Shutter Priority AE / Manual
ISO equivalence
: Auto / Intelligent ISO / 200 - 12800
(Changeable to 1/3, 1 EV step)
(Extended ISO125 - less under 200,
ISO more over 12800 - 25600
available) (Up to ISO3200 in Auto)
Shutter speeds
: Still Images: 1/4,000 - 60 and Bulb and
Motion Images: 1/16,000 - 1/30
LCD monitor/ Dots : 3 inch, 614K dots
Storage Type
: SD/ SDHC/ SDXC
Weight
: 460 g
Effective Pixels
Sensor Type/Size
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
LCD Monitor
Storage Type
Weight
: 20.3 megapixels
: APS-C type CMOS,
23.5 x 15.7 mm
: Multi, Center-weighted, Spot
: Program, Aperture Priority,
Shutter Priority, Manual,
Lens Priority, Magic, cene,
Movie, Wi-Fi
: Auto, 100, 200, 400, 800,
1600, 3200, 6400, 12800
(1 or 1/3EV step)
: 30 sec - 1/4000 sec
: 3-inch, 921,000 dots
: SD/SDHC/SDXC
: 222 gms
SONY ALPHA 7
Effective Pixels
: 36.4 million
Sensor Type
: 35.9×24.0mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Movie
Metering Modes
: Multi-segment, centreweighted, spot
LCD Monitor
: 3.0-type wide type TFT
with 921,600 dots
ISO Equivalence
: ISO100 to 25600
Shutter Speed
: 30 to 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 465 g with battery
and memory card
Price: Rs.1,24,990 (Body only)
www.smartphotography.in
Storage type
Weight
: 20.3 Million
: 23.5 x 15.7mm CMOS
: JPEG, Raw
: Multi, Centre-weighted, Spot
: Smart Auto, P, A, S, M
: 100-25,600
: 30-1/6000 sec
: 3.31 inch AMOLED
with Touch
: SD, SDHC, SDXC
: 284 g (without battery)
Price: 48,900 (with 18-55mm lens)
SONY ALPHA 7S
Effective Pixels
: 24.3 million
Sensor Type
: 35.8×23.9mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Scene
Metering Modes
: Multi-segment,
centre-weighted, spot
LCD Monitor
: 3.0-type wide TFT with
921,600 dots
ISO Equivalence
: ISO100 to 25600
Shutter Speed
: 30 – 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 474 g with
battery and card
Effective Pixels
: 12.2 million
Sensor Type
: 35.6×23.8mm, “Exmor” CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Movie
Metering Modes
: Multi-segment, centreweighted, spot
LCD Monitor
: 3.0-type TFT 921,600 dots
ISO Equivalence
: ISO 100-409,600
Shutter Speed
: 30 to 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 489 g
Price: Rs.94,990 (Body only)
Price: Rs.1,54,990 (Body only)
Price: Rs.34,900
SONY ALPHA 7R
Effective pixels
Sensor size/type
File formats
Metering modes
Exposure modes
ISO equivalent
Shutter speeds
LCD monitor
Price: Rs. 86,363 (only body)
Price: Rs 59,990
SAMSUNG NX1000
SAMSUNG NX 300
SONY NEX-6
Effective pixels
Sensor size/ type
Metering modes
Exposure modes
: 16.1 million approx.
: 23.5 X 15.6mm, CMOS sensor
: Multi-segment, Center-weighted, Spot
: iAUTO, Superior Auto, Programmed
AE (P), Manual (M), Sweep Panorama
ISO equivalence
: Still images: Auto (ISO 100-3200),
Selectable (ISO 100-25600)
Movies: Auto (ISO 100-3200)
Shutter Speed
: Still images: 1/4000 to 30s (Bulb). Movies:
1/4000 to 1/4 (1/3 steps) up to 1/60 in
AUTO mode (up to 1/30 in Auto slow shutter)
LCD Monitor/ Dots : 3.0 inch, 921,600 dots
Storage Type
: Memory Stick PRO Duo™, PRO-HG
Duo™, SD, SDHC, SDXC memory card
Weight
: 287 g
Price: Rs. 45,990 (with 16-50mm lens)
SONY NEX - 7
Effective pixels
Sensor type
: Approx. 24.3 megapixels
: APS-C type (23.5x15.6mm),
“Exmor” APS HD CMOS sensor
Metering Modes
: Multi / Center / Spot selectable
Exposure Modes
: Programmed AE (iAUTO, P), Aperture
priority (A), Manual (M), 3D Sweep
Panorama, Anti Motion Blur
ISO equivalence
: AUTO (ISO100-1600), ISO100
to 16000 selectable
Shutter Speed
: 1/4000 to 30 sec, Bulb
LCD Monitor/ Dots : 7.6 cm (3.0-type) wide type TFT,
921,600 dots
Storage Type
: Memory Stick PRO Duo / PRO-HG
Duo and SD/SDHC/SDXC card
Weight
: Approx. 291g
Price: Rs. 79,990 (with 18-55mm lens)
November 2014 Smart Photography
115
Lens Nomenclature Guide
Lens manufacturers use different suffixes to identify certain lens characteristics.
Here they are, along with simple explanation (wherever required) of how they help.
Rohinton Mehta
CANON
DO
EF
EF-S
IS
L
NIKON
AF-S
CRC
D
DX
FX
ED
G
N
IF
RF
: Diffractive Optics: Special lens elements that reduce colour aberrations to the minimum, thus
improving image quality.
: Denotes that the lens is designed for full-frame cameras
: Denotes that the lens is designed for APS-C cameras
: Image Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure.
: ‘Luxury’-series lens: Canon’s high-end, professional lenses.
: Denotes that the lens is using a Silent Wave Motor: For fast and quiet autofocus
: Close Range Correction: Allows lenses to focus closer, while still maintaining good sharpness. This is
done using a ‘floating lens element’ design. Generally used in macro and wide-angle lenses.
: Distance information passed on to the camera body: Helps to provide more accurate exposures
: APS-C camera lens
: Full-frame camera lens
: Extra Low Dispersion glass element: Corrects for chromatic aberrations
: Lens without aperture ring; aperture is controlled from the camera body
: Nano Crystal Coat: Greatly reduces flare due to internal reflections of light.
: Internal focussing: Instead of moving all the elements further away or closer to the film/sensor to
focus, IF lenses move only certain internal elements. This allows for much faster focussing.
: Rear Focussing: Similar to IF but only the rear group of elements move to focus the lens.
OLYMPUS
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
PANASONIC
OIS
: Optical Image Stabilizer: Helps to eliminate/reduce blur caused by camera movement during exposure.
Mega OIS : Mega Optical Image Stabilizer
Power OIS : Power Optical Image Stabilizer: A superior design of Mega OIS.
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
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Smart Photography November 2014
www.smartphotography.in
SIGMA
APO
ASP
DC
DG
HSM
OS
RF
EX
:
:
:
:
:
:
:
:
Apochromatic lens element: Corrects for chromatic as well as spherical aberrations
Aspherical lens element: Corrects chromatic aberrations
APS-C camera lens
Full-frame camera lens
Hyper Sonic Motor: Internal motor, for fast and quiet autofocus
Optical Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure
Rear Focussing: Only the rear group of elements move to focus the lens
‘Excellent’ series lens
TAMRON
AD
USD
ASL
Di
Di-II
HID
LD
IRF
VC
PZD
:
:
:
:
:
:
:
:
:
:
Anomalous Dispersion element: Eliminates lateral chromatic aberration
UltraSonic Silent Drive
Aspherical lens element: Corrects chromatic aberrations
Digitally integrated: Full-frame camera lens designed for digital cameras
Digitally integrated: APS-C camera lens
High Index Dispersion glass element: Special glass for improving optical performance
Low Dispersion glass: Corrects for chromatic aberrations
Internal Rear Focussing: Only the rear group of elements move to focus the lens
Vibration Correction: Helps to eliminate/reduce blur caused by camera movement during exposure
Piezo Drive: Internal motor, for fast and quiet autofocus
TOKINA
AT-X
PRO
SD
: ‘Advanced Technology Extra’- range of lenses
: Professional lens
: Super-low Dispersion element: Corrects chromatic aberrations
PENTAX
SDM
DA
: Sonic Direct-drive Motor: Internal motor, for fast and quiet autofocus
: APS-C camera lens
SONY
DT
: APS-C camera lens
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November 2014 Smart Photography
117
GLOSSARY
Jargon
Photographic
Terms used in photography can often confuse a photographer, especially a beginner. Here is a list of
photographic jargon, with as-simple-as-possible explanations.
Rohinton Mehta
APS-C: Describes a imaging sensor size
or a camera using this size of sensor.
24mm
Full
Frame
15.7mm
36mm
APS-C
23.7mm
APS-C stands for Advance Photo
System, type C . Sensor size 15.7 x
23.7mm approximately. Varies slightly
between manufacturers
Aperture: Set of metal blades
that control the amount of light
entering a lens (same as Diaphragm)
AVCHD: Advanced Video Coding
High Definition. A format for digital
recording and playback
AF Sensor: A sensor used in achieving
autofocus
Buffer: Temporary storage of data
before the images are written to the
memory card
Sensor
118
Buffer
Memory
card
Smart Photography November 2014
Bridge camera:
Describes a
camera that
fits between a
compact and
a D-SLR. Also
known as Prosumer camera
Ballhead: (Used on a tripod). Performs
similar functions as a
pan and tilt head but
uses a central ball as
a pivot to allow for
camera movements
Battery Grip: A
device that attaches to the base
of a D-SLR.
The battery
grip, not only
provides
better grip
for vertical shooting, but uses extra
batteries to supply power to the
camera when the camera battery
dies down. In some cases, it helps
to increase the frames-per-second
firing rate
Burst mode: A camera mode that
allows continuous firing
Barrel distortion: The outward
bulging of
straight lines
in the centre
of the frame
due to lens
imperfection
Bit: Refers
to a binary digit – the smallest unit of
computer data, either 0 or 1
Bit depth: A measure of the number of
possible colours/tones in an image. Our
images are basically formed using the
three primary colours (also known as
channels), red, green and blue. JPEG
files are 8-bits per channel (which is the
same thing as 24-bit. When we say 24bit, we should not say “per channel”).
Raw files can be 12-bits per
channel or 14-bits per channel, that is
36-bit or 42-bit respectively
Bracketing: A method of taking three
or more shots in succession (using
different exposures), with a hope that at
least one of them will be accurate. We
also bracket when shooting for HDR
imaging. Bracketing could also be for
White Balance and ISO
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CCD/CMOS: Types of imaging
sensors. CCD stands for Charged
Coupled Device. CMOS stands
for Complementary Metal-Oxide
Semiconductor
Compact camera:
Describes a small,
point-and-shoot
type of camera
Center-weighted meter: One of the
in-built exposure meter that places
greater emphasises on the central area
of the frame. The user generally has
the choice of selecting the area (8, 12,
20mm circle at the center)
Circular Polariser (CPL): A polarising
filter designed to be used with digital
cameras (as well as certain film cameras).
A CPL prevents secondary polarisation
of light at the reflex mirror, thereby
preventing exposure/focussing error.
Contrast-detection AF: A system
of autofocussing wherein the camera
uses contrast as the basis of evaluating
correct focus
Chromatic Aberration: The inability
of all the three primary colours (Red,
Green, Blue) to focus on the same
plane. This manifests itself in the form
of colour fringing at the edges and is
most noticeable against high-contrast
elements in the picture
Clipping: Overexposing of highlights.
Underexposing of shadows.
Crop factor: A factor by which the
focal length of a lens needs to be
multiplied to get the equivalent focal
length of a full frame 35mm sensor
Close-up lens/filter: A magnifying
glass that is attached to the front of a
lens to make the lens focus closer. The
magnifications are described by the
term ‘dioptre’. Eg. +1, +2, +3 etc.
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CMYK: Cyan, Magenta, Yellow, Black.
These are the colours used in books/
magazines printing
Colour temperature: A measure of
the colour of light.
D-SLR: Digital
Single Lens Reflex
camera. An
interchangeable
lens camera that
uses a reflex mirror
for viewing
Diaphragm: Set of
metal blades that
control the amount
of light entering
a lens (same as
Aperture)
Depth-of-field: The zone of sharpness
in a photo.
DOF Preview Button: A button on the
camera that allows you to visually check
the depth-of-field.
Dynamic Range: The range of brightness
that can be captured by a film or digital
imaging sensor. This range is much
lower than the dynamic range of our eyes
Digital zoom: In-camera electronic
enlargement of the central area of
a frame. Use of digital zoom should
be avoided if high image quality is
required. The same effect can be
achieved during post-processing, by
cropping an area and enlarging it
DPI: Dots Per Inch. A measure of print
resolution
Diffuser: (1) A camera filter that softens
an image (generally used with portraits).
(2) Any material that softens
the light from a ‘hard light source’ like
the sun or a flashgun. Placed between
the light source and the subject
Exposure meter: A light-meter that
recommends the aperture and shutter
speed for a given lighting condition.
An exposure meter can be
built into the camera or can
be an external hand-held
variety. To use any light
meter, you first need to set
the ISO sensitivity.
EVF: Short form of
Electronic View Finder
Evaluative meter: One of the in-built
exposure meter that divides the frame
into various segments and based on
thousands of pre-set exposures built
into the camera’s memory, selects a
suitable exposure depending on the
lighting conditions and the set ISO
sensitivity. Also known as Segmented/
Matrix meter
Frame rate: A measure of how many
frames a camera can fire in one second
Flare: Image degrading, unwanted
reflection of light within the lens
Full-frame: Denotes a camera/imaging
sensor that is the same size as a 35mm
film (24 x 36mm)
Focal plane: Describes the location
of the film/imaging sensor within the
camera
Focal plane shutter: A type of shutter
used in SLRs/D-SLRs. This shutter is
placed in front of the film/sensor.
Focal length: In a simple convex lens
(a magnifying glass for example) and
with light coming from infinity – the
Focal Length
November 2014 Smart Photography
119
GLOSSARY
distribution of tones in an image. The
horizontal axis shows the gradation of
tones from the darkest to the left, to the
brightest at the right. The vertical axis
shows how many pixels are there in any
particular tone.
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Smart Photography November 2014
Intervalometer: A device that allows
you to automatically take pictures at
fixed intervals
IS: Image Stabilizer– a feature that
eliminates/reduces the effect of handshake (Originally a Canon Moniker)
ILCC: Interchangeable Lens
Compact Camera. Describes a
mirror-less digital camera with
interchangeable lenses,
Incident Light Meter: A hand-held
light meter that reads the amount of
light incident to (falling on) the subject.
(see image, Exposure meter)
Interpolation: (As related to digital
imaging) The act of introducing new
elements (pixels) in an image
Linear Polariser (PL): A polarising
filter designed to be used with film
cameras that do not use a ‘light-splitter’
in the exposure metering system
Live View: A camera feature that allows
the LCD to be used as a viewfinder
LCD: Liquid Crystal Display – the display
(monitor) at the rear of digital cameras
Luminosity: Brightness of colour,
without considering hue or saturation
LZW: An option while saving TIFF files.
LZW compresses the file size without
loss of data. LZW actually stands for
– Lempel – Ziv – Welch, the names of
three persons who devised it
Matrix meter: See Evaluative meter
Multi-segmented meter: See
Evaluative meter
Micro Four Thirds: A sensor format
jointly created by Kodak, Olympus and
36mm
JPEG: Joint Photographic Experts Group
– a compressed (data losing) file format
Jitter: Another way to describe the
effects of hand-shake
Kelvin: A unit of measurement of colour
temperature based on absolute zero.
Lateral CA:
Chromatic
aberration in
which all the
colours are in focus in the same plane but
are not placed along the optical axis
Longitudenal CA: Chromatic
aberration
in which
different
colours do
not focus at the same point
Leaf shutter: A type of shutter used in
rangefinder cameras. Situated between
the lens elements
Full
Frame
Micro Four
Thirds
24mm
H.264: A standard for video
compression
Hardware: (In terms of computers)
The physical elements that make up a
computer system
HDR Imaging: High Dynamic Range
Imaging. A technique of extending the
dynamic range beyond the normal
capacity of the imaging sensor. Three (or
more) shots are taken from various areas
of the scene (one from the shadows, one
from the highlights and one from the midtones) and then combined in a computer
program to create a picture with good
detail in shadows as well as highlights.
HDR technique is used when the lighting
contrast is very high.
Histogram: A graph showing the
HSB: Hue, Saturation, Brightness. The
standard colour model for adjusting
colour in image editing programs
13mm
distance between the vertical centre
of the lens and the point where the
light rays meet. Focal length tells us how
much of the scene will be covered by
the lens and what the magnification will
be
Firmware: A downloadable software
offered by the camera manufacturer.
Generally used to upgrade/improve
on a camera’s performance
Filter: (As applicable to a camera) A thin
glass/plastic or gelatine placed in front
of the lens to modify the colour/quality/
quantity of light entering the lens
17mm
Panasonic. Sensor size approx. 13 x
17mm
MOV: A common multi-media format
for saving movies and other video films.
Macro lens: A special lens designed
for life-size (1:1) photography
Memory card: The removable module
within a digital camera, that stores the
images
Mid-tone: Average tone. Neither too
dark or too light; an in-between tone
Noise: The digital equivalent of film
grain. Noise is caused mainly due to
underexposure.
Normal lens: A lens having a focal
length equivalent to the diagonal of the
given format
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Optical Viewfinder: The normal
viewing device in a camera, through
which you view and frame a subject.
It uses optical glass as opposed
to Electronic Viewfinder that uses
electronic circuitry to boost the
information within
Pan and Tilt head: A camera support
used along with a
tripod, that allows
the camera to be
tilted (up/down)
and
panned
sideways. It is different from a ‘ballhead’ in that it uses separate levers to
control the pan and tilt
Perspective Control/Tilt-Shift lens:
A special lens designed for correcting
perspective distortion
Polariser: A filter that cuts off polarised
light from entering the lens. This filter,
when used correctly, has the ability to
darken blue sky, cut reflections from
water, glass, painted metal, wood,
paper etc.
Phase-detection AF: A method of
autofocussing that splits the image
in two and compares the images for
similar light intensity patterns
Perspective: The size relationship
between the foreground, mid-ground
and background objects in a photo.
Pin cushion
distortion:
The inward
pulling of
straight lines in
the centre of
the frame due
to lens imperfection.
Prosumer camera: Same as Bridge
camera
Partial metering: Found mostly in
Canon cameras, roughly 10-15% of the
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frame is measured in the centre.
Pixel: The building block of any digital
image; the smallest unit of any digital
image. Short form of Picture Element
Plug-in: A software designed to
supplement a computer program’s
performance or features. Generally
created by third parties
PPI: Pixels Per Inch. A measure of image
resolution (applies to images on the
computer screen)
Raw: Refers to the data received
directly from the imaging sensor,
without any image parameters applied
to it
Reflected Light meter: A light meter
that reads the amount of light reflected
from a subject. Light meters built into
cameras are reflected light meters.
RGB: The primary colours (Red, Green,
Blue) of the additive colour system
RAID: Redundant Array of
Independent Disks. A stack of hard
disks, functioning as one
Reflector: Any material that can reflect
some light back onto a subject
Resampling: The act of increasing or
decreasing the resolution of an image
by interpolation
Sensor: (Imaging Sensor): Digital
equivalent of film.
Spot meter: One of the in-built
exposure meter that reads a very small
area of the frame (typically 3-5% area).
External, hand-held 1-degree spot
meters are also
available.
Softbox: A
type of light
modifier,
generally used
with studio
lights
Software: A computer program that
instructs a computer what to do, when
to do and how to do
TIFF: Tagged Image File Format – a
lossless file format
Telephoto lens: A lens having an
angle-of-view narrower than that of a
Normal lens (Eg. 70, 85,
100, 200, 300mm etc)
Teleconverter: A lens
that fits between the
camera body and the
main lens. Its job is to
increase the focal length, thereby
offering a larger image
Umbrella: A light modifier in the shape
of an umbrella
VR: Stands for Vibration Reduction –
a feature that eliminates/reduces the
effect of hand-shake
White Balance: A process of getting
rid of colour casts. White objects
should appear white in prints (there
could be several reasons why that may
not be so). Once white objects appear
white, all other colours appear without
any colour casts
Wide-angle lens: A lens having an
angle-of-view greater than that of a
Normal lens (Eg. 35, 28, 24, 20mm etc)
X-sync speed: Shutter speeds
compatible with electronic flash
Zoom lens: A lens having multiple focal
lengths
November 2014 Smart Photography
121
SP
Recommends
Compact Cameras
Canon PowerShot
G7X
Canon PowerShot
SX60 HS
Fujifilm Finepix
X100s
Nikon Coolpix
P7800
Nikon Coolpix P600
With a 1-inch Type
20.2-megapixel BSI
CMOS sensor, the
PowerShot G7 X is
expected to deliver
superior image quality
in this category of
compact cameras. It
has a 24 – 100mm
equivalent f/1.8 – 2.8
lens along with Wi-Fi
and NFC capabilities.
The 16.1 megapixel
PowerShot SX60 HS
boasts 65X optical
zoom equivalent to 21
to 1365mm, believed
to be the longest
zoom range in the
world for a compact
in this category.
It provides 6.4fps
continuous shooting,
Full HD 60p videos
and Wi-Fi and NFC
connectivity.
The Fujifilm Finepix
X100s comes with a 16
MP APS-C size CMOS
sensor, paired with a
35mm equivalent f/2
lens and a 2.8” LCD
screen. The X100’s
noise control and
hybrid viewfinder are
very impressive, and
it produces pleasing
pictures with good
accuracy.
The Coolpix 7800
is Nikon’s top
professional compact.
It features a 12.2
megapixel 1/1.7inch Type CMOS
sensor, a 28-200mm
f/2.0-4.0 lens, a 3”
articulated LCD
monitor and an EVF.
Overall, the Coolpix
7800 produces very
good results, with an
impressive Auto White
Balance system.
The Coolpix P600 is a
16.1-megapixel superzoom camera with 60x
optical zoom equivalent
to 24-1440 mm. This
features Optical
Vibration Reduction
along with Wi-Fi
connectivity. The lens
is constructed with 4
ED and 1 super ED lens
elements for superior
image quality.
Panasonic Lumix
DMC TZ40
Panasonic Lumix
FZ1000
Sony Cyber-shot
RX10
Sony Cyber-shot
DSC RX1
Sony Cyber-shot DSC
RX100 M3
The TZ40 is the
successor to the TZ30
in Panasonic’s popular
TZ (Travel Zoom)
series. Featuring the
first ever 18.1 MP MOS
sensor, a 24-480mm
F/3.3-6.4 lens, and a
3” touch screen, the
camera, with its Leica
lens, ensures optimum
picture quality, and
overall results are
impressive.
The latest entrant from
the Panasonic stables,
the 20.1-megapixel
FZ1000 uses a 1-inch high
sensitivity MOS Sensor. It
has an impressive LEICA
DC VARIO-ELMARIT 27432mm equivalent f/2.8
- 4.0 lens constructed
with 5 Aspherical and 4
ED elements. It provides
a HYBRID O.I.S, 4K
video recording and a
shutter speed range of
1-1/16000 sec.
Featuring a 24-200mm
f/2.8 lens, the 20.2
megapixel RX10 is
powered by a 1.0inch type Exmor R
BSI CMOS sensor,
supported by a BIONZ
X image processing
engine. The camera
has an Optical Image
Stabilisation system and
a high-resolution OLED
Truefinder EVF.
The RX 1 is the world’s
first compact camera
with a full frame 24.3
MP CMOS sensor. It
has a Carl Zeiss Sonnar
35mm f/2 lens that
can be switched to
macro mode. There is a
built in 3” LCD screen.
Anyone wanting a
compact camera that
produces high quality
results should look at
the RX1.
122
Smart Photography November 2014
The RX100 M3 features
a bright f/1.8-2.8 ZEISS
Vario-Sonnar 24-70mm
equivalent lens. The
camera has a 20.1MP
Exmor R CMOS sensor
and a bright and
clear built-in EVF with
ZEISS T coating and
high resolution OLED
display. It also features
a 3.0-inch, multi-angle
X-tra Fine LCD along
with NFC and Wi-Fi.
www.smartphotography.in
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TIDBITS
P
anasonic owners have been left high
and dry by Tamron’s 14-150mm
f3.5-5.8 Di III all-in-one zoom lens
as the Micro Four Thirds version lacks
optical stabilization. Olympus owners
are OK as Olympus has sensor based
stabilization built into the camera body.
At last, Micro Four Thirds camera owners
get a TTL option from a third party flash
manufacturer. At just 3.5 inches tall and
205g in weight, the Nissin i40 is poised
to become an attractive proposition for
Olympus and Panasonic camera owners.
The i40 offers wireless TTL exposure,
sync speeds upto 1/8000 sec, and flash
output of GN40 in meters at 105mm.
Add a studio slave mode, 180-degree
rotating head, built-in diffuser for 16mm
coverage, zoom range of 24-105mm,
and LED light with nine steps of output
for video, and you’ve got a winner. The
i40 uses 4AA batteries and comes with
a diffuser, stand, and case. Nissin also
makes versions for Canon and Nikon
D-SLRs, and Sony and Fujifilm models
are promised in the future.
Good news for Tamrac fans. Utahbased camera bag maker Gura Gear has
acquired Tamrac, rescuing the recently
bankrupt company from oblivion.
Say goodbye to Aperture. Apple has
ended further developments to the
photo app. Instead, Apple will focus on
Photos for OS X for the upcoming Mac
OS X 10.10 Yosemite. However, all is
not lost. Adobe is working on a tool to
help photographers migrate images from
Apple’s doomed photo-editing software to
a new home in Photoshop Lightroom.
The latest version of Adobe Lightroom
allows past subscribers to continue
accessing and organizing their edited
and unedited photos, even after the
subscription ends.
Superzoom cameras are going strong!
Pentax has joined the bandwagon with
the XGwww-1 which, in addition to its
52X zoom range, offers shooters a burst
of 9 frames per second.
A group of Hollywood studios and
directors - Quentin Tarantino,
Christopher Nolan, Judd Apatow and JJ
Abrams among them - plan to buy a large
stock of Kodak movie film to help keep
146
Smart Photography November 2014
the Rochester factory in production.
Drone maker DJI is developing a reusable
parachute system, DJI DropSafe, to help
keep its S800 and S1000 units (and the
cameras they carry) from smashing to the
ground.
Rivals Panasonic and Sony have come
together to push the development of small
and midsize organic light-emitting diode
(OLED) displays. The move is meant to
provide displays for Tablets; any advances
could likely find their way into OLEDs in
cameras too.
40% of camera models introduced in 2013
had wireless capabilities built-in.
15% of cameras introduced in 2012 had
similar wireless connectivity.
Manchester United, the famous English
Premier League football team has barred
fans from photographing with Tablets
during games. The League has also
banned fans’ posting videos of goals to
social media.
3.78 billions CMOS sensors were shipped
globally in 2013. Good going indeed for
CMOS sensor vendors.
Former Iron Curtain country, Hungary,
has ushered in some harsh laws. It is now
illegal to take photos in Hungary without
first getting permission from each subject
in the photograph. Unsurprisingly,
Hungarian photo-journalists are some of
the new law’s harshest critics.
We photographers have a heart. The
National Press Photographers Association
awarded Miami Herald photographer Al
Diaz the NPPA Humanitarian Award for
assisting in a roadside emergency before
fulfilling his duties as a photographer.
Panasonic and Toshiba got together to
launch the SD card. The SD card was
followed by the micro SD card with a
128MB storage capacity. 128 GB is the
storage capacity of SanDisk’s newly
released microSD UHS-1 model. Some
progress, this.
News to warm the hearts of our top
Indian photographers. A collection of
Edward Weston photos was expected
to fetch up to $3 million at an auction.
The single-lot sale, at Sotheby’s New
York, comprised 548 images printed
by the photographer’s son Cole, also a
photographer, who died in 2003. The
archive is currently in private hands.
Edward Weston died in 1958.
Olympus has reacted to the selfie wave
by unveiling the Olympus Pen E-PL7,
featuring a tiltable LCD screen and
built-in Wi-Fi. The LCD screen flips
down and around, so you can frame and
shoot a series of pre-timed, sequential
still or video selfies without your hand
blocking the shot. The fact that the
screen tilts downwards for selfies, instead
of upwards, should mean that less of the
screen is obscured by the camera or flash.
Olympus seems to have forgotten the
tripod mount.
A photographer in Manchester, had
his lens-cleaning air blower confiscated
by airport security staff and banned
from the flight because it resembled
a hand grenade. Photographer Bioel
Patterson was set to travel to Reykjavik
on Icelandair, when the innocent
photo accessory caught the attention of
Manchester Airport security staff. The
air-blower device, as we all know, helps to
keep camera gear free of dust and dirt.
TIME named Makati City, Phillippines,
the Selfiest City in the world, on the basis
that there are 258 selfie-takers per 100000
people in the Phillipines’ financial capital.
It ranked first among 100 selfie-obssessed
cities.
SMARTPHONE photography is fast
becoming a serious discipline rather
than a niche medium. Peter Cope’s
“Smartphone Photography Guide”
explains the basics of photography using
a smartphone rather than a camera.
Strictly for Smartphone addicts.
The new Mecablitz 64 AF-1 from Metz is
TTL compatible with all camera brands,
has a guide number of 210, feet at ISO
100, a zoom range of 12-200mm plus a
PC and USB port.
At Photokina, one major source of
humour was the ridiculous image of
snappers trying to shoot images with
Tablets. Grow up, guys, and get a proper
camera!
It wasn’t long ago when SanDisk,
H. S. Billimoria
www.smartphotography.in
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