New PENTAX K3 DSLR

RICOH IMAGING COMPANY, LTD. is pleased to announce the launch of the PENTAX K-3 digital SLR camera.

Developed to be the flagship of the PENTAX K digital SLR camera series, this new model features a host of advanced functions and user-friendly features to optimise image quality and performance when shooting outdoors. 

Designed for top performance, the K-3 provides an array of outstanding features, including high-resolution image reproduction with approximately 24 effective megapixels; a 27-point AF system; high-speed continuous shooting at approximately 8.3 images per second; high-precision exposure control with a newly designed 86,000 pixel RGB light-metering sensor; a new, large, high-resolution LCD monitor; and an optical viewfinder with the largest, brightness subject image in its class.

 The new anti-aliasing simulator — a highly innovative function developed specifically for the K-3 — allows the user to effectively minimise moiré without the installation of an optical anti-aliasing filter in the camera, providing a choice of filtered or filter-free shooting for a given scene or subject. The K-3 also offers greatly-enhanced movie-recording features and smartphone-accessible functions.

The time-proven dustproof, weather-resistant body construction ensures dependable, flawless performance in the field. The PENTAX K-3 Premium Silver Edition* will also be simultaneously launched—but in a limited run of just 2,000 units around the world. This limited-edition model has a silver body and silver grip, making it a perfect match for the silver versions of the high-performance Limited-series lenses, designed for unrivalled image rendition. This special package also includes an exclusive leather strap and a spare battery. 

* The specifications of this limited-edition model are identical to those of the PENTAX K-3. Main Features 

1. High-resolution images produced by a brand-new sensor with approximately 24 effective megapixels and a new imaging engine The K-3 is equipped with a new APS-C-size CMOS image sensor (23.5mm×15.6mm) with approximately 24 effective megapixels. By coupling this sensor with a newly developed PRIME III imaging engine with high-efficiency noise and image processing capacities and an anti-aliasing filter-free design, the K-3 delivers high-resolution, fine-gradation images. It also offers a top sensitivity of ISO 51200, for taking detailed images under poor lighting conditions, and to simplify handheld shooting of nightscapes.

 2. PENTAX-original SR mechanism to reduce moiré as effectively as an optical anti-aliasing filter 

(1) In-body SR mechanism

 The K-3 features a PENTAX-developed SR (Shake Reduction) mechanism that can be used with any compatible PENTAX interchangeable lens.Thanks to the addition of an SR-dedicated servo controller and an increase in the magnetic force driving the SR unit, this mechanism assures more stable, effective camera-shake compensation than ever before.

(2) The World’s-first, innovative anti-aliasing simulator function

Newly developed for the K-3, the anti-aliasing simulator applies microscopic vibrations to the image sensor unit at the subpixel level during image exposure, generating the same level of moiré-reduction effect as an optical anti-aliasing filter. Unlike an optical anti-aliasing filter that always creates an identical result, this innovative simulator allows the user not only to switch the anti-aliasing filter effect on and off, but also to adjust the level of the effect. This allows the user to set the ideal effect for a particular scene or subject.

 (3) User-assisting shooting functions

 The SR unit’s flexible design, which tilts the image sensor unit in all directions, is one reason why the K-3 can offer a host of handy shooting functions, including auto level compensation, image-composition fine-adjustment, and ASTRO TRACER, which simplifies advanced astronomical photography in combination with the optional O-GPS1 GPS Unit.

 Lenses compatible with this mechanism: K-, KA-, KAF-, KAF2-, and KAF3-mount lenses; screw-mount lenses, (with adapter); and 645- and 67-system lenses (with adapter). Some functions may not be available with all lenses. *** World’s first as an interchangeable-lenscamera to carry this functionality as of October 2013. (Based on RICOH IMAGING COMPANY’s research) **** This function is most effective with a shutter speed of 1/1000 second or slower. This function is not available during HDR shooting.

 3. Newly designed SAFOX 11 AF module with 27 auto focus points

 The K-3 features a new SAFOX 11 AF module with an expanded image-area coverage using 27 AF sensors (25 cross-type sensors positioned in the middle). The centre sensor and two sensors just above and below it are designed to detect the light flux of an F2.8 lens, making it easy to obtain pinpoint focus on the subject when using a large-aperture lens. This newly developed AF module is highly light-sensitive and covers a wide AF working range of –3EV to +18EV. Since the AF module takes data from RGB light sensors into calculation to optimise AF operation, the K-3 also provides such advanced functions as high-accuracy auto-focusing during the shooting of fast-moving subjects, and the zone-select AF mode to automatically select the best possible in-focus point within a designated nine-sensor zone.

4. High-precision exposure control with a new PENTAX Real-Time Scene Analysis System 

 The K-3 is equipped with newly introduced PENTAX Real-Time Scene Analysis System that consists of approximately 86,000 pixel RGB light-metering sensor and improved algorithm, which allows it to not only control the exposure with extreme accuracy, but also to utilise the data taken in by the light-metering sensor to further enhance the accuracy of auto-focusing and white balance adjustment.. This has expanded the measurable minimum luminance level to as low as –3EV. By detecting the type of scene or subject using the light sensor, the K-3 can not only select the exposure settings that are more consistent with the photographer’s creative intentions, but can also make more precise distinction between the main subject and the background to improve the accuracy of flash discharge level.

5. High-speed continuous shooting with a maximum speed of approximately 8.3 images per second 

The K-3 continuously records as many as 22 images in the RAW format or 60 images in the JPEG format
in a single sequence, at a maximum speed of approximately 8.3 images per second. This has been made possible through the use of several innovative technologies, including a high-speed, high-accuracy control mechanism that regulates the shutter, mirror and diaphragm independently; a damper mechanism that effectively minimizes mirror shock; and a high-speed data transmission system incorporated in the PRIME III imaging engine.  JPEG Recorded Pixels：L,　JPEG Quality：★★★

 6. Optical viewfinder with new optics, to provide a nearly 100% field of view and a larger, brighter viewfinder image

 The K-3’s glass prism has been treated with a new coating designed to improve reflection, resulting in a much brighter viewfinder image. The eyepiece optics have been completely redesigned to assure an approximately 0.95-times viewfinder magnification to provide a broader image field, making it easier for the photographer to confirm the subject’s focusing status and compose the image.

 7. Full HD movie recording with creative tools

 The K-3 captures beautiful Full HD movie clips (1920 x 1080 pixels; 60i/30P frame rate) in the H.264 recording format, which assures flawless, high-quality movies even with fast moving subjects. It also comes equipped with a stereo mic terminal for external microphone connection and a headphone terminal. The user can even adjust the audio recording level manually and monitor sound levels during microphone recording. In addition to a variety of creative special-effect modes, the K-3 also provides an upgraded interval movie mode, which captures a series of 4K-resolution movie clips (3840 x 2160 pixels) at a fixed interval. When special image processing is required, the frame rate may vary depending on the selected special-effect mode.

 8. Smartphone-support functions

 By installing the optional FLU CARD FOR PENTAX 16GB memory card in the K-3, the user can release the K-3’s shutter, check the live-view image, and browse and download the images recorded on the card using a smartphone. This software supports smartphones operating on iOS6 or later and Android 4.2 or later.

 9. Large, easy-to-view 3.2-inch LCD monitor with approximately 1,037,000 dots l,

The K-3 features a newly designed 3.2-inch high-resolution LCD monitor with approximately 1,037,000 dots (in a 3:2 aspect ratio) on its back panel. In addition to its wide-view design, this monitor also features a protective tempered-glass front panel for added durability, and a unique construction in which the air space between LCD layers is eliminated, effectively reducing the reflection and dispersion of the light to improve visibility during outdoor shooting. During playback, the K-3 even allows the user to check recorded images at life-size magnification. 

10. Compact, solid body with dustproof, weather-resistant construction; perfect for outdoor shooting 

 The K-3’s exterior casing is made of sturdy yet lightweight magnesium alloy. Thanks to the inclusion of 92 special sealed parts in the body, it boasts a dustproof, weather-resistant and cold-resistant construction, assuring solid operation at temperatures as low as -10°C. It also features a dependable, durable shutter unit that can handle some 200,000 shutter releases. Despite all these features, the K-3 has been designed to be compact and manoeuverable, assuring exceptional operability when shooting outdoors.

11. Other features

 ・Dual SD card slots for memory card flexibility (compatible with SDXC UHS-1 speed class in SDR104 bus speed mode)

 ・DRII (Dust Removal II) mechanism for effective elimination of dust on the image sensor using ultrasonic vibration

 ・HDR (High Dynamic Range) shooting mode with RAW-format data filing

 ・PENTAX-invented hyper control system for quick, accurate response to the photographer’s creative intentions

 ・Mode dial with a choice of lock mechanism engagement (ON or OFF)

 ・Redesigned, resized grip for steady, comfortable hold of the camera

 ・Compensation of various parameters: lens distortion, lateral chromatic aberration, brightness level at image-field edges, and fringe effect (available in RAW-format processing only)

 ・Compatibility with Eye-Fi wireless LAN memory cards

 ・Compatibility with USB3.0-standard interface accessories, with HDMI (type D) terminal

 ・Newly designed Digital Camera Utility 5 software included, to provide upgraded programs and enhanced overall performance


 

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Artistic Cell Phone Photography

by NYIP Student Advisor Chris Corradino

Whether you use a smart device like an iPhone or an Android, or a more compact cell phone, chances are that you have a camera in your pocket right now. Not very long ago, the optical quality of these cameras was very poor, especially in low light situations. Yet today, thanks to continued technological developments, a growing number of users are beginning to realize the power of the latest cell phone cameras. In fact, the International Telecommunications Union estimates that "4.6 billion mobile phones are in use at the moment." If this is any indication of what the future holds, cell phone cameras may very well replace smaller point-and-shoot cameras altogether.

Rather than carrying a phone, a camera, and an MP3 player, many consumers look for one electronic device that does it all. Some shoppers simply search for "best camera phone" and make their purchase solely on the quality of the camera. Manufacturers are taking notice, and they're adding more capable cameras to their phones. For example, the Nokia PureView 808 features a staggering 41 megapixels of resolution along with full HD 1080p video recording and audio recording at CD quality. The affordable Sony Xperia has an 8.1 megapixel camera with autofocus, 16x digital zoom, LED flash, and a maximum aperture of f/2.65.

One of the best parts about camera phones is the ability to share the image with others right away. You can post your photos to a variety of social media outlets such as Facebook, Twitter, and more. You can even post videos to YouTube directly from your phone. This type of content sharing has become incredibly popular. Facebook alone receives more than 2 billion photo uploads each month! On Twitter, many photographers share their "Twitpics" with their followers. These can range from "look where I am" to beautiful fine art imagery. If another user appreciates an image, it's often retweeted, and shared with even more people. It's possible to upload a photo at 10:15, and have several hundred or more views by 10:30.

Camera phones don't have the speed or advanced functionality of the more full-featured DSLRs. Yet, the benefit of having a small, quiet camera in your pocket at all times outweighs any of its technical limitations. When a professional photographer arrives on the scene with two DSLRs, telephoto lenses, and flash units, everyone immediately notices. In certain situations, this can hinder the pro from doing his or her job, as people are more guarded and aware of the cameras. With small cell phones, however, a photographer can get the needed shot and leave the scene virtually undetected. In addition, there are some places where professional-looking cameras are absolutely prohibited. Thankfully, camera phones are more discreet, and don't generally draw attention to the user.

For iPhone and Droid users, there are an overwhelming number of photo-related applications (just called "apps") to help edit, enhance, and share pictures. In fact, Adobe Photoshop has an inexpensive app called Photoshop Touch with many impressive features including the ability to adjust curves. While in-phone editing can be convenient and fun, some users prefer to edit the "old fashioned" way, on their computers. Cell phone images are typically JPEGS, and can be downloaded into a full version of Adobe Photoshop, or other editing software. This opens up many possibilities like layer masking, unsharp mask, noise reduction, and more. Here are two popular apps you'll want to look into for serious cell phone photography.

Hipstamatic soon became a household name infiltrating its way into the fabric of our society. Not a day went by where our Facebook wall wasn't filled with photos that looked like they were taken 50 years ago. Still, despite being overused at the peak of its popularity, there was an authenticity to the images that ordinary phone snaps were lacking. What some may have initially written off as a fad appeared to have staying power. This shift was first evident after New York Times photographer Damon Winter used the app to document war in Afghanistan. Winter is a Pulitzer Prize winning photographer whose work we've long admired for its creativity and technical brilliance. Yet, when his photo story "A Grunt's Life" was awarded third place in the Pictures of the Year International contest, a flood of naysayers took to the Internet to bash the ethics of his camera selection. In his thoughtful response, Winter said, "I will always stand behind these photographs and am confident in my decision that this was the right tool to tell this particular story." In studying the series of twelve photos, it's difficult to envision them any other way. The quiet, introspective moments he captured coupled with vintage aesthetics make for a telling look at life behind enemy lines.

The Instagram app, acquired by Facebook in 2012 boasts over 40 million users, and that number is growing fast, especially after adding support for Android devices. These two apps have paved the way for a landslide of similar options, many of which are free to download.

Other photo-editing apps you might want to investigate include PhotoForge2, Camera+, and Filterstorm. And don't forget to download the free app from The New York Institute of Photography. You can access ongoing photography and business tips and videos. Tune in to informative tweets and view photos from NYIP students and graduates.

Source: New York Institute of Photography

5 Hot Tips For Holiday Shots With A Compact Camera

Taking your compact camera with you on holiday? Here our top tips to get the best out of it.

Your compact camera may be small, but it can still take some pretty good holiday snaps. Compacts are often easier to carry around than DSLRs as they are lighter and smaller which means it's easy to pop one in your bag and that way, you'll always have it on you, so that you never miss a shot if an opportunity arises. With this in-mind, here are our top 5 tips for compact camera holiday photos.

Settings

Most compacts will have some kind of beach setting that'll stop your shots looking underexposed when taking photos in bright sunlight at the coast. This will most likely be under the scene mode or equivalent on your camera. The Beach scene mode will increase the exposure slightly to compensate but also adjusts the white balance to make the sand look more natural.

When shooting portraits, if you find that the sun is causing harsh shadows, particularly under the nose and chin, use your camera's built-in flash to put detail back into shadow areas and as an added bonus, it can add catch-lights to eyes too. Some cameras let you reduce the output of the flash so it isn't as harsh. Check your camera's manual if you're unsure if you can do this with yours.

Fun Effects

Most compacts have some quirky effects (digital filters) that will work well with holiday photos. For example, use of the miniature mode from high viewpoints can create some great images. Be creative, and you can produce some fun holiday shots that show your skills off too.

Photo courtesy of David Clapp - www.davidclapp.co.uk

Be Unique

Try going off the beaten track to get some good vista and panorama shots of your destination that will be completely original. For example. If you're in a coach party and the coach stops, walk up the road and see if there's a better viewpoint rather than standing with the crowd. Go for something that you can't find on a post card – perhaps a macro or close up shot, something a little different that'll make your shots stand out from the rest.

Self-Timer

By using your camera's self-timer you'll be able to be in group shots rather than always hiding behind your camera lens. After all, it's your holiday too! You should be able to set your timer to various intervals, usually 10, 20 and 30 seconds as well as minute intervals.

Horizons

Using a tripod will help ensure the horizons straight but if you aren't planning on taking one with you, a quick check of the viewfinder or screen just before you take the shot will help prevent wonky horizons spoiling your shot. Look for other distracting objects such as rubbish as well as lamp posts and trees growing out of people's heads. Make sure your fingers aren't sitting over the lens, or flash if you're using it, too.

Source: www.ephotozine.com

Polarising Filters - How To Use Them? Why?

Digital photography enables us to recreate most filters effects that we used to produce using optical attachments on our cameras. But there's one filter that should still be in every photographer's gadget bag. Let's forget the crazy world of multi-images, the colourful starbursts and the dreamy diffusers - the essential item you should own is a polarizing filter. A genuine polarizing filter can have a dramatic effect on your photographs, but it won't ruin them, which is one common criticism of special effects filters, such as spot colours and multi images.

The classic effect a polarising filter has on the sky. Left shows a non polarised photograph and right with a polariser attached. Notice the saturation in the sky, making it vivid blue, but also the improved detail in the foliage and blooms, that give the picture more clarity.

How they work
 
Polarising filters work by suppressing surface reflections from non-metallic objects, by blocking the rays. The amount of suppression depends on the angle of the reflected light, the rotation of the filter and the amount of polarisation. You also see an increase in colour saturation, as the glare caused by the surface reflections often lightens the subject.

Polarsing filters are perfect for landscape photography. Here a warm tone version was used which has made the picture look more like a summer's day.

Some image editing software suggests it can offer the same results as a polarizing filter, but it misses the mark. A digital polarizing filter can enhance contrast and colour saturation, but it can't remove the reflections caused by light - well not yet anyway!

Here sunlight has caused glare on the varnished wooden sign which can be reduced when a polarising filter is used.

Photos of non-metallic surfaces aren't the only subjects that benefit from the use of a polariser. Light reflected from water and glass is also polarised and using a polariser enables the photographer to see through the glass or water.

A polarising filter used on water kills reflections, allowing you to see below the surface.

Another essential use of a polariser is for creating those rich blue skies that are normally seen in travel brochures and on postcards. Light scattered from a blue sky is polarised, making many blue skies look drab, add a polariser to the equation and you will produce a lovely dramatic blue sky.

How they attach 

There are three types of polarizing filter. The most basic is a sheet of polarizing gel, which you would need to cut to size and hold over the lens or mount in a gelatin holder. Then we have precut and mounted versions, made by the likes of Jessops and Cokin, that slot into a filter holder and mount onto the front of the lens. The third option is the round type that has a sheet of polarising material sandwiched between two pieces of optical glass. The screw-in variety has a rotating front ring so you can adjust the filter while looking through the viewfinder until the reflections are reduced. The holder variety is usually round and can be rotated in the holder.

Ten top tips on using polarising filters

• When shooting to prevent reflections, it's best if you are at an angle of around 35 degrees to the reflective surface.

• A polariser can be attached on top of an existing UV protective filter, but if you do so, be aware that the depth of the filter rims may cause a small amount of vignetting (darkening of the edges) on wider-angle lenses. And as there are more glass to air surfaces the image quality could be degraded. So where possible it's better to remove any other filter and just attach the polariser.

• When shooting skies ensure you shoot at the best angle - for rich blue skies move around so that the sun is at 90 degrees to the subject - anything more or less and the saturation is reduced.

• Avoid using a polarising filter on a lens wider than 28mm as the effect can look false because only a proportion of the sky will be deeply polarised.

• Watch the exposure. A polariser has a neutral grey look, which won't affect colour, but does reduce the amount of light reaching the film/CCD. If your camera has through-the-lens metering it will calculate the exposure difference automatically, which is roughly two stops.

• Use two polarisers together as variable neutral-density filter with between two and nine stops light reduction.
   
• Use two polarisers one over the light source behind a plastic subject and one on the camera for a cross polariser effect.  There's a technique how to do that here: Cross Polarisation

Cross polarisation is a colourful technique that makes use of one of the polarising filters more creative features.

• When using a polarising filter on an older camera that doesn't have TTL viewing hold it up to your eye and rotate until the filter is showing the best effect. Then mark the uppermost point of the rim with a china graph pencil or tape, screw it onto the lens and rotate so that the tape or mark is at the uppermost position. Some filters have a white line mark already printed on the rim which can be used as a gauge.
   
• Buy a slim version for use on a wide-angle lens to prevent the mount causing vignetteing
   
• Don't use a polariser when shooting through an aircraft window, you will record distracting patterns in the window.

There's one incident when a polariser should not be used. Here I increased the colours in the sky and made the ground look more saturated by using the polariser (left), but look at the rainbow pattern. This is caused by the material used in the windows and has produced the cross polarised effect.

A Guide to buying a polarising filter

Buying a polarising filter - You may be aware that a polarising filter is one of the most useful additions to your camera kit, but there are a few things you need to decide before buying one. First thing you should know is that there are two varieties - linear and circular. Although they're both physically round, a linear variety can have an effect on the autofocus or metering accuracy of any camera that uses a semi-silvered mirror or prism to split the light entering the viewfinder.

You may be aware that a polarising filter is one of the most useful additions to your camera kit, but there are a few things you need to decide before buying one.

Linear or Circular?

First thing you should know is that there are two varieties - linear and circular. Although they're both physically round, a linear variety can have an effect on the autofocus or metering accuracy of any camera that uses a semi-silvered mirror or prism to split the light entering the viewfinder. This is known as a beam splitter and is used by most modern SLRs to calculate exposure and focusing distance.

As a rule use a circular filter if you have an autofocus camera or a manual focus model with a spot meter such as the Canon T90 or any modern digital SLRs.

Screw-in or System filters?

Next thing to decide is whether to buy a round, screw mount filter or a system version that slots into a filter holder. Round ones are often easier to adjust and feel better built. They're also more compact to carry around. The disadvantage is larger sizes are more expensive and, if you have two lenses with different filter thread sizes, you may need to buy two filters, whereas a system type would just need another adaptor ring for the filter holder.

The filter holder type can also cause vignetting when used on some larger thread wide-angle lenses. Equally, a larger filter holder may prevent vignetting when used on a smaller thread wide-angle.

Features to look for

• If you have a camera without through-the-lens viewing look for a filter that has an index mark printed on it. This will help you align the filter correctly.
• Some filters have a small screw-in arm to help rotate the filter, which is useful if you intend using the filter when wearing gloves in cold weather.
• Filters with thick rims can cause slight vignetting when used on wide-angles. The latest Pro1 D versions from Hoya have slim rings.
• Check whether the filter is circular or linear. It will often say PL CIR if it's circular, while linear often just has polariser or PL marked on the rim.
• Polarising filters for square system holders are still round so they should rotate easily in the holder.

Who makes them?


Screw-in filters

Screw in filters attach to your lens' filter thread and are the least bulky option. If you have a number of lenses with different filter threads it can be an expensive option.

B+W
A brass mount with solid ring and deep filter thread make this a heavy filter that feels substantial compared with its Japanese competition. Extremely neutral throughout the range with plane parallel polariser material that the German makers, Schneider, say will guarantee optimal image results. The one to choose if your budget can stretch to the hefty price tag in sizes from 46 to 95mm.

Hama
Suppliers of one of the largest accessory ranges made, with thousands of items for video, stills and audio markets. Recently they have introduced a range of silver finish filters that match the modern styles seen with newer compact digital cameras and AF SLRs, This range includes the HTMC Circular polariser in sizes from 25.5mm to 77mm. In conventional black rimmed options there's a Linear in sizes from 49mm to 82mm, Circular in sizes from 27mm to 82mm and a HTMC circular in sizes from 37mm to 86mm. Hama also produce an slim mounted circular version for wide-angle lenses in sizes from 49mm to 77mm.

Heliopan
Ksemannn polarising are very expensive, but different in that the after the sandwiching of the polarising layer the filters are polished plane parallel and the edges are thoroughly sealed and mounted in a precision rotating mount with numerical scale. The special seal helps if you're using it in difficult climates such as sub tropical. They are available in linear or circular versions along with a linear warm polariser all in sizes from 39mm to 105mm along with Hasselblad and Rollei bayonet mounts.
Heliopan linear and circular polarisers are made from top quality Schott glass (made by the Zeiss group) and come in black anodised brass mounts in sizes from 39mm to 105mm.

Hoya
Super HMC Pro Multi-coated circular polarisers are difficult to make because the heat needed to multi coat the outer surfaces can damage the polarising sheet that's sandwiched between the glass. Hoya have managed that with this version available in sizes from 49mm to 82mm and it's ultra thin and lightweight. Hoya also make a normal circular polariser in sizes from 27mm to 86mm and linear in sizes from 39mm 95mm.

Jessops
Produce a wide range of low cost screw-in filters including linear options in sizes from 46mm to 72mm and circular varieties in sizes from 27mm to 77mm.

Kood
Have a range of screw fitting polarisers in sizes from 39mm to 86mm for the linear variety and 27mm to 86mm for the circular versions. They also produce 84mm linear and circular versions for use in Cokin P series holders.

Sigma
The company that makes lenses also has a range of circular polarisers with slim mounts for their lenses. They range in sizes from 46mm to 82mm for normal coated versions and there's also a multi-coated version in sizes 86mm, 95mm and 105mm.

System filters

Square filters fit onto your lens with removable adaptor rings. You only need one holder and one filter which can be attached to a variety of lenses using different size adaptor rings.

Cokin
French manufacturer Cokin was the originator of the special effects system with A (amateur) and P (professional) sizes. The A series are 67mm square and designed for use on 35mm cameras while the 84mm square P series are more suitable for larger medium-format systems and also come in handy when you use wide-angles to helps prevent cut-off.

More recently a larger Z-Pro and X-pro range were added to accommodate those lenses with large filter threads, especially suitable for the modern ultra wide-angle lenses.

Both linear and circular polarisers are available, which are very neutral in colour. Unlike other resin Cokin filters these are mounted in glass making them much heavier. They fit into the filter holder's back slot so you can rotate them easily.

Cromatek
A British brand with a unique box shaped filter holder that holds the 76mm filter in place while acting as a lens hood. The filter fits into the back slot of the box holder and you have to flip down the cover of the box to rotate the filter. This can slow you down, but you do gain the benefits of a superb light tight hood. A 100mm version is also available and both are glass mounted with circular or linear options.

Hi-tech
An 85mm system with an option of attaching a 105mm screw thread Kaesemann polariser to the front of the 100mm holder.

Jessops
Jessops make a range of budget priced filters for their effects filter system which are, like Cokin, available in two sizes Standard (67mm slot) and Professional (83.5mm slot). Linear and circular polarisers are available in each system.

Lee
A system originally developed for the professional photographer who needs the very best quality. The filter holder is larger and accepts 100mm square filters. Their linear polariser is made from Butyrate and is less than 1mm thick so needs to be mounted in a gelatine holder for the best support. It's available in 75mm, 100mm and 150mm square versions.

Hoyarex
Square system from the popular maker Hoya. A wide range were made and the system had a useful rubber hood that attached to the outside of the filter holder. Several of the filters in this range were glass. The system was 75mm square and excellent quality. You can pick these up second-hand Used Hoyarex Filters and they're well worth the investment.

Source: www.ephotozine.com

 

How To Sharpen Your Digital Images

Let’s face it, we all come across a great shot which was taken at a unique moment in time but for some reason, it just isn’t sharp enough. “What did I do wrong?” we often say to ourselves. Sharp images aren’t that elusive! In fact, they are dead easy if you know how. This particular article gives you many insights to sharpness that aren’t that obvious, in fact, it’s a strategic approach to the issue in many ways. I think you’ll enjoy this one…


How To Sharpen Your Digital Photography Images

Let’s start this digital photography lesson by looking at the digital camera. All digital cameras photograph images which have a normal pattern of pixels that make up this image. In some digital photography images a moiré effect is created. To avoid this, modern slr digital cameras come with an in built filter that givens a softer effect to the image.

When you are faced with having to sharpen a noisy digital photography image you’ll find that some photos are easier to sharpen than others. This might be caused from having a too high ISO. The usual way of adding sharpness to a digital image has it problems too; it can actually increase the noise in your image quite a bit. To clarify this point, what is actually happening is the noise isn’t being increased as such, it’s being enhanced.

There is a way to sharpen noisy digital photo images without going into the noise itself.

To begin with its important to understand colour modes in Photoshop. The easiest way we remember colour modes is when we think of RGB mode. This is a “channel” of colours which are Red, Green and Blue. As I was taught by my good friend Lyndie Jeffry, there are more colour modes where your digital photo can be altered, adjusted and sharpened.

When I was first learning about digital photography Lyndie taught me that you can involve the CMYK mode which uses four colour channels. This stands for Cyan, Magenta, Yellow and Black. (Yes I know, “Black doesn’t start with a “K”.)

Lyndie explained to me that the best one to use for this purpose is the L-A-B mode. LAB mode really just related to the 3 channels it uses. In a nutshell Lab stands for the individual channels. The “L” really means “luminance”, “A” the green-red aspect “B” the blue-yellow aspect. When working in LAB mode you can modify the brightness of your digital photo and keep the saturating and colours the same. The way this is possible is because practically no image information is depleted or lost when you convert to Lab mode. It also stays good when you convert back again, which is extremely handy. (Especially with highly valuable photos such as other peoples wedding photos.) Not everyone uses this, but it’s a neat trick with some digital images.

In some digital photography images you can simply choose to sharpen the L channel in LAB mode. By doing this much of the noise in the image is in the other channels that are usually not affected by this sharpening effect.

Now this may not work for every single noisy digital photography image you have. But in some situations it works very well. I suggest you try it to see the effect you give. I’ve used it a few times and it’s saved my ‘you-know-what’. So if you’re in a tight spot with a noisy image, give this a go, you might be surprised with the results!

By Amy Renfrey

Published here by Roy Barker. You should look closely at this device, very handy indeed – instantly improved photo images (also comes with a trial) **It will be very handy when time is not on your side!“

How To Choose, Set Up And Use A Tripod

Tip Number 1 - Buy A Tripod That You Will Use

It is easy to end up buying a tripod that is so heavy or impractical that it never leaves your house. It is all very well thinking that the tripod is lovely to use and portable in the shop or when you're looking at it online, but the reality can be very different when you're actually walking with it.

Tripods come in all sizes, styles and budget levels. Aluminium tripods, for example, are cheaper than carbon-fibre models, however they are heavier and tend to be colder to the touch. If you do really want to travel light, you could always consider investing in a monopod. There are plenty of styles out there but one popular type are those found in Manfrotto's 190 series. There's a wide range of models available which makes them a popular choice for hobbyists right up to pro level.

Tip Number 2 - What To Look At When Buying A Tripod

The Legs

Extend them fully and make sure they go to the height you need or if you're shopping online, look for this information in the specifications.

The Head

Not all tripods come with one, but most do. Optional heads are made by Manfrotto. Look at how the camera locks into position. Are the locks positive? Is the head as good shooting vertical-format images as it is with horizontal ones? Etc.

The Quick Release System

Many tripod heads have a quick release system with a plate that you can leave permanently in position on the camera. Check how solid the quick release system is and how easy it is to use. Metal ones offer greater stability but regardless of the material, make sure the plate securely fixes to your camera.

The Leg Locks

Legs locks should be comfortable and quick to use as well as secure. There are two main types: twist grip or lever lock. Twist grip locks can be slightly uncomfortable to use but are very secure while lever locks are fast to use but may need checking every so often to make sure they lock tight.

The feet

Most tripods have rubber feet, but some do have spiked feet. Spiked feet can be bought as optional accessories or sometimes you can get both types in one.

Other Points To Consider:

• Cost
• Weight
• Construction material
• Height (folded, minimum and maximum)
• Maximum supported weight

Tip Number 3 - How To Carry Your Tripod

This can be done either by strapping it to your photo rucksack, in a bag with a strap or with a tripod strap. Manfrotto offers bags and carrying straps, but if you own a photo rucksack you might find that it came with the appropriate accessories.

Tip Number 4 – How To Keep Your Remote Release Secure

If you use a cable remote release get some Velcro fastening and use it to hold the control unit in place during long exposures. It is better than the remote just hanging down which might cause tension on the connections or, if the wind is strong, cause the release to bang against the tripod and blur your images. This arrangement is only for temporary holding of the remote release during exposure and is not advised to hold the release in place when you're carrying the tripod around.

Tip Number 5 – Setting Up Your Tripod

Before setting up, make sure you are completely happy with your location as if you change your mind about the composition once you've set your tripod up, it can take you some time (and be rather annoying) to have to put it away again to move positions.

When setting up, extend the legs before extending the centre column. Extending just the centre column is quick but it is not good technique and won't offer as much stability as adjusting the legs first will. Extend the fattest leg section first then if you really need the height, extend the thinner parts of the legs.

For extra stability, hang your camera bag or another heavy object from the centre column. Many tripods actually come with hooks fitted so you can hang items from it. If it's a really windy day, however you may find the object moves too much and actually knocks your tripod, causing shake, instead of helping support it.



Many tripods and tripod heads, such as those found in Manfrotto's 055 Series,  have built-in spirit levels to help you keep the tripod level. If yours hasn't buy a spirit level to fit into the camera's accessory shoe.

Source: www.ephotozine.com