Canon EOS 550D

• 18MP

• 1080p HD Movies

• ISO 6400

United Kingdom / Republic of Ireland, 8th February 2010 – Canon today announces a groundbreaking new addition to its expanding, world-famous EOS range of Digital SLR cameras – the EOS 550D.

The EOS 550D redefines the boundaries of Canon’s consumer DSLR range, incorporating technologies and features more commonly found in semi-professional DSLRs into the compact, lightweight body favoured by consumers. With a newly-developed 18 Megapixel (MP) APS-C CMOS sensor, coupled with Canon’s advanced DIGIC 4 image processor and the ability to shoot Full HD movies, photography enthusiasts are empowered to explore new levels of creativity.

Creative control with no compromise on quality.

The EOS 550D makes Canon’s powerful imaging technology more accessible to consumers. Canon’s advanced DIGIC 4 image processor and 18MP sensor support standard ISO settings of 100 – 6400 (expandable to 12800), while enhanced in-camera noise reduction technology boosts performance in low light conditions. The system’s 14-bit image processing also produces smoother tonal gradation and natural looking colours for high quality prints and on-screen display.

For swift and accurate focusing, the EOS 550D features a 9-point AF system with one extra-sensitive cross–type point at the centre for f/2.8 or faster lenses. The EOS 550D also supports high-speed, continuous shooting at 3.7 frames per second (fps). These features provide users with the opportunity to exert greater control over their images, allowing them to capture split-second moments with ease and accuracy.

And from the back.. Canon EOS 550D

Continuing Canon’s tradition of filtering new technology and features down from its advanced and professional DSLR ranges, the EOS 550D includes the iFCL metering system first launched in the EOS 7D. New for EOS is the ability to set the top limit for automatic ISO, allowing users to control the maximum amount of noise in their images. In a first for entry level EOS, exposure compensation and bracketing can be set up to plus or minus five and two stops respectively, allowing the photographer to take a number of differently exposed versions of the same shot to ensure they capture a well-exposed image, even in difficult lighting conditions.

“Digital SLR photography has captured the imagination of consumers globally,” said Kieran Magee, Director of Product Planning, Consumer Products, Canon Europe. “Every year, more and more individuals are looking to record key life events with unrivalled quality or to test and explore their creativity. The EOS 550D redefines the entry level DSLR category, putting technologies and features previously the preserve of the professional into the hands of the consumer – allowing them to achieve outstanding results. With the EOS 550D, consumers are free to explore the limits of their own creative vision.”

EOS Movies: Full HD video with creative control.

As the ability to record Full HD video becomes increasingly important, Canon continues to deliver DSLR technology that sets the industry benchmark for multimedia functionality. The EOS 550D records video in full 1920×1080p HD resolution, allowing photographers to select the frame rate preferred from 30, 25 and 24fps, as well as offering 720p video at 60 and 50fps. The EOS 550D also includes a 3.5mm stereo microphone socket, enabling the use of an external microphone when capturing video.

Photographers can also take manual control over exposure settings, changing the depth of field and degree of motion blur to shoot more creatively. To provide the best possible video quality, highlight tone priority (HTP) can be set independently for movie capture, without changing any still image capture settings. In situations where the subject is further away, the EOS 550D Movie Crop function records with the central 640×480 pixel area of the sensor, creating an effective magnification of approximately seven times. The EOS 550D is the first in the EOS range to feature Movie Crop and gives consumers more flexibility to capture important moments which would otherwise be too far away.

A clear view of your world.

The EOS 550D also allows photographers to view their images and video in unhindered clarity. A 7.7cm (3.0”) 3:2 Clear View LCD screen with 1,040k dot resolution makes it possible to see 100% of captured images with no borders. The anti-reflective, water-repellent coating also makes it easier to see the screen in bright conditions and from a variety of angles.

EOS build – Canon quality.

As consumers would expect from an EOS DSLR, the EOS 550D is built to a high quality specification. It features bigger, more intuitive buttons which have been redesigned following feedback from users. Based on this feedback, the EOS 550D also features an additional button on the new, battery grip, allowing aperture settings to be changed when shooting with the camera in a vertical position, without having to reorient the body.

Share the moment with friends and family.

For EOS 550D photographers, shooting great pictures and video is just a first step. Thanks to an integrated HDMI port compatible with High-Definition Multimedia Interface – Consumer Electronics Control (HDMI-CEC), video and images stored on the EOS 550D can be viewed on an HD-ready TV and controlled via the TV remote.

For users who want to transfer content wirelessly, the EOS 550D includes Eye-Fi connected functions. The EOS 550D features a dedicated Eye-Fi section in the User Interface and it disables the automatic power-down function when an Eye-Fi card is transmitting – allowing users to transfer content easily and without interruption.*

Accessories

The EOS 550D is fully compatible with all Canon EF and EF-S lenses and EX series Speedlite flash units, including the compact Speedlite 270EX. The EOS 550D is also compatible with the new RC-6 Remote Control, allowing photographers to capture high quality stills and Full HD video without touching the camera body. The slim line infrared controller can trigger the shutter release from up to five metres away, with users able to select either immediate release or a two second delay for greater flexibility when shooting. As well as supporting EOS 550D, the RC-6 is also compatible with the EOS 450D, 500D, 7D and 5D Mark II.

CANON iMAGE GATEWAY – share your stories

Owners of the new Canon EOS 550D can join the CANON iMAGE GATEWAY, a free online facility for Canon users that makes it easy to share their photos and video. Users can take advantage of up to 2GB of personal storage space, creating enough room for hundreds of high-quality images. Mobile browsing is also supported, making it easy for friends and family to view photos on the move.

Features at a glance:

18 Megapixel APS-C CMOS sensor

DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)

Continuous shooting at 3.7fps

Full HD movie recording with manual control and selectable frame rates

7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots

iFCL metering System with 63-zone Dual-layer Metering Sensor

Quick Control screen to change shooting settings

Exposure compensation +/-5 stops.

Select maximum value for Auto ISO

External Microphone socket

Movie crop function

Eye-Fi connected functions compatibility

Pricing and Availability

The EOS 550D body only is available from 24th February 2010 priced at £799.99.00 / €899.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £899.99.00 / €999.00 RRP inc. VAT.

The EOS 550D, EF-S 18-135mm f/3.5-5.6 IS lens kit is available from 24th February 2010 priced at £1,099.99.00 / €1,249.00 RRP inc. VAT.

The EOS 550D, EF-S 18-55mm f/3.5-5.6 IS & EF-S 55-250 f/4-5.6 IS double lens kit is available from 24th February 2010 priced at £1,199.99.00 / €1,349.00 RRP inc. VAT.

The BG-E8 battery grip for the EOS 550D is available from 24th February 2010 priced at £159.99.00 / €179.00 RRP inc. VAT.

The LP-E8 battery pack for the the EOS 550D is available from 24th February 2010 priced at £49.99.00 / €49.99 RRP inc. VAT.

The RC-06 remote price is TBA.

Post from: Digital Photography School - Photography Tips.

Canon EOS 550D Announced

I’d like to talk today about the potential offered by Neutral Density filters, and how they can make your photos more unique.

Ruined Harbour II by Duncan_Smith (used with permission)

The smooth watercolour feel in the above photo is due to a Neutral Density 64 Filter. This filter has interested me lately and this photo demonstrates one of its primary uses: to smooth out water and skies without the use of post-processing. I think the results are perfect, and I’d love to have this on my wall.

A Neutral Density Filter is one designed to block out a substantial amount of light. This enables the photographer to slow down his shutter speed and/or shoot at a faster F-stop.

Most photographers will use what is called an N2, N4, or N8 filter to smooth out waterfalls, rivers, oceans. This photographer has used an N64 filter which is far stronger, letting him have an exposure of 60 seconds at f/16 for this image. Without the filter, the photographer would have had to use f/2 to get away with a 60-second image, or less than a second at f/16.

An N64 filter allows for 1.5% of available light to enter the lens. Here is comparison table for the other filters, courtesy of wikipedia:

Filter Name F-Stop Reduction % of Light Transmitted

ND2 has an F-Stop Reduction of 1 which means 50% of the light gets through
ND4 has an F-Stop Reduction of 2 which means 25% of the light gets through
ND8 has an F-Stop Reduction of 3 which means 12.5% of the light gets through
ND64 has an F-Stop Reduction of 6 which means 1.56% of the light gets through
ND1000 has an F-Stop Reduction of 10 which means .1% of the light gets through

Options

It’s important to remember that filters are designed to fit your lens diameter. Look at the front part of your lens and check for a 2-digit number followed by mm. Common diameters are 77mm, 72mm, and 52mm.

Robin Ryan is a Vancouver-based photographer always hunting for beauty through the rain. Or in it. Anyways, he runs “Your 1000 Words” and his portfolio is found at www.robinryan.ca

Post from: Digital Photography School - Photography Tips.

Neutral Density Filters

The G11 continues the breed, with some improvements tucked away under the bonnet but with one or two surprising omissions.

Image capture maxes out at 10 million pixels; the lens is an optically stabilised and reasonably fast f2.8 Canon optic that has a 35 SLR equivalent of 28-140mm … or 5x.

The ten million pixel CCD delivers a maximum image size of 3648×2746 pixels or, in print-speak, a 31×23cm output at 300 dpi. RAW and JPEG capture are available. In the current climate, the movie specs are disappointing with only 640×480 pixel capture.

While many compact digicams shout about their higher res capture — 12 megapixels and more — it’s useful to compare apples with apples: the G11’s CCD measures 14.9mm across the diagonal while the compacts mostly reach 11mm — a significant difference. This is what Canon is all about.

At first look, the G11 seemed to be smaller than the previous G10 model and it sort of was — and wasn’t! Overall, the G11 is about five percent larger … a little wider and higher. However it’s still a very compact camera and could fit most outer coat pockets.

Canon Powershot G11 Features

Looking more and more lonely these days is the G11’s optical viewfinder, uncorrected for parallax and with little more going for it than it gives a bright view of the scene, even in bright sunlight. You will have to be careful of vertical parallax when shooting subjects a metre or so from the camera.

Supporting this optical finder is the rear 7.1 cm LCD screen, tiltable vertically and swingable horizontally. Compared to its compact digicams peers the LCD has relatively low resolution but worked well in my shooting adventures with the G11.

What sets the G11 apart is its direct control of the some of the camera’s settings via two concentric mode dials. The inner one leads you to auto, Program, aperture and shutter priority exposure modes, give access to scene modes, two custom settings and movie shooting. A Quick Shot Mode offers display LCD of the camera’s current settings like white balance, image size etc with idea that you view with the optical finder and just fire away.

The other mode dial is an ISO speed dial, which gives direct access to all settings — ISO 80 to 3200: a far better approach than a dig and delve in the finder menu.

The ISO test shot at the 80 setting showed superb quality, with no sign of noise

Same quality at ISO 800 — ideal for low light work

Pretty good at ISO 1600 — with only a slight loss of definition

A direct access to an interesting Low Light Mode is here also: the ISO speed will be varied between 320 and 12,800, with a faster shutter speed, according to ambient conditions.

To the left of these controls is another direct access button to raise or lower exposure compensation: two f stops up or down in third stop increments.

In the area of face detection Canon has chosen a smart approach: aim the camera at a face, press the frame detector button and the AF system will lock on this face, no matter how much you reframe and alter its position in the picture.

The G11’s continuous shooting abilities are less than superb: a rate of 1.1 pictures/second is available, with focus and exposure locked; step back to 07 pics/sec and the camera continues to focus.

I managed to capture this shot by using an exposure of f8 at 1/13 second. Had I needed more water blurr I also could have switched in a neutral density filter that shrinks the incoming light levels to 1/8 or three f stops.

Startup Time

The camera was ready to shoot about one to two seconds after startup; follow on shots at about a second each.

Distortion

There was noticeable barrel distortion at the wide end of the zoom, with little visible at the tele end.

Comments

The G11 is a fine camera and should win friends who want an easy to use, high quality picture maker.

Quality: about as good as it gets with a compact digicam. If you need better colour capture and higher resolution you may have to pick up a DSLR.

Why you’d buy the G11: optical finder; direct access to important settings.

Why you wouldn’t: poor movie specs; poor burst rate.

Canon PowerShot G11 Specifications

Image Sensor: 10 million effective pixels.
Metering: Evaluative, centre-weighted average; spot.
Sensor Size: 14.9mm CCD.
Lens: f2.8-4.5/6.1-30.5mm (28-140mm as 35 SLR equivalent).
Shutter Speed: 1 to 1/4000 second.
Continuous Shooting: 1.1fps.
Memory: SD, SDHC, MMC, MMCplus, HC MMCplus cards,
Image Sizes (pixels): 3648×2746, 3648×2736, 3648×2048, 2816×2112, 2272×1704, 1600×1200, 640×480. Movies: 640×480, 320×240 at 30 fps.
File Formats: JPEG, RAW, Motion JPEG.
ISO Sensitivity: Auto, 80 to 3200.
Interface: USB 2.0, AV, DC input.
Power: Rechargeable lithium ion battery.
Dimensions: 112.1×76.2×48.3 WHDmm.
Weight: Approx. 355 g (body only).
Price: The Canon Powershot G11 is currently $453.99 at Amazon.

Post from: Digital Photography School - Photography Tips.

Canon Powershot G11 Review

Image by Orvaratli

Named after the Roman Goddess of Dawn (Aurora) and the Greek name for north wind (Boreas) the Northern lights AKA Aurora Borealis, are seen in areas that are within or surround the Arctic circle, for example: Norway, Sweden, Finland, Canada, Alaska etc. Equally the southern counterpart ‘aurora australis’ is visible from high southern latitudes in Antarctica, South America and Australasia. The mesmerizing wisps are actually solar charged particles reacting with the magnetic field as they make contact with the upper atmosphere gases. The most common lights star-gazers are likely to see are the green variety, with the red variant only appearing in tandem with the green. Sometimes the lights lie horizontally like an expanse of neon fog, other times in vertical streaks dancing their way across the night sky – whatever the colour or form the results are quite awe striking and will make for the most wonderful of subjects.

Image by Orvaratli

Spring and Autumn are the best times to witness the event (March to April, and September to October), but if you choose to visit in the winter months you will find the temperatures can be extremely cold often between as low as 35 below, and the days can be shorter with less light. For example at this time of year in somewhere like Sweden the sun rises around 9am and sets about 3pm but the window, this is great for star gazing but will mean your camera’s ISO capabilities will be put to the test.

Both factors will influence your choice of kit so pick a DSLR which can withstand the cold and work at high ISO. Nikon’s revolutionary D3S with 102,400 ISO is a fantastic choice; similarly the Olympus E3 is famed for its ability to withstand extreme conditions. Fast lenses are an absolute must, with a wide angle or fish eye acting as the best choices for capturing that great expanse of night sky. If you’re concerned for your camera or its potential demise in longevity take a fleece blanket or towel and gently wrap it around your DSLR, this is particularly wise for those models sensitive to colder climates.

Image by Orvaratli

Battery life is a big issue for any electronic device when the temperature is low so be sure to charge several spares if you are trekking out away from power supplies. Keep these close to your body when not in use.

A tripod is essential for stability and ultimately the success or failure of your shots. Long exposures of 15 seconds plus are going to be needed so a good solid contender that can withstand the cold and can be collapsed and erected with ease is going to be your best ally here. Manfrotto’s carbon fibre line up is definitely worthy of consideration, but ideally avoid anything that is predominantly constructed of metal. Furthermore to ensure the camera suffers minimum camera shake during exposures – which would result in blur – operate the shutter with a remote control/release or use the unit’s self timer mode.

Image by Orvaratli

Common sense would dictate that you do not head out into the snow-capped wildness alone or without at least notifying someone, and a compass or some form of GPS device is essential. Likewise sensible clothing is a must; plenty of breathable, thermal layers, with a waterproof out layer, sensible snow boots, balaclava, hat, scarf and gloves. When it comes to gloves double layered products are superb, especially those with a tip-less outer layer or grip coating – extending a better grip of camera controls to photographers. Lowepro, Peter Storm and Sealskinz in particular all make excellent items suitable for shooters.

In terms of transporting your kits, you are going to want your camera and lenses to be as snug and protected as you are, so this is no time to scrimp. One standout brand noted for its sturdy rucksacks is KATA and in particular the R-family of camera orientated luggage. Insulated with Thermo Shield Technology, the bag protects from the cold as well as knocks and bumps. The bags are cabin friendly (check with airline policy) and feature soft removable padding that cushions valuable items and the bright orange colour of the interior fabric is a boon for night time photographers. Another valuable asset to carry is a light; once away from the light pollution the only available light source will be from the stars, so until glow in the dark controls are invented remember to bring along a torch or if you do forget it a mobile phone will suffice.

Image by Orvaratli

As well as incorporating the beautiful streams of light which will no doubt fill your shot it will add interest and scale to incorporate a foreground subject such as a tree or cabin. Once you’ve found a good scene, be patient as the aurora borealis can appear in fits and burst over a period of many hours, and sometimes not at all. This is why travelling with a guide or experienced local can be of benefit. Once you do see the glow and take the shot be patient again and stand back from the tripod so your movement does not affect the stability of the capture.

In terms of technique switch to manual mode and open the lens’s aperture as wide as it will go. Next dial in the shutter speed, starting with 15 seconds but extend this duration as needed. It will be too dark for your lens to autofocus so opt for manual focus and adjust the ring with small incremental turns until the correct position is achieved. Keep checking the LCD for confirmation.

Experiment with ISO until it becomes uncomfortable. Some photographers favour exploiting the Noise Reduction mode in these conditions. After each shot zoom in on the LCD to check the level of grain, if things are looking uncomfortable opt for a longer exposure instead of degrading the quality of the shot further.

Rusty Old Shack - by Orvaratli

For capturing beautiful star trails in tandem with the lights, take dozens or even hundreds of frames of the same scene of 15 second exposures and flatten and merge them into one individual file in a software package later.

After an evening spent shooting be sure to reintroduce your equipment into warmer environments (i.e. indoors) slowly, to avoid the build up of condensation in the lens. Begin by leaving the camera and lenses by the door, drawing it into the premises in regular stages.

According to experts there is an extraordinary solar storm on the way (which happens roughly every 11 years in the solar cycle) and experts have forecast 2012 will be one of the most prolific seasons to witness the lights. It is during these times that the lights can be seen further outside the usual areas – especially those with less light pollution. For up to the minute information on flares and sun spots visit www.spaceweather.com.

Check out more images by Orvaratli’s Aurora set on Flickr.

Post from: Digital Photography School - Photography Tips.

An Introduction to Photographing the Northern/Southern Lights

73% of digital camera owners wish they had more control over their camera

These results from a recent poll of readers highlight a challenge that many camera owners face – they’re unable to use their camera to its fullest potential because they don’t understand the basics of how to use it.

If you wish you had a better understanding of your camera and how to get it working to its potential – we’ve developed a resource for you.

And for the next 3 days (until Friday) we’re also throwing in a bonus pocket reference guide for DPS forum members – but more of that below

Discover How Your Camera Works and Take Better Photos Today

Photo Nuts and Bolts is a brand new downloadable PDF E-Book designed to help you know your camera and take better photos.

This resource has been written by regular contributor to DPS – Neil Creek and works through a series of 10 lessons centered around the basics of photography.

10 Lessons to Give You Control Over Your Camera

Buying this book – you’ll be walked through the following topics:

Lesson 1 – Light and the Pinhole Camera
Lesson 2 – Lenses and Focus
Lesson 3 – Lenses, Light and Magnification
Lesson 4 – Exposure and Stops
Lesson 5 – Aperture
Lesson 6 – Shutter
Lesson 7 – ISO
Lesson 8 – The Light Meter
Lesson 9 – White Balance
Lesson 10 – Metering Modes and Exposure Compensation

Photo Nuts and Bolts Contents Page: Covering 10 Lessons on the Basics of Understanding Your Camera

By the end of it you’ll understand how your camera works and be in a much better position to be able to make decisions on how to best use it rather than just sit in Auto mode.

Photo Nuts and Bolts Features:

• Takes you back to basics and builds your camera knowledge from the ground up
• Smoothly animated diagrams, right in the page, showing complex concepts simply and clearly
• Photographic theory made accessible
• Demonstrates how technical concepts relate directly to taking photos
• All lessons are written with a focus on helping you to be a better photographer
• Diagrams, photographs, analogies and lists makes the book fun and accessible
• Each lesson comes with homework and exercises that you can go away and DO to make what you learn stick
• All lessons come with extra resources for you to go away and learn more about the topics covered

Sample Pages from Photo Nuts and Bolts

Who is Photo Nuts and Bolts For?

• Photo Nuts and Bolts is for any photographer who feels that they would like to know more about how their camera works, and how to become more confident at using it to take better photos.
• The E-Book is directed at Digital SLR camera owners, but the principles explained apply to every camera, from the humblest pinhole to the most sophisticated DSLR.
• You will get the most out of this book if your camera allows you to take control of the settings (including many point and shoot cameras), but owners of fully automatic cameras will better understand how to deal with the limitations of their camera.
• This book is for those who are willing to read the manual, to understand the nitty gritty, to become the best photographer they can be, rather than those who are happy to cruise by on auto, with their manual gathering dust and their photos staying mediocre.

Feedback from Photo Nuts Owners

This E-Book is brand new but the feedback from readers is already coming in:

“Thank-you, for such an innovative product. Just skimming through the book and cheat sheet tells me heart, soul and mind went into their production.” – Mary (Anacortes, WA)

“This E-Book just got me inspired. I’m reading it at my computer, then dashing outside to test what I’m learning and then coming back in to learn more!” – Grant Thompson (Brisbane, Australia)

“I always knew my camera could do more than I was using it for and now I know where to start in doing more than just pointing, hoping and shooting.” – Ian Bishop (Boston, MA)

Brand New Teaching to DPS

Photo Nuts and Bolts is an E-Book that centres around content published on DPS in Neil’s Photography 101 series of posts but has been updated and rewritten with a lot of new content including:

• Over 5000 words of new original content
• New chapters covering the topics of White Balance, Metering Modes and Exposure Compensation
• Selected reader comments and questions answered and added to every chapter
• Glossary covering lots of technical camera terms
• All content has been revised and reviewed where necessary for more accuracy

FORUM MEMBER EXTENDED BONUS: Photo Nuts Pocket Reference Guide

Grab your copy of Photo Nuts and Bolts E-Book in the next 3 days and we’ll throw in a free bonus Printable PDF Photo Nuts Pocket Reference Guide.

This is a quick guide to get you started with camera settings in various situations. For example if you find yourself Indoor in a low lighting situation it’ll suggest where to start with setting your Aperture, Shutter Speed and ISO. If at the beach it’ll suggest how to approach shooting in that situation.

This Pocket Guide bonus covers 10 situations and will help you to take what you’ve learned in the main book and put it into action in a practical way while shooting.

This handy little bonus will only be available for 3 days after the launch of the Photo Nuts and Bolts E-Book and we’re extending this offer to you as a forum member only (as many of our members missed the initial launch of this E-Book). After the 3 days it’ll be available no more so act fast.

30 Day Money Back Guarantee

If you’re not satisfied that Photo Nuts and Bolts E-Book is helping your photography within 30 days just let me know and I’ll refund your money – that’s how confident we are that this is a resource that will help you improve your understanding of your camera and as a result, your photography.

Got any questions about the Photo Nuts and Bolts E-Book? Check out our FAQ Page.

Download Your Copy Today

Be among the first to secure your copy of Photo Nuts and Bolts and discover the secrets to how your camera operates today. Grab your copy today – Payment is via PayPal or Credit Card.

Please do note again – this is a downloadable resource not a hard cover book. As a result there is no need for delivery addresses or postage costs.

More Reader Feedback

“This book is, without a doubt, the most user friendly introduction to digital photography I’ve come across. I’m fairly new to the DSLR world and having become bogged down in my camera’s manual and some model specific instruction books I was becoming a bit frustrated with my inability to use and understand my camera’s functions. The information in this E-Book is clear, concise, and has clarified all sorts of confusion about basic camera functions. I had a number of Eureka! moments where I figured out where I had gone wrong with camera settings in the past. I’m excited to work on some of the assignments and very much appreciate the forum support for the book that is set up through the DPS website. This is exactly what I’ve been looking for to bring my photographic skills to the next level. Thanks!” – Andrea Paterson

“This is a good solid book that teaches the foundations of photography in a concise and meaningful fashion. And even if you’re somewhat familiar with the topics, there are a lot of background and theory details presented that you don’t typically see outside of textbooks.” – Brian Auer from Epic Edits Blog

“If you are a beginner, do not understand ISO, shutter speed and aperture, or if you still prefer run to the “green little box” atop your camera, you will want to check this book out. I love the animated graphics in the book, as well as the links to more resources on the topics, things you cannot get from a print book.” – Jodi Friedman from MCP Actions Blog

Post from: Digital Photography School - Photography Tips.

Photo Nuts and Bolts: Know Your Camera and Take Better Photos

1. It’s a good idea to formulate a plan of attack before the twilight hour so scout out a position while there is another available light and grab a few set up shots to make sure your scene works and will be free from distracting objects. Cityscapes are best viewed from a distance, whereas seascapes are more dramatic nearer to the shoreline. Consider compositional elements to add scale, interest and context. When twilight occurs you’ll only have around 20-30 minutes of optimum shooting time so be ready for all eventualities.
2. The best time to shoot a low light scene starts just half an hour before the sunsets until an half an hour or so after wards as this will produce beautiful colouration in the sky; resonating in a display of pinks, purples, reds, oranges eventually fading into an enigmatic blue. This shade of sky is more useful than the night sky as exposure times can be reduced if and helps to define the subjects within the scene.
3. The key to flawless low light shots is long exposure which means slow shutter speeds so a sturdy tripod is unquestionably your most vital accessory. Manfrotto and Gitzo produce solid but light products which are ideal for landscape shooters. However, the ever portable and incredibly flexible gorillapod can be a great boon when creative angles or positions are desired. By supporting your camera you will be able to lower the sensitivity and decrease noise but leave the shutter open for as long as necessary without the worry of blur.
4. If you are without a tripod but can’t resist a capture then look around for some other form of support, be it the top of a wall, the top of a rubbish bin, a fence, the ground, your rucksack or even your shoe – there are many ways to get around this problem. If there are literally no objects to support your kit from underneath, try leaning against a building or strong structure instead and press the camera into it and support it as calmly as possible with your hand underneath.


Image by V31S70

5. So start by setting your camera upon a solid tripod and switching the unit to manual or shutter priority if you are wish. Lower the ISO to 100 (for some DSLRs you may need to access a sub menu to find this value) and dial in a shutter speed of 15 to 20 seconds (this will take some trial and error to find the optimum value). In terms of aperture you are going to want capture a longer depth of field to ensure far off elements within your scene remain in focus so try varying from f9 to f14.
6. In relation to lenses the faster the better and a healthy wide angle will draw the whole scene in, something like a 12-24mm or a 10.5 fisheye can produce exciting results. However a zoom lens can be of benefit when shooting a city scene to pull in sections of the skyline or play with perspective.
7. Using an auto white balance may result in lack lustre colours so set your white balance manually or dial in 5500k, as this is the average colour of daylight. It is advisable to shoot in RAW however as you can always alter the WB in processing if needed.


Image by kern.justin



8. Another key piece of kit is a remote control shutter release like Nikon’s ML-L3 wireless control which works with Nikon’s enthusiast range of cameras; D40, D40x, D60, D80 and D90. There are many varieties of release out there for all makes and models; some wireless others tethered. The benefit of a remote shutter release is the photographer can ensure they do not accidental nudge the camera during it’s exposure as this would show on the capture as shake or blur, distorting the overall crispness and clarity. Another trick to employ if you are without a remote shutter is to use the self timer.
9. If you do have a trigger release take this practice a step further by employing the camera’s bulb setting and mirror lock up functionality. First press the trigger to lock the mirror out of the way and wait for any residual vibrations to subside then press the trigger again to start the exposure but hold it down for as long as you want the capture to last.
10. Camera manufacturers are stepping up their game all the time pushing DSLR technology to the limits, most recently and perhaps notably is Nikon’s D3S which is capable of shooting at ISO 200 to an impressive 12,800. Further still this ISO can be expanded to an unprecedented 102,400. By utilising higher ISOs such as this photographers can sample low light photography hand held as the shutter speeds can be sufficiently increased.
11. Although powerhouses such as the D3S cope admirably with noise, the same cannot be said of all cameras. Therefore if you do opt for a High ISO instead or supporting the unit with a tripod noise is inevitably. However there are ways to reduce the effect. First your device may offer a Noise Reduction system, activate this and the camera will automatically search for the incorrect coloured pixels within your scene and map the correct the values instead. This isn’t the best idea by any means but is an option if handheld shooting is the only option available. There are many Noise reduction software products available on the market that can resolve this issue post capture as well and if processing in Photoshop opt to process as a 16-bit file rather than an 8-bit one as you’ll retain more image information which will extend the opportunity to recover shadows from burnt highlights and retrieve details from the shadows – both a hazard of low light shooting.


Image by Paco CT

12. Incorporate a foreground element to add interest, scale and to help contextualise the piece. For example the combination of natural and artificial light can be very dramatic in cityscapes, high levels of light pollution colour the night sky and the vast quantity of glowing orbs scatter light across the scene but including a bridge, highway or structure will help to lead the viewer into the frame. If it’s a twilight landscape you desire consider a diagonal row of trees, a fence, a hedge or farm house. Likewise with a sea scene incorporate a lighthouse, Cliffside or groyn.
13. With so much or so little going on in your low light scene in can be a job to know where to meter from so set your camera to matrix or multi-segment metering and take several readings using the elements in your scene to judge the optimal value. Ideally it’s best to start with a midtone rather than highlights or shadows and if you are using a zoom lens, scroll in to meter from the detail of the subject or object and then zoom back out to compose the shot.
14. Another handy trick some low light enthusiasts employ is exposure bracketing. Use Aperture priority and meter from one area of the scene (later repeat this for the various elements in turn). Dial in the exposure and use the histogram to ensure accurate results. Keep aperture and ISO consistent throughout but vary the length of the exposure in half a stop increments. Later you can package these into one shot in editing.
15. The wonderful thing about digital is the instant feedback. A lot of your technique will be trial and error in the beginning but use the histogram to check exposure. It may indicate that part of the shot is overexposed but this may be the areas of bright lights in a city scene for example and is therefore perfectly fine. Ideally your frame will present a post sunset sky or veil of blue twilight but still offer detail in buildings on foreground instruments. The most important thing is to have fun and experiment!

Natalie Johnson is the former editor of Digital Photographer magazine and after seven years in the business has chosen to pursue her dream of becoming a freelance photographer and writer.

Post from: Digital Photography School - Photography Tips.

15 Tips for Low Light Landscape Photography

Such a book is Rob Sheppard’s on the Canon D-SR system. And, while there is very little info on Canon’s extensive range of accessories, lenses etc there is a whole raft of detail and explanation on how to use the Canon system, much of which you will not find in the original manual that came with your camera.

An early chapter explains the basics: the role of the JPEG and RAW formats, setting the ISO, which metering mode does what and how to best use the AF modes, white balance and so on.

A useful section on the LCD screen will be helpful to those who get caught up in using Live View and face difficulties in accessing the finder menu. More advanced users will appreciate the data on shutter speeds, determining what is a ‘correct exposure’ and deciphering the histogram.

I found the section on shooting action of immense interest, coming away with an increased appreciation of AF’s role in snaring fast, sharp shots at high shutter speeds. There’s even more on how to shoot in available light, artificial light as well as when, what and how to use flash.

Sheppard provides a very useful guide on how to get the best out of your Canon D-SLR.

Perfect for beginners and newbies.

Author: R Sheppard.
Publisher: Lark Books.
Distributor: Capricorn Link. 272 pages.
ISBN 978 1 60059 461 80.
Price: Grab a copy of How to Take Great Photos with the Canon D-SLR System at Amazon – currently it is $14.36 (28% off).

Post from: Digital Photography School - Photography Tips.

How to Take Great Photos with the Canon D-SLR System [Book Review]

Today Canon have released an updated version of this very popular lens – a Mark II version.

With a really versatile focal length range it is no wonder that these 70-200mm lenses always feature in our top lenses lists. This updated lens comes with improved optical performance after a redesigned innards that now has a fluorite element and 5 UD elements to help with correcting chromatic aberration and faster focusing system.

The new lens has a smaller minimum focal distance of 1.2 meters (as opposed to 1.4 meters in the last version) and there are a couple of external changes including wider focusing ring. It’s also a little stronger and weighs 20 grams more than the previous model.

I’m not sure I’ll be ordering one to update my current 70-200mm f/2.8L IS Mark I – but if I was in the market for the best I’d be certainly drooling over this new lens!

No price has been announced yet for this lens but it shouldn’t be far off as it is expected in stores in April.

Canon EF 70-200mm f/2.8L IS II USM Lens Press Release

Canon Makes The Best Even Better, With The Introduction Of The Second Generation EF 70-200mm F/2.8L IS II USM Lens

Canon’s New EF 70-200mm f/2.8L IS II USM Incorporates Advanced Lens Elements and Enhanced Durability for High-Speed Autofocus and High-Performance Optical Image Stabilization

Canon, a leader in digital imaging, introduces the new EF 70-200mm f/2.8L IS II USM lens. Arguably the most popular focal range in Canon’s telephoto arsenal and a staple lens for any professional photographer, the EF 70-200mm f/2.8L IS II USM lens provides the focal length, maximum aperture and zoom power for capturing everything from fast-action sports to studio portraits. Built for the professional, the body structure of the new EF 70-200mm f/2.8L IS II USM lens has been enhanced to provide better durability and strength without a significant increase in weight. Canon has improved optical performance on the new EF 70-200mm f/2.8L IS II USM lens by redesigning the internal elements, incorporating a fluorite element and a fifth UD element. The use of the fluorite element and five UD elements helps to minimize secondary chromatic aberrations and produce better image quality with improved contrast and resolution through the entire zoom range; the end result is an optically precise lens worthy of becoming the leader of Canon’s L-series lenses.

Along with its redesigned optical elements, the new lens design features improved AF speed due to a new focusing algorithm and has reduced the minimum focusing distance to 3.9 feet (1.2 meters) through the entire zoom range, allowing photographers to capture tighter portraiture shots in a small studio space. The previous lens model’s minimum focusing distance was 4.6 feet (1.4 meters), whereas now photographers can stand nearly 8 inches closer to their subject and achieve sharp focus and tight crops. Canon has also enhanced the Image Stabilization allowing it to compensate for shutter speeds up to four steps slower than 1/focal length, a one step improvement over the previous lens model.

“Canon’s core has always been our optics, and we are constantly challenging ourselves to produce better and more advanced optical systems for our customers. The new EF 70-200mm f/2.8L IS II USM lens incorporates the best advancements in Canon lens technology from the past few years and packages it into what we believe will be the most popular lens for professionals and advanced photographers,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The enhanced magnesium alloy barrel design of the EF 70-200mm f/2.8L IS II USM lens features added strength with a minimal 20-gram increase in weight compared with the previous model (1490g vs. 1470g) and retains Canon’s protective seals and fittings providing dust and water resistance for those photographers working in adverse conditions. A new bayonet mount on the front of the lens includes a locking mechanism to ensure the supplied lens hood remains securely in place. Other noticeable improvements include a wider focusing ring, and sleeker design by reducing the thickness of any protruding elements such as the switch panel. The new lens is also compatible with Canon’s existing EF1.4X II and EF2X II Extenders as well as EF Extension Tubes and the 77mm Close-Up Lens 500D.

Pricing and Availability

?The Canon EF 70-200mm f/2.8L IS II USM lens is supplied with a detachable tripod collar, a reversible bayonet mount lens hood and a lens pouch. The new lens is scheduled to be delivered to U.S. dealers in April, price to be determined.

Post from: Digital Photography School - Photography Tips.

Canon EF 70-200mm f/2.8L IS II USM Lens

The style continues: the rear has the usual four way rocker plus a vertical row of four buttons (menu, function, trash, display) and a replay button. There’s no optical viewfinder but the 7.6cm LCD screen provides a bright and ultra sharp look at the scene.

Ricoh CX2 Features

The CX2 has a 9.2 megapixel CMOS sensor, able to capture a maximum image size of 3456×2592 pixels, leading to a final print size of 29×22cm at 300 dpi. Movies? Just there, with support for 640×480 and 320×240 pixel clips — surely a wider movie spec is expected these days!

The zoom has a 10.7x range, equivalent to a 28-300mm lens on a 35 SLR camera; image stability is achieved with a shifting sensor. Amazingly, the lens retracts completely within the body when power is cut.

The exposure modes are basic: auto, plus two ‘My Settings’, a bunch of scene modes, an Easy shooting mode and a novel Double-shot mode that rapidly fires off a pair of shots with varied exposures; the camera processes these and delivers a final, exposure-adjusted shot. One warning: not for fast moving action.

What sets this cameras apart is a 5fps continuous shooting ability, directly selected from the mode dial; in spectacular fashion, the camera can shoot up to 999 shots in a single burst … as long as you hold your finger down and your memory card has the capacity. In reality, the camera fires off a round of 15 shots at 5fps, then slows down as the buffer memory handles the data. Still, pretty damned good!

Augmenting this high speed shooting ability are two ‘add-ons’: in M-Cont Plus 9M mode you hold the button down and the camera saves only the final 15 shots (three seconds) as your finger leaves the button, then blends them into one single 3456×2592 pixel image, ideal for golf swing analysis and the like. M-Cont Plus 2M performs similarly, but you end up with 30 shots in a 1728×1296 pixel image.

Taking it even further, you can even shoot a blaze of 120 frames in one second! That’s 120 fps — saved as a series of 640×480 pixel shots.

Following the current trend for digicams to shoot radically different pictures with ease, the CX2 has a couple of modes that, in one case captures the scene in ultra high contrast B&W in the manner of infra red photography.

In another, the camera renders the shot in the manner of a diorama, with the top and bottom of frame blurred and the scene’s contents depicted as miniatures. Hard to explain, better to show.

Face detection? Yes. Up to eight faces can be captured with optimum exposure, white balance and focus.

ISO Speeds

I was impressed with the camera’s upper ISO settings: ISO 800 renders very useable shots, with little noise; ISO 1600 is marginal but with the right sort of shot — ie not too many large areas of one tone — would be very handy in ultra low light.

ISO 80 at f5.1 and 1/24 second.

ISO 800 at f5.1 and 1/270 second.

ISO 1600 at f5.1 and 1/540 second.

Distortion

With the lens set to wide there was some evidence of barrel distortion, while the tele setting indicated an insignificant amount of pincushion distortion. Tops.

Startup Time

The lens takes a while to come out of its hidey hole, so don’t expect to shoot your first shot until three seconds have passed after power up; follow on shots can be reeled in at about two seconds a pop.

Comment

In some ways the CX2 is a surprising camera but by adding a few features (more exposure options — shutter and aperture priority) and RAW capture it could have been an absolute winner. As it is, I figure many of the CX2’s attractions, like burst shooting and hi con B&W capture will be ignored by many point-and-shoot owners. Pity.

Quality: an excellent snapshot camera, with an excellent image performance in good condtions.

Why you’d buy the CX2: sharp LCD view; fabulous continuous shooting ability; slim profile.

Why you wouldn’t: no optical finder; poor movie capture.

Ricoh CX2 Specifications

• Image Sensor: 9.29 million effective pixels.
• Sensor Size: 11mm CMOS.
• Lens: f3.5-5.6/4.9-52.5mm (28-300mm as 35 SLR equivalent).
• Shutter Speed: 8 to 1/2000 second.
• Focusing Range: Normal 30cm to infinity; macro W/T 1/28cm to infinity.
• Metering: Multi zone (256 segments), centre-weighted; spot.
• Exposure Control: Program AE.
• LCD screen: 7.6cm (920,000 pixels).
• Memory: SD, SDHC.
• Image Size (pixels): 3456×2592, 3456×2304, 3072×2304, 2592×2592, 2592×1944, 2048×1536, 1728×1296, 1280×960, 640×480. Movies: 640×480, 320×240 at 15/30fps.
• File Formats: JPEG, Motion JPEG.
• ISO Sensitivity: Auto, 80 to 1600.
• Interface: USB 2.0, AV (PAL/NTSC), DC input.
• Power: Rechargeable lithium ion battery.
• Dimensions: 101.5×58.3×29.4 WHDmm.
• Weight: Approx. 185 g (body only).
• Price: The Ricoh CX2 is currently $367.13 at Amazon.

Post from: Digital Photography School - Photography Tips.

Ricoh CX2 [Digital Camera Review]

Author of Capturing Mood, Ambience & Dramatic Effects, Joseph Meehan, calls these images “keepers” or “just great photographs.” Beginning at the end of the process he unpicks the subject and explains how you can shoot that great picture yet still give it some degree of polish and a technical edge. The first point he makes is “to interpret rather than just record a subject …” But t’ain’t easy!

A useful chapter deals with the qualities of light: how to deal with colour casts; the effect of varying colour balance throughout the day … and how to deal with the wide variations of artificial light sources: fluoros, tungsten, sodium lamps etc.

Other topics: contrast; the role of High Dynamic Range; the direction and intensity of light; ISO speeds; aperture and shutter settings. Following on the latter topic, a useful table indicates the optimum shutter speed to capture subjects with some degree of blurr: 1/15 to 1/4 second for walkers; 1/30 to 1/60 second for fast movement like cars. Note: these are suggested shutter speeds to capture the subject with an indication of motion … not the ideal speed to capture the action with sharpness.

And this is the key to the book: it’s all about rules and how to bend them in the quest for expression.

A mountain of useful info. Great book for the ‘mood makers.’

Author: J Meehan.

Publisher: Lark Books.

Distributor: Capricorn Link. 190 pages.

ISBN 13 978 1 60059 577 6.

Price: Currently Available at Amazon for $29.95 (27% off)

Post from: Digital Photography School - Photography Tips.

Capturing Mood, Ambience & Dramatic Effects [Book Review]