Smart Photography

INDIA’S NUMBER 1 IMAGING MAGAZINE!
ISSUE 6
VOLUME 09
SEPTEMBER 2013
SUBSCRIBER’S COPY
RS.125
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SOFTWARE PREVIEW: PHOTOSHOP CREATIVE CLOUD
●
PROFESSIONAL TECHNIQUE: SHOOTING ALBUM COVERS
INTERVIEW
SURAJ DAS
LEARNING: STAR TRAIL
PHOTOGRAPHY
TUTORIAL: EXPOSURE EXPOSED
REVIEWED
PENTAX K30
180 ISSUE
PAGE
Welcome
T
he hot news this month comes from CIPA Japan.
According to CIPA, compact digital camera ship-
ments in the first six months of 2013 fell by 45%
year-on-year. Of course, over the years, a number of
Japanese companies have been manufacturing compact
cameras overseas (China, Taiwan, Vietnam, Malaysia and
Indonesia are favourites), and the number of cameras
produced overseas is increasing. What is not clear is where, and to what
product, the demand has shifted, although Smartphones are commonly por-
trayed as villains. Happily, cameras with interchangeable lenses (i.e. mirrorless
cameras and D-SLRs) are still doing well, but there is an underlying weakness
in recession-hit markets like Europe.
There is an old adage that says “If Mohammed will not go to the mountain, the
mountain must come to Mohammed”. There is therefore a possibility, however
slim, that companies like Canon and Nikon could enter the Smartphone arena.
Sounds incredible, but we have heard of stranger things coming true.
H. S. Billimoria
WE ARE GLUED TO THE GLOBAL
IMAGING INDUSTRY
Our team is updated with all the benchmarks
and road blocks that the feld of photography
and imaging across the globe experiences.
Tis helps us record the changes in the global
perspective, thus making us the frst to predict
which products will be a rage in the Indian
markets.
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 infuenced by
advertisers or personal favorites. So when we
say a product is a ‘BEST BUY’, then, it is just
that!
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 feld of photography across the country and
have many years of experience. Tat gives us the
foresight to distinguish between a passing trend
and a big change in the feld of photography and
imaging. And fnally, our reviews are not extended
to just fll up the pages!
WE ARE HERE TO HELP YOU
Tere is no debate on why we are here. Our
sole goal is to provide you options and beter
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!
HERE’S WHAT
MAKES US #1
EDITOR
Hoshang S. Billimoria
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Copyright 2006 SMART PHOTOGRAPHY
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
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Editor – Hoshang S Billimoria
September 2013 Smart Photography 5
Contents
SEPTEMBER 2013
6 Smart Photography September 2013
INDIA’S NUMBER 1 IMAGING MAGAZINE!
ISSUE 6
VOLUME 09
SEPTEMBER 2013
SUBSCRIBER’S COPY
RS.125
● SOFTWARE PREVIEW: PHOTOSHOP CREATIVE CLOUD ● PROFESSIONAL TECHNIQUE: SHOOTING ALBUM COVERS
INTERVIEW
SURAJ DAS
LEARNING: STAR TRAIL
PHOTOGRAPHY
TUTORIAL: EXPOSURE EXPOSED
REVIEWED
PENTAXK30
180ISSUE
PAGE
Just a moment!
Readers can fnd the updated Buyer’s Guide, log on
htp://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 atention 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. Tis permits
readers to submit panoramic shots, which was not possible
with the current size of 17 x 11 inches.
REGULARS
8 Mail Bag
10 News Watch
30 Picture of the Month
86 Sofware Spotlight
178 Tidbits
Kaleidoscope 32
Showcase 36
A platorm for budding photographers to exhibit their
talent and get noticed!
A photographic profle of the man behind the lens
MasterCrafsman
Te masters of the craf share their insights and photographs
If I Were You 42
Our expert comments on how your pictures can be taken
to another level
Ask Uncle Ronnie 46
Your photo queries answered by Uncle Ronnie
Accessories Special 57
50
7 Smart Photography September 2013
90
Exposure Exposed
98
Star Trail Photography
102
Tabletops For Album Covers
LEARNINGS
Basics
88 Basic Learning VI
90 Exposure Exposed
98 Star Trail Photography
102 Tabletops For Album Covers
REVIEWS
108 Pentax K30
114 Samsung NX300
120 Panasonic LUMIX DMC-XS1
124 Canon EF 8-15mm F/4L Fisheye USM
FIRST LOOK
127 Kirk Lens Collar for Nikon 80-400mm
8 Smart Photography September 2013
Mailbag
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]
Two for the price of one!
One of my favourite features of Smart Photography is the profles of photographers that
are carried every edition. It is inspiring to read about the life stories of famous and highly
skilled photographers, and I was overjoyed when the August edition featured not one,
but TWO Master Crafsmen! Rajen Nandwana’s account (‘Iceland, an Icy Paradise!’) of how
he manages to juggle commitments so that he can pursue his passion for photography, and
his Iceland experience, were truly fascinating. But, Rarindra Prakarsa’s profle (‘A Journey
through Wonderful Indonesia’) was just awe-inspiring. It is great to see SP featuring
international photographers too, and Prakarsa’s tale of how photography has helped him
beter understand his country Indonesia and its people was really moving. Great job SP!
Tanks and Regards,
Neha Sharma.
INDIA’S NUMBER 1 IMAGING MAGAZINE!
ISSUE 5
VOLUME 09
AUGUST 2013
SUBSCRIBER’S COPY
RS.125
REVIEWED: PANASONIC LUMIX G6 ● SONY CYBER-SHOT DSC-HX300 ● NIKON COOLPIX P520 ● FUJIFILM X20
● CANONEF 100-400MMF/4.5-5.6L IS USMVERSES ● AF-S NIKKOR80-400 F/4.5-5.6GEDVR● FUJINONXF55-200MMF/3.5-4.8 RLMOIS
INTERVIEWS :
RAJEN NANDWANA
RARINDRA PRAKARSA
UNDERSTANDING AUTOFOCUS
PRODUCTION PLANNING :
SECRETS PROS WON’T SHARE
UNDERSTANDING
PERSPECTIVE
TRAVEL FEATURE :
MELBOURNE
Leter of the M
onth
WIN
A UNIROSS
1H LCD CHARGER
WORTH Rs.1,095/-
EVERY MONTH FOR THE
LETTER OF THE MONTH
Moar Postcards!
I completely believe that Smart
Photography is a great magazine not
just for photographers and the imaging
industry, but also to simply sit idly and
fip through, because sometimes the
published photographs are so beautiful!
Case in point: the ‘Postcards from
Singapore’ in the August edition. Te
photographs were amazing, and show
the grandeur and beauty of Singapore
with such great beauty! Please keep the
postcards coming, they’re a fabulous
atraction for casual readers like me who
aren’t really interested in photography per
se, but love looking at beautiful pictures!
Tanks and Warm Regards,
Sreya Patel
Melbourne Magic!
I am an avid traveller, and am constantly
referring to travel guides and magazines
for exciting new places to visit. Hence, I
was pleasantly surprised to fnd the travel
feature on Melbourne (‘A Streetcar Named
Melbourne’) in the August edition of Smart
Photography. Ajay Sood’s litle nuggets
of information about the various sights and
places to see in Melbourne were not only
informative, but made for some fabulous
reading too. And as expected from SP, the
accompanying photographs were beautiful.
Do keep including more such travel tales,
and good luck for the future!
Tanks and Regards,
Dipti Singh
10 Smart Photography September 2013
International
News Watch
SNIPPETS
DigiCapa selects fve
“legendary” lenses
In its July edition, Japan’s monthly
digital photo magazine DigiCapa
selected fve lenses that it said were
“legendary”. Te featured lenses
were: Flektogon 20mm F/4.0 from
Carl Zeiss, Noct Nikkor 58mm F/1.2
from Nikon, Planar 85mm F/1.4 from
Carl Zeiss, ELICAR V-HQ SUPER
MACRO MC 90mm F/2.5 from
Tapak (Elicar Japan), and Zoom
Nikkor 43-86mm F/3.5 from Nikon.
CeWe Colour named
Europe’s “number one
photo service and photo
book company”
CeWe Colour has been named
Europe’s number one photo service
and photo book company. Te
company has a staf of over 3,300,
and supplies a total of 34,000
retailers in 24 European countries.
Te company ofers services like
photo books, photo canvasses, photo
calendars, photo greeting cards, etc.
HOYA introduces Camera
Module for Smartphones
HOYA Group DCM SUB
announced that it had developed
a lens unit with 3x optical zoom
and the industry’s thinnest lens
(6mm). Te new unit is intended
for use in smartphones, and
features a 1/3-inch 13.1MP CMOS
image sensor, and a 3.8-11.4mm
(28-84mm in 35mm) F/2.7-4.8
lens. Te company plans to start
production at its Philippines plant
by 2014.
Nokia launches PureView
successor
Nokia launched the Lumia
1020 smartphone, featuring
the same 41MP sensor camera
seen previously in their iconic
808 PureView phone. Te
smartphone, running Microsof
Windows Phone 8 of a Dual-
Core 1.5 GHz Qualcomm
Snapdragon processor, features
a 6-element F/2.2 Carl Zeiss lens,
with Xenon Flash. Te camera also
supports full-HD 1080p video
recording at 30 fps, and is complemented by a 1.2MP front-facing secondary
camera. Te display is a stunning 768x1280 pixel 4.5” AMOLED capacitive
touchscreen, made from Gorilla Glass 3 for added durability and protection.
Panasonic reveals new ultra-
zoom compact
Panasonic announced the new
DMC-FZ70, the newest compact
camera in the FZ series, with a
powerful 60x optical zoom. Te
camera features a 16.1MP High
Sensitive MOS sensor, and a 20-
1200mm (equivalent in 35mm)
lens. Te zoom can be boosted
to 120x equivalent using
Intelligent Zoom that maintains
picture quality even afer
enhancing further using digital
zoom. A separate tele-converter
(sold separately) can be added
to extend the zoom ratio a
further 1.7x. Tere have been no announcements about the pricing and availability of
this camera in international markets.
TG-2
Corporate Office: 8th Floor, Corporate Park 2, Sion-Trombay Road, Chembur, Mumbai-400071, Maharashtra, India. | Tel.: +91 22 61420400, Fax: +91 22 61420419
Master Service Center: 8th Floor, Corporate Park 2, Sion-Trombay Road, Chembur, Mumbai-400071, Maharashtra, India. | Tel.: +91 22 61420400
For General or Sales-Marketing Inquiry: [email protected] | For Technical Support: [email protected]
For Service: [email protected]
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Its f/2.0 aperture value is the brightest achieved for a folded
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12 Smart Photography September 2013
International
News Watch
New Kodak cameras make appearance in market
Kodak licensee JK Imaging, linked
to Asia Optical, the smallest of the
Taiwanese “big four” camera makers,
has started to release the new Kodak
cameras in stores. Te frst three new
cameras are all part of the PixPro line.
Te FZ151 is a 15x zoom camera, with
a 24-360mm lens, a 3.0” screen, and
an estimated price of GBP 99.99; the
FZ51 has 5x zoom, a 2.7” screen, and
is available for GBP 59.99; while the
FZ41 is an entry-level camera, with
a 16MP sensor (similar to the other
two), 4x optical zoom, a 27-108mm
lens, and a price of GBP 49.99. An
“action zoom” model – the SPZ1 – is
expected to hit stores soon, along
with a micro-projector.
Kodak licensee JK Imaging, linked
to Asia Optical, the smallest of the
Taiwanese “big four” camera makers,
has started to release the new Kodak
cameras in stores. Te frst three new
cameras are all part of the PixPro line.
Te FZ151 is a 15x zoom camera, with
a 24-360mm lens, a 3.0” screen, and
an estimated price of GBP 99.99; the
FZ51 has 5x zoom, a 2.7” screen, and
is available for GBP 59.99; while the
FZ41 is an entry-level camera, with
a 16MP sensor (similar to the other
two), 4x optical zoom, a 27-108mm
lens, and a price of GBP 49.99. An
“action zoom” model – the SPZ1 – is
expected to hit stores soon, along
with a micro-projector.
Hasselblad launches
new camera
Hasselblad has launched a new camera, the Stellar. Very
similar to the RX100 in build and design, the camera
features a 20 MP 1-inch sensor, and a 28-100mm equivalent
lens, the same as the RX100. However, the Stellar also
adds a unique hand-grip that can be made from a choice
of exotic materials, and is likely to feature a higher price
tag. Tis is the second camera produced by Hasselblad’s
collaboration with Sony, afer the announcement of the
Lunar at Photokina 2012. Hasselblad was bought out by
private equity group Ventizz in 2011, which is atempting to
gain increased value from the legendary brand.
Future launches Te
Photography Show
Future, the international specialist media group and digital
publisher, announced the launch a new consumer event in
photography – Te Photography Show. Te event will have
dedicated conferences and events for the trade and retailer
atendees, and several of the biggest names in the photography
industry will hold seminars/workshops to bring their skills to the
UK’s growing audience of amateur photographers.
Speaking about the event, Dr. Michael Pritchard, Director-
General, Royal Photographic Society, said, “Te RPS is
delighted that Future has launched Te Photography Show
at the NEC, as the industry needs an annual showcase to
promote itself.” Nigel McNaught, Director of UK Activities,
Photo Marketing Association (PMA), added, “Te photo
industry needs a showcase for its products and services,
and I am delighted to learn that the new event from Future
will be very ‘hands on’, combining demonstrations with
education sessions.” Hosted at the National Exhibition Centre
(NEC), Birmingham, England, from 1st - 4th March, 2014,
Te Photography Show promises to be a must-visit event for
photography amateurs, professionals, and retailers alike.
14 Smart Photography September 2013
International
News Watch
Noritsu ofers new dry minilab
NK Works Co., a member of Noritsu Koki Co., began ofering a new high-speed
all-in-one dry minilab, called the QSS Green II. Te minilab, a successor to the
D1005HR, accepts a wide range of inkjet papers and can carry out a range
of functions, including double-face printing using inkjet sheet paper, normal
copying paper as well as cast-coating paper. Te minilab is capable of producing
photobooks, callers, posters and greeting cards, in addition to regular prints.
Prints are created at a high resolution of 1440x1440 dpi, with an option for
printing at the regular resolution of 720x720 dpi. Te minilab can produce
1,800 L-size prints per hour, and hold two paper magazines with two kinds of
roll paper, maximizing productivity
Lomography
launches
campaign
to revive
legendary lens
Vienna-based manufacturer
Lomography has launched a Kickstarter
campaign to procure funding for its
atempt to revive the legendary Petzval
Portrait Lens. Originally invented in
1840, and used extensively in the 19th
century, the Petzval Lens was well-
known for creating crisp and sharp
images (for the time), strong colour
saturation, artul vigneting and narrow
depth-of-feld, and a distinctive swirly
bokeh efect. Lomography aims to
adapt the lens for the 21st century
by maintaining its construction and
brass design, but giving it a modern
touch, with specs including an 85mm
focal length, a maximum aperture of
F/2.2, a waterhouse aperture set up
to F/16, and support for Canon EF
and Nikon F mounts. Te campaign
has so far achieved close to 5 times its
intended goal, and can be found online
at htp://www.kickstarter.com/projects/
lomography/the-lomography-petzval-
portrait-lens.
Sigma
announces
Mount
Conversion
Service
Sigma finally announced its long-
expected Lens Mount Conversion
Service. Using this service, consumers
can get any of their Global Vision
(Art, Contemporary, and Sport)
lenses converted from one mount
to another, provided Sigma
manufactures that lens with that
mount. Conversions will cost between
US$80 and US$250 (depending on
the focal length of the lens), plus
shipping, and take four weeks outside
Japan, and two weeks within Japan.
The conversions will also be covered
under-warranty for six months.
Fujiflm ofers
frmware for
X-Pro1 and X-E1
Fujiflm Corp. announced the release
of a free dedicated frmware, aimed at
drastically improving the performance
of the Fujiflm X-Pro1 and X-E1
interchangeable lens cameras. With the
new frmware, autofocus speed on most
existing XF lenses will improve; a “Focus
Peak Highlight” function has been
added to manual focussing, to assist in
accurate and sensitive manual focussing
by enhancing the outline of your
subject in high contrast; improvement
of focus precision in various scenes, and
a host of other features.
16 Smart Photography September 2013
News Watch
International
Canon was announced as the Ofcial Partner of the
International Association of Athletics Federations
(IAAF) World Athletics Series, and will sponsor 15
IAAF World Athletics Series events between 2013 and
2016, beginning with the IAAF World Championships
Moscow 2013, starting on 10th August, 2013. Te World
Championships Moscow is a global athletics competition
that brings together more than 2,500 athletes from about
200 countries, and Canon will support the event through
its products, technology, and service. Canon will be
carrying out a range of activities as the Ofcial Partner,
including seting up an On-Site Canon Professional
Service Centre (to assist sports photographers covering
the event), as well seting up a dedicated Canon Special
IAAF World Championships Moscow 2013 website
(with details about the Professional Service Centre; a
Canon Photo of the Day, carefully selected from the
many photographs clicked each day at the event; and,
displaying the spectacular images captured by the
photographers covering the event).
Canon to support IAAF World Championships
Moscow 2013
Fujiflm
confrms end-
of-production
of photo flms
Fujiflm confrmed that it had
completely ceased production
of four of its photo flms: the
Neopan 400 35mm B/W Film, the
Fujichrome Provia 400X 35mm
and 120 Colour Slide Films, the
Superia 400 Colour Negative
120 Format Film, and the Reala
Colour 120 Format Negative Film.
Te company recommended that
consumers afected by its decision
could instead opt to use some of
its other photo flms, including the
Provia 400X for Provia 100F Film,
the Neopan 400 for Neopan Acros
100 Film, and the Superia 400 and
Reala Films for Fujicolour 400H
Colour Film.
Panasonic reveals the Lumix
GX7 ILC, and a new lens
Panasonic announced the
Lumix GX7, a Micro-Four Tirds
system based 16MP ILC with a
Live MOS sensor. Te camera
will support shuter speeds up
to 1/8000 and a max ISO of
25,600, and will have a unique
vertically tiltable 16:9 Live View
Finder with 2.76 million dot
resolution. Te GX7 will also
feature a rear LCD, Wi-f and
NFC support, and autofocus
tracking at 4.3 fps, while the
electronic shuter is expected to be able to reach 40 fps while working silently. Te
camera is expected to retail with a 14-42mm kit lens for US$1,100 by November.
Tere are no details on availability and pricing in other markets yet.
Panasonic also revealed a new portrait lens for Micro Four Tirds systems - the
Leica DG Nocticron 42.5mm (85mm equivalent) F/1.2. Te lens will come
equipped with a manual aperture ring and optical image stabilization. Tere’s no
word on pricing or availability yet.
18 Smart Photography September 2013
News Watch
International
Smartphone
boom nearing end?
According to a report generated by the
IDC group, the high-end smartphone
boom is coming to an end, with the prices
of these devices dropping across markets.
The report states that the average price
of a smartphone has plummeted to
US$375 from US$450 since the beginning
of 2013. It further goes on to state that
this drop has already begun to threaten
revenue growth and profit margins of
major smartphone manufacturers such
as Apple and Samsung. If true, this drop
in prices could make smartphones much
more affordable in the future.
Nikon unveiled the Coolpix L620, a
new budget-friendly compact camera
with ultra-zoom. Te camera features
an 18.1MP BSI CMOS sensor, a 25-
350mm equivalent (14x) zoom lens,
a 3-inch 480,000 dot LCD, 1080p
video recording, lens-shif Vibration
Reduction, and support for use of AA
bateries. Te L620 is expected to be
available from September for about
US$250.
Te company also launched the 18-
140mm F/3.5-5.6G ED VR mid-level
standard zoom lens, designed for
APS-C sensor D-SLRs. Te lens covers
a 27-210mm equivalent range and
includes Nikon’s latest VR stabilization
system, capable of ofering four steps
of stabilization, according to CIPA
standard tests. Te lens is expected to
be priced at US$600. Although there
is no word on availability, it is likely to
be sold as a stand-alone, and not with
any Nikon D-SLRs.
Nikon also revealed the entry-level
Speedlight SB-300 fashgun. Te
SB-300 weighs 120g (with two AAA
bateries installed), and has a guide
number of 18m. Te fashgun can tilt
upwards by up to 120 degrees, and
covers 18mm with a DX-format and
27mm with an FX-format camera. Te
SB-300 is expected to be available
from end of August for US$150.
Nikon unveils range of products
Canon unveils VIXIA
mini compact
personal camcorder
Canon has unveiled their new VIXIA mini compact
personal camcorder, with a 12.8 MP High-Sensitivity
CMOS sensor, an ultra-wide-angle Canon F/2.8
fisheye lens (160 degree video/170 degree still
image support), a 2.7” capacitive-tilt touch panel
LCD display, and a built-in stand that lets users
elevate it as well as tilt it up to 60 degrees. The
camcorder also features built-in Wi-fi support, and
Live Streaming to sibling apps on iOS and Android.
The VIXIA is expected to launch by September
for US$299. There is no word on pricing and
availability in other markets yet.
20 Smart Photography September 2013
Business
News Watch
Canon replaces Nikon as leader in Japanese D-SLR market
Canon gained 6 percentage points from its last year’s standing to replace Nikon as the top player in the Japanese market,
according to the results published by the 2012 Nikkei Shimbun Domestic Market Share Survey (see below). Canon’s
growth was fuelled by the addition of the EOS M mirrorless models. Nikon also saw a rise of 0.4 percentage points in its
market share, taking the net market share of the Big Two to almost 60%, with a combined rise of 6.4%. Olympus was one
of the companies that sufered a signifcant loss in their share of the Japanese market.
2012 Market Share In Japan
Compact D-Cam % Change over Previous
Year
Canon 21.8 3.5
Nikon 17.3 3.0
Sony 16.2 -0.1
Panasonic 12.5 0.0
Olympus 11.1 -1.5
D-SLR % Change over Previous
Year
Canon 30.9 6.0
Nikon 25.8 0.4
Sony 13.8 -1.7
Olympus 10.9 -6.0
Panasonic 9.9 -3.1
Camcorder % Change over Previous
Year
Sony 39.0 8.0
JVC/Kenwood 29.8 0.3
Panasonic 22.6 -2.6
Canon 8.6 -5.4
Memory Card % Change over Previous
Year
SanDisk 12.2 0.3
Lexar Media 12.1 8.9
Transcend Infor. 10.8 4.5
Panasonic 9.6 -7.4
Toshiba 9.4 -16.6
Flat-Panel TV % Change over Previous
Year
Sharp 35.2 0.1
Panasonic 20.6 -1.3
Toshiba 19.5 -1.2
Sony 11.6 1.2
Orion 3.2 2.6
Blue-Ray Disc
Recorder
% Change over Previous
Year
Panasonic 29.5 -6.5
Sharp 26.6 3.5
Sony 21.6 4.6
Toshiba 20.8 -1.4
Mitsubishi 1.0 0.0
Tablet % Change over Previous
Year
Apple 46.7 -9.6
Fujitsu 12.7 6.9
Asus 9.0 7.2
Amazon.com 7.8 7.8
NEC 4.2 4.2
Computer Game
Machine
% Change over Previous
Year
Nintendo 70.4 11.5
Sony CE 28.5 -11.2
Microsof 0.6 -0.3
contd. on page no. 22
22 Smart Photography September 2013
News Watch
Business
PC % Change over Previous
Year
NEC Lenovo 25.5 9.8
Fujitsu 17.5 0.0
Toshiba 12.8 0.6
HP Japan 9.4 0.3
DELL 8.3 -0.8
Inkjet Printer % Change over Previous
Year
Seiko Epson 42.8 -3.7
Canon 42.0 4.6
Brother Ind. 8.8 0.3
HP Japan 5.8 -1.1
Ricoh 0.5 -0.1
Kodak reveals plans to
emerge from bankruptcy
Beleaguered manufacturer Kodak has revealed that it expects
to emerge fully from bankruptcy by September 3rd, 2013.
Te company said it sent out its solicitation packets to
creditors on July 5th, 2013, including the emerging plan and
ballots. Creditors decided if they liked what was ofered,
and if Kodak has a shot at being proftable as a company
focussing on commercial printing, and voted on the same
up till August 9th, 2013. A court confrmation has been set
for August 20th, 2013, and if the court and creditors accept
Kodak’s proposals, the company is expected to emerge from
bankruptcy by September 3rd, 2013.
Canon cuts FY13 Net
Proft Forecast by 10%
Canon Inc. said that its group net proft for the Financial
Year up till December 2013 would be roughly 260 billion
yen (US$2.626 billion), a cut of about 10% from its previous
estimate of 290 billion yen (US$2.929 billion). However, this is
still a 16% year-on-year rise for the company. Te downgrade
is believed to have been caused chiefy by a slower-than-
expected recovery in digital camera sales in the middle of
economic slowdowns in Europe and emerging markets. Canon
revised its outlook for lens-changeable system camera sales
by 20,000 units to 9 million units. Shipments for all-in-one
compact digital cameras were also revised to 14 million units,
a drop of 50,000 units from the previous April estimate, and a
20% drop compared to the same period last year.
Sony’s TV Business
earns proft in April-June
Sony announced that its net proft for the quarter ending June
30th was 3.5 billion yen, compared to last year’s 24.6 billion yen
loss. Te turnaround was helped by a proft in its TV business,
as well as favourable foreign exchange rates. Te company’s
operating income increased to 36.4 billion yen, while its sales for
this period increased 13% year-on-year, to 1.71 trillion yen. Sony’s
TV Business saw its sales increase 18.2% to 185.6 billion yen, and
operating income rise to 5.2 billion yen, a great turnaround from
last year’s loss of 6.6 billion yen. Te improvement was backed by
an improved product mix in LCD TVs, as well as cost reductions.
However, the company’s sales dropped 10.4% to 173.6 billion
yen for the quarter, with an operational proft of 8.1 billion yen (a
drop of 36%), caused partly by poor sales of video cameras and
compact digital cameras.
Fujiflm starts lens
production in the
Philippines
Fujiflm Corp. announced on 16th July that Fujiflm Optics
Philippines was fully operational. Te new factory is set to
become the company’s core production base for high-
performance lenses used for digital cameras, projectors, and
surveillance cameras. Fujiflm aims to enhance the production
capacity of the factory step-by-step, and eventually increase the
number of employees to 600, while also increasing production
to 18 million lenses a year by FY 2015. Fujiflm has reportedly
invested close to 2.3 billion yen in seting up the new factory.
24 Smart Photography September 2013
News Watch
Business
HOYA posts 47% drop in net proft in First Quarter
HOYA Corp. said that its net proft for the First Quarter of 2013 dropped 47% year-
on-year to 12.3 billion yen, on revenue of 100.4 billion yen, which saw a rise of 8%.
Te company said the decline was because of last year’s one-time proft because of
the insurance income of 11.03 billion yen generated afer it was afected by fooding
in Tailand. Proft before tax also decreased 22.2% to 20.1 billion yen. Te company’s
Information Technology segment was particularly hard-hit, with sales of glass disks for HDDs
and optical lenses declining due to a shif in demand from notebook PCs and compact
cameras to smartphones and tablets.
Olympus limits losses despite poor PEN sales
Olympus announced that its camera business’ losses had been reduced significantly,
but its PEN sales had failed to meet expectations. The company said that its PEN
sales had fallen 12% in the first quarter; however, it expected the net annual income
from mirrorless models to be in tune with last year’s figure of 9 billion yen (about
US$90 million). The lacklustre sales performance is believed to be caused by the
company’s delay in releasing the EP-5 model; but, the financially embattled company
said that its camera business looked set to be able to break even in the current
financial year.
Sony and Panasonic to ally for large-capacity
optical disc
Sony Corp. and Panasonic Corp. announced that they have agreed to work together to
jointly develop a large-capacity optical disc for commercial use. T companies will work
together closely to standardise the specifcations for capacity, memory/reading systems,
and data-transmission rate, for a next-generation optical disc with a storage capacity of
more than 300GB, about three times the capacity of conventional discs. Te disc will be
based on Blu-Ray Disc Technology, and will be intended for use mainly by broadcasters
and data centres that need to process and analyse huge amounts of data. Te companies
expect to fnish working on the disc prototype by 2015.
Sony Corp. revealed that it plans to start selling
smartphone camera modules soon, instead of just
image sensors. Te decision is believed to be aimed at
signing up contracts with Apple Inc. and other leading
smartphone manufacturers. Sony is the global leader in
CMOS image sensors, with a market share of about 40%
in the image sensors used in smartphones, including those
manufactured by Apple and Samsung Electronics Co.
Sony plans to boost its current manufacturing of camera
modules to more than 10 million units, from the current
approximately 1 million units, at its China factory within
the next two to three years.
Sony to start selling camera modules
Fujiflm
posts 6x
Net Proft in
April-June
Fujiflm Corp. announced
that its net proft during the
April-June 2013 period saw
a 6x boost year-on-year to
14.9 billion yen, on revenue
of 568.7 billion yen (itself a
10% gain). Te company’s
operational proft also
rose 19.9% to 21.5 billion
yen. Te imaging solutions
segments saw its sales rise
0.9% to 86 billion yen, with
an operational loss of 900
million yen. Tis was caused
mostly due to sluggish sales
of digital cameras, which
dropped by 19.8% to 20.6
billion yen. However, the
optical devices sales jumped
45% to 16.9 billion yen, and
the photo-imaging segment’s
sales rose 1.3% to 48.5 billion
yen, buoyed by increased
sales of photo books, and
instant cameras and flm.
26 Smart Photography September 2013
News Watch
National
Hyderabad-based Andhra Pradesh Photographic Society (APPS), the oldest photographic body in Andhra Pradesh,
recently organized an exhibition of more than 150 photographs clicked by members of the Society. Te themes covered
in the exhibition included Nature, Landscapes, Pictorial, Abstracts, etc., and the images were displayed at the AP State
Art Gallery in Hyderabad from August 2nd to August 6th. Te photographs will be displayed again by the AP Tourism
Department at a separate exhibition to commemorate World Photography Day on August 19th.
APPS organizes photography exhibition in Hyderabad
Sony launches Xperia Z Ultra
Sony India launched the Xperia Z Ultra, the frst smartphone to
feature a Full HD TRILUMINOS Display for mobiles. Powered by
a 2.2 GHz Quad-Core Qualcomm Snapdragon 800 processor, the
Xperia Z Ultra has a 6.4” touchscreen Full HD display, the largest
screen seen yet in smartphones. Despite the large surface area, the
phone is extremely slim
at 6.5mm and weighs just
212g, and is waterproof/
dust-resistant, leting
users record in Full HD
underwater, with HDR for
both photos and flm, and
a Superior Auto Mode
that automatically activates
HDR and noise reduction
when needed. Te Xperia Z
Ultra is available from early
August, for INR 46,990.
DJMPC Photography
Contest results
announced
Te results of the recently organized 2nd
iteration of the DJ Memorial Photography
Contest (DJPMC) conducted in Coimbatore
were announced. Top prizes of INR 2 lakhs,
INR 1.5 lakhs, and INR 1 lakh were awarded
to the top three winners respectively from
two categories – Nature and Indian Rural Life.
Apart from these, Certifcates of Merit were also
awarded to fve winners each in both categories,
along with a cash prize of INR 10,000. DJPMC
is an annual photography contest organized by
Lakshmi Machine Works Limited, in memory of
its past Chairman and Managing Director, Dr. D.
Jayavarthanavelu, a passionate and accomplished
photographer himself.
28 Smart Photography September 2013
News Watch
National
Mumbai
photographer
receives rare distinction
Suniel Marathe from Mumbai was recently
awarded the international distinction of Associate
of the Royal Photographic Society (ARPS), for his
excellent form of pictorial photography, by Te
Royal Photographic Society, United Kingdom.
Te society was established in 1853, and Suniel
is only the 40th Indian Photographer to have
the honour of being awarded with the ARPS
distinction. Reacting to the news, Suniel said that
his achievement was possible largely due to Te
Photographic Society of India, Mumbai, where he
got a platorm to showcase and refne his work,
and later exhibit his work globally.
Photographic Society
of Pune organizes frst
annual Contest
Te Photographic Society of Pune conducted its First
Annual Members’ Photo-Competition at the Society’s
premises on 11th August, 2013. Te Society, established
on 12th August, 2001, encourages and educates members
in the art of photography, and currently has 165 members.
Te Members’ Competition received 497 entries as shown
below:
Entries Images
received accepted
Beginners 64 16
Advanced Members’ 109 27
(Monochrome)
Colour Prints 149 23
Travel 103 28
Photo Journalism 72 33
TOTAL 497 127
Te Exhibition of the winning entries was held in Pune from
16th to 19th August, 2013.
Te entries were judged by Vishwas Morye, Aspi Patel,
AIIPC, and Rohinton Mehta, Technical Editor, Smart
Photography.
Tumbhi organizes Digital
Photography Workshops in
September
Online portal Tumbhi is organizing digital
photography workshops across three cities
in the country, in association with renowned
photographer Vincent Versace. Te workshops
are open to all levels of photographers, and
will be organized in Varanasi (20th to 22nd
September), Kolkata (24th September), and
Mumbai (26th September). Te three day
workshop in Varanasi has a registration fee
of INR 25,000, while the ones in Kolkata and Mumbai are for INR
2,500 each. Interested photographers can register online at htp://
photography.tumbhi.com until 15th September, and can email for
further info at [email protected].
Photograph by
Ketan Kale
Photograph by
Ketan Kale
Picture of the Month
We are sure that all of you have a few
pictures that you think are prize worthy. It
happens very ofen 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 qualifes, we
shall publish it as a double-spread.
a. You have to guarantee that the picture
was shot by you
b. If there are people in the picture who
can be identifed, we’ll need a model
release
c. Te picture should not have been
printed elsewhere (magazine
newspaper, or ofered to any
publication)
d. Mark the entry as “Picture of the
Month” and rename the fle 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]
A note to our readers
1. Te 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 ofce or send an authorised representative
to do so.
6. Please make sure that your picture does not have your name/logo on it.
PARTICIPATE
&
WIN!
Unica VII
messenger
Sponsored by:
(Model No. MB390 -7SW)
32 Smart Photography September 2013
Finally, a platorm for budding photographers to exhibit their talent and GET NOTICED!
Kaleidoscope
“I
picked up my frst SLR at the age of 13, a good old flm-
loading one (35mm format). My dad had photography as
his hobby, and he introduced me to the colorful world of
capturing images with a camera. When I was 17, I got my frst
D-SLR, and that’s where my photographic journey started.
Initially I tried to explore every genre of photography I heard
about, but at some point I realized that nature photography
gives me more pleasure than anything. Ten I was introduced
to magazines like Smart Photography, and websites like India
Nature Watch(INW) (INW is the place for all nature lovers, in
my opinion). I met some of the greatest photographers from
all over India like Kiran Poonacha, Clement Fransis, Sharad
Agrawal, and Tejas Soni. Teir works inspired me to keep
pushing my boundaries further, and their work has remained
my prime source of inspiration all these years.
I started out by clicking plain shots of the various species of
animals I encountered. But afer going through the work of
India’s eminent photographers, I started trying to experiment
with the technique I used in each capture, and was fortunate
enough to have some good results.
I commonly use the Canon EOS 7D and Canon EOS 500D
bodies, and the Tamron 17-50mm F/2.8 XR LD non-VC,
Canon 100mm F/2.8 USM MACRO, Canon 70-300mm IS
USM, Sigma 150-500mm APO DG OS HSM, and Canon
400mm F5.6 L USM lenses for my shots.
India has an amazing and great natural heritage, but it is
vanishing too fast. Te greens of forests are turning into
the grays of urban sprawls, and rivers are transforming
into sewage. Te greenery, bird-songs and roars that once
echoed in so many regions of our country are rapidly fading
away before ruthless urbanization. I believe that in order to
preserve our natural bounty, we need to spread awareness
about its presence and importance. To make people
aware, we must show them what we still have hidden in the
wilderness, and I aim to use my photographs to achieve that
exact very goal.”
As told to Spandan Sharma
Wilderness Awareness
Riddhi Mukherjee, KrisJnagar
A wildlife and nature enthusiast,
Mukherjee believes that his photography
can help spread awareness about India’s
FYKPFNKPIƀQTCCPFHCWPC
September 2013 Smart Photography 33
Flying Buck
Camera: Canon EOS 7D
Aperture : f/6.3
Shutter speed: 1/2000 sec.
ISO: 800
34 Smart Photography September 2013
Flight of Honey
Camera: Canon EOS 7D
Aperture : f/8.0
Shutter speed: 1/1000 sec.
ISO: 500
Face-to-Face
Camera: Canon EOS 500D
Aperture : f/8.0
Shutter speed: 1/125 sec.
ISO: 400
September 2013 Smart Photography 35
Get featured & win an
Epson PictureMate PM245,
worth
Rs.9999/-!
CALLING ALL PHOTOGRAPHERS! Kaleidoscope is the perfect way to jump-start your career... So simply send us a selection of your images along with full
details of your vision and the technical information at [email protected]. We accept both flm and digital images.
All pictures that are forwarded to Kaleidoscope should be 8x10 inches in size (or larger) and at 300 ppi. However, we will re-size them according to the layout considerations.
Summer Special
Camera: Canon EOS 7D
Aperture : f/8.0
Shutter speed: 1/500 sec.
ISO: 320
Te Starting Point
Camera: Canon EOS 7D
Aperture : f/8.0
Shutter speed: 1/1000 sec.
ISO: 400
36 Smart Photography September 2013
Showcase
Kaumudi Walokar
Camera: Nikon D800
Shutter Speed: 1/125sec
Aperture: f/11
ISO: 100
September 2013 Smart Photography 37
Showcase
“P
hotography has
always been ‘in our
family’, but my real
journey in the feld began in
2008, when I joined a Certif-
cate Course in Photography
at Fergusson College in Pune.
Here I learned the secrets of
what it takes to compose and
capture a good photograph,
and realized that photogra-
phy can have an artistic as
well as a commercial aspect.
I started out with a focus
on wildlife photography,
like so many photographers
in India, and it was an
incredibly demanding and
taxing pursuit. However,
gradually I realized that
even portrait, wedding and
advertising photography
need the same patience,
concentration, dedication
and skills. I have explored
diferent avenues of
photography, and
constantly keep trying to
push the boundaries of my
knowledge and experience.
As an ardent wedding
photographer, I do shoot the
whole gamut of photographs
that are required to be
captured at such an event
(including all the rituals). But,
I also like to have outdoor
pre-wedding shots of the
marrying couple, which
sort of ‘breaks the ice’,
opening up a ‘comfort-zone’
between the couple and the
photographer. My clients
are thus more relaxed, and
this serves to create candid
and beter photographs. As
a wedding photographer,
I of course change my
themes according to the light
conditions and locations
where I shoot, and the
comfort of my clients.
I started my photographic
career using a Nikon N2000
flm SLR, followed by a digital
Nikon D90 with several old
and new lenses. Presently I
use a Nikon D800, and like
to shoot with prime lenses,
but zooms are defnitely an
indispensable, if not ofen
used, part of my kit. My
passion for photography
stems from the belief that it
is a medium that allows me
to express what’s within my
“mind’s eye”, and bring it
forth for my viewers.”
As told to Rohinton Mehta
Sarvesh Rajpathak from Pune uses his
photography to express the world around
him as he sees it, and capture moments
for posterity.
‘Mind’s Eye’ Vision
38 Smart Photography September 2013
Showcase
Fawny
Camera: Canon EOS 5D Mark II
Shutter Speed: 1/50sec
Aperture: f/2.8
ISO: 5000
Varad Vaturkar
Camera: Nikon D800
Shutter Speed: 1/125sec
Aperture: f/11
ISO: 100
Abhijeet & Sukhada
Camera: Nikon D800
Shutter Speed: 1/125sec
Aperture: f/9
ISO: 100
Leh Girl
Camera: xx
Shutter Speed: xxsec
Aperture: f/x
ISO: xx
September 2013 Smart Photography 39
Isha Keskar
Camera: Nikon D800
Shutter Speed: 1/125sec
Aperture: f/16
ISO: 100
Rolex
Camera: Nikon D800
Shutter Speed: 1/125sec
Aperture: f/32
ISO: 100
Aboli Naranvane
Camera: Nikon D800
Shutter Speed: 1/40sec
Aperture: f/2.8
ISO: 100
Anand
Camera: Nikon D90
Shutter Speed: 1/125sec
Aperture: f/16
ISO: 100
If I Were You
Our Imaging Expert
No one can take a picture that everyone likes. But, almost every picture can have scope
of improvement. Ofen, 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.
E-mail your images at [email protected]
Rohinton Mehta,
Technical Editor,
Smart Photography
42 Smart Photography September 2013
Picture Info
Camera: Nikon D5100
ISO: 100
Lens: AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED
Shuter speed: 1/320sec
Aperture: f/8
Te Lizard
Suraj P. Singh is a Smart Photography
reader from Navi Mumbai. He says that
he has edited the picture (contrast,
brightness and some sharpening) but
wants to know how the framing could
be improved.
Suraj, keep in mind that the background
is just as important as the main subject.
In your picture, the background is
disturbing – the bright sky and the out
of focus structure are competing for
atention. May be you had no choice or
may be you were afraid that the lizard
would run away if you spent too much
time trying to frame it beter. Also,
unfortunately, two thorns seem to be
coming out of the lizard’s throat and
another twig out of his back!
We shall see how the composition
could be improved, but frst let us
improve on the tonalities.
Original Image Edited Image
1. I frst selected the overexposed
highlights on the lizard’s back and using
Levels in Photoshop, toned it down (the
selection was ‘feathered’ by 15 pixels).
2. Next, I selected the sky area,
feathered it by 50 pixels and toned it
down using Levels.
3. In the third step, using the Clone tool,
I carefully cloned out the two ofending
thorns and the twig.
Te picture now looked beter
but beter framing would certainly
improve it.
4. Hence I experimented with various
crops and found this one (the edited
image) suitable.
5. Te background was given a helping
hand with generous touch-up.
6. Finally, the image was sharpened.
When framing a subject:
a) Move closer to the subject
(whenever possible)
b) Eliminate everything that does not
add to the picture
If I Were You
Lord Shiva’s Statue
Anil Kumar Khatri from Lucknow is an
amateur photographer learning from
his mistakes. He has sent us two pictures
(one of which is discussed here) and
has requested for some tips to improve
his skills. Te picture is of Lord Shiva at
Rishikesh (Parmarthniketan). Te scene
was photographed around 7PM in 2011.
Incidentally, this is the same statue that was
swept away by the devastating food in
June 2013.
While learning photography, the frst step
is not to be happy (for long) with one’s
creation. In other words, fnd out how one
can improve. You have indicated your
willingness to learn and by doing so, you
have taken the frst correct step.
Te photo that you have tried is quite
difcult from the exposure point of view. If
you expose correctly to get some details
in the dark background area, it’s very likely
that the statue would be overexposed;
If you expose correctly for the statue,
the background would be badly
underexposed.
When the lighting/subject has excessive
contrast, one could resort to what is
known as HDR (High Dynamic Range)
imaging. Using a frm tripod, you take three
pictures – one correctly exposed for the
sky, another correctly exposed for the
dark background, and the third, correctly
exposed for the of-white statue. Ten,
using Photoshop (or any other editing
sofware that has the feature) you could
combine the three images to form a single
image with adequate detail in the darks as
well as the light areas. For obvious reasons,
I cannot go through the entire Photoshop
procedure here (we have done that in
past) but believe me, it is quite simple
once you have some basic knowledge of
Photoshop.
I have improved the picture by using the
Shadows/Highlights Tool in Photoshop.
Tis tool allows us to ‘open up’ shadows
and/or ‘tone down’ highlights. It is possible
to overdo the corrections and hence care
must be taken to see that the fnal image
still looks natural. I consider the Shadows/
Highlights Tool to be one of the most
useful tools in Photoshop. A printscreen
showing the adjustments is included.
Te next step was to reduce the colour
cast on the statue (without removing the
warm colours in the background).
Finally, the image was sharpened.
Observe how some details have been
brought back in the dark background. Tis
is where you have to be extra careful – too
much of detail here would look artifcial.
Te water too has some details now.
Observe how the brightness on the statue
has been toned down. Compare the
statue details between the two pictures.
Again, be careful with the adjustments –
we don’t want the statue to look dull.
Picture Info
Camera: Canon EOS 550D
ISO: 200
Lens: Canon EF-S18-55mm f/3.5-5.6 IS
Shuter speed: 1/4 sec
Aperture: f/5
Original Image Edited Image
If I Were You
44 Smart Photography September 2013
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 difcult, and hence they may be rejected.
Sea of Heaven
Sachin Balan is a Smart Photography
reader from Port Blair, South Andaman.
He wants to know how his picture,
titled ‘Sea Of Heaven’ could be
improved.
What would I have done if I were you?
Your picture is a good efort but it
appears to be overexposed and does
not convey the mood. Observe that the
‘sun-burst’ from the white cloud (ofen
called Jacob’s Ladder) is washed out.
However, it is also possible that your
photo depicts the scene as you saw it at
that time.
Now observe my edited image. It has
deeper tones and the sun-rays from the
cloud are clearly visible. Te sea now
is probably darker than what the eyes
may have seen in the original scene.
Does that bother me? Not at all. I am
not a documentary photographer. I
am not capturing reality; I am a digital
artist and I am creating my vision. What
I want my viewers to see is the view that
I had in my mind’s eye when I took the
picture. Photography is an art. Let no
one tell you what you can or cannot do
to your picture. If asked, just mention
that the photo is your mind’s vision and
not reality.
Original Image
Edited Image
Picture Info
Camera: Nikon D3100
ISO: 100
Shuter speed: 1/160 sec
Aperture: f/11
46 Smart Photography September 2013
Did you know... Ronnie has over 35 years of experience
in photography?
In fact, he has taught several thousand photo-
enthusiasts 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 photo-queries, whether
conventional or digital, don’t hesitate. Just go ahead
and Ask Uncle Ronnie at [email protected],
‘cause he knows it all!
Ask Uncle Ronnie
Focal Length Breathing
I’ve come across the term ‘focal
length breathing’. What does it
mean?
Ramesh Kapoor, via email
To understand the term ‘focal length
breathing’, we frst need to understand
what is ‘focal length’. Take the case
of a very simple lens – a magnifying
glass. Focal length is defned as the
distance between the centre of the
lens and the point where the light rays
focus, when the light is coming from
infnity. Most people forget the last
part of this sentence... when the light
is coming from infnity. In other words,
by defnition, a claimed focal length of
400mm ( just as an example) is 400mm
only when the subject is at/near infnity.
With some lenses – usually, internal
focussing (IF) lenses – as the subject
comes closer to the lens, the feld of
view and subject size changes; in other
words, the actual focal length shifs
(reduces). Tis reduction in the focal
length is termed ‘focal length breathing’.
You may have noticed this: You have
a 100mm lens and a 80-400mm (this
is just an example; it does not mean
that every 80-400mm lens has this
‘problem’). You take a picture with
the 100mm lens and then take the
same picture at the same exposure
and at the same distance, but with the
80-400mm lens set to 100mm. In both
pictures the image should have been
of the same size but surprisingly, the
zoom lens image appears smaller. Tis
is focal length breathing.
Additional Information:
Do not confuse focal length breathing
with ‘focus shif’. Focus shif sometimes
happen when using very ‘fast’ lenses
(like f/1.4 or f/1.2).
Let’s say you are using an aperture of
f/16. When you focus, by default, you
always focus with the lens wide open,
even though your lens is set to f/16.
When you press the shuter release
buton to take the shot, the aperture
blades ‘stop down’ to the set aperture
(in our example, f/16). At this moment,
the focus can shif a litle. Tis is what is
meant by ‘focus shif’.
Picture shot with a 100mm prime lens
Picture shot with a 80-400mm zoom lens at 100mm seting.
Observe that a larger area is covered
September 2013 Smart Photography 47
I. R. Photography
In the present scenario, why is infra red photography
becoming very popular? I also want to do IR
photography with a Nikon D 7000 using a Nikon 50 mm
f/1.8 G lens. Kindly suggest a cheap and the best flter
for this equipment.
Vaibhav Sharan, Chennai
In life, cheap and best are always at the opposite ends!
IR images (especially black & white IR) ofen look amazing – blue
skies turn almost black and green trees turn whitish, giving the
images an out-of-the-world look. Tis is why there is so much
excitement about IR photography.
You could atach an IR flter to your lens and take pictures. IR
flters block all visible light, and hence focussing would be very
difcult and exposures would run into many seconds. Hence a
tripod would always have to be used. Besides this, IR wavelengths
do not focus at the same point as normal light. Tis can cause
further problems with accurate focussing.
If you want a good solution
(albeit, very expensive),
you could have your
camera converted for IR.
Te optical low-pass flter
is removed and an IR flter
is placed instead. You can
then use the camera only
for infra red pictures, but
you would be able to
shoot at ‘normal’ exposure
times without a tripod (as
you would use any other
camera). At the time of
conversion, you have to
decide whether you want
B&W IR or Colour IR. Tis
conversion is not done in
India. You may log on to
www.lifepixel.com or www.
digitalsilverimaging.com/ir
for further details.
Infra red image (simulated)
A Question on ISO Expansion
ISO is associated with the graininess/
noise in a photograph. Photographers
are advised to shoot at the lowest ISO
supported by the camera to avoid noise.
Te lowest ISO is generally 100 or 200
depending on the camera brand.
Is there any technical limitation or higher
fnancial commitment required in going
below ISO 100/200 for the camera/
sensor manufacturer? What would be
the advantages and disadvantages of a
sensor designed for ISO 0?
A camera like Canon 5D Mark II had an ISO
of 50. Is any compromise done in creating
this sensor?
Manish Das, via email
I do not think that there is a technical limitation
or fnancial constraint for camera/sensor
manufacturers to go lower down in ISOs. Very
low ISOs will ofen force you to use a tripod
(which most photographers do not use) and very
high ISOs tend to be noisy as you have rightly
mentioned. ISO 100-200 is therefore a good
compromise.
Did you really mean to ask about a sensor
designed for ISO ‘0’ (zero) or is it a typo? ISO
‘0’ could mean that the sensor is not sensitive
to light.
Te Canon 5D Mark II’s imaging sensor is
designed for ISO 100, but can of course be
expanded to ISO 50 on the lower side. Tere are
many other cameras that allow similar expansion.
Do note that when you use the expanded lower
ISO – such as ISO 50 on a 5D Mark II (or any
other camera that allows it) – you are actually
overexposing the image (which can give you
more shadow details, but highlights tend to get
overexposed). Te electronics within then try to
tone down the overexposed highlights, but ofen
fail to do so satisfactorily. Hence, unless you are
shooting in low-contrast lighting, seting the ISO
to 100 (in this case) is the beter option.
Ask Uncle Ronnie
48 Smart Photography September 2013
Lacking Colour Punch
I use a Nikon D3200 with the
18-55mm kit lens. Sometimes,
I fnd that my images out of the
box lack colour punch. I have
seen many beautiful images taken
with the same equipment, but
somehow I seem to have got it all
wrong. I posted my query on a
photography forum and someone
replied that I need to ‘correct’ the
image in Photoshop to achieve
this. But I don’t want to artifcially
enhance my images. Earlier, I
would use my dad’s flm camera
and the images used to be very
vibrant. Why are digital images
less vibrant than the images taken
on a flm camera and printed in a
colour lab? 
S. N. S. Rao, Bijapur
Note to our readers: Whenever you
have a specifc problem (like the one
mentioned above), it would be beter if
you can atach a picture or two having
the said problem. Tat way, I could
probably help you beter.
A digital camera needs to be set up
properly before you can get ‘good’
pictures from it. And the set-up can
depend on your likes, dislikes, and your
style of working.
All digital cameras allow you to have
some control over how your pictures
would appear. Nikon calls them
‘Picture Controls’. On the Nikon
D3200 you can set your Picture
Controls to Standard, Neutral, Vivid,
Monochrome, Portrait or Landscape.
Under each of these categories, you
can further control the amount of
sharpening, contrast, brightness, colour
saturation and hue.
So, at default setings, if your camera is
set to Standard or Neutral, you should
not expect vibrant colours; to get
vibrant colours, you may need to set
the camera to Vivid. Do keep in mind
though that if you have people in your
pictures, Vivid Picture Control could
make their faces somewhat reddish
(afer all, you are telling the camera to
give you stronger colours!). Seting the
camera to Landscape, for example, can
get you stronger green colours (which
can make your landscapes look richer).
Also keep in mind that the above applies
to pictures shot in JPEG. If you shoot in
Raw, the Picture Controls that you may
have set do not apply (unless you use
Nikon NX2 sofware which has an option
to allow Picture Controls or not).
Now coming to your statement that your
dad’s flm cameras gave you very vibrant
images, it has to do a lot with the flm that
you put in. Transparency flms like Velvia,
Provia, and Kodachrome gave vibrant
colours; flms like Astia, Agfachrome, etc
gave ‘sofer’ (more muted) colours. So,
your belief that digital images are less
vibrant is not correct. Tere were other
techniques too, which made the colours
more vibrant. For example, we slightly
underexposed the flm and then ‘push-
processed’’ the flm to give it more ‘punch’.
Fast/slow Lenses
If my primary goal is to
photograph landscapes, then
does it mater if I have a ‘fast’ lens
or a ‘slow’ lens?
R. S. Kamath, Pune
A ‘fast’ lens has greater light-gathering
power which allows us to take pictures
in low light without resorting to
electronic fash. At the same time, they
allow us to throw the background
out of focus. But when it comes to
landscape photography, the short
answer is ‘It does not mater’. But there’s
more to it than meets the eye.
Landscapes are generally
photographed with wide-angle
lenses, which not only cover a larger
area of the scene, but also provide
greater depth of field. Also, more
often than not, landscapes are shot
at narrow apertures like f/11 or f/16,
again for the same reason. So it really
does not matter if the lens you use is
‘fast’ or ‘slow’.
Additional consideration: If within a
landscape, you have a lovely tree that
you would like to isolate with a narrow
depth of feld, then a wider aperture,
as found in ‘fast’ lenses, along with a
suitable focal length, would help you
achieve that. One more point – keep
in mind that distance plays a very
important role in controlling depth
of feld. Landscapes are generally
‘far away’ and hence, even a modest
aperture produces reasonably good
depth of feld. So to isolate that tree in
our example, using a wide-angle lens,
even wide open, would not be easy!
You could do that using a telephoto
lens, but then you would not be able to
cover the same area of the scene.
50 Smart Photography September 2013
Mastercrafsman
Suraj Das
Suraj Das is a wildlife photographer with a
diference. Not a full-time photographer, Das
uses his passion for nature to keep clicking
images, and his work has been exhibited and
showcased at several places. His work can be
found online at htp://500px.com/the_wild_
child.
Suraj Das, Mumbai
Trough the Lens of
‘A Wild Child’...
September 2013 Smart Photography 51
Suraj Das
©

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Mastercrafsman
Suraj das
52 Smart Photography August 2013
©

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What got you interested
in photography initially,
and how did you decide
to make it your career?
I am basically a sofware
engineer-turned-
entrepreneur now looking
afer my family business of
Shipping & Logistics. But for
me, wildlife photography,
and capturing God’s beautiful
creations through my camera,
is a serious Passion that
keeps me alive in the true
sense of the word. Since my
childhood, I had always been
interested in pets/animals,
and about a decade ago, I
started rescuing snakes in my
locality. I eventually started
photographing them, and
slowly the inclination to
capture images spread to all
other fora & fauna too.
Why did you choose
to opt for wildlife
photography as a
specialty?
Somehow, I fnd wildlife
photography the most
challenging genre of
photography, because
unlike other genres, here
you cannot setup a shot/a
particular moment. You can
only dream it or imagine
it, and hope you’re lucky
enough to capture it. I like
the unpredictability present
in wildlife photography; it
requires loads of patience,
and amply rewards you for
the same. Mother Nature
has so much to ofer that
you could visit your nearest
forest/park umpteen times,
and every time it’s a new
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September 2013 Smart Photography 53
experience all over again. No
mater how tired you get,
shooting in the wild is always
a very satisfying & refreshing
experience.
All of your photographs
feature exquisite detail
and composition.
What is the process
behind the visualization
and creation of these
beautiful images?
It is good to know that
people think my images
are worthy of such praise,
but frankly speaking there
is nothing special involved
in making my images.
Tere are just three things
I strive to achieve, like all
photographers: the right
angle, the right light, and
good composition in the
feld itself.
Some of the images
you’ve captured have
been taken with point-
and-shoot cameras,
and have still achieved
great recognition. In the
debate of technique vs.
equipment, which do
you personally value
more, and why?
I started photographing
macros, snakes especially,
with the frst camera I
bought with my own salary,
the SONY DSC P200. Te
images that I have clicked
©

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54 Smart Photography September 2013
Mastercrafsman
Suraj das
with that camera have been
printed at 8”x12” sizes and
displayed at a few exhibitions
without any problems. It’s just
about geting the technique
right. Go down to the level
of your subject, go as close
as possible without using any
digital zoom, and get your
angle right. With these simple
guidelines, even Point-&-
shoot/Prosumer Cameras
can give you fantastic results,
especially in macros. Yes,
you may be restricted in
many aspects and lack of a
decent zoom lens might be a
slight handicap, but people
should learn to respect
their existing equipment
and make good images with
whatever they have instead
of cribbing about their
equipment. Some of the
best international wildlife
photographers do not use
zoom lenses, but wide-angle
lenses, for their amazing
award-winning shots.
Wildlife photography
is by no means an easy
task, yet an amazingly
large number of pho-
tographers in India
choose to pursue it as
a career. What is your
opinion on the reason
behind this, and what
would you say to en-
courage amateurs look-
ing to begin in this feld?
In fact, I believe that wildlife
©

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September 2013 Smart Photography 55
Suraj Das
photography as a career is
a fairly new concept in the
Indian scenario. I believe
that all the Indian wildlife
photographers are just a
bunch of people who are
seriously passionate about
wildlife, and capturing
enticing moments in Nature.
But with changing times,
and the opportunities that
so many wildlife magazines
are ofering, wildlife
photography as a full-
fedged career is now an
option. It might be a struggle
fnancially in the initial
stages, but it is a very soul-
satisfying & rewarding pursuit
ultimately.
Te debate over editing
and retouching of imag-
es is ever-present. What
is your opinion about
digital manipulation
of images for aesthetic
purposes, especially
when adding dramatic
efect to wildlife pho-
tography?
In this debate, I am always
in favour of editing/post-
processing your images. It is
the same process that was
followed earlier in the flm
era, so why brand it wrong
now? It goes without saying
that you have to compose
and frame your images right
in the feld itself. But you can
always enhance your images
a litle bit by post-processing. ©

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56 Smart Photography September 2013
Mastercrafsman
Suraj das
©

R
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S
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Tere is a thin line that you shouldn’t cross
when editing your images. It should never
seem unrealistic or over-processed to your
viewers, and anyway, nowadays most of the
photography websites defne the limitations
to the amount of editing/processing that
you can do to your images. But in wildlife, it’s
best to keep the images as natural (close to
the original) as possible. Personally, I’m not
a big fan of added dramatic efects/partial
B&W, efects, etc. According to me, that’s for
the Media/ Advertising guys,, not for wildlife
photographers.
Spandan Sharma
©

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ENVIE LIMO CHARGER
It charge AA/AAA Ni-MH/Ni-Cd
Rechargeable Bateries.
Charge 2/4/6/8 AA /AAA Sizes at a time.
Can charge the bateries in less than
2 hours.
Auto Cut of
ENVIE INFINITE PLUS AA / AAA
Highest Capacity Ready to use .
Rechargeable Bateries with AA 2500 and AAA
1100 Capacity
Low Self Discharge, 80% of the charge remains
afer 1 year when not in use.
Can be recharged up to 1000 times.
DIGITEK PLATINUM BATTERIES
Higher Capacity than original Li-ion
replacement bateries.
No memory efect
Available models for Sony F970 / for Panasonic D54s /
for Panasonic VBG 6
VARTA LCD PLUG CHARGER
Blue LCD display
Power check function
Charge up to 4 bateries
2/4 AA or 2/4 AAA bateries
VARTA 15- MINUTE ULTRA FAST CHARGER
Charges all NiMh cells in 10 - 20 minutes
Individual safety termination: 4 x Minus Delta V
(-dV), 4 x safety timer
VARTA RECHARGEABLE READY
TO USE BATTERIES
Long-lasting product range for all
standard devices
Suitable for all chargers
“Single Press Out” enables easy opening of the
pack and good storage for unused bateries
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62 Smart Photography September 2013
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INFINITY SONY BP – U60 BATTERY
14.4 volt
56Wat
BP-U60 also has LED displays to indicate the
Remaining capacity of the batery at the push
of a buton on the batery itself.
SONY CP-AD2
Fast charging 2.1 A, optimal
performance for Sony USB charger
50 cm micro USB cable included
worldwide voltage
SONY CP-F10
Charge your smart phones 4x times with CP-F10
It has 2 USB Port for simultaneous charging
Fast charging through 10000 MAH and
3.6 A output
SONY CP-F10
Charge your smart phones 4x
times with CP-F10
It has 2 USB Port for
simultaneous charging
Fast charging through 10000
MAH and 3.6 A output
S
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SM
ARTSHOPPERS
Available at : Smartshoppers Chen-
nai - Egmore
Phone: 9940039851 , 9941068305 Mail id: sathyanarayanan@ smartshoppers.in
Website: www.smartshoppers.in
64 Smart Photography September 2013
KENKO AOSTA VIVACE AOC-VC1MEM
Casually designed messenger-type camera bag
Can hold a digital SLR camera
Recommended for event photography .
Weight : 330g
KT UL-IO-100
Slim compact shape and design to match the carrying needs in
any extreme terrain.
Quick side access to your camera in “pull-to-shoot” position
Suited for both right and lef handed use (simply set the
camera insert in the bag facing the opening of your choice
and leave the mesh cover unzipped and tucked away).
Support extra weight of larger Inside Out-200 UL with the
ergonomic waist belt (supplied only with this model and
removable if needed).
LOWEPRO PRO RUNNER 350
A compact, streamlined and urban inspired backpack for
photo journalists and enthusiasts .
Fully padded and adjustable camera compartment is
highly customizable.
Hideaway Tripod Mount system secures compact tripod
or monopod .
Patented, built in All Weather AW Cover protects gear
from the elements
LOWEPRO FASTPACK 250
Padded camera compartment with full 180 degree
access and adjustable dividers.
Outer organizer pocket enables fast access to
accessories and/or personal items
SlipLock atachment loops expand carrying capability.
Built in pocket on harness for an MP3 player or
cell phone
K
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L
O
W
E
P
R
O Available at : Inter Foto India pvt ltd
Phone: 1800222239 / 9096017295
M
ail id: sales@
interfotoindia.com

W
ebsite: w
w
w.interfoto.co.in
K
E
N
K
O
T
O
K
IN
A
Available at : Kenko Tokina
Imaging India Pvt. Ltd.
Phone: +91-11-41571155
Mail id: [email protected]
W
ebsite: www.kenko-tokina.co.in
September 2013 Smart Photography 65
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THE HERALDER 51T
4 Durable trolley wheels enable smooth
horizontal movement
Removable interior for regular luggage use
Stowable shoulder straps
Bonus cell phone holder & accessory pouch
QUOVIO 66
Protective backpack holds pro DSLR plus 600mm lens
Safeguards pro DSLR plus some 800mm lens too
Advanced, highly adjustable harness system ensures customized ft
Tripod holding system on both sides
Water resistant, washable material on botom
ROYAL PROPLUS
Excellent design,easy to carry and sufcient
space for all your professional needs.
Tis combines technology,material &
design to provide you the best protection
for your equipment.
JEALIOT ASTRA 24
Tis atractive and durable camera bag is very easy
to carry with you wherever you go.
It comes with an outdoor rain coat and sports a
comfort handle as well as a metal D ring.
Te bag also has a side-pocket with cap.
Jagd
am
b
a Enterp
rises
Available at : Jagdamba Enterprises
Phone: 9810258202 Mail id: [email protected]
W
ebsite: www.jagdambadelhi.com
N
IK
IT
A
D
IST
R
IB
U
T
O
R
S
Available at : Nikita Distributors
Phone: 020-30500600
M
ail id: ram
an.jpa@
gm
ail.com

W
ebsite: www.im
aginext.co.in
R
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P
L
U
S
Available at : Ginni Phhoto Producets
Phone: 011-23270412
M
ail id: ginniphoto@
gm
ail.com
W
ebsite: w
w
w.ginniphoto.com
GITZO CARBON MONOPOD GM5561T
Ideal for sport photographers with long heavy lenses
Tube diameter 41mm – Te largest tube in Gitzo for
ultimate stability
Unlock all locks at once by rotating just 90°. Ultra
strong locking.
With 6 leg sections, it is only 41.5cm when folded.
ALLMAN TRIPOD
Two-Position Leg Angle Stops
Dual Action Ball Head
Arca-Swiss Style QR Plate
Separate Head and Pan Lock
9-Integral Bubbl
BEFREE
Fits easily into backpacks and carry-on
luggage for perfect portability.
Capture your shot without wasting time.
Compact and portable without
compromise on sturdiness or
image quality.
Be free consists of atractive premium
Italian design and fnishing.
M
A
N
FRO
TTO
Available at : All photographic
leading stores
Mail id: indiainfo@manfrot o.com
Website: www.manfrot o.in/befree
290 CARBON FIBER MONOPOD
4-section carbon composite leg and rigid in order to help hold the
camera stable and minimize vibration.
it has optimized fbre angles that provide consistent advantages over
aluminium tubing in terms of rigidity, lightness and stability.
Te 4-section construction minimizes the monopod when closed,
making it more compact and easily transportable.
G
IT
Z
O
Available at : All Photographic
leading stores
Mail id: indiainfo@manfrot o.com
W
ebsite: www.gitzo.in
GITZO MOUNTAINEER TRIPOD KIT GK2580QR
Available with the Kit of Gitzo’s most popular tripod GT2541 and ball
head GH2780QR
Ultra stable but lightweight tripod – High grade “Carbon 6X” leg tubes
and rigid “G-lock” leg locks
Strong lightweight head – Perfect for lenses up to 200mm.
Large hollow ball and magnesium body
A
L
L
M
A
N
Available at : Photosystemsindia pvt.Ltd
Phone: +91-9990630710
M
ail id: custom
ercare@
photosys-
tem
sindia.com
W
ebsite: w
w
w.photosystem
sindia.com
66 Smart Photography September 2013
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E-IMAGE MA50 MONOPOD
A portable solution for smooth shooting with
DSLR,Mini-DV and HDV cameras in limited spaces.
It can be used on move shooting and other events,
which is smoother and easier to use than hand-held.
It incorporates a fuid cartridge in the base for
smooth pans
It has three retractable feet for frm footing on
uneven ground.
PHOTRON STEDY PRO 560
It comes with a Multi Purpose Head with a Quick
release that fips the mount up automatically.
Te 3-way Pan Head and Self- Adjusting camera
platorm can be tilted upto 90 degrees..
Te strong built and foam grip assures secure handling.
It comes with a Lifetime Quality Warranty.
SLIK F730 TRIPOD
3-Section leg with 640mm folded length.
3-way fuid efect pan head.
Quick release shoe for easy mounting and
removal of camera or camcorder.
Geared center column
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CS-10 CARBON STABLIZER
CS-10 Supports any DSLR camera or
compact camcorders
It is quick and easy to setup & balance
Great build quality with atractive features
68 Smart Photography September 2013
KENKO BINOCULAR ARTOS 10X50W
Multi Coating
BAK4 Porro Prism
Fully Waterproof
Click Stop Diopter Ring
KENKO BINOCULAR ULTRAVIEW 8X21WHITE
Multi Coating
Fully Waterproof
A high eyepoint design provides longer eye relief
with or without eyeglasses.
Large focus ring for precise,easy adjustments.
OLYMPUS 10X50 DPS I
Durable, high-quality fnish with sure-grip rubber coating
UV protection to protect eyes against the sun’s harmful rays
Wide-angle feld of view for fast-moving subjects
Aspherical optics guarantee plasticity and distortion-free view
BINOCULAR TRAVELITE EX 10X25 CF
Compact & Lightweight
Waterproof flled with nitrogen gas(up to
2m/6.6f for 5min.)
Aspherical lens in the eyepiece
High-eyepoint design
OLYMPUS 8X42 EXWP I
Nitrogen-flled body for waterproof/fogproof/
dirtproof performance.
High index BaK-4 porro prisms for bright, crisp edge-
to-edge images.
Full multi-coating / Phase coating / UV coating.
Long eye-relief with twist-up/down eyepieces.
BINOCULAR MONARCH 10X42 DCF
Eco-glass optics free of lead and arsenic
Waterproof and fog-free with O-ring seals and nitrogen gas
Turn-and-slide rubber eyecup facilitates easy positioning of
eyes at the correct eyepoint
Rubber armouring for shock resistance and a frm,
comfortable grip
K
E
N
K
O
Available at : Dass Photos
Electronics
Phone: 011-29817138
M
ail id: dassphotos@
yahoo.co.in
N
I
K
O
N
A
vailab
le at : N
iko
n C
O
O
LPIX
&
D
-SLR
Z
o
nes
P
h
o
n
e: 1800-102-7346
M
ail id
: N
ind
sales@
niko
n.co
m

W
eb
site: w
w
w
.N
iko
n.co.in
NEUTRAL COLOR NC FILTER
Tese neutral-color flters serve as
lens protectors. Tey do not afect
color balance.
Te Multilayer coating prevents
light refection inside the glass,
thus improving color rendition.
Available in atachment sizes
39mm, 46mm, 52mm, 58mm,
62mm, 72mm and 77mm
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September 2013 Smart Photography 69
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PENTAX UCF R 8 X 21MM
Inverted porro prism design
Light Weight & Compact
Protective Rubber Housing
Aspherical eyepiece
lens elements
PENTAX XCF 8 X 40MM
Durable Aluminium Die cast body
High Quality BaK4 prism to enhance
light tansmission and resolution
Fully rubber armoured body
Large central focus wheel
HOYA FILTER PRO1D UV(O)
Absorbs the ultraviolet rays which ofen makes outdoor
photographs hazy and indistinct.
Digital multi coated flters greatly reduce the appearance
of lens fare and ghosting caused by refections.
Filters feature a black mate aluminum satin fnish almite
frame which reduces refections.
HOYA FILTER DIGITAL PL-CIR (PHL)
It allows removal of unwanted refections from
non-metallic surfaces such as water, glass etc.
It enables colours to become more saturated
and appear clearer, with beter contrast.
Tis efect is ofen used to increase the contrast
and saturation in blue skies and white clouds.
HOYA FILTER HMC UV(C) (PHL)
Heat resistant / High Transparency glass :
Tis flter cuts out all range of UV rays to give an astounding
sharpness and clarity without the least afect on color balance.
Constant use for lens protection is recommended.
CELESTRON ASTROMASTER 130EQ
Permanently mounted StarPointer
Erect image optics Ideal for terrestrial and astronomical use
Quick release dovetail atachment no tool setup
All coated glass optics for clear, crisp imagesDeluxe
accessory tray for convenient storage of accessories
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PENTAX
Mail id:
[email protected]
Website:
www.ricoh-imaging.co.jp
S
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EXUX LENS PROTECT
It is a clear, transparent flter with
surface refection of less than 0.3% that
does not afect the visible light range.
It features a new antistatic coating that
protects the lens from static clinging
of dust and ofers stain-resistance with
easy cleaning of water spots
and fngerprints.
It is essential gear for any style of
SLR photography
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M.ZUIKO DIGITAL ED 60MM F2.8 MACRO
Fast aperture of f2.8
Robust, lightweight design
Dust- & splashproof
Display for shooting distance and magnifcation
M.ZUIKO DIGITAL ED 75MM F1.8
Perfectly corrected chromatic and spherical aberration
High-precision assembling technology
Ultra-bright 1:1.8 aperture
PENTAX SMC DA 16-50MM F/2.8 ED AL (IF) SDM
Equivalent to 25-77mm in 35mm Format
Ultrasonic Lens for an extremely fast & silent focus
Weather resistant lens protects against humidity & dust
Extra low – dispersion ED Lens elements for brilliant
sharpness & saturated colours
PENTAX SMC DA 50-200MM F/4-5.6 ED WR
Equivalent to 77-306mm in 35mm Format
Fast Manual focusing in AF Mode with Quick Shif
Focus System
Weather resistant lens protects against humidity & dust
Extra low – dispersion ED Lens elements for brilliant
sharpness & saturated colours
NOVOFLEX  CASTBAL T/S BELLOW SYSTEM
It ofers an easy and inexpensive way to dive even deeper and
increase the depth-of-feld in your macro, product, food and
jewellery photography
Te quick-release mount of the CASTEL-Q is clamped to the
rear of the guide rail
Te lens-head comes pre-assembled on the necessary
adapter to start taking pictures immediately
O
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P
E
N
T
A
X
M
ail id:
ril.info@
ricoh.co.in
W
ebsite:
www.ricoh-im
aging.co.jp
N
O
V
O
F
L
E
X
Available at : Kalabhai Dental Pvt ltd.
Phone: +91 2225774058/4059
M
ail id: info@
kalabhai.com

W
ebsite: www.kalabhai.com
/
www.novafex.com
70 Smart Photography September 2013
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A005 (70-300MM F/4-5.6 DI VC USD)
Best-in-class higher resolution at a lower price
Fast focusing!! Equipped with Tamron’s fast own USD
(Ultrasonic Silent Drive)
Excellent performance throughout the entire zoom range!!
Equipped with VC (Vibration Compensation) image
stabilization mechanism
With an internal focus mechanism, the overall length of the
lens does not change
B008 (18-270MM F/3.5-6.3 DI II VC PZD)
World’s Most Compact, Lightweight with 15x Zoom
High Speed AF ! A Tamron First: PZD (Piezo Drive)
VC (Vibration Compensation) – a bonus of 4 extra stops.
Compact Size, Light Weight and High Image Quality, All In One!
CONVERSION LENSES / FILTERS
Scoop lens system for Smart Phone!
It is ideal for Still & Motion image.
Also available in Magnet and Screw
Categorized in Telephoto Lens, Wide & Micro
Lens, Microscope Lens, Fisheye & Micro Lens
T
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K
E
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O
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IN
A
A
vailab
le at : Kenko Tokina Im
aging
India Pvt. Ltd.
Phone: +91-11-41571155
M
ail id
: sales@
kenko-tokina.co.in
W
eb
site: w
w
w
.kenko-tokina.co.in
LENSBABY COMPOSER PRO
Te Composer Pro ofers silky smooth focus and
tilt/swivel ability
With its refned design and sturdy metal
construction, it’s a step up from the Composer
Available in mounts for these SLR cameras: Canon
EF (EOS), Nikon F Cameras
72 Smart Photography September 2013
BACKGROUND REFLECTOR
Tis is a simple but efective refector that has been produced for
the specifc purpose of illuminating backgrounds
It is mounted onto the Elinchrom head and placed on a low level
stand and will give an atractive illumination perfect for
portrait photography
It will enhance the depth of the picture and separate the subject
from the background producing more realistic 3 dimensional look
SQUARE 44 CM REFLECTOR SET
Te Square 44cm is back!
Without Grid, it is a sof wide angle refector
Put the Honeycomb Grid in place and you are lef with a sof pool of
light ideal for all types of portraiture and small still life subjects
SNOOT REFLECTOR & GRID
Designed to give an approx. 15° controlled spot of light, with a hard
shadow efect
It comes with a Snoot Grid. Te Grid delivers a sharply defned
concentrated light source of exceptional quality
Te grid is an easy retro ft, with clips to grip the interior of the snoot.
Tis combination of the Snoot and Grid can be used to create some
very dramatic efects for Portraits, still life and art photography
SPEEDLIGHT SB-900
Te SB-900 is a high-performance Speedlight that has an improved
booster circuit for high-speed recycle time
Termal Cut-out function limits the number of fashes to avoid
deterioration of light emiting parts caused by continuous fash fring.
Multi-step auto zoom covers a wide 17-200mm zoom range
A Guide number of 34/111.5 (ISO 100, m/f.)
N
IKO
N
Available at : Nikon COOLPIX
& D-SLR Zones
Phone: 1800-102-7346
Mail id: [email protected]
Website: www.Nikon.co.in
PH
O
TO
Q
U
IP
Available at : Photoquip
India Limited
Phone: 022 61474000
Mail id: [email protected]
Website: photoquip.com
SPEEDLIGHT SB-910
Te SB-910 is a high-end Speedlight for
advanced amateur to professional photographers
Power zoom function with which the SB-910
automatically adjusts the zoom head position to
match lens focal length
Fully compatible with the Nikon Creative
Lighting System
A Guide number of 34/111.5 (at ISO 100, m/f.)
SPEEDLIGHT SB-700
Te multi-functional SB-700 is much easier
to use especially for beginners.
Equipped with wireless lighting capability
High-speed recycling time of
approximately 2.5 s
A Guide number of 28/92 (ISO 100, m/f.)
September 2013 Smart Photography 73
L
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&

M
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S
A
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S
O
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A
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O
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I
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S
CANON SPEEDLITE 320 EX
Ideal for video recording
Used as a wireless slave unit positioned of-camera
Flash coverage and guide number can be changed
manually by extending or retracting the fash head
Lightweight, pocket-sized, grip-friendly, and with an
intuitive, easy-to-operate design
BRONCOLOR NEW SOFTBOX
Optimised light shapers for precise lighting
design in nine diferent shapes and sizes
Square, Rectangular, as a Strip or Octagonal.
Tree (2+1 optional) diferent difusers enable
perfectly homogeneous distribution over the
entire area
Te new compact Sofbox can also be used
without a stand as a hand-held chaser light
Te special internal coating guarantees
optimum efciency
BRONCOLOR PARA 88 :
Now even more mobile - perfect for outdoors &
smaller studios
Compact design, less than 6 kg and a new mechanism
for greater ease-of-use
Comes along with original sturdy fight case
Also compatible with other brand fash lights
CANON SPEEDLITE 600 EX-RT
Dust/water resistant design and wireless master functions
High intensity and wide distribution make it suitable for wide-
ranging shooting conditions from wide-angle to telephoto
Color flters allow fash color temperature adjustment to match
shooting conditions
Remote release and linked shooting functions expand wireless
shooting possibilities
BRO
N
CO
LO
R
Available at : Photonics Enterprise
Phone: +91 98200 29063
Website: www.broncolor.com
C
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O
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n
e
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0
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.in
74 Smart Photography September 2013
APUTURE TRIGMASTER PLUS II 2.4G
Max Range More than 500m (SUPER mode)
Working time 80 hours 1.2V 2500mAH X2
Power Supply 1.5V AAA bateries (x2)
Compatibility  Canon, Nikon, Olympus, Pentax
OVERHEAD LIGHTING SYSTEMS
2 track 10 f & 2 track 8 f
2 Pantograph 1 to 6.5 f
4 joint wheel, 2 panto wheel
APUTURE (AHL-N60) AMARAN LED RINGFLASH
NIKON / CANON MOUNT
New LED fash technology, providing continuous, stable light
Flash mode light output is twice as high as continuous mode
Unique lamp mount to accommodate hotshoe or lenses
Works with fash triggers
NISSIN FLASH GUNS
TTL function is available
Built-in terminal for future frmware update.
Easy Handling and convenient.
Durable Metal horse shoe for longer life
KENKO LIGHT METER 2100
It is an exposure meter that
incorporates both fash and
spot metering functions into
one compact unit
It can simultaneously display
an exposure reading on the
fash meter (for measuring
incident light) and an exposure
reading on the spot meter (for
measuring refected light)
SEKONIC LIGHT METERS
Analog & Digital meters are available
Simple & Easy to use
One Hand operation
Clear Liquid Crystal display (except Analog models)
SM
A
RTSH
O
PPERS Available at : Smartshoppers
Chennai - Egmore
Phone: 9940039851 , 9941068305
Mail id: sathyanarayanan@
smartshoppers.in
Website: www.smartshoppers.in
S
R
IS
H
T
ID
IG
IL
IF
E
A
vailable at : A
ll Leading Photo
stores across India
Phone: +91 44 2436 4778
M
ail id: info@
srishtidigilife.co.in
W
ebsite: w
w
w
.srishtidigilife.co.in
KENKO
TO
KINA
Available at : Kenko Tokina Imaging
India Pvt. Ltd.
Phone: +91-11-41571155
Mail id: [email protected] Website: www.kenko-tokina.co.in
PHOTOPRO
Available at : Bhatia Photo
Ind. P Ltd
Phone: 9811515544
Mail id: [email protected]
September 2013 Smart Photography 75
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DIGITEK REEMIX 3 IN 1 REMOTE CONTROL DRM-001
Advanced features - it incorporates the function of Studio Flash
Trigger, Speedlite Trigger & remote Shuter release in to one unit
Enable you to control Studio Strobe, Flash Gun & Camera by one set of remotes
Available in diferent models C1/C3/N1/N2/N3/S1/OP3/OP12 for various brand of DSLR
A
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A
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DIGITEK STUDIO FLASH DSF-400
Made of High Engineering Plastic shell. Super
Cooling Fan at botom confgured to promote
the air diversion technology to ensure the long
working hours
Built in trigger
Head is compatible with Elinchrom Mount
Fast recycle time, easy to carry & E27 Lamp Holder
AALO PRO-X 808
Used as a Video LED Light/
On-camera Flash light/ Studio
Strobe Light/ Indoor Light/
Outdoor light, “ALL-IN-ONE”
It is batery powered and a wireless remote trigger is
provided in the kit to use the fash wirelessly
HAKO TTL 9600 DIGITAL FLASH
Color LCD Panel
Use External Power Pack
Power Saving
PC PORT
HAKO LED 82 PROJECTOR
2800 luminus
LED Lamp life 20000 Hrs & more
Make the life more perfect
Make the room more pro-enviroment
Make the experience “ energy ef cient”
DIGITEK FLASH SPEEDLITE DFL-006T
Guide No. 54 Mtr. (ISO 100, 105mm Zoom)
Large LCD Panel
TTL/Manual, Multi, Wireless & Semiautomatic Flash mode
Hotshoe PC mount & external charge mount
A
A
L
O
Available at : Kolkata, Ahmedabad,
Delhi , Kerala, Hyderabad,  and
shipped all over India.
Phone: +91 9831725342/9831074412
M
ail id: studiof @
vsnl.com
W
ebsite: www.aalo.in
IM
S M
ERCANTILES
Available at : IMS MERCANTILES
PVT. LTD.
Phone: +91-11-47074444
Mail id: [email protected]
Website: www.imsmercantiles.in
PHOTOPRO
Available at : Bhatia Photo
Ind. P Ltd
Phone: 9811515544
Mail id: [email protected]
76 Smart Photography September 2013
LIGHT ARCHITECTURE 2 (PHOTOGRAPHY
EDUCATION BOOK)
Light Architecture 2 explains theory of light, and basic to
advanced lighting set ups
Tis hard cover book gives a brief description, setup
diagram and the fnal image, for every picture
At a special price of `5600 (Free shipping), its a must buy
for any photography enthusiast
STELLAR PHOENIX PHOTO
RECOVERY 5
An ideal tool for recovering your
memorable photos, music fles, videos
and any other multimedia fles
Te sofware is compatible with
both, Mac and Windows Operating
Systems
It supports more than 50 fle types &
scanning of 2 TB of storage space
HIGH GLOSSY PHOTO PAPER – 185GSM
Size A4 (20 Sheets)
Japanese Quality Coating Suitable for Up to
5760dpi
Perfect reproduction of realistic characters of
a photo
Compatible with all inkjet printers
PROFESSIONAL PLUS PEARL/METALIC INKJET PHOTO
Size A4 (20 Sheets)
Japanese Quality Coating Suitable for Up to 9600dpi
Perfect reproduction of realistic characters of a photo
Compatible with all inkjet printers
DIGITAL 35MM FILM &
SLIDE CONVERTER
Viewpoint Digital Film scanner Converts
35mm slides & Negatives onto SD Card
Convert Images upto 5.0 Megapixel
Quality with Auto Color Balance &
Exposure control
2.4” TFT Color Display
With TV out, SD Card Slot, USB Interface
STELLARINFO
Available at : www.stellarinfo.com.. Phone: 1800 102 3232(Toll Free) Mail id: [email protected] Website: www.stellarinfo.com
BRO
N
CO
LO
R
Available at : Photonics Enterprise
Phone: +91 98200 29063
Website: www.broncolor.com
E
A
S
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E
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ERG
IN
IM
A
G
IN
G
Phone: +91 11 27299272
Mail id: [email protected]
Website: www.erginimaging.com
September 2013 Smart Photography 77
I
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K
J
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P
A
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S
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APUTURE V-SCREEN VIDEO MONITOR VS-1
Ultra thin, lightweight design
Double power supply
Universal hotshoe mount with swivel head
Various signal inputs (HDMI, YPbPr, AV)
THERMAL PRINTER-ASK 300
Compact size: 275(W) × 446(D) × 445(H) mm
(10.8 × 17.6 × 17.5 inches), suitable for any retail
environment
Easy loading of paper and replacing of ink
ribbons in less than 3 minutes.
High quality prints: realized by matching Image
Intelligence™ processing technology with Fujiflm
Quality Termal Photo Paper
All-in-one solution at an afordable price
FUJIFILM INKJET DRY MINILAB-DL650
Unique Color Profle: Vivid color reproduction mode enhancing overall color
saturation to produce vivid color tones
High Processing capacity: In the normal image quality mode, about 950 sheets/hr
can be processed
Six Colored Inks: Te sky blue and pink colors have been added to the basic four
colors, resulting in enhanced grain fneness in low to medium density areas
A
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S
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A
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FU
JIFILM
Available at : www.fujiflm.in/where-
tobuy/photoImaging/
Phone: 044-43994000
Mail id: [email protected]
Website: www.fujiflm.in
SM
A
RTSH
O
PPERS
Available at : Smartshoppers
Chennai - Egmore
Phone: 9940039851 , 9941068305
Mail id: [email protected]
Website: www.smartshoppers.in
PHOTO BOOKS
Made from fnest quality acid free
paper for beter print quality & keep
memories forever
Heavy Paper for longer duration of
albums
Premium Packaging included with all
Photo Book delivery
Industries Finest quality
of Transparent  printing quality
PHOTO ORANGE
Available at : Photo Orange
Phone: +91-90990-59812
Mail id: [email protected]
Website: www.photoorange.in
78 Smart Photography September 2013
KENKO PHOTOGRAPHING
SUPPORT CLIP STAND
2 ways available for Clip and Table stand
Compact body and easy to carry around
Useable for Smart Phone/Compact Digital Camera
Selectable from seven colors, and suitable for
novelty goods!
SCRATCHGARD
SCREEN PROTECTORS
Defnitive Quality
High Defnition Clarity
“Clear Touch” easy clean
Tough Scratch resistance
Pressure Sensitive touch
BLACK RAPID CAMERA STRAPS
Comfort, Convenience & Safety
No strain on neck, EVER
Hands free, UNTIL shooting
Heavy gear becomes comfortable
LENSPEN ORIGINAL OPTICAL LENS
CLEANER NLP-1
Patented dry carbon compound
Outperforms all other cleaning devices
Unique self-replenishing tip
Environment friendly and non-toxic
KENKO CRYSTAL TOUCH DISPLAY PROTECTION
Blue Light Protection!
Hardness 9H and Splash Prevention!
Easy to atach without air-bubbles!
Anti-glare, Oil-repellent, High-gloss
and Smooth touch
KENKO
TO
KINA
Available at : Kenko Tokina Imaging
India Pvt. Ltd.
Phone: +91-11-41571155
Mail id: [email protected] Website: www.kenko-tokina.co.in
SRISHTIDIGILIFE
Available at : All Leading Photo
stores across India
Phone: +91 44 2436 4778
Mail id: [email protected]
Website: www.srishtidigilife.co.in
L
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58MM CLOSEUP LENS KIT OMAX
Suitable for any Lens with diameters 58mm, 55mm,,
62mm, 67mm, 72mm, 77mm.
Omax Close-up set consists of(+1 lens) (+2 lens)
(+4 lens) (+10 Macro lens)
Can also be stacked to create +3, +5, +6, +7 and so on
Use the lenses individually or in any combination
B
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O
M
AX
Available at : Omax Camera Care Phone: 9810965674/ 9899965587
Mail id: [email protected] Website: www.omaxcameracare.com
September 2013 Smart Photography 79
M
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O
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A
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PROFESSIONAL CINEMATICS RIG
A perfect movie making kit for HD
enabled cameras
Strong Build Quality
Excellent Performance
Cost Efective
SHOULDER MOUNT RIG SKR01
Stabilizes the camera for smooth video
Comfortable Lightweight Ergonomic Design
Suitable For DSLR or Mid-size camcorders
CARRYSPEED FS-PRO CAMERA STRAP
Improved 4 wide non-slip shoulder pad
Improve metal front quick adjustment
Multiple tripod mount design
Ball connection keeps camera away from scratches
K
A
PO
O
R PH
O
TO
STO
RE
Available at : Kapoor Photo Store
Phone: 9871222622
Mail id: [email protected]
W
ebsite: www.kapoorphotostore.com
P
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PHOTOPRO CHAIN PULLEY
Tree Chains, Six Alum 5Ft.Pipes
to make three pipes of 10 f each
One set Hanger for three Band
require nut and bolts
PHOTOPRO BOOMER NO. 6
Pipe Tickness : 2 (Section) :
(34 mm,30 mm)
Rotation Vertically: 160 degree
Rotation Horizontally: 180 Degree
Load of full extension:4.5 kg
Weight: 2.8 kg
P
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AOM SIGNAL PROCESSOR
AOM, a signal processar which comes with
exclusive features ,strong build
An ideal product for all your specifc needs in a
cost efective way
T
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LASERGUN
A great quality product which provides very
special features in a cost efective manner
QUADRA FLASH BRACKET
Easily portable in studio or outdoors.
It allows you to mount up 4 speedlights on
a single bracket which can be mounted on a
standard spigot.
An umbrella socket allows the use of a refective
or shoot through umbrella.
SPEED LIGHT BRACKET FOR
ELINCHROM MOUNT
Elinchrom mount
Suit for all kinds of accessory with
Elinchrom mount
Aluminum die casting
With 1/4”-3/8” adapter
 Te hot shoe is removable
 Accessories suitable: Standard
refector dish, Barn door flter kits,
Sof box, Snoot etc
DIGITAL GREY CARD
Small, portable and compact
Accurate color balancing tool
Can be used in pre-
or post- production
Lanyard strap included
Waterproof, washable
and durable
SKATER DOLLY
Tis Skate Dolly is made on
a 1/4” aluminum frame.
Te legs move
independently to create
a straight on, reverse, 360
around objects, dynamic
tracking, or just about any
angle you can think of.
Te adjustable arms have an incredible smooth
movement.
Te arms can also be locked down.
A
S
C
O
M
S
Y
ST
E
M
Available at : Ascom system
Phone: 9820067783 Mail id: [email protected]
W
ebsite: www.jimmyjib.in
80 Smart Photography September 2012
ELFIN MINI STABILIZER WONDLAND
Weight : 0.95 kg
material:Copper, Aluminium Alloy,ABS
size: 20.3 x 24.1x 3.0 CM
Load Bearing: 0.2 Kg – 1.8 Kg
S
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ROMAN BENCH
Finest quality classic
shaped fber prop for
studio photography 
Dual use - can be used in
vertical position for standing
poses also in horizontal position
for siting poses
Zero maintenance and
long lasting
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82 Smart Photography September 2013
SIMPEX MASTER D4
Remote control for Flash
Remote control for
Modelling Lamp
Auto Power Saving
Integrated Antenna
16 channel digital display
Integrated Hot Shoe with
Screw Lock
SIMPEX AD-360
It is a powerful and portable lighting
source designed for professional
photographers and photography
enthusiasts in all shooting environment.
It is compatible with all cameras.
S
I
M
P
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X
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v
a
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:
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DICAPAC WP-S10
Allows waterproof case to be used with almost lens.
All Controls are Accessible
For Single - Lens Refex Cameras
Built in Finger sleeve for easy to buton control
N
IK
IT
A
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IST
R
IB
U
T
O
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S
Available at : Nikita Distributors
Phone: 020-30500600
M
ail id: ram
an.jpa@
gm
ail.com

W
ebsite: www.im
aginext.co.in
MATIN LCD VIEWFINDER KIT
With its comfortable sof rubber eyecup and clear view of the
screen, the viewfnder can reduce eye fatigue .
Te 2 x magnifcation gives you a clear view of the screen, with
no distortion or blurring.
Te sof rubber casing ensures that the viewfnder won’t stratch
your LCD screen
S
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INDIA’S NUMBER
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INDIA’S NUMBER 1 IMAGING MAGAZINE!
Special Subscription Offer
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Sofware Spotlight
86 Smart Photography September 2013
Photoshop’s Not-So-Cloudy Future
A
lmost no other sofware has
been as instrumental and defn-
ing for an industry as Adobe’s
Photoshop Suite has been for photog-
raphy and imaging. Adobe’s famous
“graphic editing program” (they get
really annoyed if it’s called anything
else, especially “image manipulation
tool”) has gone through several versions
over the years, and with its latest itera-
tion, Photoshop Creative Cloud a.k.a
Photoshop CC, it has entered a brand
new era.
We’ll begin this article with some
clarifcations. Unlike what most users
believe, and what has been bandied
about the internet, the new version of
Photoshop is not limited to working
only with internet access. You don’t
have to be constantly logged on to the
Cloud to be able to use the sofware.
Once you purchase the initial license
( just like previous CS versions), you
download the sofware to use on your
desktop. Yes, you do have to pay a
monthly subscription fee to use the
sofware, for which you do have to let
the sofware access the internet once
a month for validation, and you do
need to pay to buy additional storage
space on the Cloud (you only get 2GB
of free space in the beginning), but
otherwise you can continue to work
on Photoshop as before. In case you
have issues logging in once a month
to the internet as well (say you’re on
a long trip to a remote location for
a photo-shoot for over a month),
Adobe has you covered too; simply
purchase a premium subscription of
CC that lets you log in once every
three months, or even a year for the
highest payment option, instead of the
monthly check-in.
Now that the essential peripheral
queries have been answered, let’s get
down to the sofware itself. Photoshop
CC has maintained the same user
interface as Photoshop CS6, making
it an easy transition for users of the
previous version. Adobe has added
several nify new features to the new
version that increase the already-
powerful image-editing capabilities of
the sofware. Let’s take a look at some
of these.
Smart Sharpen is one of the most
useful flters in Photoshop, and
Adobe has redone the whole thing
from the ground up. Te new flter
lets you reduce noise in out-of-focus
backgrounds while sharpening edges
that need it, solving the problem of
background noise being sharpened
along with the areas that need to be
sharpened. Te Upsampling tool has
also been given a makeover from
scratch. Te new tool gives you the
option to make several tweaks when
enlarging your image, including
the critical “preserve details when
enlarging”. For users in a hurry, or
those who are simply not comfortable
making all the changes individually, the
tool also ofers a handy Auto option
that maintains the “preserve details”
option while doing whatever else is
required to achieve the desired size
and resolution.
Adobe has also introduced a very
handy new feature in the Camera
Shake Reduction flter. Selecting Shake
Reduction from the File/Sharpen
menu lets you select blurry areas in
the image that need sharpening. Te
sofware analyzes the amount of pixel
displacement in the picture and tries to
compensate the same in the direction
(horizontal or vertical) you tell it to.
While not a miracle worker, it works
well enough to come close. And in one
of the best improvements, Adobe has
fnally integrated Camera Raw 8 support
directly into Photoshop CC, leting you
use the extremely precise control of
Camera Raw as a flter. Features like the
improved healing brush and the new
Upright feature (lets you straighten
horizons and buildings intuitively) serve
as bonuses to the new feature.
While you may not be a fan of the new
subscription-based model (Adobe’s
complicated payment plan can be
seen on their website), the host of new
features ofered by Photoshop CC, and
the promise of many more to come,
make switching to this new version of
the iconic sofware a given. If you’re still
not convinced, you can always continue
to use CS6, but be warned: Adobe will
no longer support pre-Creative Cloud
versions of its sofwares.
Spandan Sharma
88 Basic Learning VI
Learnings
90 Exposure Exposed
98 Star Trail Photography
102 Tabletops For Album Covers
88 Smart Photography September 2013
Learning
Lens focussed to Infnity. DOF at f/22 extends from approx.
12 feet to infnity.
Basic Learning VI
Depth Of Field
By varying the aperture on your
camera lens, you can control the image
brightness, as well as increase the range
of objects that will appear sharp at
a single focus seting. Tis band of
sharpness is called depth-of-feld.
In SLR cameras, you can observe the
lens diaphragm change as you vary
the aperture. Aperture, as has been
mentioned earlier, is shown in f/numbers
or f/stops. Tis is an internationally
accepted number scale that runs as f/1.4,
f/2, f/2.8, f/4, f/5.6, f/8, f//11, f/16, f/22 and
so on. When a lens has an aperture of,
say f/1.4, it is termed a ‘fast’ lens. At the
aperture of f/1.4, it is considered ‘wide
open’, thereby leting in much more light.
Some SLR lenses usefully feature a depth-
of-feld scale. Tis scale would indicate
that the depth-of-feld is most limited at
the widest aperture and is extensive at the
narrowest aperture. Terefore, a 50mm
lens set to f/2, for example, may sharply
record everything from around 8 f to
12 f, but the same lens at an aperture
of f/16 will have an extended depth-of-
feld ranging from around 5 f to almost
infnity. Terefore, by changing aperture,
one can localize detail, pick out objects to
show them sharply, or view everything in
the picture sharp from the close point to
furthest distance. However, a wide open
aperture of, say f/1.4, at a high ISO could
pose a problem of overexposure in bright
sunlight. At such times, one can either
use a narrower aperture, or if that is not
desirable, the solution may be to lower
the ISO sensitivity.
In order to measure depth-of-feld,
many SLR cameras have a depth-of-feld
pre-view buton. Pressing this buton
changes the diaphragm of the lens to
that of the aperture you have selected
and enables you to view the fnal
results as they are shot. At this moment
however, the image in the viewfnder
gets dark because the aperture ‘stops
down’ to the taking aperture.
In auto exposure cameras having a
Scene mode, one can select the type
of scene being shot. Accordingly, if
you are photographing a landscape, a
narrower aperture will automatically
be selected in order to gain maximum
depth of feld. When taking portraits,
a wider aperture may be selected in
order to throw the background out of
focus. Trowing the background out of
focus forces the viewer’s atention on to
the main subject.
Te best way of controlling depth-of-
feld is to select the Aperture Priority
mode in your camera. Another
efective way to maximize depth-
of-feld is to use a technique called
Hyperfocal Focussing. Tis method
of maximizing depth-of-feld at
any aperture is useful for shooting
distant subjects like landscapes. As
an example, with a 50mm lens set to
f/22 and focussed at infnity, depth-of-
feld would extend from infnity to a
minimum of 12 f. If you then refocus
for the Hyperfocal distance at 12 f,
the picture would be sharp from 6 f
to infnity, thus increasing the depth-of-
feld.
Depth-of-feld tables are available to
take the guess work out and make for
precise defnition of sharp areas in a
picture.
H. S. Billimoria
By seting the infnity mark ( ) to f/22 on the other side of
the index, the DOF has now extended from approx. 6 feet
to infnity. Te Hyperfocal distance is 12 feet.
A wide aperture has thrown the background out of focus,
thus concentrating on the main subject.
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90 Smart Photography September 2013
Understanding Photography
Learning
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, Andhra Pradesh, 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.
Te author, Ashok Kandimalla has been in the photographic feld for over three decades and has extensive experience in both flm
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 htp://www.fickr.com/photos/ashok_kandimalla. He can be reached at [email protected]
Exposure Exposed
T
he sensor in your camera ( just like your eye) can tolerate and record only a certain range of intensity of light. Hence, it
is necessary to regulate light and bring it to levels that can be tolerated by the sensor. Not only that, the sensor should
be given the right "dosage" of light. Tis is what we call "Exposure". When the exposure is correct the image will record
the maximum number of tones and colors (Picture 1). It should not be overexposed (too light, Picture 2) or underexposed
(too dark, Picture 3). Exposure, together with focus, forms one of the the two most critical technical aspects (leaving aside the
aesthetics) of a photograph.
Picture 1
Picture 1: A
correctly exposed
image.
September 2013 Smart Photography 91
Understanding Photography
Picture 2: An overexposed image. See how
many of the light toned areas have become
detail-less white patches, called “blown
highlights”.
Picture 3: An underexposed image. In this case
you can observe that many of the dark toned
areas have become detail-less black blobs,
known as “blocked shadows”.
Picture 2 Picture 3
Exposure depends on three parameters in a digital camera:
1. Aperture
2. Shuter speed
3. ISO
Te frst two control the amount the light hiting the sensor
whereas ISO controls the sensitivity of the camera to light.
Wider apertures (smaller f/ numbers) allow more light and
narrow apertures do the opposite. Likewise slower shuter
speeds allow more light compared to faster shuter speeds.
Making the camera more sensitive to light (higher ISO) means
that you need less light to take a photograph. If you keep
both shuter speed and aperture constant then you can
make the image darker or lighter by decreasing or increasing
the ISO. However, ISO is seldom changed to get this efect.
It is more ofen altered when you want a higher shuter
speed (to stop action, for example) or a narrower aperture
(for greater depth of feld), and the prevailing light is not
sufcient to support these. Ten, you can achieve either or
both of these by increasing the ISO. Conversely, you can
decrease the ISO when you want slower shuter speeds and/
or wider apertures.
An interesting principle in photography is called
“Reciprocity”. Tis means that you can have several
(virtually hundreds of ) combinations of shuter speeds,
apertures and ISO values for the same exposure. Table 1
illustrates this very well. All these combinations give the same
exposure!
 
While it was once possible to set the exposure using the
"Sunny 16 rule" (see box), it is now becoming increasingly
difcult to do so due to the enormous ISO range of modern
cameras which starts from around 50 and can go all the way
up to 200,000! Fortunately, all cameras these days come
equipped with light meters (also called exposure meters),
and these measure the light and set the exposure. Tey
do this job reasonably well but fail at times - fortunately
quite predictably! Tis article will help you recognize those
instances when a meter will give you erroneous readings. It
will also tell you how to correct the error.
Table 1
Shuter Speed Aperture ISO
1/125 sec f/8 50
1/60 sec f/11 50
1/250 sec f/11 200
1/125 sec f/16 200
1/250 sec f/16 400
1/125 sec f/22 400
92 Smart Photography September 2013
Understanding Photography
Learning
Sunny 16 Rule
Tis is one of the classic thumb rules in photography. Tough you may not fnd use for it ofen (since every camera these
days has an exposure meter), it is still a good practice to check occasionally if your meter is really functioning properly. It
is defned as follows. On a clear sunny day, for frontal lighting, your exposure should be such that shuter speed = 1/ISO
@ an aperture of f/16. For example, if you are using ISO 200, then your exposure should be, 1/200 @ an aperture of f/16.
Simple isn’t it?
You can extrapolate this rule a bit by observing the shadows. Te following table gives you the details:
Type of day Shadow Aperture
Clear sunny day Sharp well defned edges f/16
Slightly cloudy Slightly fuzzy edges f/11
Cloudy Very fuzzy edges f/8
Over cast No shadows f/5.6
Shuter speed in all cases is 1/ISO
Exposure modes: A modern D-SLR or
an advanced P&S camera ofers several
exposure modes. Tese consist of, at
the very minimum, the standard modes
like Program, Aperture Priority, Shuter
Priority and metered Manual. Apart
from these, cameras have myriad other
modes called “scene modes”. Tese
modes go by names like landscape,
night scene, night portrait, party, pet
(no, that is not a typographical error!),
and so on.
However, remember that all modes
give you more or less the same
exposure. Tey difer mainly in
the fexibility (or ease) they ofer in
choosing a shuter speed (Shuter
Priority) or aperture (Aperture Priority)
or both. Te former could be useful
for action photography, when depth of
feld (DOF) and hence aperture seting
is less important. Similarly, Aperture
Priority mode will be useful where you
want to control DOF, like in landscape
photography (when shuter speed is
relatively unimportant due to the static
nature of the subject).
Te scene modes generally choose
a combination of shuter speed and
aperture best suited for a given
situation. Typically, the Landscape
mode will give you greater DOF and
the Portrait mode will give you a wider
aperture for shallower depth of feld
for unclutered backgrounds. In all
cases however, the shuter speed and
aperture combination (for a given
ISO) will be such that the exposure is
correct. For example, assuming that
the ISO is same, Landscape mode may
give you 1/60 at f/11 whereas, under
the same lighting conditions, Portrait
mode may give you 1/500 and f/4. In
both cases the exposure is the same
but the combination chosen is more
appropriate for the given application,
while following the reciprocity
principle you just read about.
Barring the metered manual mode,
all other modes are “automatic” in the
sense that they alter the exposure to
suit the changing light. Also, in these
modes, if you change the shuter
speed for example, the aperture will
change in step to keep the exposure
same. Te same is the case if you
change aperture – this time shuter
speed will change in step. Te same
will happen if you change ISO. Tus
you cannot change the exposure set
by the camera this way, even if you
want to. Tat can only be done by
using “exposure compensation”
buton (Picture 4) on your camera.
With this you can reduce the
exposure to make the image darker.
Alternatively, you can increase the
exposure to get the opposite efect.
Picture 4
Picture 4: Exposure
Compensation Buton.
Tis will allow you to
change the exposure
in automatic exposure
modes.
September 2013 Smart Photography 93
Understanding Photography
Metering Modes: Apart from the exposure modes that you just read about, all advanced cameras support several metering
modes. Tese defne the way the meter, or more appropriately how the metering patern, is organized. Te metering modes,
their symbols, and other operational details are given in Table 2.
Table 2
Metering Modes with symbols Characteristic Other Remarks
Center Weighted Most (but not all) of the sensitivity of
this type of metering is concentrated
at the center of the frame. In a D-SLR,
typically 75% of the sensitivity is
concentrated in a circle of 8 mm
(millimeters) in diameter. Tis circle is
indicated in the viewfnder.
Tis was most widely used till
superseded by evaluative meters.
Spot
As the name indicates, the entire
sensitivity of the meter is concentrated
in a small area called “spot” of about
3.5 mm in diameter. Generally, there
is one spot meter corresponding to
each focussing point. Te area covered
by each spot meter is marked in the
viewfnder either by a square or a
rectangle.
Due to the very small area that is
read, spot meters are most useful
when you want to critically set
exposure and tone for an area
(especially if it is small) in the scene.
Tis is a thinking photographer’s
meter that will you give complete
control. However, it is difcult to
master. It is the best mode for high
contrast scenes.
Evaluative, also called Matrix,
Honeycomb, etc.
Here the meter has many light sensing
segments, sometimes more than
a thousand. Each of the segments
measures the light intensity, and if a
segment fnds something abnormal
(like a bright refection), then that
segment is ignored. Te reading taken is
compared by the on board computer
to a database of exposures stored in
the camera for diferent scenes. Tis
information is used to compute a good
exposure.
Gives correct results in 95% of the
situations and is most widely used
now. Also, works very well with
daylight fll fash. However, it can be
unpredictable sometimes due to
the “evaluation” process done by
the camera’s computer. Evaluative
meters also give wrong readings if
the subject is small and is heavily
contrasted against the background.
94 Smart Photography September 2013
Understanding Photography
Learning
All meters behave the same way:
While all humans don’t behave in
the same way, all meters in fact do!
What this means is that, when a meter
(regardless of the exposure or the
metering mode) reads a scene, it thinks
that it is seeing a scene that is average
in tone, also called the medium tone.
Tis is also sometimes described
as meters being calibrated to 18%
refectance, since this corresponds
roughly to medium tone.
Te result is that, when a meter is not
seeing an average scene, it will give an
erroneous reading. It is imperative that
you recognize these situations and then
apply suitable correction in the form of
exposure compensation to get the right
exposure.
You are likely to come across the
following three cases where the overall
scene will not present an average tone
to the meter, hence causing the meter
to err.
 
1. High-key scenes
2. Low-Key scenes
3. Back-lit scenes
High-key scenes: A scene with
predominantly light tones will result
in what you call as a “High-Key”
photograph. Picture 5 shows a very
light toned car model against a white
background, making the whole scene
predominantly very light. Tis creates
the high-key efect. If you take a meter
reading of such a high-key scene, then
it will give a reading that will render
the scene as medium tone. To get the
correct tone in this case, an exposure
compensation of +2.0 EV was given. Tis made the car and white background to
come out very light (the way we wanted) rather than in medium tone.
Low-Key Scenes: Opposite of a high key scene is the low-key scene which
results in a “Low-Key” photograph. Here, we have a black camera against a black
background (Picture 6), making the whole scene predominantly very dark, that is,
low-key. If you take a meter reading and expose it as it is, then the scene will be
rendered in medium tone once again. To avoid that, an exposure compensation
of –1.7 EV was given. Note that this rendered the camera black while at the same
time retaining the details of the camera body and lens barrel. Without this minus
compensation, the image would have been rendered in medium tone.
Picture 5
Picture 5: High Key scene. You need to give around +2.0 stops
compensation for a scene like this.
Picture 6: Low key scene. Here a -1.7 stop compensation
was given.
Picture 6
September 2013 Smart Photography 95
Understanding Photography
Why does your meter give an error in
these cases? A meter cannot distinguish
between a predominantly light (high-
key) scene and a predominantly
dark (low-key) scene, even though
the lighter scene has a much higher
refectance than the darker one. So,
it will treat the frst case as a medium
toned scene in more light, and the later
as a medium toned scene in less light.
Hence, it will give less exposure than
what is needed in the frst case and
more exposure in the second case. Tis
will make the high-key scene darker
due to underexposure and the low-
key scene lighter due to overexposure.
Te consequence is that both scenes
will be recorded as medium toned!
You can easily understand this if you
remember that meters are always
calibrated to medium tone as they do
not take into account the refectance
of the subject. Simply put, meters are
“tone blind”!
Since this is an important concept, here
is a restatement of the same: Whatever
you measure, the meter will give a
reading (for that area) such that it will
be rendered as medium tone (the
calibrated tone) in the captured image.
Hence, you need to remember that if
you meter a scene whose tone is not
medium tone to start with, then you
will get results that may surprise you. In
case you come across high and low-key
scenes, you need to give more and less
exposure respectively to get the scenes
rendered properly.
Back-lit scenes: Tis is a very
commonly occurring error and occurs
most frequently in portrait photographs
(Picture 7) that are taken against a bright
background. Tis is really a special case
of a high- key scene where the meter gets afected by the bright background
and sets an exposure to render the background in medium tone (underexposes).
Tis results in the subject being rendered in a tone that is even darker than the
mid-tone. Te underexposure increases as the subject size decreases, as the meter
will see a greater area of brightness and will underexpose even more. Same is the
case if the brightness of the background increases. In extreme cases, this may result
in what is called a silhouete. In a silhouete, the subject is rendered totally dark
without any details. Tus only the form of the subject is recorded against a bright
background. An interesting aspect of silhouetes is that the exposure needed for
producing a silhouete is not perhaps technically the correct one, as this would
bring out the details of the subject. However, it could be artistically pleasing.
Te remedy for back-lit scenes is either to use a fll-fash, or take a spot meter
reading of the subject. In the later case you need to compensate the spot meter
reading based on the skin tone of the subject (Picture 8). More on this shortly.
Picture 7: A backlit portrait. Te
exposure meter was infuenced by the
bright background and rendered it
as medium tone. Tis caused the skin
tone being recorded very dark.
Picture 8: Here a spot meter reading
was taken from the face of subject
and a compensation of +1.0 stop was
given. (Generally, Indian skin tone is
considered as a mid-tone, but since
the subject here is very fair, the +1
compensation was given). Now, the
subject is recorded with the proper
tone but the background is over
exposed. An alternate solution is to
use a fll-fash. Tis will brighten the
subject without overexposing the
background.
Picture 7
Picture 8
96 Smart Photography September 2013
Understanding Photography
Learning
High Contrast scenes: Tese are also
troublesome situations but here the
problems arise due to the camera’s (or
more appropriately the sensor’s) inability
to cope up with the brightness range of
the scene, rather than the scene not being
in average tone. You can easily understand
what happens if you know what the two
terms brightness range and dynamic
range mean. Every scene has a brightness
range which is the tonal variation between
the brightest and darkest parts of the
scene. Tis is measured in stops (hope you
have not forgoten what a 'stop' means!).
A scene with a very high brightness range
results in what we call a “high contrast”
scene. Examples of such scenes are brightly
lit landscapes with shadows, night scenes
with street lights, interiors of rooms with
light spilling from windows, etc.
Generally, modern imaging sensors can be expected to have at least 5-stops of
dynamic range though more expensive cameras have a larger range (around 8-10
stops). Tis means they can record two objects, bright and dark, with proper detail
even though the diference in their brightness is about 5 stops. Tis is called the
dynamic range of the camera.
You will have no problem if the brightness range of the scene is less than the
dynamic range of the sensor. Tis is what you would call as a low-contrast scene
(you still need to compensate if the scene is low in contrast but low- or high-key).
If it is a high contrast scene where the brightness range exceeds the dynamic range,
then due to the limitation of your camera you will not be able to record the full
brightness range present. Hence you need to setle for a compromise (Picture 10)
and decide what you want to record and what you want to discard – that is, to
record without detail.
If you set a positive compensation, then you will expose for shadows thus
preserving the details in the dark areas, while highlights will be overexposed (that
is, blown out). Te opposite will happen if you expose for highlights (negative
compensation in this case), resulting in blocked shadows. Alternatively, you can
set an exposure optimized for mid-tones, in which case the image may have
both blocked shadows and blown highlights, but the mid-tones will be recorded
correctly. You will have to decide the direction (positive or negative) and the
quantity of compensation depending on which details (shadows or highlights or
mid-tones) you want to preserve!
Picture 9: A typical high contrast scene where the
brightness range of the scene exceeds the camera’s dynamic
range. Here the exposure was set for shadows (see also
Picture 10). So, the darker areas were recorded correctly
but the brightly lit areas have become detail-less white
patches (blown out) as indicated by arrow marks.
Picture 10:
Brightness range
and Dynamic range.
Arrow marks show
areas which will
not be recorded
properly as they are
outside the dynamic
range of your
camera.
Picture 9
Picture 10
September 2013 Smart Photography 97
Understanding Photography
A spot meter is not always spot
on! A common mistake many
photographers make (it is writen like
this all over the Internet as well as in
some magazines too) is that whenever
your subject is very heavily contrasted
(like a back-lit portrait), you should take
a spot reading of the subject and then
take the picture. While this is not wrong
it is only half correct. What happens
is that when you take a spot reading,
the meter sets the exposure so that the
area you have measured is recorded as
medium tone. Tis is the fundamental
characteristic of any meter as you have
just read. If this happens to be what
you want, then you are home. If not,
you have to compensate it properly
by following Table 3. In fact you need
not even bother what the original tone
of the subject is, as it will be recorded
always in medium tone without
compensation! Te compensation
you give is what determines the fnal
tonality of the image.
Table 3
Tonal Variation Table
Compensation Value in EV (stops) To render the tone as
+ 2.5 burnt/blown out (texture-less) white
+ 2.0 extremely light
+ 1.5 very light
+ 1.0 light
+ 0.5 slightly light
0 medium tone
- 0.5 slightly dark
- 1.0 dark
- 1.5 very dark
- 2.0 extremely dark
- 2.5 blocked (texture-less) black
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Tat is why a spot meter is called a
“thinking photographer’s” meter!
Tis is also the reason why (assuming
that a spot meter is working properly) it
can never get “fooled” like an evaluative
meter! However, what compensation to
give depends on you, and if you err in
the value of compensation you will get
a wrong tone.
Now, let us revisit the back-lit portrait
case. As an example, if you are
photographing a very light skinned
person, then you need to take a spot
reading and then give +1.0 to +1.5
stops compensation. If the subject is
dark skinned then you need to give
-1.0 to -1.5 stops compensation.
Without compensation the subject will
appear medium toned in both cases
– that is, subject will appear darker in
the frst case and lighter in the second.
Of course, if the subject is medium
toned then you need not give any
compensation.
Exposure compensation is very
important when you use a spot meter
and here's the reason why. While all
meters, including spot meters, look
at the scene as medium toned, this
issue is very critical in the case of spot
meters. Meters other than spot meters
measure the whole scene, or at least
a large part of the scene. Since large
areas will have diferent tones, they
tend to compensate each other and
average out to medium tone. Tis does
not happen with a spot meter with its
narrow coverage, and thus more ofen
than not a spot meter reading will
require exposure compensation.
CONCLUSION CON CCONCCLUSION LUSIO IONN
1. A technically correct exposure is
the one that records the maximum
tonal range. However, this may or
may not be the one aesthetically
most pleasing!
2. All meters are calibrated to
medium tone, which corresponds to
roughly 18% refectance.
3. Te actual tone of the subject does
not mater to the meter! Te meter
reading will be such that the area you
measure will always be rendered as
medium toned in the image.
4. It is you who has to decide how
you want the subject to be rendered
- medium, dark or black, or light or
white, or anything in between. You
will need to give compensation to
the meter reading accordingly, using
the tonal variation table (Table 3).
Learning
98 Smart Photography September 2013
P
hotographing the night sky can be
extremely interesting. Tough a
bit challenging technically, if done
following the correct technique, it can
yield immensely beautiful results. Te
world of astronomical photography
is a magical, surreal experience. Tis
involves constellation photography,
Milky Way photography, computer as-
sisted photography of celestial bodies
and the most interesting of all, Star Trail
Photography. Tis article will explain
to the reader how to create a star trail
photograph. It is not as easy as it reads,
at least for one trying it out for the frst
time. At the same time, it is not as dif-
fcult as rocket science!
I owe a special acknowledgement for
the technical expertise shared by my
good friend Mr. Abhishek Bawkar,
who was the frst man to instil and
develop a huge interest in me about
star trail photography and there start
my journey. Deserts, plateaus, beaches,
valleys, hill tops, forests… the charm of
doing star trail experiments in unknown
remote terrains and the tinge of
unpredictability of the fnal result every
time you do it, is what makes it even
more thrilling.
If you are planning for star trail
photography outdoors, somewhere
in the outskirts of your city limits, you
need to frst plan the calendar day.
You need to choose to do your star
trail photography on a moonless night.
So do some research in fnding out
which is the next moonless night which
matches your availability. Most of the
moon-set calendars also give you a
chart to understand what would be the
strength of moonlight on that night if it
is not absolutely moonless.
Second is the location. You must do a
litle homework to fnd out a location
which is away from the maddening city
crowd, as far away as possible from
where you live. Find a place which
has minimum light sources (if possible
none) till the horizon.
Gadgets are essential. It is important to
carry a Digital SLR (preferably with a
wide-angle lens), a sturdy tripod, and
a remote shuter release (inexpensive
ones are available even at Rs 400).
I would strongly recommend a
remote shuter release with a locking
mechanism. If you don’t have a wide-
angle lens, you may miss the fun but
you could still get decent photographs
at 18 mm of your kit lens (DX lens,
equivalent to around 28mm in the
35mm format). Plan your trip in such a
way that you reach the location around
sunset time. Ensure that the location
you choose is safe enough.
First of all you must try to identify the
Pole Star. Te Pole Star or the Polaris
as it is also called, is situated exactly
above the North Pole of the earth and
stays there all the time. Since it is in line
with the earth’s rotational axis, there is
no relative movement of earth and the
Pole Star. All other stars appear to move
from east to west as the earth rotates
around its axis but the Pole Star remains
in the same position. Tis is the principle
behind those wonderful star trail images.
Identifying the Pole Star can be done
based on two distinct constellations.
One is the Great Bear, which looks like
a pan with a handle. Tis constellation
is also known as the Big Dipper. Te
end two stars of the Great Bear are the
pointers and when extended along a
virtual line, should meet the Pole Star.
Te other constellation looks like a
‘ W’, called Cassiopia. Te Pole Star is
situated upwards from the top of the
‘ W’. A perpendicular line drawn from
the 4th arm of the ‘ W’ meets exactly
at the Pole Star. Tese days you have
a lot of applications in your mobile
phone which show the night sky very
beautifully. Te only challenge you face
is when you choose a location which
is far of from the city and there is a
diminished connectivity of your mobile
network. It is therefore important for
you to know how to identify the Polaris
based on the above mentioned two
constellations.
Star Trail Photography
Learning
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September 2013 Smart Photography 99
100 Smart Photography September 2013
Learning
Tere are two diferent methods to do Star Trail
Photography. One school of thought says, on a starry night,
afer mounting the camera on a very sturdy tripod, you
should keep the shuter open for almost an hour in Bulb
mode so that the stars create a trail as the earth rotates on its
own axis.
Te second school of thought advises us to take multiple
frames, as many as 100 or 150 or even more, each clicked
keeping shuter open for 20 – 30 seconds duration. I prefer
the second method.
Once you determine the position of the Pole Star, put
your camera on your tripod facing the North Pole. Atach
the wired remote shuter release. I suggest you keep your
camera in manual exposure mode and in manual focus.
Now compose your frame. Include a small portion of the
foreground, and the maximum of the sky. Use the widest
possible focal length of your wide-angle zoom lens.To focus,
point the camera at a bright star or anything far away. In
case you fnd it difcult to focus manually, you can keep the
camera in autofocus mode and try to focus on some bright
star or an illuminated object far away. Once it is focussed,
switch from autofocus to manual focus. Ensure that you do
not touch the set-up, else focus will get disturbed. If you are
facing the Pole Star, you will get circles in the fnal output and
if you are facing slightly away from the North Pole or towards
east or west, you will get arcs in your fnal image.
Set your ISO value to approximately 400 – 600. You may
have to experiment a litle with this. Switch of your long
exposure noise reduction. Keep shuter speed at 20 seconds
or 30 seconds. Open up your aperture to as much as your
lens allows. Keep the shuter in a continuous shooting mode
(burst mode).
It is good to check afer taking a few trial shots. Once you are
satisfed with the exposure and composition, leave the setup
and you are now ready to go. If you click the remote and
lock it, the shuter being in the continuous shooting mode,
will remain open for 20 seconds (if you have opted for 20
second exposures) and afer every 20 seconds it will close
and open for the next 20 seconds exposure. Tis will keep
happening as long as the remote lock is on. You can relax;
your setup is completely a walk-away system now.
If you allow this process to go on for almost an hour, you will
get approximately 120 frames if you had kept the shuter
speed at 30 seconds; 180 frames if shuter speed was 20
seconds. Tat’s quite a few to process! Shoot in JPEG.
Now once you have some hundred or more JPEG images,
it’s time to stack them up. Tere are various free sofware
available on the Internet. Once such is Star Trail.exe, which I
use for processing my images. It is fairly simple to operate. It
will stack all the images and will create a wonderful star trail
image for you.
Pack your gear, choose a moonless night and walk out to a
remote place far away from the city. You may fnd me there
shooting Star Trails!
Dr. Caesar Sengupta
Learning
September 2013 Smart Photography 101
102 Smart Photography September 2013
Learning
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 fne arts. Tis ‘fne art’ refects in his work
because he feels that there is always a litle 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 frst love – art. He may be
contacted at [email protected].
Tabletops For Album Covers
H
ow does an idea of creating a very
personal or unique album cover
of a function shoot seem to you?
And that too by shooting tabletops!
I have noticed that function
photographers are generally interested in
portraits or photographing models, but
turn a blind eye to tabletops. Tey seem
to pose a question, “What’s the use?”
Tey crib that the market is competitive,
but at the same time they fail to think
‘broadly’, on how to deliver or present
their pictures in a diferent way to make a
mark of their own.
Trough this write-up I shall deal with this
virgin idea and try to convince serious
function photographers to learn to
create table-tops and apply the art to
personalize their client’s album covers.
In the old days, photo albums used to be
made up of pages of black paper and
prints used to be stuck on them; ofen
times paper corners (print ‘holders’) were
used, and the prints inserted in them. A
sheet of buter paper was placed in-
between two adjacent prints to prevent
them from sticking to each other. As the
B/W era passed, the postcard albums
of white PVC material, along with sticker
albums for bigger prints, were the next in
line. Tese days prints are ofen stuck back
to back, or are printed on both sides of the
paper, and are then coated and bound
together to give the look of a cofee-table
book or a company catalogue. So friends,
if you have reached here with the passage
of time and technology, why not go a
step ahead and make use of the latest
technology and art to deliver something
unique, something personal, and
something that the client would appreciate
because times have changed? Gone are
the days when your client wanted straight-
forward pictures - sharp and well-lit. Tese
days they ofen prefer shallow depth
of feld, with some kind of drama in the
picture, or artistic lighting.
Functions like birthdays, engagements,
weddings, get-togethers or corporate
launches, etc have one thing in common
– sweet memories! Tese are to be
preserved because ‘that day or that
moment’ is not going to come back again.
Let your album cover be a statement or a
heading of what lies inside – similar to the
cover of any book or novel.
First and foremost, start associating
objects with diferent occasions – like
cakes, candles or balloons talk of
birthdays, wafers may symbolize birthdays
or any get- together in general; wine and
cheese is typical of corporate parties,
red wine and plum-cakes talk of Christian
weddings or Christmas parties; rice and
turmeric paste, gold jewellery, brocade
sarees and ‘mehendi’ also symbolize
weddings. Now start arranging these
props and create good and meaningful
compositions. Initially you may fnd this
a bit difcult, but afer a while you will
agree that table-tops are addictive. Tey
involve your creativity and observations
to the fullest.
Some reader may ask, “Ten why not
download a few appropriate images
from the Net?” Well, if you do so, then
the studio next door may also do the
same; it does not take time to copy!
Hence you need to develop your
own skills to show some uniqueness in
your work and be at an edge above
the competition. Tink on a diferent
platorm - the saree or the jewellery
that a bride wears is a unique piece
and a valuable memory to her parents
who have gifed it to her. So why not
use a part of the saree or the jewellery
and shoot an artistic table-top to go as
a cover for the wedding album?
September 2013 Smart Photography 103
Picture 1- Cakes or candles can symbolize a birthday of
any age group, but if you want to be specifc about a child’s
birthday party/gathering, then you need to have those
props which symbolize it directly. Hence peppermints were
chosen, along with lollipops, to defne the ‘children’ in it.
Orange and yellow coloured peppermints were scatered
on a white acrylic sheet, and two light sources were used
to light up the table top (Lighting diagram 1). Te main
light was diagonally opposite the camera position and
the second light was placed below the acrylic. A sheet of
black tinted paper was pasted below the acrylic. A cut-
out was made on the black paper to allow some light to
pass through, thus back-lighting some of the translucent
peppermints. Tis simple trick has created a mouth watering
picture for the album cover.
soft box
Pepperment
torn
black paper
Camera
acrylic
Picture 1
Lighting diagram 1
Here are a few interesting examples that I would like to explain with lighting diagrams-
104 Smart Photography September 2013
Learning
epp ep ep e te tem em e bbbbe be be ber er er er berr b 20 20 20 20 20 200 20000 222 13 13 13 133 13 133
Picture 2 - Props signifying any general marriage ceremony were
cleverly composed on a gray tile fooring. Te position of the main
light was as shown in the diagram (Lighting diagram 2) and the
camera was placed at a height. Te difuser on the strip light (which
acted as the main source of light) was half opened. Te sof light
passing through the difuser was lighting up the props, while the
hard light spilling over the uncovered area of the strip-light was
used to light up the smoke coming out from the holy fre (yagna).
Another light was positioned using a foor stand, and a ‘grid’ was
used to control this source. A spot-light thus created was used to
light up the marigold fowers. ‘Cuters’ were cleverly used to control
the main source of light and to reduce the shine created by the
strip-light on the foor. Tis smart control of light gave separation
to the fame and the smoke. To register the fame, a longer shuter
speed had to be used (1/8th sec), and to avoid any possible blur
due to camera movement, the camera was placed on a tripod. In
case you do not have a tripod, then a meaningful shot can still be
managed without lighting the fre (Photo 2b).
Striplight
Cutter 2
Cutter 1
Props
Camera
light with grid
Picture 2 Picture 2b
Lighting diagram 2
September 2013 Smart Photography 105
Learning
Softbox
light with grid
thermocole 1
camera
thermocole 2
Photos 3, 3a, 3b - A fnger-ring is the
best prop to symbolize an engagement
ceremony. First, the table-top was loosely
arranged as shown in Photo 3. It was later
composed from various angles to produce
Photos 3a, 3b. Handmade papers make
good backgrounds for such shots. Te violet
coloured net stole which the girl wore that
day was requested for, and added as a prop
to the picture. Once again two sources of
lights were used (Lighting diagram 3). Te
key-light (sof box) was positioned above
the table-top, and another light was passed
through a grid and positioned in such a
manner that it passed through the violet net.
White refectors were positioned around
the ring, to bring out the ‘gold’ in it. In all the
tabletops enough vacant space, or “plain
areas”, were lef in order to insert the name
of the client, or words like ‘Engagement’ or
‘Wedding’, etc. Picture 3
Picture 3a Picture 3b
Lighting diagram 3
106 Smart Photography September 2013
Learning
Photos 4a, 4b - Te saree to be worn by the bride
can be used as a background itself, and an old silver
box usually used to keep the ‘sindoor’ (and which is
easily available) can be used as a prop. Te bride’s
parents have a lot of emotional value for this saree.
Clever compositions can give you horizontal or vertical
options for the cover, while laying out the rest of
the album. Lighting diagram 4 shows you the light
positions.
With practice you will get beter and beter. You
could then create your own templates and sell them
to others who are not as profcient as yourself. Tat
would mean additional revenue for you.
Softbox
Saree
Camera
Thermocole
A
l
l

p
i
c
s

e
d
i
t
e
d

b
y

B
h
a
v
e
s
h

B
o
l
i
n
j
k
a
r
Lighting diagram 4
Picture 4a
Picture 4b
Reviews
120
124
114
Compact Review
Lens Review
ILCC Review
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
Design & Build Quality .................... (out of 20)
Key Features ........................................... (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/Viewfnder..................................... (out of 5)
Auto White Balance ........................... (out of 5)
Value for Money ....................... (out of 10)
Grand Total ............................... (out of 100)
LENSES
Design & Build Quality .................... (out of 20)
Key Features ........................................... (out of 20)
Ergonomics ............................................. (out of 20)
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)
Value for Money ................................. (out of 10)
Grand Total ......................................... (out of 100)
COMPACT CAMERAS
Design & Build Quality .................... (out of 20)
Key Features ........................................... (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/Viewfnder..................................... (out of 5)
Auto White Balance ........................... (out of 5)
Value for Money ....................... (out of 10)
Grand Total ............................... (out of 100)
Panasonic LUMIX DMC-XS1
Canon EF 8-15mm F/4L Fisheye USM
108
D-SLR Review
Pentax K30
Samsung NX300
108 Smart Photography September 2013
Pentax K30
D-SLR Review
83%
Rs.55,695
Inside the Box
zCamera, with 18-55mm kit lens
zCamera body cap and plastic cover for
accessory shoe
zEyecup (installed on the camera)
zCamera Strap
zLens front and rear caps
zBattery
zBattery Charger and cord
zUSB cable
zSoftware CD-ROM
zOperating Manual
zQuick Guide
T
he name Asahi Pentax spelt
magic for photographers right
from the 50’s to the late 80’s.
With the autofocus revolution, Pentax,
along with several others, lost their
way. Te brand has, however, made a
strong comeback under the ownership
of Ricoh, and is now in India with its
full range of high quality products. All
of Pentax’s D-SLR models start with the
initials “K” to represent the “K” mount
which has been used by Pentax since
the mid 70’s. On the SP test bench
this month is the Pentax K30, a mid-
level D-SLR aimed at enthusiasts, and
competing with the likes of Canon’s
EOS 60D and Nikon’s D7000.
Design & Build Quality
Tough designed with mid-level
photographers in mind, the Pentax
K30 is stylish and cold resistant to -10
0

Celsius. Te polycarbonate body is
weather-sealed (81 seals), and is built
around a steel chassis. Tough not as
sturdy-looking as some competitive
models, considering its price point
and the fact that it is meant for mid-
level photographers who are generally
more careful with their equipment as
compared to professionals, I would say
that it has a good build quality. Tere is
no LCD on the top plate. Te thumb-
rest and the deep hand-grip – which
has a grip-notch for the middle fnger –
together assure you of a steady non-slip
grip. Te On/Of switch surrounds the
shuter release buton (a la Nikon style).
Te built-in pop-up fash rises high
enough to avoid the possibility of the
A Strong Comeback!
108 Smart Photography September 2013
Pentax K30
D-SLR Review
83%
Rs.55,695
Inside the Box
zCamera, with 18-55mm kit lens
zCamera body cap and plastic cover for
accessory shoe
zEyecup (installed on the camera)
zCamera Strap
zLens front and rear caps
zBattery
zBattery Charger and cord
zUSB cable
zSoftware CD-ROM
zOperating Manual
zQuick Guide
T
he name Asahi Pentax spelt
magic for photographers right
from the 50’s to the late 80’s.
With the autofocus revolution, Pentax,
along with several others, lost their
way. Te brand has, however, made a
strong comeback under the ownership
of Ricoh, and is now in India with its
full range of high quality products. All
of Pentax’s D-SLR models start with the
initials “K” to represent the “K” mount
which has been used by Pentax since
the mid 70’s. On the SP test bench
this month is the Pentax K30, a mid-
level D-SLR aimed at enthusiasts, and
competing with the likes of Canon’s
EOS 60D and Nikon’s D7000.
Design & Build Quality
Tough designed with mid-level
photographers in mind, the Pentax
K30 is stylish and cold resistant to -10
0

Celsius. Te polycarbonate body is
weather-sealed (81 seals), and is built
around a steel chassis. Tough not as
sturdy-looking as some competitive
models, considering its price point
and the fact that it is meant for mid-
level photographers who are generally
more careful with their equipment as
compared to professionals, I would say
that it has a good build quality. Tere is
no LCD on the top plate. Te thumb-
rest and the deep hand-grip – which
has a grip-notch for the middle fnger –
together assure you of a steady non-slip
grip. Te On/Of switch surrounds the
shuter release buton (a la Nikon style).
Te built-in pop-up fash rises high
enough to avoid the possibility of the
A Strong Comeback!
M
a
h
e
s
h

R
e
d
d
y
Aperture:f/7.1 Shutter Speed: 1/800sec. ISO:400
110 Smart Photography September 2013
Pentax K30
D-SLR Review
fash light being obstructed by the kit
lens (but you should still take of the
lens hood when using the fash). Oddly,
the dedicated fash-shoe has one blank
contact point. Filter size on the 18-
55mm kit lens is 52mm but the thread is
plastic (like with most mid-range lenses
these days). Te lens is marked at 18,
24, 35, 45 and 55mm setings. Te lens
we received was also water resistant
(marked WR). Te zoom ring appeared
well-damped but the focus ring was
overly smooth. Te body is made in
Philippines and the lens is assembled
in Vietnam. Te camera weighs
approximately 900g (with the supplied
kit lens, batery and hood).
Key Features
Te Pentax K30 is a 16.28 megapixel,
APS-C size CMOS sensor D-SLR
sporting a high performance PRIME
M imaging processor. It features an
in-body Shake Reduction (SR) system.
Tis means that any lens atached to
the K30 body becomes a stabilised
lens. Its optical viewfnder ofers almost
a 100% feld of view and uses a glass
pentaprism instead of the penta-
mirror that is used in many low-cost
bodies. Dioptre adjustment is available
to suit individual eyesight. In spite
of the K30 being aimed at mid-level
photographers, its focussing screen can
be changed for specifc applications
or for individual preferences, a feature
that is generally found only in top-
of-the-line D-SLRs. (Pentax does not
mention whether the camera needs to
be sent to a service facility for a change
of focussing screen or whether the user
can do it himself ). Te K30 uses a 3”
LCD monitor with a screen resolution
of 921,000 dots. Te LCD has +/- 7
brightness levels and a provision for
fne-tuning the colours. On the lef
of the camera is a dedicated RAW/
Fx buton that can be assigned one of
the following functions: One Push File
Format, Exposure Bracketing, Optical
Preview, Composition Adjust, or AF
Active Area (Please see page 165 of
the Operating Manual for details).
Te K30’s AF system utilises a newly
designed SAFOX IXi+ autofocus module
with 11 AF points, out of which 9 in the
middle are cross-type for quick and
accurate autofocussing. A refraction lens
is added to the module to minimize
chromatic aberrations while a light
source sensor compensates for minute
focussing errors caused by diferent
wavelengths of light from difering
sources. In Continuous AF mode
(AF.C), focus tracking is possible; if the
subject moves out of the pre-selected
sensor, the adjoining AF sensors assist in
latching on to the subject. Tree types
of exposure metering are on ofer:
77-segment Multi-segment metering,
Centre-weighted and Spot. Exposure
modes are aplenty – Auto, Scene (SCN),
Program (P), Sensitivity Priority (Sv),
Shuter Priority (Tv), Aperture Priority
(Av), Shuter & Aperture Priority (TAv),
Manual (M), and Bulb (B). Additionally,
you have the Movie mode and User Set
1 & 2.
Note: Te Shuter & Aperture Priority
(TAv) mode needs some explanation.
It lets you select your favourite shuter
speed (using the front command
dial which Pentax calls Front e-dial)
and the favourite aperture (using the
Rear e-dial), and the fnal exposure is
controlled by the ISO. You can also set
the limits for Auto ISO.
How does it work?
Let’s say that for a particular focal length
lens you want your shuter speed to
be 1/500sec to prevent hand-shake.
You also want to use, say, f/8 (probably
your optimum aperture). Now the only
variable is the ISO, which the camera
will set automatically.
The Pentax K30 is feature rich. By
pressing the INFO button twice, the
user can opt between Status Screen,
Electronic Level, or Display Off. The
INFO button at the back simplifies
selection and adjustment of the
various parameters. The Scene mode
(SCN) can be accessed by turning
the exposure mode dial to SCN
and then pressing the INFO button.
Sceen mode includes Portrait, Digital
Filter (Extract Colour, Toy Camera,
Retro, High-Contrast, Shading,
Invert Colour, Colour, or Off ), HDR
Capture (Auto, HDR 1, 2, 3 or Off ),
AF Active Area (5 AF Points, 11
AF points), Distortion Correction,
Lateral Chromatic Aberration
correction, Highlight correction,
Shadow correction, AE metering
(Multi-segment, Centre-weighted,
or Spot), File Format [ JPEG, Raw
(DNG), Raw (DNG)+JPEG], JPEG
Recorded Pixels [4928x3264 (16MP),
4224x2816 (12MP), 3456x2304
(8MP) or 2688x1792 (5MP)], JPEG
Quality (Good, Better or Best), and
Shake Reduction.
September 2013 Smart Photography 111
D-SLR Review
Pentax K30
Te 4-way Controller on the rear of
the camera has dedicated butons for
ISO, Shooting Mode (single frame,
continuous, self-timer, remote control,
and exposure bracketing), White
Balance (AWB, Daylight, Shade, Cloudy,
Fluorescent, Tungsten, Flash, CTE
(Colour Temperature Enhancement),
Manual White Balance and Colour
temperature seting) and Flash (Flash
On, Flash On + Red-eye Reduction,
Slow-sync, Slow sync + Red-eye
reduction, Trailing Curtain Sync and
Wireless mode).
ISO sensitivity can be set to Auto, or
100-12,800, but can be expanded to
25,600. Shuter speeds range from
30sec -1/6000sec, plus Bulb. Exposure
can be compensated by +/- 5EV (in
1/3 or 1/2 EV steps). AF mode can be
set to AF.S (Single), AF.C (Continuous),
or AF.A (Auto switch-over, depending
on whether the subject is stationary or
moving). Te camera can fre bursts at a
maximum of 6fps at full resolution when
shooting in JPEG. Interval shooting
(maximum of 999 shots) is possible.
When shooting in high contrast lighting,
the K30’s HDR function can provide
adequate details in shadows as well
as the highlights. A ‘D-range’ feature
extends the dynamic range during
lighting with strong contrast. Multiple
exposures of 2-9 frames
can be selected for creative
efects. An optional GPS unit
(O-GPS1) can record the
latitude, longitude and the
altitude on captured images.
A ‘digital level’, if used,
ensures that the camera is not
tilted or inclined. In-camera
development of Raw fles is
possible wherein you can
adjust the certain parameters
– like White Balance, ISO,
Chromatic Aberrations etc. –
and save the resultant fle as a
JPEG image.
A feature that some nature/
wildlife lovers will really
appreciate is the Trap-focus
(Pentax calls it Catch-in
Focus). When using a manual
focus lens or DA or FA lens
that has both AF and MF
setings, you can pre-focus
(manually) on an area where
the subject is expected to
pass and press the shuter
release all the way down. If Catch-in
Focus is enabled, the camera will fre as
soon as the subject gets to the pre-
focussed spot.
Full HD movie recording (1920x1080),
along with special efect flters, is
possible at 30 frames per second
in MPEG-4 AVC/H.264 format. HD
(1280x720, 16:9, 60/50/30/25/24 fps)
and VGA (640x480, 4:3, 30/25/24
fps) is also available. During movies,
aperture, shuter speed and ISO can
be set as required. An interval movie
mode allows you to capture a series of
movie clips at a fxed interval and then
edit them into a single movie. Using this
JPEG Compression
JPEG, Fine Quality,
100% (6.93 MB)
JPEG, Standard Quality,
100% (1.84 MB)
Sharpness & Detail
Aperture: f/16 Shutter Speed: 1/2sec. ISO:100
Noise at 100%
ISO:100 ISO:12800
Colour Accuracy
Colour checker shot using Auto White Balance
in flash. Auto Levels applied.
112 Smart Photography September 2013
Pentax K30
D-SLR Review
feature, you can, for example, record
the growth of a plant or movement of
clouds over an extended period.
Te built-in pop up fash has a Guide
Number of 12m at ISO 100 and the
X-sync speed is up to 1/180 sec.
Dedicated external Pentax fashguns
(AF540FGZ, AF360FGZ, AF200FG
or AF160FC) can be atached to the
accessory shoe. Te K30 operates
using a rechargeable lithium batery
(D-LI 109), but an optional batery
holder is available for 4 AA size
pencil cells that could be used in an
emergency should the main batery
run out of power.
Ergonomics
Te frst thing that you’ll notice when you
put the camera ‘On’ is some vibrations
and a slight noise. Don’t be alarmed, for
that is the Dust Removal feature doing
its work! (If you set the feature ‘Of’, then
this won’t happen). Te camera grip is
excellent and you may even consider
shooting with just one hand – something
that we do not advocate!
Performance
Te Pentax K30 is feature-flled. We
decided to take advantage of certain
features which would ease our work-
fow and provide beter results –afer all,
when special features are provided, why
not take their advantage? We adjusted
the following setings in the Shooting
Menu before performing the tests:
Lens Distortion Correction and Lateral
Chromatic Aberration Correction: ‘On’
Custom Image: ‘Landscape’.
Highlight and Shadow Corrections:
‘Auto’.
High ISO Noise Reduction: ‘Medium’.
Slow shuter speed NR: ‘Of’.
Shake Reduction: ‘On’ (except when
tripod mounted)
AF/AE-L buton was assigned to
autofocus the camera using ‘Enable
AF2’. Tis disengages the shuter release
buton from focussing.
We also upgraded the frmware from
the Company’s website (Normally this
would not be done but in this case we
just happened to notice that a frmware
upgrade was available).
Autofocus: Autofocus was fast in good
light, but in low light it was somewhat
slower due to the absence of an inbuilt
AF motor in the lens. Also, autofocus
was noisy.
Metering: All three metering modes –
Multi-segmented, Centre-weighted and
Spot – performed to our satisfaction.
Unfortunately, there is no dedicated
buton to quickly change the metering
method.
Noise Control: Te native image size
from the K30 is 16.4 x 10.8 inches at
300 ppi. At 16.7% screen size, noise was
not visible all the way up to ISO 12,800.
At 25% screen size, again, no noise was
visible all the way through, but the very
high ISOs did show slight sofening,
which may be due to noise reduction. At
50% screen size, slight noise was visible
afer ISO 3200, but we had to look for
it. At 100% screen size, noise was visible
afer ISO 1600, but I would consider the
overall noise control as excellent, in spite
of the slight sofening of images at very
high ISOs.
Sharpness/Corner Darkening: Te
overall sharpness, using the supplied
18-55mm kit lens, was good. Wide
open, as expected, corners were not
as sharp as the center. Darkening of
corners at a wide open aperture was
very prominent throughout the aperture
range; the lef side of the images
showed greater darkening. Barrel and
moustache distortion was observed at
all focal lengths except at 55mm. We
were not able to ascertain lens fare
and chromatic aberrations due to the
inclement weather during the testing
days. Te in-body sensor-shif type
image stabilisation obviously helped
at low shuter speeds, but we have no
means of saying by how many stops.
LCD/VF: Te LCD is fxed. Images on
the LCD were crisp and with good
colour. Te viewfnder shows almost
100% feld of view but images were
slightly sof towards the edges.
AWB: White Balance performance was
good (though we could not check the
WB in sunlight due to the rainy season).
Colours were bright and punchy. Te
Presets and AWB for Cloudy, Flash
and Incandescent (except for preset
Incandescent) was perfect. Te preset
for Incandescent light gave a slight
cyan cast, but again, as I ofen mention,
it is incorrect to check for accuracy of
White Balance in a room with bulbs of
varying watages. Note that the K30 has
an option for colour correction (subtle
or strong) with incandescent lighting.
Video quality was at par with the best
we have seen. Unfortunately, there is
no continuous autofocus, and when the
September 2013 Smart Photography 113
D-SLR Review
Pentax K30
Te Pentax K30 is a very good camera for
mid-level photographers and also as a back-
up camera for advanced users. Its weather
and dust sealing body, excellent noise
control, and good options for customisation,
along with a reasonable price tag, should
make it a favourable choice for budding
photographers.
Rohinton Mehta
VERDICT
+
-
+
-
+
-
+
-
+
-
Dual Power Supply using optional adapter
Dioptre adjustment a bit clumsy
Weather/Dust sealing (body)
Butons quite tiny
Good build quality
No dedicated buton for Exposure Metering
Digital Filters
Limited batery life
In-body Shake Reduction
Front e-Dial too close to On/Of switch
+
-
+
-
+
-
+
-
Excellent hand-grip
Cannot capture still images during video
Good options for customisation
Lens has plastic mount
In-body Raw format development
Focussing motor noise is picked up during video
Good noise control even at higher ISOs
LCD unprotected, prone to smudges and scratches
FINAL SCORE
Design and Build Quality 17/20
Key Features 17/20
Ergonomics 17/20
Performance
Autofocus 3.5/5
Metering 4/5
Noise Control 5/5
Sharpness 4/5
LCD/VF 3.5/5
AWB 4/5
Sub-Total 24/30
Value for Money 8/10
Grand Total 83/100
AF/AE-L buton (which was assigned to
AF) is pressed, the camera picks up the
motor noise. Also, you cannot capture
still images during video operation.
Value for Money
Te Pentax K30 is available at an MRP of
Rs.55,695 along with the 18-55mm f/3.5-
5.6 kit lens (Water Resistant). At this price
and performance, we consider the K30
good value for money.
SPECIFICATIONS
Efective pixels : 16.28 million
Image sensor/size : CMOS/APS-C (23.7x15.7mm)
Dust reduction system : SP coating and CMOS
sensor operations
Recording fle formats : Raw 12-bit (DNG), JPEG, Raw+JPEG
Max. pixels : 4928 x 3264
Colour Space : sRGB, Adobe RGB
Storage media : SD, SDHC, SDXC memory cards
Viewfnder : Pentaprism, with dioptre
adjustment
Processor : PRIME M
JPEG image quality : Good, Beter, Best
Image stabilisation : Sensor-shif type
VF focussing : Phase Detect
Focus sensor : SAFOX IXi+, 11 points
(includes 9 cross-type in middle)
AF modes : AF.S, AF.C, AF.A
Focus point
selection mode : Auto (5/11 AF points), Select
(Expanded area AF available), Spot
Live View Focussing : Contrast Detect: Face Detect,
Tracking, Select, Spot
Exposure Control : TTL, 77 segment metering.
Multi-segment, Centre-weighted,
Spot
Exposure modes : Auto Picture (AUTO), SCN, P, Sv
(Sensitivity priority), Av, Tv, M, Bulb.
Auto Picture modes: Standard,
Portrait, Landscape, Macro, Moving
Object, Night Scene portarit,
Night Scene, Blue Sky, Forest
SCN modes: Portrait, Landscape,
Macro, Moving Object, Night
Scene Portrait, Sunset, Blue Sky,
Forest, Night Scene, Night Scene
HDR, Night Snap, Food, Pets, Kids,
Surf & Snow, Backlight Silhouete,
Candlelight, Stage Lighting,
Museum.
Exp. Comp. : +/- 5EV (in 1/3 or 1/2 EV steps)
ISO sensitivity : Auto, 100-12,800. Can be
expanded to 25,600
White Balance : 9 Presets + Custom WB
(Fine adjustments possible)
LCD monitor : 3”, 921,000 dots, wide-angle
viewing
Shuter speeds : 30-1/6000sec, Bulb
Drive mode : Single frame, Continuous (Hi, Lo),
Self-timer, Remote Control,
Exp. Bracketing
Burst mode : 6 fps ( JPEG, Continuous Hi), 3 fps
( JPEG, Continuous Lo)
Built-in fash : Pop-up, P-TTL. GN: 12m (ISO 100).
Covers 28mm lens in 35mm format
X-sync speed : Up to 1/180sec
Flash comp. : -2 to +1 EV
Custom Image : Bright, Natural, Portrait, Landscape,
Vibrant, Radient, Muted, Bleach
Bypass, Reversal flm, Monochrome,
Cross-processing
Noise Reduction : High ISO NR, Slow shuter
speed NR
Dynamic Range : Highlight correction,
setings Shadow correction
Lens correction Distortion correction,
Lateral CA correction
Digital Filters : Extract Colour, Toy camera, Retro,
High Contrast, Shading, Invert
Colour, Colour
HDR capture : Auto, HDR 1/2/3
Bracketing value: +/- 1EV,
+/- 2 EV, +/- 3 EV
Multiple exposure : 2 – 9 shots, Exposure adjusted
automatically
Interval Shooting : 3 sec to 24 hours.
Number of shots: Up to 999 images
Horizon correction : SR On: Adjusts up to +/- 1 degree
SR Of: Adjusts up to +/- 1.5 degrees
Electronic level : Displayed in VF
(Horizontal direction only)
: Displayed in LCD monitor (Both,
horizontal and vertical
directions)
Movie fle format : MPEG-4 AVC/H.264
Recorded pixels : Full HD
(1920x1080, 16:9, 30/25/24 fps)
HD (1280x720, 16:9,
60/50/30/25/24 fps)
VGA (640x480, 4:3, 30/25/24 fps)
Quality levels : Good, Beter, Best
Sound : Built-in monaural microphone
Recording time : Up to 25 minutes
Batery : Rechargeable Li-ion (D-LI 109)
With optional batery holder D-BH
109, 4 AA size bateries can
be used
Camera Dimensions : 128.5 (W) x 96.5 (H) x 71.5mm (D),
excluding projections
Weight : 590 g (body only); approx. 900g
with 18-55mm kit lens
Samsung NX300
ILCC Review
114 Smart Photography September 2013
Ammunition Awaited
78%
Rs.46,500
Inside the Box
zCamera
zSAMSUNG 18-55 mm F3.5-5.6 OIS III lens
zRechargeable Battery
zAC Adapter
zUSB Cable
zExternal Flash
zCD-ROM (Software and User Manual)
zAdobe Photoshop Lightroom DVD-ROM
zQuick Start Guide
zStrap
S
amsung announced the NX300
in the annual Samsung Forum
held this year in Hyderabad. The
camera uses an APS-C size sensor,
and boasts advanced features such
as NFC and Wi-Fi. Unfortunately,
the camera was provided to us only
for a short time, inadequate for an
in-depth understanding of some
features.
Design and Build Quality
Te NX300 is beautifully crafed with
a metal top and sturdy engineering
plastic body. Te camera has a well-
contoured hand grip and an ergonomic
thumb rest. A faux leather lining
completes the design, which ofers
beter grip. Te lens mount and tripod
receptacle are metal. Te LCD can be
tilted 90 degree upwards and about
45 degree downwards. Te mode dial
is placed near the shuter release and
command dial.
Key Features
Te 20.3-megapixel Samsung NX300
uses an APS-C size (23.5 x 15.7 mm)
CMOS sensor with RGB Primary Colour
Filter. Te camera features a Samsung
NX mount. Samsung uses Optical Image
Stabilisation, and hence the body
does not feature any shake-reduction
feature. Te NX300 employs supersonic
waves to shake of dust from the sensor
assembly. Te camera uses Phase
detection and Contrast AF methods for
focussing. Focus modes included are
Single AF, Continuous AF, Touch AF and
MF. In Phase Detect mode, the camera
uses 105 focus points, while in Contrast
AF, it uses 247 focus points. Te NX300
uses an electronically controlled vertical
travel focal plane shuter, providing
shuter speeds ranging from 30 to
1/6000 sec, along with a Bulb seting
(with a 4-minute limit). Te camera uses
TTL 221 block segments for metering
and the metering modes are Multi,
Aperture:f/4.5 Shutter Speed: 1/125sec. ISO:400
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ILCC Review
116 Smart Photography September 2013
Centre-weighted, and Spot.
Exposure can be compensated
up to +/-3 EV in 1/3 EV steps.
Sensitivity ranges from ISO
100 to 25,600. Still images are
captured with maximum pixel
dimensions of 5472 x 3648
pixels in Raw or JPEG format
with JPEG quality options of
Super fne, Fine, and Normal.
Movies are recorded in MP4
(H.264) format with the best
quality of 1920 x 1080 at 60fps,
30 fps, or 24 fps with quality
options of High and Normal.
Burst mode allows you to
capture JPEG or Raw images
at 8.6 frames per second in
full resolution. 3D images are
recorded in MPO format.
Self-timer can be set for 2 to
30 sec delay. White Balance
options are Auto, Daylight,
Cloudy, Fluorescent (W, N, D),
Tungsten, Flash, Custom, and
K (Manual). White Balance
micro adjustment is available
in 7 steps each in Amber, Blue,
Green, and Magenta axes.
Picture Wizard mode allows
you to apply diferent photo
styles to your photograph such
as Standard, Vivid, Portrait,
Landscape, Forest, Retro, Cool,
Calm, Classic, and Custom (1
- 3).
Shooting modes available are
Smart Auto, Program, Aperture
Priority, Shuter Priority, Manual,
Lens Priority, Smart, and Wi-Fi.
Te Smart mode is essentially
an automatic mode, which
allows you to select one of
the desired efects – Beauty
Face, Landscape, Macro, Action
Freeze, Rich Tone, Panorama,
Waterfall, Silhouete, Sunset,
Sharpness & Detail
Aperture: f/8 Shutter Speed: 1/6sec. ISO:100
Noise
ISO:100 ISO:25600
Colour Accuracy
Colour checker shot using Auto White Balance
in sunlight. Auto Levels applied.
JPEG Compression
JPEG, Super Fine Quality,
100% (10.1 MB)
JPEG, Standard Quality,
100% (3.9 MB)
ILCC Review
Samsung NX300
September 2013 Smart Photography 117
Night, Fireworks, Light Trace, Creative
Shot, and Best Face. In addition to these,
the NX300 includes 10 Smart Filters
such as Vigneting, Miniature, Coloured
Pencil, Watercolour, Wash Drawing, Oil
Sketch, Ink Sketch, Acryl, Negative, and
Selective Colour (R / G / B / Y). Te
camera accepts an external fashgun
via the accessory shoe (hot-shoe). Te
SEF8A kit, which we received for the
test, included a small external fash
also. Te supplied fashgun has a guide
number of 8m at ISO100 and ofers
a 28mm equivalent coverage at the
wide-angle end. Te fash has an X-sync
speed of up to 1/180 sec.
The camera uses an AMOLED
capacitive type touch control enabled
tiltable LCD. This 3.31-inch screen
has a resolution of 768,000 dots. The
camera uses an SD/SDHC/SDXC card
for storage. Geo-tagging is possible
with an optional GPS module WGS84.
The camera features NFC (Near Field
Communication), which allows you
to transfer data between any smart
device equipped with the same. The
NX300 is powered by a rechargeable
Li-ion battery pack (BP1130
supplied). The camera weighs 284g
(without battery) and has dimensions
of 122.0 x 63.7 x 40.7mm (excluding
projections).
Ergonomics
Te NX300 is comfortable to handle
and operate. Te camera is well
balanced with the kit lens. Images
on the LCD appeared crisp and
the AMOLED touchscreen is quite
responsive. Te position of the mode
dial can hinder smooth operation of
the mode dial. All other butons are
intuitively placed to enhance user
experience. Talking of user-friendliness,
we have to mention the PDF user
manual that can be downloaded
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Aperture:f/13 Shutter Speed: 1/160sec. ISO:100
from the Samsung website. Te frst
28 pages of this 203-page manual
are dedicated to teaching the basic
concepts of photography such as
shuter speed, aperture, depth-of-feld
etc. to novice photographers.
Performance
Te Samsung NX300 performed well in
our tests.
Sharpness: Images were sharp out of
the box.
Metering: Metering modes performed
as expected.
Autofocus: Autofocus was fast, silent,
and smooth. It locked on to subjects
without any problem even under low
light.
Aberrations: We observed prominent
darkening of corners with the kit lens.
Te lens also produced fare at the
wide-angle end at wide-open aperture.
Chromatic Aberration was under
control.
LCD: Images in the LCD were crisp
and clear, and the touch response was
smooth.
Distortion: Te lens produced barrel
distortion up to 24mm equivalent, and
pincushion thereafer.
Auto White Balance: Auto White
Balance performed well under daylight
and cloudy situations. Tough it
produced casts under artifcial light
sources, these could be easily removed
during post-processing.
Noise: Te images had a native print
size of 12.16 x 18.24 inches at 300ppi.
At 25 percent screen size, images were
noise-free up to ISO 3200. ISO 12,800
and 25,600 were noisy. Slight noise was
observed at ISO 6400. Observed at
50 percent, we did not observe any
noise till ISO 800. ISO 1600 and 3200
were sof, owing to the noise-reduction
kicking in. At this magnifcation, ISO
6400 showed prominent noise. When
the image was viewed at 100 percent
view, we observed traces of noise
from ISO 400 onwards, though not
observable in normal everyday images.
You can safely use up to ISO 1600
without worrying too much.

Value for Money
The Samsung NX300 retails at an
MRP of Rs.46,500. At this price, the
camera seems a good buy, but we
are clueless about when Samsung is
going to launch lenses in India.
Samsung NX300
ILCC Review
118 Smart Photography September 2013
FINAL SCORE
Design and Build Quality 17/20
Key Features 17/20
Ergonomics 16/20
Performance
Autofocus 4/5
Metering 4/5
Noise Control 3/5
Sharpness 3/5
LCD/EVF 4/5
Auto White Balance 3/5
Sub-Total 21/30
Value for Money 7/10
Grand Total 78/100
The NX300 is a good camera
for its price. But the absence
of compatible lenses make the
choice a risky one, unless you are
comfortable with using the kit lens
for the camera’s entire lifetime.
We are not sure why Samsung is
refraining from unveiling lenses
and taking competition head-on in
a strong digital camera market like
India. Hope someone is listening!
Sujith Gopinath
VERDICT
+
+
Good overall performance
Comprehensive PDF Manual
+
+
-
Brilliant display
Good build quality
Limited choice of lenses
SPECIFICATIONS
Image sensor : APS-C size (23.5 x 15.7mm)
CMOS sensor
Efective pixels : Approx 20.3 million
Colour flter : RGB Primary Colour Filter
Lens mount : Samsung NX
Image Stabilization : Lens Shif (Depends on Lens)
Dust Reduction type : Supersonic drive
Display type : AMOLED with C-type Touch Control
Enabled and Tilt (Up 90°, Down 45°)
Display size : 84.0mm (3.31 inches) WVGA
and resolution (800 x 480) 768,000 dots
Focusing Type : Phase Detection, Contrast AF
Focus Modes : Single AF, Continuous AF, MF,
Touch AF&Shuter
Focus points : 105 (Phase Detection), 247
(Contrast), 1 point (Free selection)
AF-assist lamp : Yes
Shuter Type : Electronically controlled vertical-run
focal plane shuter
Shuter Speed : 30 to 1/6,000 seconds, Bulb
( Limit time: 4 minutes)
Exposure Metering : TTL 221 (17 x 13) Block segment
System
Metering Modes : Multi, Centre-weighted, Spot
Exposure Comp. : ±3EV (1/3EV step)
Sensitivity : Auto, ISO 100 to 25,600
Drive Mode : Single, Continuous, Burst
(5M size only), Self-timer, Bracket
(AE / WB / PW)
Continuous : JPEG: High (8.6fps) , Normal
(up to 5fps) selectable
Burst: 10, 15, 30fps selectable
RAW: High (8.6fps), Normal
(up to 5fps) selectable
Self-timer : 2 - 30 seconds
Remote Controller : Via Micro USB port
Flash Type : External Flash only
(Bundle with SEF8A kit)
Flash Modes : Smart Flash, Auto, Auto+Red-eye
reduction, Fill-in, Fill-in+Red-eye
reduction, 1st Curtain, 2nd Curtain,
Of
Supplied Flash : 8 (at ISO 100) (SEF8A)
Guide Number
Angle of View
Coverage : 28mm wide-angle
(Equivalent to 35mm)
X Sync. Speed : Less than 1/180 seconds
Flash Compensation : -2 - +2EV (1/2EV step)
External Flash : Samsung External Flash available
Synchro : Hot Shoe
(Flash atachment)
White Balance : Auto, Daylight, Cloudy, Fluorescent
(W, N, D), Tungsten, Flash,
: Custom, K (Manual)
Micro adjustment : 7 steps each in Amber / Blue /
Green / Magenta axis
Dynamic Range : OFF / Smart Range+ / HDR
Expansion
Picture Wizard Mode: Standard, Vivid, Portrait, Landscape,
Forest, Retro, Cool, Calm, Classic,
Custom (1 ~ 3)
Shooting Modes : Smart Auto, Program, Aperture
Priority, Shuter Priority, Manual, Lens
Priority, Smart, Wi-Fi
Smart mode : Beauty Face, Landscape, Macro,
Action Freeze, Rich Tone, Panorama,
Waterfall, Silhouete, Sunset, Night,
Fireworks, Light Trace, Creative Shot,
Best Face
Smart Filters : Vigneting, Miniature, Coloured
Pencil, Watercolour, Wash Drawing,
Oil Sketch, Ink Sketch, Acryl,
Negative, Selective Colour
(R / G / B / Y)
Max. Image Size : 5472 x 3648 pixels
JPEG Quality : Super fne , Fine, Normal
Raw Format : SRW (ver.2.0.0)
Colour Space : sRGB / Adobe RGB
Editing : Smart Filter, Red-eye fx, Backlight.,
Resize, Rotate, Face Retouch,
Brightness, Contrast
Movie Format : MP4 (H.264)
Movie Mode : Program, Aperture Priority,
Shuter Priority, Manual
Max. recording time : 29 minutes 59 seconds
Max Movie : 1920 x 1080
Dimension
Frame rates : 60fps, 30fps, 24fps
Movie Quality : High, Normal
External Storage : SD, SDHC, SDXC, UHS-1 Support
File Formats : Raw (SRW ver2.0.0), JPEG (EXIF 2.21),
MPO (for 3D), DCF, DPOF 1.1
GPS Type : Geo-tagging w / Optional GPS
Module (WGS84)
NFC : Yes
Interface : Digital output connector: USB 2.0
(micro USB Jack)
Video Output: NTSC, PAL,
HDMI 1.4a
Bundle PC S/W : Adobe Photoshop Lightroom,
iLauncher, Adobe Reader
Power Source : Rechargeable batery: BP1130
(1,130mAh)
Dimension (WxHxD) : 122.0 x 63.7 x 40.7mm
(excluding projection part)
Weight : 284g (without batery)
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120 Smart Photography September 2013
Panasonic LUMIX DMC-XS1
Compact Review
S
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Aperture: f/2.8 Shutter Speed: 1/60sec. ISO:100
81%
Rs.7,990
Inside the Box
z

Battery Pack
z

AC Adaptor
z

USB Cable
z

Hand Strap
z

CD-ROM
Flash Output
Aperture: f/4.1 Shutter Speed: 1/60sec. ISO:100
T
he deluge of Smartphones has
severely crippled the prospects
of ultra compact point-and-
shoot cameras, with the phone cameras
receiving a boost with beter sensors
and large optical zoom lenses. To
survive in this competitive environment,
ultra compacts need to re-invent and
evolve, and we saw the frst spark of
brilliance when Panasonic announced
the LUMIX DMC-XS1, which has a
smaller footprint than most high-end
Smartphones, yet at a smart price. A
few millimetres broader than a credit
card, the 16.1-megapixel XS1 is sure to
turn heads.
Design and Build Quality
Te tiny XS1 has a metal outer shell
and a small, slightly projected lens
Size Zero...!
September 2013 Smart Photography 121
Compact Review
Panasonic LUMIX DMC-XS1
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Noise
ISO:100 ISO:1600
housing. Te lens has a two-segment
construction and does not protrude
much while zooming. It has internal
focussing, which means the lens also
does not rotate or protrude while
focussing. Te tripod mount is plastic,
which is justifed because of the light
weight. If you put the camera in your
pocket, you could easily forget its
presence.
Key Features
Te 16.1-megapixel Panasonic XS1 uses
a 1/2.33-inch Type (6.16 x 4.62mm)
CCD sensor. Te camera features
a LUMIX DC VARIO 24-120mm
equivalent lens with an aperture range
of f/2.8 – 9.0 at the wide-angle end
and f/6.9-22.0 at the telephoto end.
Te lens features MEGA Optical Image
Stabilisation. Focus modes include Face,
9-area, and 1-area autofocus. Shuter
speed ranges from 60 to 1/1600 sec.
Te camera features only Auto modes
(including Intelligent Auto and Scene
modes). Sensitivity ranges from ISO 100
to 1600 with an additional automatic
seting called i.ISO. In high-sensitivity
mode, the sensitivity can be boosted
up to ISO 6400. Exposure can be
compensated up to +/-2 EV in 1/3
EV steps. Shooting modes available
Aperture:f/4.1 Shutter Speed: 1/200sec . ISO:400
122 Smart Photography September 2013
Panasonic LUMIX DMC-XS1
Compact Review
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are Intelligent Auto, Normal Picture,
Creative Control, Panorama Shot,
and Scene. Te Scene modes include
Portrait, Sof Skin, Scenery, Sports, Night
Portrait, Night Scenery, Food, Baby1,
Baby2, Pet, Sunset, High Sensitivity,
Glass Trough, Photo Frame, and Starry
Sky. White Balance options are Auto,
Daylight, Cloudy, Shade, Incandescent,
and White Set.
Still images are recorded in JPEG format
while videos are recorded in Quick
Time Motion JPEG format. Videos are
recorded with the best quality of 1280
x 720 pixels at 30 frames per second.
Te camera uses a 2.7-inch, 230,000-
dot TFT LCD. It has a built-in memory
of approximately 90MB, and accepts a
micro SD/micro SDHC card for external
storage. Te XS1 is powered by a
690 mAh rechargeable Li-ion batery
pack. Te device has dimensions of
93.8 x 53.5 x 17.6mm and weighs
approximately 103g (with batery and
memory card).
Ergonomics
Te XS1 is a pleasure to use. Tough
it does not have a projected grip, we
wouldn’t dare to complain, since the
camera is so light and comfortable to
use that you do not require a special
grip. Well, it provides much beter grip
than any Smartphone in the market
anyway. Te butons are comfortable to
operate. Te images on the LCD screen
have slight lag in display while the
camera is panned across the frame. Te
menu was intuitive and uncomplicated.
Performance
Te Panasonic XS1 performed well
in our tests. Autofocus was fast and
precise, and it did not have any
problem locking on to the subject
even in low light. Out-of-the-box
images were tack sharp. Images on the
LCD appeared crisp, though it is not
the best we have seen. All metering
modes performed as expected. Auto
White Balance performed well under
natural light. In Incandescent mode it
produced red cast, though it could be
easily removed in post processing. Te
camera does not ofer fuorescent or
any such White Balance mode (which is
quite useless in real situations because
of the varying colour temperatures of
fuorescent light). Native image size
was 11.52 x 15.36 inches at 300 ppi.
At 25 percent of the display size, noise
was under control till ISO 800. ISO
1600 was noisy and not usable. At 50
percent size, slight noise appeared at
ISO 200 and 400, while ISO 800 was
noisy beyond the usable range. Viewed
at 100 percent, noise appeared
throughout the ISO range. We wouldn’t
Aperture:f/16 Shutter Speed: 1/125sec . ISO:400
September 2013 Smart Photography 123
Compact Review
Panasonic LUMIX DMC-XS1
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Aperture:f/3.2 Shutter Speed: 1/100sec . ISO:400
FINAL SCORE
Design and Build Quality 18/20
Key Features 17/20
Ergonomics 17/20
Performance
Autofocus 4/5
Metering 4/5
Noise Control 2.5/5
Sharpness 3/5
LCD/EVF 3.5/5
Auto White Balance 4/5
Sub-Total 21/30
Value for Money 8/10
Grand Total 81/100
Te Panasonic XS1 is clearly aimed
at budget conscious people looking
for a small, fully automatic compact
that is more capable than their
mobile phones and can literally
‘disappear’ into their pockets.
Tough the performance may not
look impressive compared to others
in the market, we can’t complain
about a camera that fts even into
shallow pockets... well, in every
sense. Best buy.
Sujith Gopinath
VERDICT
+
+
+
+
OIS
Great Pricing
Easy to use
Sleek and Stylish
-
-
Distortion throughout the zoom
range
Noise control could have been
beter
advise you make large prints or crop it
beyond 50 percent.
We observed prominent darkening
of corners at the wide-angle end, at
f/9 (since the camera controlled the
exposure automatically, we had no
means to lock the aperture at the wide-
open seting). But you may not observe
this darkening in normal everyday
images. Flare was seen with slight
purple fringing at the wide-angle end.
Te lens produced barrel distortion at
the wide-angle end up to about 50 mm
equivalent, while pincushion distortion
started from around 70mm and
continued throughout the telephoto
range.
Value for Money
Te Panasonic XS1 retails at an MRP
of Rs. 7,990, which places it in a
comfortable zone in the budget
compact segment.
SPECIFICATIONS
Efective Pixels : 16.1 Megapixels
Sensor : 1/2.33-inch Type
(6.16 x 4.62mm) CCD
Lens : LUMIX DC VARIO 24 - 120 mm
equivalent
Aperture range : f/2.8 - 9.0 (W), f/6.9 -22.0 (T)
Image Stabilizer : MEGA O.I.S.
Focus Modes : Face, 9-area, 1-area
Shuter Speed : 8 - 1/1,600 sec
(Starry Sky Mode: 15, 30, 60 sec)
File Format : Still / 3D Image: JPEG
Motion Picture: QuickTime
Motion JPEG
Shooting Modes : Intelligent Auto, Normal Picture,
Creative Control, Panorama Shot,
SCN
Scene Mode : Portrait, Sof Skin, Scenery, Sports,
(Still Image) Night Portrait, Night Scenery, Food,
Baby1, Baby2, Pet, Sunset, High
Sensitivity, Glass Trough, Photo
Frame, Starry Sky Birthday only.
Continuous Shooting : 1 frame/sec
(Full-resolution)
HD Video Recording : 1,280 x 720 pixels, 30fps
Exposure : Auto (Program AE)
Exposure Comp : ± 2 EV in 1/3 EV step
Sensitivity : i.ISO, ISO 100 to 1600
High Sensitivity Mode: ISO 1600 -
6400
White Balance : Auto, Daylight, Cloudy, Shade,
Incandescent, White Set
Digital Red Eye : Yes
Correction
Monitor : 2.7-inch, 230,000-dot TFT LCD
Recording Media : Built-in Memory, micro SD,
micro SDHC
Built-in Memory : Approx. 90 MB
Interface : AV Output, USB (AV / USB Multi)
Power Source : Li-ion Batery Pack
(3.6V, 690 mAh) (Included)
Dimensions : Approx. 93.8 x 53.5 x 17.6 mm
(W x H x D)
Weight : Approx. 103 g
(with Batery and Memory Card)
124 Smart Photography September 2013
Canon EF 8-15mm F/4L Fisheye USM
Fisheye Fun
Lens Review
A
fsheye lens is a ultra-wide-angle lens that generally covers
a 180-degree angle-of-view. Fisheye lenses are of two
types, Full-frame and Circular, depending on the sensor
size. Te Canon EF 8-15mm F/4L Fisheye USM covers both types:
On a full-frame (35mm format), it is circular at 8mm and ‘full-frame’
(image formed is not circular) at 15mm. On APS-C format, it is
‘full-frame’ at both 8mm as well as 15mm. Fisheye lenses were
created for scientifc photography but are now used as fun lenses.
But why are they called ‘fsheye’? Probably because fshes see that
way from beneath the water!
8mm, full-frame (35mm camera) 15mm, full-frame (35mm camera)
124 Smart Photography September 2013
Canon EF 8-15mm F/4L Fisheye USM
Fisheye Fun
Lens Review
A
fsheye lens is a ultra-wide-angle lens that generally covers
a 180-degree angle-of-view. Fisheye lenses are of two
types, Full-frame and Circular, depending on the sensor
size. Te Canon EF 8-15mm F/4L Fisheye USM covers both types:
On a full-frame (35mm format), it is circular at 8mm and ‘full-frame’
(image formed is not circular) at 15mm. On APS-C format, it is
‘full-frame’ at both 8mm as well as 15mm. Fisheye lenses were
created for scientifc photography but are now used as fun lenses.
But why are they called ‘fsheye’? Probably because fshes see that
way from beneath the water!
8mm, full-frame (35mm camera) 15mm, full-frame (35mm camera)
September 2013 Smart Photography 125
Lens Review
Canon EF 8-15mm F/4L Fisheye USM
Design & Build Quality
Te Canon 8-15mm fsheye lens is a
L-series lens and, like all L-series lenses,
is well built. Te body is made from
polycarbonate and the front end has a
red ring, denoting the lens as L-series.
Te lens mount is made of metal. A
distance scale in meters (in white) and
feet (in green) can be seen under a
transparent plastic window. Te manual
focus ring is towards the flter end; the
zoom ring is towards the camera body
and is marked clearly at 8, 10, 12, 14
and 15mm setings. Tere is no flter
thread – the front element is bulbous.
A gelatin flter holder is at the rear,
next to the lens mount. Te lens weighs
550g with its supplied fower-shaped
bayonet lens hood.
Key Features
Te Canon 8-15mm fsheye zoom is
constructed with 14 elements in 11
groups that include aspherical and UD
lens elements for superior image quality.
Te lens is water/dust resistant. A special
SWC (Subwavelength Structure Coating)
is applied to certain elements to reduce
fare and ghosting. Further, a fuorine
coat is applied to the front and rear
elements which allows dust to be wiped
from the outside of the lens more easily
as compared to earlier lenses. Te lens
is provided with an Ultrasonic Motor
for quick and silent autofocussing. On
the lef of the lens is the Focus Mode
(AF-MF). Adjacent to the zoom ring are
two markings – ‘C’ and ‘H’ – that serve
as guides to indicate the wide-angle
zoom position (with focus set to infnity),
where vigneting would disappear when
using Canon EOS cameras with APS-C or
APS-H image sensors. On the right of the
lens is a zoom -limiter (used only when
the lens is mounted on a Canon APS-C
camera).
A lens hood is provided. But keep
in mind that part of the image will
be blocked at certain focal lengths.
Just remove the lens hood when
that happens (Canon literature also
mentions this). Tough this is an extreme
wide-angle lens (with enormous depth
of feld), it is suggested that you frst
zoom the lens as per your desired
angle of view and only then autofocus.
Doing otherwise (frst autofocussing
and then zooming) can afect critical
focus.
A gelatin flter holder is provided at
the rear of the lens. Gelatin can be cut
to size and then inserted into the flter
frame. Note that tele-extenders and
close-up flters cannot be used with this
lens.
Ergonomics
Te 8-15mm fsheye zoom is fun to use.
Striking compositions can be created
by using the lens very close to various
elements in the scene but using the lens
very close to human faces is guaranteed
to start a great big fght! Used carefully
(without tilting the camera), it is possible
to create incredibly wide (or tall)
landscape shots (with some distortion
at the edges).
Reading the green distance scale on this
lens in feet was quite difcult, especially
in low light (but does the distance
scale really mater in this case?). As
mentioned earlier, the lens hood may
have to be taken of to prevent it being
seen in the photo when shooting at
most focal lengths with a full-frame
camera body.
Te provided front lens cap can not
be atached to the lens unless the lens
hood is in place. Te front surface of
the lens being bulbous, makes it very
easy to inadvertently touch the front
surface and smudge it. Hence extra care
should be taken to avoid this, as a dirty
front element can cause loss of contrast
and/or sharpness. Canon says that the
special fuorine coat that is applied to
the front (and rear) element allows it
to be wiped more easily as compared
to earlier lenses, but it still makes me
nervous to do that!
Unusual viewpoints can be created
The tree on the left was about 2-3” from the front element!
126 Smart Photography September 2013
Lens Review
Canon EF 8-15mm F/4L Fisheye USM
FINAL SCORE
Depending on your expertise, the
Canon 8-15mm f/4 Fisheye USM
lens can be easy or difficult to use
– difficult because the enormous
angle of view can often include
your own feet or someone standing
almost at your side. Often it is
difficult to avoid your own shadow
in the frame. Having said that,
a fisheye lens is not a every-day
lens and when used creatively, can
provide fantastic images.
Rohinton Mehta
VERDICT
++
+
-
-
-
+
Fun lens
Sharp images
Using regular flters not possible
Have to be careful to avoid fare
Lens front cap dislodges very easily
Great build quality
Design and Build Quality 17/20
Key Features 16/20
Ergonomics 16/20
Performance
Autofocus 12/15
Sharpness 12/15
Value for Money 7/10
Grand Total 80/100
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aav|aas|y, aae taaaal rale l||s |eas Iar D|slarl|aa
Caalra|, Aaerral|aas aaa Dar|ea|a¡ aI Caraersl
Performance
We had great fun testing (playing
around with) the 8-15mm fsheye
zoom lens. Te lens was mounted on
a full-frame Canon EOS 6D body. Te
closest focussing distance is just over 6
inches (from the focal plane); in reality,
the front surface of the lens at the
minimum focussing distance is too close
for comfort (you don’t want to bang
into something and scratch the front
surface, do you?), and having anything
as close as that would obviously make
it distorted. Tat cannot be labelled
as a lens fault; if anything, it would
be a user-fault! Te depth of feld
obtained is enormous and this can be
used advantageously when shooting
landscapes for example.
Autofocus was fast, even in less than
adequate light. Because of the great
angle of view, care needs to be taken to
restrict/avoid bright sky that can cause
underexposure, leading to detail-less
shadows. Te image on the right has
the shadow areas ‘opened up’ a bit. Te
lens does not have image stabilization
but frankly, do you need IS for such a
lens? Well, may be you do need it for
video!
Value for Money
Te Canon EF 8-15mm F/4L Fisheye
USM lens is available at an MRP of
Rs.99,995. It may seem like a lot of
money, but do remember that stunning
compositions are possible, and you can
also correct the distortions using an
image editing program.
SPECIFICATIONS
Lens type : Fisheye zoom
Focal length : 8-15mm
Construction : 14 elements in 11 groups
Diagonal angle of view : 180 degrees
Focus adjustment : Inner focussing and focus
cam; floating mechanism
Widest aperture : F/4
Min. aperture : F/22
Closest focus : 0.16m (6.2”)
Filter size : Rear gel holder
(up to 3 pre-cut gel filters)
Lens hood : EW-77
Max. dia x length : 78.5x83mm
Weight : 550g with hood
80%
Rs. 99,995
Inside the Box
z
Lens
z
Lens hood EW-77
z
|eas taj
z
|eas jaat| |P1219
Aperture:f/8 Shutter Speed: 1/50sec. ISO:100
September 2012 Smart Photography 127
First Look
W
e generally atach our
camera to a tripod by using
the tripod mount at the
base of the camera. While this does
not pose any problem with lightweight
lenses, its a diferent mater when using
heavy lenses; a heavy lens atached to a
camera body can cause the lens/body
mount to fex and if the lens mount is
not strong enough, the weaker section
could break, resulting in permanent
damage to the lens and/or camera.
With this in mind, some heavy lenses
are provided with lens collars. Te
collar’s foot has a thread for ataching
the lens to a tripod. Tis arrangement
not only prevents a potential disaster,
but also allows for easy vertical
composition by merely rotating the lens
within the collar.
Unfortunately, the original lens collars
are ofen poorly designed, with a result
that the lens wobbles during exposure,
robbing us of critical sharpness that
the lens could otherwise ofer. Tis
has prompted some independent
manufacturers to
provide special,
beter designed
collars. Two such
manufacturers
that come to
mind are USA
based Kirk
Enterprises
(www.kirkphoto.
com) and
Really Right
Stuf (www.
reallyrightstuf.
com). Tey
make various useful accessories based
upon customer feedback.
Shown here is a Kirk lens collar for the
recently introduced AF-S Nikkor 80-
400 f/4.5-5.6G ED VR. Compare it with
the original Nikon collar. Te accessory
collar is a defnite improvement.
Expensive? Yes, but it sure helps you to
achieve the maximum sharpness out of
your expensive lens!
Rohinton Mehta
Optimum Lens Support
Kirk Lens Collar for Nikon 80-400mm
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Free : 4 GB CARD + BAG MRP 43950
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12.3MP , 3.0" LCD, 4.5fps
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: 4GB SDHC & Bag
Nikkor AF-S 18-55mm VR Lens
14.2MP , 3.0" LCD, 3fps
Live View , D Movie, 11AF Points
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Price : 27100 Rs
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Chhabildas Road, Near Dadar (W) Railyway Station
Dadar West , Mumbai 400028, India
Phone : 91-22-24306854 | 24302104
Email : [email protected]
www. jjmehta.com
| 9819102255
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55-300mm
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Price : Rs 21870
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24.2MP , 3.0" LCD, 4fps
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Tidbits
Pentax Is Here!
F
or our young readers, the name
Pentax may not hold much meaning.
However, for those in their 40’s and
50’s, the name Asahi Pentax certainly
spelt magic. Pentax, along with Canon
and Nikon, was one of three brands
that held sway over the SLR market
from the 50’s to the 80’s.
Pentax owes its origins to the Asahi
Optical Company that was founded
as early as 1890. Te company started
making eye glass lenses, and later on
developed both cameras and lenses for
cameras. In 1952, Asahi Optical made
Japan’s frst 35mm SLR camera, the
Asahifex. Te Asahifex was followed
by the Asahifex IIB which was the
frst camera in the world to feature an
instant return mirror.
Asahi Pentax saw unprecedented
success with the launch of the
Spotmatics series in 1964. Extremely
well engineered, the Spotmatic cameras
from Pentax became instant best sellers,
and were reputed for their Takumar
lenses which featured a thread mount.
Te Pentax Spotmatic II, launched in
1971, was the frst camera to feature
super multi-coated lenses.
Pentax moved to a bayonet K mount
with the launch of the Pentax K2 in
1975, and the K series of cameras
followed. Te K1000 in particular
became a cult camera, and was the frst
camera that many a beginner bought if
he or she wanted to learn photography.
Te advent of the OM series from
Olympus with smaller bodies led to
Pentax introducing the M series. Te
MX, ME, MV and ME Super were
extremely popular in their time.
Te autofocus revolution resulted in
Pentax taking a bit of a knock. However,
it bravely soldiered on. Te name Asahi
was chopped from the original Pentax
name. Pentax was the smallest of the
major camera companies, and hence
did not have the same R&D budget
as leaders like Canon and Nikon. Its
products, however, continued to be
extremely well built and highly reliable.
Afer Minolta closed down its camera
business, Pentax was frst bought by
Hoya which in turn sold the company
to Ricoh. With Ricoh in charge, a new
resurgence has begun at Pentax.
Welcome to India, Pentax.
H. S. Billimoria
I
m
a
g
e

c
o
u
r
t
e
s
y

:

M
a
r
c

C
a
r
l
s
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RNI No. MAHENG/2005/14978