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8/30/2014

Nikon D3300 Reviews 2014

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Can the D3300 Deliver everything that's expected from an entry-level model that's out to target the first time DSLR buyer?



Nikon D3300 evaluations - Nikon's entry level DSLR range has long benefited from a drip down effect, owing to the company's substantial stable of enthusiast and high end models. The Nikon D3300 follows on from the popularity of the D3100 and D3200, and its 24.2 MP sensor has sent the anti aliasing filter removed to see an improvement in sharpness.

Read more 8 Digital Camera Very Deals On Market


The introduction of Nikon's new EXPEED 4 image processor has two key benefits. Not only has it increased the maximum ISO to 25.600, the continuous shooting rate has also improved from 4fps to 5fps. On the rear, the D3300 maintains the same 4in, 920k-dot LCD as seen on its predecessor. It also set ups, sporting the 420-pixel RGB sensor and 11 point AF system that served the D3200 well.

One feature that debuted on the D3200 and retained in the D3300 is the model's graphical rear display. THe graphics represent aperture, shutter and ISO sensitivity, giving beginners a visual reference point to the settings they're changing. The aperture graphic is particularly pleasing, with it getting larger and smaller relative to the size selected. There's also a? button which can be pressed in conjunction with any of the settings which the activates a more in depth explanation of the settings beings used, serving almost as a built in instruction manual for those new to DSLR photography. THe body is constructed from the same polycarbonate as the D3200, and in terms of dimensions it's just 1mm thinner and 1mm shallower than its predecessor, although it is 2mm taller. The body itself is some 25g lighter, while the redesigned standard kit lens now has a collapsible design to make it some 30% smaller and 25% lighter.(Nikon D3300 critiques )

Nikon D3300 testimonials - The optical viewfinder is another area of improvement, with its 0.85x magnification being superior to 0.78x on the D3200. On the whole, the AF system delivers and entry level users should find the level of performance fairly comprehensive. While the 11 point AF coverage is never going to be quite as comprehensive as that found on systems with higher AF point counts, the 11 points themselves are well spread out across the frame. In use, the D3300 meets its 5fps shooting speed and the way it excels in this area, much like close rivals such as the Canon EOS 100D, is a welcome plus. (Nikon D3300 testimonials)

Nikon D3300 opinions - With regard to image quality, the standard colour setting delivers a pleasingly natural palette, while if you want a bit more oomph from your image then the "vivid" preset mode does a great job of lighting a scene. The sensor delivers an impressive dynamic range, which is more in line with cameras higher up Nikon's range, and thanks to the high pixel count and the removal of the low pass filter, the D3300 resolved 34 lines per mm (lpmm) on our test chart, reducing to 28 lpmm at ISO 6400 very impressive performance. ALthough there are signs of colour noise at ISO 800. it's not until ISO 12.800 is reached that luminance noise becomes a rea issue.

Nikon D3300 Verdict
The Nikon D3300 is a good demonstration of what entry level DSLRs can offer. it does lack inbuilt Wi-fi connectivity. THough this is probably understandable owing to the impressively low price tag. On the whole if you;re after an entry level DSLR with a high resolution yet don't want to break the bank, the D3300 should be near the top of your wish list.

Nikon D3300 is Best For
- Novices looking to step up to DSLRs
- if you want to learn advanced DSLR features as you shooting
- HD video with the option to attach an external mic

Pros
- Low price tag
- Impressive burst mode
- Reduction in size kit lens
- High resolution captures masses of detail

Cons
- Lack of built in Wi-fi might disappoint some users
- Issues with noise apparent at lower ISO settings

US >>Click here To Buy Nikon D3300 Camera<<


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4.5 / 5

8/27/2014

NIKON D610 VS D800 : Release Date, Rumors, Price, Prezzo, Preis and Prix

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Nikon D610 : A blend of old and new in this full-frame


Announced at the end of 2013, the full-frame D610 replaces the Nikon D600. The revamp includes an improved shutter unit, a slightly faster burst rate of 6fps, and what Nikon claims is a more accurate white balance system. In other respects, the Nikon D610 already looks a bit behind the times, relying on an Expeed 3 image processor where the D3300, the D5300 and the D4s have Expeed 4.

The design and control layout look practically the same as the D7100. As we’ve come to expect, the D610 beats its Canon 6D rival in the resolution stakes, with a 24.3MP sensor, although this time there’s a low-pass filter fitted, unlike in the D5300 and D7100. However, the D610’s maximum sensitivity setting is ISO 6,400 in the standard range, and ISO 25,600 in expanded mode.

The Canon 6D’s standard range equals the Nikon’s expanded range, while going two stops higher in expanded mode to ISO 102,400.As in the D5300, there’s a 39-point autofocus system, but here the points are clustered closer to the centre of the frame. This makes the large number of individual points less of an attraction.


PERFORMANCE

The updated white balance system is pretty good, but we found many shots took on a slightly green cast. Metering is also inconsistent compared with the 6D. Autofocus accuracy is best if you stick to the nine cross-type AF points, especially for moving targets. Overall, the Canon 6D gives better results, especially in low light.

NIKON D610 VS D800 Analyst

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Nikon D810 : A new sensor with no AA filter and an updated processing engine for better image quality


Nikon’s D800 and D800E caused great excitement when they were first announced in February 2012 – largely because of their ground-breaking 36-million pixel count and their impressive detail resolution. So it’s great news that Nikon claims their replacement, the 36.3MP D810, produces “the highest image quality in Nikon’s history”.

Apparently, the filter over the D800E’s sensor still had some anti -aliasing (AA) properties. Removing AA entirely for the Nikon D810 should enable it to record even more sharp detail. Nikon has also made changes to the D810’s shutter to produce less vibration and reduce blurring. It’s exciting that the D810 has the same 51- point Multi CAM 3500FX AF system (with Group  -area AF) as the class- leading D4S. The maximum continuous shooting rate has increased at full resolution to 5fps (previously 4fps) – and the buffer when shooting in RAW has been doubled . I’m looking forward to seeing how the D810 handles noise, because although the D800 is good for a 36MP camera, noise is still a limiting factor. What ilike: The potential for more detail; better noise control; a split -screen Live View image for assessing depth of field What idon’t like: Built -in Wi -Fi connectivity would’ve been really useful for controlling the camera remotely.

So low ISO!

Unusually, the D810 has a native sensitivity range of ISO 64  -12,800 and there are expansion settings stretching from ISO 32 to ISO 51,200, giving greater scope for shooting at wide apertures or in bright conditions as well as greater low- light capability. The lower ISO settings of the D810 should prove to be especially useful for a camera that I’d expect to be predominantly used on a tripod.

8/26/2014

FUJINON LENS REVIEWS

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We test Fujifilm's new wide aperture portrait lens for the X series


Fujinon Lens Reviews - Fujifilm has done well to create a range of 12 lenses since it launched the X-pro1, including this latest lens. Designed to be used with the APS-C sensors of the Fuji X system, the XF 56mm f/1.2 R provides a similar angle of view to what we'd expect of an 85mm lens on a full frame camera. it has 11 elements in eight groups, and uses one a spherical and two low dispersion elements. Fuji has used its chromatic controlling lenses directly behind the forward element, which is unusually small in relative diameter for a fast aperture lens of this type.

FUJINON LENS
FUJINON LENS
As with nearly all fixed focal length X lenses, the XF 56mm's aperture ring clicks delightfully, if a little loosely, in 1/3 stops between f/1.4 and f/16 - there are no clicks between f/1.2 and f/1.4.

with a lens cap of only 62mm, the XF 56mm is shorter, narrower and lighter than the equivalents lens from Panasonic's G system - even though the G cameras use a smaller sensor. The G cameras use a smaller sensor. The lens is well built and the metal barrel and finely ribbed focusing ring fell good to the touch.

Disappointingly, though, the lens has a plastic hood not a metal one.

The lens sits comfortable on both the X-pro1 and X-T1 bodies, though the more substantial grip, both back and front, of the SLR style X-T1 allows more secure and balanced purchase, Fuji places the aperture ring closest to the mount, so fingers of the supporting hand can find it easily an without you having to shift the holding position of either camera.

The is a bit of whirring while and X-series camera focuses, and it seems to longer (or at least bigger) the lens, the longer it takes to focus. The 56mm has more glass to move than any other fixed lens in the system, and neither the X-pro1 nor the X-T1 is especially deft at shifting it. The host body's ability to make the lens work well definitely affects what you will be able to achieve. also, none of the Fuji bodies has a native ISO 100 setting, so you'll be limited in getting use out of the f/1.2 aperture in daylight.

As for image quality, lenses with wide apertures tend to produce a lot of corner shading, and while the XF 56mm's illumination is indeed less than uniform across the frame, the effect can only really be seen in images of flat, evenly lit areas. For most natural subjects, it will be fine.

Sharpness and detail are good, even when the lens is used wide open. The resolution of captured images obviously increased as i closed down, and i detected a peak between f/4 and f/5.6 and then a decline to f/16. This is based on quite close focus, such as when shooting a waist up portrait. However, as the subject distance increases, sharpness and detail decrease, so by the time i was shooting full length portraits, my images looked decidedly soft. The softness may be due to fringing and a subsequent de fringing exercise in camera, or slightly missed focused at wide apertures. The quality of out of focus highlights are mostly pleasant, which is important to wide aperture shooters. They tend to head towards the frame edges, and from f/2 they are more heptagonal, resulting in a less "creamy" look.

Pros
- Good focal length for serious portrait photographers
- Wide aperture
- Sharpness and detail
- Value for money

Cons
- Many Fuji CSCs are limited to shooting at up to 1/4000sec, making it difficult to use the lens's wide aperture outdoors in extremely bright conditions

US >> The price is right Fujinon <<


Nikon 1 V3 Review

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Sleek and stylish

It’s Nikon’s slickest 1 camera yet, with a tilting touchscreen and Wi-Fi. Let's finds out how well it measures up.


Nikon 1 V3 Review - The last incarnation of the V range, the V2, was SLR-like in its styling. It had a good range of dials and buttons, as well as an integrated viewfinder and a deep handgrip. Nikon has taken a slightly different approach for the V3, removing the built-in viewfinder and making it an optional extra (called the NF-N1000.

Nikon 1 V3
Nikon 1 V3
The V3 has a one-inch type sensor and has increased on the V2’s 14.2 million pixels to reach 18.4 million pixels. The sensor’s optical low-pass filter has been removed, which should mean an increase in detail. Read More About Nikon 1 v3 Another Reviews is Here

BUILD AND HANDLING

In comparison with the V2, the V3 has a much flatter appearance. The textured, raised portion of the grip that is there still makes it comfortable to hold, though.

There are a lot of dials and switches on the V3, which make it pretty easy and intuitive to use. There’s also a fair amount of customization including a dial on the rear of the camera that can be changed to a number of different settings. On the front is a small dial that controls different functions depending on the shooting mode you’re using. In Aperture Priority mode, for instance, it controls aperture. Other buttons are grouped in two positions – one down the left-hand side of the rear, including menu and playback buttons, and the other grouped on the right-hand side, where you’ll find all the buttons you need for most shooting operations. You have a couple of options for setting the auto-focus point. If you prefer physical buttons, you can hit the OK button in the center of the navigational pad, then use the directional keys to move to the point you want. You can also simply tap the area on the screen that you want to focus on.

“The amount of detail on display is good, especially for a camera with a mere one-inch sensor”


PERFORMANCE

Colors straight from the camera are bright and punchy, without displaying too much saturation or vibrance. The amount of detail on display is also good, especially for a camera with a mere one-inch sensor. However, the results are still not able to compete with those from cameras fitted with larger sensors, as the V3’s images have less detail visible when they are viewed at 100%.

Generally, the camera’s metering system does a good job of producing accurate exposures, while the automatic white balance system copes well with mixed or artificial lighting to produce accurate colors This is borne out in our lab results.

Auto-focusing speeds are swift, with the hybrid AF system doing a good job in all but the dimmest of light. The kit lens is a good all-round performer, offering decent sharpness and a flexible focal length.

At mid-range sensitivities, such as ISO 800, the overall impression of noise is good, but look closely and you can see a little loss of detail and some speckling. If you up the sensitivity to ISO 3,200, the noise visibility increases significantly, although it shouldn't be a problem at small printing sizes. Comparing raw images reveals that the V3’s JPEG noise reduction is quite heavy-handed, so you might be better off applying your preferred settings in post-production.

Overall

We say: The V3 is the sleekest yet in the 1 series. It’s nice to see newer technologies, such as a touchscreen, but it’s a shame not to get the eye-level viewfinder as standard.

US >> Click Here For The Prices Nikon 1 V3 <<


Nikon 1 V3 review, Andrian manhatan Reviewing Nikon 1 V3 and 1 v3 Recommended For you Amateur Photographer, the Best Image Quality for A Photographer Nikon 1 V3
4.5 / 5

8/25/2014

Leica T Review

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Crafted machine

Leica’s first mainstream CSC will set you back a pretty penny, but is it worth the outlay?


Leica T Reviews - While compact system cameras have become pretty commonplace over the past couple of years, Leica through its series of rangefinders has arguably been in the CSC market for longer than anybody else. Now, however, it has introduced the T, which will compete more directly with the likes of the Fujifilm X series, the Olympus PEN and OM-D ranges and the Sony E-mount systems.


Leica says that the T system is a return to “back-to-basics shooting”, a claim that is borne out by the fact that there aren’t very many complicated controls on the body of the camera itself.


USA >> Where To Buy Leica T Review <<


Features

Inside the T is a 16.5 million-pixel APS-C sized sensor, which puts it in direct competition with cameras from Sony, Samsung, Canon and Fujifilm. Leica has also developed a new image processing engine for the T series. The Leica T mount is brand-new.

There are currently just two new lenses that are directly compatible: an 18-56mm f/3.5-5.6 lens and a 23mm f/2 prime optic Unlike with Leica’s M rangefinder lenses, T lenses are capable of autofocussing. You can attach classic lenses via an adaptor – although these optics remain Manual Focus only.

"The Leica T features an APS-C sized sensor"


Leica is promising to introduce two more lenses for the T system during September’s Photokina, the huge biennial photo industry fair. Look out for a wide-angle 11-23mm f/3.5-4.5 and a telephoto 55-130mm f/3.5-4.5.

Leica is positioning this camera more towards the luxury end of the market, so design is a key selling point. The body has been designed in collaboration with car manufacturer Audi and is crafted from a single block of aluminium.

Interestingly, the company hasn’t skimped on modern features. There’s integrated Wi-Fi, which allows for the quick transfer of images across to your smartphone, tablet or computer, or for those devices to be used as a remote viewfinder. There’s also a 3.7-inch touchscreen on the back of the camera – much larger than the displays on most CSCs. No viewfinder is included, but an optional model can be attached via the hotshoe.

Build and Handling

At 134x69x33mm, the T is a fair bit smaller than other Leica models. It’s reasonably similar in size and shape to the Panasonic GX7, for example. But it’s quite a heavy camera, and having been crafted from a single piece of aluminium, it feels pretty solidly built too.

Probably the most notable thing about the T’s design is the scarcity of buttons on the body compared with the plethora most modern cameras offer. Most of the rear is taken up with the LCD screen. While there is some space here where additional buttons could have been added, this would no doubt have distracted from the sleek appearance of the camera. There are two dials on the top of the camera, which control different parameters depending on the shooting mode you’re in. The left dial can be customised. For instance, if you’re in Aperture Priority mode, the right dial will control aperture, and you could set the left to adjust sensitivity or exposure compensation.

Also on the top of the camera, you’ll find an on/off switch, a dedicated video record button and the shutter release. If you move the on/off switch past the ‘on’ position, the built-in flash will pop up. Aside from these few manual controls, though, you’re completely reliant on the touchscreen for changing modes and settings. A menu accessed by pressing a camera icon in the centre right of the screen brings can be customised to match your needs. As with the dials, this menu can be customised to your preferred way of working, with a simple hold-and-swipe gesture replacing and re-ordering the functions as desired. Entering playback requires a swipe down from the top of the screen, or a swipe up from the bottom – which is quite a nice touch.

“The body has been designed with Audi and is crafted from a single block of aluminium”


PERFORMANCE

With a premium price tag and the weight of the Leica brand behind it, expectations for the T were pretty high. Sadly, these haven’t quite been met. While the image quality is good, it’s really only competitive with what is already available on the market for a much cheaper price. Most of the time, colours are rendered pretty well, but there are occasions where skies in JPEG images are overly cyan when compared with the raw (DNG) images.

“The automatic white balance system does an excellent job of reproducing accurate colours”


If you’re OK to work with raw files, this isn’t a huge problem, but it’s a little bit disappointing to see. The T’s metering system does a decent job of producing accurate exposures. It has a slight tendency to underexpose, so you’ll need some positive exposure compensation in some circumstances. The automatic white balance system does an excellent job of reproducing accurate colours, even when the camera is faced with an artificial lighting source. Autofocussing speeds – and, indeed, general operating speeds – are certainly not the fastest on the market. In good light, the T will generally lock onto the subject with ease, but it has to work harder in lower light. Shot-to-shot times are a little sluggish, with a few seconds’ gap between each shot.

While the T may open up the traditionally premium Leica brand up to a wider audience, you’re paying over the odds for the famous red dot. Image quality is good, but no better than equivalent competing cameras, and the overall T system is still quite limited until Leica has the chance to develop it.

Overall

We say: Image quality from the T is no better than its equivalent rivals from Sony, Fujifilm or Samsung. If design, aesthetics and that famous red dot are your thing, though, this might just be your bag.

USA >> Where To Buy Leica T Review <<


While compact system cameras have become pretty commonplace over the past couple of years, Leica through its series of rangefinders has arguably been in the CSC market for longer than anybody else. Now, however, it has introduced the T, which will compete more directly with the likes of the Fujifilm X series, the Olympus PEN and OM-D ranges and the Sony E-mount systems. Leica T Camera
4 / 5

LONG EXPOSURE PHOTOGRAPHY

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Long Exposure Photography is popular technique used to capture movement or create surreal looking images. Here's everything you need to know to get started...


Long Exposure Photography involves the deliberate use of a slower shutter speed than you would normally use, so as you would normally use, so as to deliberately blur or smooth out certain parts of an image in order to capture movement or introduce on surreal, mystical element to a photo.

While long exposure photography has long been popular with landscape photographer, it's also commonly used by action, architectural and even urban photographers who want to capture a sense of movement, or to reveal something timeless about their subject. Indeed, the technique lends itself to all kinds of creative possibilities : from catching the light trails of exploding fireworks to capturing the flow of water in a fast moving river. You can even use the technique to make crowds of people disappear when shooting popular urban landmarks.

While it might be tempting to think that long exposures work better at night, this isn't actually the case. Indeed, with the right equipment at your disposal, long exposures can be taken in broad daylight as well as the night - often with results that are every bit as intriguing and beguiling.

Over the next couple of pages we'll look more closely at the dos and don't of long exposure photography and study the best equipment to use. We've also listed examples of subjects that lends themselves to long exposures so you can try it yourself.

Basic Camera Settings

In order to shoot long exposure images you'll need to be using a camera that offers either full Manual control or Shutter priority exposure mode, both of which will give you direct control over the camera's shutter speed. Thankfully all DSLRs and most Compact System Cameras and advanced compacts will offer at least one option, if not both.

 Shutter priority mode is by far the easiest mode to gain with, as this will allow you to choose a desired shutter speed with the camera automatically calculating the correct aperture to pair it with, in order to produce the most accurate exposure.

If you're shooting in full Manual mode then you can also experiment with your camera's Bulb setting. This is usually represented by the letter "B" on the shutter speed dial and is used when you can to keep the shutter open indefinitely - or at least until you manually close it by pressing the shutter button a second time.

In addition to taking direct control over shutter speed, you'll also want to lower your camera's sensitivity to its lowest ISO setting. Not only will this gain you a few additional stops of shutter speed, which can be useful if you;re shooting in bright conditions. It'll also help to keep image noise to a minimum.

Even at lower sensitivity settings noise can often be an issue with long exposure photography. If you're taking exposures of over a minute then the sensor can sometimes heat up to produce some additional noise,
something that tends to be accentuated in warmer climates. To combat this, some cameras come quipped with a Long Exposure Noise Control option. This essentially works by taking two consecutive images of exactly the same duration, Only with the shutter remaining closed for the second exposure. The camera can then compare the two images and to its best to remove any additional noise caused by the sensor heating up, it generally works well, however do bear in mind that you camera will take twice as long to capture and process the image than it would if the setting wasn't used.

Keeping Things Sharp

When shooting a long exposure you'll generally want to add a degree of motion blur to moving objects sharp. For landscapes, seascapes and architectural photography you'll almost certainly want to keep the majority of the frame sharp. THe easiest way to do this is to mount your camera on a sturdy tripod. THis will ensure that only the moving element are blurred, while the rest of the frame remains pin sharp.

The extent to which any moving element - for example, running water or clouds are blurred will, of course, depend on how fast they are moving and how long you keep the shutter open for indeed, finding the right balance between all of these elements and setting your camera up accordingly is the key to capturing attention grabbing long exposure images. If you don't use a tripod, the entire image is likely to be one giant blur owing to handshake even the most advanced image stabilisation systems can't help you if the shutter is open for several seconds or more.

As an added precaution it's also worth investing in a remote shutter release, which can negate any small movements to the camera caused by knocking the shutter button.

Using ND filters

Shooting long exposures at dawn, dusk and in the dead of night is generally possible without the use of any accessories, bar a tripod and a remote shutter release. Shooting long exposure during the middle of the day, when light is in plentiful supply, is much trickier because even the smallest aperture and lowest ISO setting may not give you a long enough exposure to capture the  image you cant. THis is where Neutral Density (ND) filters come in.

At their most basic level ND filters are semi transparent pieces of grey glass (or plastic) that restrict the amount of light that passes through to the sensor. The term (Neutral) refers to the way in which they are designed to have no effect on colour temperature, saturation or contrast. In reality though, most ND filters boost saturation and contrast, while cheaper filters can also affect colour. Circular ND filters have a tendency to yield better results because they are usually made from higher quality material and cover the entire end of the lends to prevent unfiltered light entering the camera. On the flip-side, they're more expensive and have to be purchased in the same filter thread as the lens you want to use.

Square ND filters, by contrast, are generally cheaper an can be stacked one in front of the other to increase their overall strength. THeir main down-fail is that they are prone to letting some unfiltered light through to the lens, which can diminish their overall effectiveness. Cheaper examples made from resin are also quite easy to scratch.

Last but not least are variable density filters. These are round in shape and attach to the end of your lens as would be regular ND filter. The big difference, however, is that they employ two polarising layers tat can be rotated to either increase or decrease the filter's overall strength, in this way a single variable density filter can be used to achieve anything from two to ten stops of extra shutter speed. Expect to pay considerably more for a variable ND filter than you would for one of fixed strength.

As regards light stopping abilities, ND filters come in a variety of strengths. THis is usually described in term of how many shutter speed of aperture stop they offer. The most common strength include 0.3 (one-stop). At the extreme end, you can buy 10-stop ND filters for use in bright sunlight, although at this strength you can't see through them with the naked eye so it'll require you to compose the shot in advance of attaching the ND Filter.

Square ND filters are often prefer for really long exposures as they can be slotted in and pulled out within a matter of seconds, unlike Circular ND filters which can be fiddly and time consuming to attach not ideal if you're looking to refine the composition for the perfect shot.

Which strength is right for you will depend on the conditions you want to use them in, but as a general rule, a 2-stop ND filter is considered a good starting point.

Panning 

One useful long exposure technique that's often used by sports and action photographers is the art of panning. THis involves focusing the camera on a moving subject and panning the camera in the same direction that the subject is moving. It's not an easy technique to master, however if it is execute correctly it can produce excellent results with a relatively (though not entirely) sharp subject standing out from a horizontally blurred background that gives the image a genuine sense of motion.

The key to effective panning is keeping the subject in exactly the same portion of the frame for the duration of the shutter cycle. For this reason it helps if the subject is moving in a relatively straight trajectory. You don't need to pan the camera very much either, the front of you lens only really needs to move an inch or two while the shutter is open to crate the effect. Last but not least don't be tempted to use too slow a shutter speed, otherwise you will run the risk of camera shake creeping in, which will have the effect of blurring your main subject as well as the background. As a general rule of thumb, a shutter speed ot between 1/20sec and 1/8sec is usually ample depending on the speed of your subject.

LONG EXPOSURE EXAMPLES

Long to capture a particular type of long exposure? Then follow our guide below. Remember that it's just a guide though - the actual camera settings you'll need to use will depend on the particular lighting conditions unique to the scene you are trying to capture.

River And Streams

Taking a long exposure is a great way to smooth out a river and highlights the direction and flow of  the currents within it. You'll need to mount your camera on a tripod in order to keep the rest of the scene sharp. Try to aim for an aperture of around f/8 to f/12 to keep the background in focus and pair this with a shutter speed of around 1se to 3secs. You may well need to attach a 0.3 ND filter.

Daylight Landscapes

These are best photographed on days where there is part cloud cover and a decent amount of wind to ensure the clouds move across the sky at a good speed. THis allows you to blur the clouds to produce interesting streaks in the sky. If shooting in bright conditions you'll need to use a 0.9 nD grad or higher. Again, a tripod is a must.

Sunsets

This is where ND Grad filters can come into their own, as they allow you to darken the highlights in  the sky while retaining all of the available light in the landscape below. A tripod is essential and you may well want to experiment with stacking ND Grad filters and regular ND filters in order to get the best results. Use an aperture of around f/11 to help keep the image as sharp as possible.

Light Trails

Light trails effects can really enhance your urban images, adding movement and bustle to otherwise static scenes. The best time of day to shoot is at dusk when most drivers have switched their light on, but there's still enough ambient light around to illuminate the surrounding buildings. You'll need to use a tripod and set your shutter speed to around three to six seconds, depending on the speed and density of the passing traffic. You may need to attach a 0.3 ND filter to your lens too depending on how much ambient light is available.

Seascapes

Using a polarizer in tandem with a ND grad can produce magical results, smoothing out any waves and turning the sea into a fine, ethereal mist. For added impact try shooting at sunset when the setting sun reflects off the sea to produce magical bands of colour in the clouds. Without putting yourself at rick,, try to get close to the sea and frame your image so that you have wet rocks in the foreground to balance the composition. Aim for an exposure of around 30 seconds to a minute using a 10 stop ND.

Fireworks

The light trails generate by exploding firework look fantastic when captured with a long captured with a long exposure. Generally speaking you only need to open the shutter  for around one to two seconds to capture individual fireworks, although you can of course open the shutter for longer in order to capture multiple explosions. An aperture of around f/5.6 to f/8 will capture the strong light emitted by the exploding gunpowder, while allowing any ambient light to partially illuminate the background Be prepared to tweak your settings, but usually an ND filter won't be necessary to get great results.


Our Camera Reviews:

8/24/2014

Panasonic Lumix DMC-GH4 Reviews

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4K lightning Above The GH4’s weatherproof seals mean you can use it in all conditions It may look like the GH3, but the GH4 is a serious upgrade with 4K video and better images.



While the Panasonic GH3 is widely regarded as a great compact system camera for shooting video, its stills capability has been rather overlooked. Panasonic is hoping that the GH4 will gain more respect as a stills camera –but its headline specification is its ability to shoot Ultra High Definition 4K (4,096x2,160-pixel) video.

Panasonic has clearly invested a lot of time and effort in improving on the GH3 for the GH4, and the new camera has an extensive list of new or enhanced features. However, some may be surprised to learn that the sensor’s pixel count has stayed the same at 16.05 million, even though the sensor is completely new. Outwardly, the Panasonic Lumix DMC-GH4 also looks almost identical to the GH3 and has a very similar arrangement of controls.

Where To Buy : US >> Best Buy <<     UK >> Best Buy <<

"The GH4’s weatherproof seals mean you can use it in all conditions"


Features

Panasonic Lumix Gh4 - is keen to point out that any improvements made to allow 4K video recording also have a beneficial impact on still image quality. For example, because 4K recording is so demanding in processor power, the new 16.05-million-pixel Digital Live MOS sensor is coupled with the Venus Engine IX processor (the Panasonic GX7 has the Venus Engine VIII; the GH3 has the VII version), which is a quad-core processor. In addition, the sensor has twice the read-out speed of the GH3, reaching 200Mbps. This should mean improved autofocussing (AF) speeds and better noise control.

Clearly the company is confident of the GH4’s noise control: sensitivity may be set in the native range of ISO 200-25,600, with ISO 100 as an expansion setting. In comparison, the GH3 has a range of ISO 200-12,800 with expansion settings of ISO 125 and ISO 12,800-25,600. Thanks to the new processor, the GH4 can shoot continuously at up to 12fps (frames per second) in Single-AF mode with a UHS-III SD Card installed. This rate drops to 7.5fps in continuous autofocus mode. Further refinements on the GH3 include an increase in the number of selectable AF points from 23 to 49, focus peaking to help manual focussing, and zebra display to indicate highlights that are close to burning out.

Build and handling There are only a few noticeable differences in the appearance of the GH4 in comparison with the GH3. They are closely matched in size and weight, and have an almost identical control layout. However, the eye-cup around the electronic viewfinder is slightly larger on the GH4 to offer a little more shade from strong sunlight. There’s also a lock button at the centre of the mode dial to prevent it from being knocked out of position. This lock is our preferred type, which clicks to lock or unlock that so the button doesn’t need to be held down when rotating the dial.

As before, the GH4 has a magnesium alloy body that is dust- and splash-proof, and it has the same solid feel as the camera it replaces. But Panasonic has bolstered the GH4’s durability by giving its shutter a life-span of 200,000 cycles, double that of the GH3.

“The GH4 produces great-looking images with pleasing contrast, natural colours and lots of detail”


Like the electronic viewfinder, the 3-inch LCD rear display offers a very clear view, thanks to its 1,036k-dot resolution. Images look great on it, as there’s a very pleasing level of contrast. It’s also very responsive to the touch, making it a convenient way of selecting AF point and other setting options.

PERFORMANCE

As a general rule, the GH4 produces great looking images with good exposure, pleasing contrast, natural colours and lots of detail. Zooming in to 100% on-screen reveals that some JPEG images don’t have quite the fine detail or micro-contrast that we see from other cameras, but they look great at sensible viewing sizes.

As is often the case, the GH4’s simultaneously captured raw files have more detail. At higher sensitivity settings they also have more noise, but this can be dealt with on an image-by-image basis to produce a good result.

Noise is controlled well throughout the sensitivity range, but detail isn’t maintained quite as well as in the Fujifilm X-T1, for example, at higher sensitivity settings.

At 100% on-screen, JPEGs look good up to around ISO 3,200. Above this figure, softening becomes more apparent. Raw files have chroma noise visible at 100% from around ISO 800, but it’s within acceptable limits, and as we’ve mentioned before, can be subjected to reduction as required.

By ISO 12,800, however, raw files need careful editing to conceal noise and preserve detail. ISO 25,600 gives respectable results but, as is often the case, is best kept for emergencies.

Panasonic claims that the GH4’s autofocus system can operate down to an incredible -4EV. Our testing indicates that with the right lens, it is quite a bit better in low light than previous G-series cameras. We were impressed by how quickly it was able to focus with the new Leica DG Notricon 42.5mm f/1.2 ASPH OIS in dim conditions, but this is a super-fast lens with a price to match.

Panasonic’s 12-35mm f/2.8 lens, which gives a focal length range equivalent to the popular 24-70mm on a full-frame camera, also delivers sharp subjects quickly, but we found the new 14-140mm f/3.5-5.6 kit lens a little more variable – especially at the telephoto end.

In good light, the AF system is generally very fast and it can keep pace with moving subjects when the AF point is in the correct location. Tracking AF mode has also improved, but it can’t be relied upon to follow a fast moving subject around the frame.

The autofocus system changes pace when movies are being recorded. A touch of the screen to change focus point sees the focus shift smoothly and comparatively slowly, creating a professional-looking result.

Panasonic’s metering and white balance systems have been found to be good performers in the past, and the GH4 doesn’t disappoint in either respect. The camera’s automatic white balance system produces convincing results in a wide range of lighting conditions. In natural light, the results you get when shooting using the Automatic setting are often indistinguishable from those taken using the Daylight setting.

Although the GH4 has the usual trio of metering modes (Multiple, Centre-weighted and Spot), we found that the general-purpose 1,728-zone multi-pattern metering delivers great results in most situations. There were relatively few occasions when we had to use the exposure compensation facility to adjust exposure.

"The 2x focal-length magnification factor is useful with nervous subjects"

As usual, the GH4 is supplied with ISL’s Silkypix software for editing images and converting raw files. In reality, few GH4 owners are likely to use Silkypix in preference to Adobe’s more refined and better-specified options: Photoshop CC, Lightroom 5 or Elements 12. Silkypix has most of the controls you need, but it isn’t especially intuitive or pleasant to use. Adobe’s recent update to its Camera Raw plug-in (version 8.5) makes GH4 raw file processing possible with the Photoshop family.

"The GH4’s aF system found this scene, taken with the 14-140mm lens, challenging"


"There’s a good, deep grip on the GH4 body"


We haven’t been able to test the GH4’s video capability extensively, but it’s clear that it produces high-quality footage. As with the camera’s still images, exposure, white balance and colour all look good, and there’s plenty of detail visible.

Verdict

As Panasonic has stuck with the same pixel count as the GH3 for the GH4, it doesn’t make really significant strides with detail resolution, but the images do look a little nicer straight from the camera, and noise is better controlled. The GH4 also takes a step forward in autofocussing: it’s fast and accurate in most situations and can focus on subjects in pretty low light. Somehow, holding the GH4 doesn’t instil the same level of excitement as picking up the Olympus E-M10 or one of Fujifilm’s X-series CSCs, but it combines all the modern technologies that we like: a high-resolution electronic viewfinder; a vari-angle screen that’s touch-sensitive; the ability to shoot raw and JPEG images when using Creative Control filter effects; and Wi-Fi connectivity that allows the camera to be controlled remotely.

Perhaps the lack of excitement is largely because the GH4 has a modern SLR-like design rather than the retro-styling of the Olympus and Fujifilm cameras. Nevertheless, the GH4 is an excellent camera that encourages creativity and is weather- and dust-proof, so it can be used in a wide range of conditions.

Overall

The GH4 has some of our most sought-after features: a high-resolution EVF, a vari-angle screen that’s touch-sensitive and Wi-Fi connectivity. It’s also weather- and dust-proof and takes great-looking images

Where to Buy US >> Best Buy <<     UK >> Best Buy <<


4K lightning Above The GH4’s weatherproof seals mean you can use it in all conditions It may look like the GH3, but the GH4 is a serious upgrade with 4K video and better images... panasonic lumix dmc-gh4 review ,panasonic lumix dmc-gh4 4k review ,panasonic lumix dmc-gh4 price ,panasonic lumix dmc-gh4 price ,add to compare panasonic lumix dmc gh4 ,panasonic lumix dmc-gh4 buy Panasonic Lumix DMC-GH4
4.5 / 5

8/23/2014

Fujifilm X-E2 Reviews 2014

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Fujifilm X-E2 Reviews

With more than 60 improvements and refinements over the Fujifilm X-E1, does the X-E2 offer the ultimate X-series experience?

Fujifilm X-E2
Fujifilm X-E2
You could be fooled into thinking the Fujifilm X-E2 is identical to its predecessor the X-E1 until you dig deeper and find that most of the refinements are made within. The X-E2 borrows a 16.3MP APS-C X-Trans CMOS II sensor from the X100S, with the X-Trans structure that reduces more and false colour, eliminating the need for an AA filter. It also incorporates more than 100.000 phase detect pixels to create an intelligent Hybrid AF system that utilises both phase detect and contrast detect AF that Fujifilm claims can be as quick as 0.08secs. Fujifilm has also upgraded to the EXR Processor II, claiming to have doubled the speed of the X-E1.

As before, the X-E2 has moderate native ISO range of 200-6400 that can be expanded to an ISO equivalent of 100-25.600. What's interesting is that you;re only given the option of shooting JPEGs in the expanded settings, limiting the sensitivity to ISO 6400 if you prefer Raw.

As kit lenses go the 18-55mm f/2.8-4 lens that's bundled with the X-E2 is excellent. complementing the high quality body. The fast f/2.8 aperture between 19-20mm (closes to f/4 at 40mm) enables shallow depth of field and the built in optical image stabilisation system combats hand shake. THe kit lens also boasts bear silent AF performance .

Back to the design, the magnesium die cast top and front covers contribute to the robust feel, and although he rubber grip at the front looks bit like an afterthought, it considerably improves handling. THe X-E2 is somewhat nose heavy with the kit lens - not really a camera you'll want to use single handedly.

Elsewhere, out goes the X-E1's 460k-dots 2.8in display and in comes a 3in 1.040k-dot screen. Above that, the OLED electronic viewfinder (EVF) retains the same 2.36-dot resolution, but with a refresh rate increased to 50fps. The X-E2 manages to record 8 frames at 7fps in Raw format before the buffer interrupts, and inherits the dependable 256 zone metering system from the X-E1.

The X-2's newly developed AF algorithm has made significant improvements on the X-E1, which struggled in low light scenes. In single AF the X-2 locks onto targets more accurately than the X-E1, and it enjoys sprightly continuous AF performance that can be used in Multi AF and Area AF odes. ALthough the lack of a touch-screen prevents intuitively tapping to select an AF point.

The X-2 delivers an exceptional noise performance, with no sign of colour or luminance noise between ISO 100 and 800. At ISO 1600 a very faint trace of noise creeps in, however it has such a fine structure it's barely noticeable when viewed at 100%. Detail is well preserved right up to ISO 12.800 and this is the limit to which you'll want to push the sensitivity to unless you're willing to accept more noise.

Verdict

The Fujifilm X-E2 is in many ways to camera we wish the X-E1 were all along, improving on the ageing LCD screen and slow low light AF. There's room for improvement AF lock on speed is still sluggish and the app isn't too intuitive, however the solid build quality and superb handling add up to a superb handling add up to a superb user experience. It's pleasure to use.

The Fujifilm X-E2 Best for?

- Comprehensive feature set and controls
- Portability with no sacrifice in image quality
- Highly desirable retro design

Pros
- Premium finish
- Design
- Excellent Image quality
- Solid build
- High screen resolution
- Quality kit lens

Cons
- No touchscreen
- Limited Wi-fi functionality
- Basic Fujifilm camera app
- AF- assist beam easily obstructed

US >> Where To Buy Fujifilm X-E2 <<


With more than 60 improvements and refinements over the Fujifilm X-E1, does the X-E2 offer the ultimate X-series experience? fujifilm x-e2 review blog,fujifilm x-e2 review,fujifilm x e2 best price,fujifilm x-e2 camera review,fujifilm x-e2 full review,reviews for fujifilm x-e2,fujifilm x-e2 review andrian manhatan,x-e2 Price Fujifilm X-E2
4.5 / 5

8 Digital Camera Very Deals On Market | Best Camera At A Great Price

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Bargain Hunting - With a flurry of new models arriving earlier in the years and ore expected to appear soon, there's no better time to pick up a great camera at a great price. We reveal eight of the very best deals


If there's one thing all photographers love, it's a bargain, or making a great saving when buying or upgrading to a new camera or lens. Whether it's a saving of just a few pounds or hundreds of pounds, paying less than the recommended retail price helps to make our purchase feel better justified.

Usually around the months of July and August there's a bit of a lull in the number of new models that are launched as camera manufacturers put the finishing touches to their very latest innovations which are due to be unveiled at the world's largest imaging trade fairs. With new models expected, it has the knock on effect of lowering the price of cameras announced earlier in the year to make them more attractive to buy, but also has an influence on the price of older cameras, which often only have minor differences from the camera that replaced them due to the rapid turnaround of product life cycles. One example is the fujifilm X-E2 - a model launched late in 2013 to replace the Fujifilm X-E1. It can now be picked cheaper nine months later and has helped to lower the price of the x-E1, of which there are still a number of examples to buy as the manufacturer looks to sells its remaining stock.

With DSLRs, CSCs and Compacts constantly being renewed it's perhaps no surprise that the greatest bargains are picked up on cameras rather than lenses. THe prices of many cameras can change daily, so in order to pick up the best deal. It's important to check retailers and price comparison websites regularly. A highly recommended website that can speed up the time it takes to find the best deal online. it usefully lists all the best prices of cameras and lenses from recognised retailers and also provides price history so you can view how much any given products has dropped in price. As with any online deal, if a price seems  too good to be true, it usually is, so be wary of parting with your money. Always research retailers you've never bought from before an be conscious of grey imports outside the UK from unrecognised retailers that could incur extra unknown costs. If you're unsure we'd always recommend giving the retailer a call, which will allow you to check if the product is still available. Don't be afraid to ask if they'll price-match too, most retailers will try to meet the best prices you may find elsewhere.

8 Digital Camera Very Deals On Market


Panasonic Lumix TZ40
The Panasonic Lumix TZ40 that's picked up a number of accolades for being the best travel compact on the market.
Pros
- Huge zoom
- Optical stabilisation

Cons
- No raw support
- Small buttons

US >> Buy Now <<
UK >> Buy Now <<

Fujiflm FinePix Xp-200
Fujiflm FinePix Xp-200 - Waterproof to 15m, shockproof from up to 2m and freeze-proof to -10C, it features a 16MP 1/2.3in CMOS sensor and a 5x optical zoom providing a focal length that's equivalent to 28-140mm. What more, not only is it one of the best looking tough compacts around, it's available in yellow, red, blue or black and features Wi-fi for instant wireless transfer to smartphones and tablets.

Pros
- Stunning design
- Robust build quality

Cons
- Limited stock and colours available


US >> Buy Now <<
UK >> Buy Now <<



Nikon D3100
Nikon D3100 - Though its sensor and screen resolution are no match for Nikon's current entry level DSLRs. newcomers to it from a compact camera will be able to see the image quality benefits straight away, while being able to unleash their potential.

Pros
- Guide mode
- Featured specification

Cons
- No focus switch
- No DoF previews


US >> Buy Now <<
UK >> Buy Now <<


Fujifilm X-E1
Fujiflm X-E1 -Our Recommended choice would be the excellent 18-55mm XF f/2.8-4 R LM OIS lens. One alternative is the Fujiflm 27mmm f/2.8 XF lens for a best price.

Pros
- Premium finish
- Excellent EVF

Cons
- Screen resolution
- AF speed could be faster


US >> Buy Now <<
UK >> Buy Now <<


Sony Cyber-Shot RX100
Sony Cyber Shot RX100 - The introduction of the RX100 II and RX100 III have played their part in reducing the parice of the original and although the newer models come with advanced features, such as a flip out screen in the case of the RX100 II and a pop up EVF in the case of the RX100 III, the original RX100 remains a superb pocket size compact capable of delivering exceptional image quality. It's a deal that's extremely hard to resist.

Pros
- Large sensor and the results it delivers

Cons
- No tilting screen
- No inbuilt EVF


US >> Buy Now <<
UK >> Buy Now <<


Olympus Pen E-PL5
Olympus Pen E-PL5 - For those after a more clinical look, it can also be picked up in white with a silver lens. For those who may already own Micro Four Thirds lenses.

Pros
- Metal finish
- Fast single AF
- Image quality

Cons
- Limited touchscreen functionality


US >> Buy Now <<
UK >> Buy Now <<


Nikon D7000
Nikon D7000 - The omission of the anti aliasing filter also exhibits certain crispness when it's used with pro spec glass. Throw in the 18-105mm it lens. however this remains excellent value for money for a superb DSLR.

Pros
- AF system
- Battery life
- Image quality

Cons
-  Screen could be higher resolution


US >> Buy Now <<
UK >> Buy Now <<


Canon EOS 6D
The Canon 6D would be an excellent backup body for professionals or semi pros who may already be using the Canon EOS 1DX or Canon EOS 5D Mark III. Add the Canon EF 24-105mm f/4 : IS USM lens to your basket. with a best prices available.

Pros
- Wifi And GPS
- AF performance in low light

Cons
- Number of AF points
- Fixed LCD display


US >> Buy Now <<
UK >> Buy Now <<

8/22/2014

Portraits Shooting Styles

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Portraits Shooting Styles


Great Portraits don't always require a big studio and pro lighting. With these tips you can create six stunning styles with limited kit.



Portraiture is an accessible genre, which needn't cost fortune to practice. in this hand on shooting guide we'll show you six great ways to capture stunning portrait styles, all of which are achievable with little time and money.

People are all around us every day of our lives, so you don't necessarily need to hire a models to get to grips with the genre. Grab a willing friend or family member and hone you shooing skills before you begin searching the models agencies.

You can also forget about expensive, elaborate studio kit : it's perfectly possible to take creative images without the need to spend thousands. Even some simple net curtains can put to good use as a portrait accessory : the key is knowing what you want to achieve and looking for ways to create it in camera.

In order to demonstrate the scope and flexibility of portrait photography, we will demonstrate there very different environments - a small studio, outside in the middle of the day and inside in a living room using just the available light.

each location presents its own unique challenges and benefits but all are equally ideal for portraits Photography , and the similarities are actually greater than the differences. In each situation you will be working with the light to create your image. We're on hand to show you how to manipulate the light to create six distinct portrait styles.

You will also need to know how to work with your subject or models, to help them to relax and pose in a way that works with the type of image you are trying to create. Let's get shooting...

Useful Portrait Kit - Five Useful Tools of the trade


PocketWizard Plus II

PocketWizard Plus II are wireless transceivers that enable you to reliably trigger any off camera flash ( in the studio or on location) with incredible ease. For USA
>> Where To Buy <<   For UK >> Where To Buy <<



Lastolite EzyBox Hotshoe Kit 54x54cm 

Lastolite Available in three sizes, this kit has absolutely all you need for soft and diffused off camera flash, including a portable stand, brackets and softbox.For USA >> Where To Buy << For UK >> Where To Buy <<



Portrait Professional Studio

Working in a different way to other airbrushing programs. This dedicated portrait software makes light work of removing skin imperfections and can even perform re-sculpting work. For USA >> Where To Buy << For UK >> Where To Buy <<



Interfit 5-in-1 32" Reflector

This is an immensely handy and portable piece of kid, allowing you to control and odify the light quickly and easily. Includes gold, silver, black and white surfaces plus a translucent diffuser. For USA >> Where To Buy << For UK >> Where To Buy <<



Honl CTO gel

A CTO (Colour Temperature Orange) gel can be purchased as part of a kit ( a range of different configurations are available) and enables you to play with white balance and colour temperature while using off camera flash. For USA >> Where To Buy << For UK >> Where To Buy <<




In the Studio Learn to create a high key Setup and a moody low key arrangement


Using a three light setup with a white background has enabled us to create this modern high key image.


High Key

The Look

The high-key look typically involves bright and bold images set against a white background. The subject is normally very brightly lit by the key light hence the term (high key). This style gives the photographer flexibility to break some of the rules of portraiture. The skin tones may be a stop or more of portraiture. THe skin tones may be a stop or more lighter than they should be and spill from the background lights may be incorporated into the image.






Check List
Equipment
- White background
- There studio flash heads
- Softbox for the key light
- Standdard reflectors

Techiques
- Balances there lights
- Posing the model
- Framing and composition

The Setup

To achieve the high key look you will normally need at least there light. Two of these lights will be used to light the background, one on each side. A third light is used as the key light that illuminates the subject. Some photographer choose to also add a fourth light to further eliminate shadows. This shot uses a three light arrangement and we're using a standard zoom lens on our DSLR as this gives us plenty of flexibility, A fast shutter speed of 1/200 sec and an aperture of about F11 work best.

Getting The Shooting

If you position your subject very near the background and background lights, you may find that a lot of light bounces back onto the subject an creates a soft looking image or flare sports. Avoid overexposing the background and bring the subject nearer the key light. Try to get your model to adopt bold, striking poses and experiment with interesting compositions that look dramatic and dynamic.

Alternatively, Try This...

If you only have access to two lights, you can still produce effective high key images. Light your background to produce pure white and then place a reflector between the camera and the subject to bounce some of the light back in lieu of a key light. Open up your camera's aperture to ensure correct exposure on the model - we've gone for f56 here.






High key generally demands more light
but we also achieved the same effect
 using just two studio lights.
For our high key setup,
our model is lit by just one light
but there are a further two lights used
on the white 
 background.

























Low Key

The look

Shot Portraits in a
very small studio space,
but had all the room that needed.
The low key look is a much more traditional and classic approach to portraiture. very often the images will look especially effective when converted to black and white. Portraits taken using low key lighting ten to make use of moddy expressions from the subject and frequently have an air of mystery and intrigue about them.

The Setup

you can produce low key  lighting effects with just one light. One studio flash fitted with a softbox (or beauty dish) is all you really need. The only potential problem is that in a small studio space light may bounce back from walls, floors and ceilings and spoil your shadows. Avoid this by using black *absorbers* (You an use any black surface with a matte finish, which will do the job of reducing reflections) and by shooting with a fast shutter speed to reduce the influence of ambient light as far as possible. We've increased the shutter speed to 1/250 sec here.

Getting the shot

You will need to position your subject carefully in relation to the light in order to make the shadow as attractive as possible. The modelling lamp in the flash head will give you some idea, but firing some test shot and watching the camera's LCD allow you to see exactly what's going on. Aim for an elegant, sophisticated or moddy pose. You also want your model to be wearing black or very dark clothing which will enhance the shot.


"One studio flash fitted with a softbox is all you really need"

Check List
Equipment
- Studio flash and softbox
- Black or dark background
- Black 'absorbers' to prevent light bouncing
Techniques
- Using a single light
- Control the spill of light
- Pose your subject to complement the lighting

This Low key image is very simple to create and requires a minimal amount of equipment. In this care. just one flash with softbox does the job

Pros and Cons Of Studio Lighting

- Control all aspects of the light and background
- Images Look polished and professional

> Not easy for everyone to access a studio
> Equipment may not suit everyone's budget


Natural Light Setup

Check ListEquipment- Net curtain- Silver or white relector
Techniques- Use a natural *key light*- Balance light on the face- Deliberate overexposure


Check List
Equipment
- Net curtain
- Silver or white refletor

Techiques
- Use a nantura background
- Use a reflector as a key light
- Remove background detail


- Deliberate overexposure

Discover how window light can be all you need to create dramatic results

Net Effects


The Look

When you use studio flash, you almost always modify it, such as by using a softbox. When working with natural light, keep the same idea in mind. The net curtains in a living room are ideal, Diffusing the light in much the same way as a softbox does. This is an ideal technique for photographing a bride on her wedding morning.



The Setup


Aside from the large window and net curtains, a small silver reflector is used to bounce a little light back onto the side of her face. A shallow depth of field reduces unwanted detail so a wide aperture of f2.8 is ideal. By ignoring the camera's meter and slowing the shutter speed, we've been able to overexpose the shot and create a high key effect without any flash.

Getting the Shot

We've asked our model to lean into the curtains and rest her head on them while looking back at the camera. We've also asked her to wear a simple white top to match thee texture and tone of the net curtains.


If the contrast is too hight, introduce a reflective surface to subtly fill in shadow on the other side of the subject's face

If you don't have any fancy gear beyond the camera itself-some white card or silver foil can be used as a reflector.

Pros and cons of Natural Lighting

- Natural light is free! it doesn't cost you anything to use and it's all around us.
- Images taken in natural light look closer to what our eyes actually see in everyday life.

> You can't control natural light to the extent taht ou can control falsh lighting
> On very dull days or in low light you'll need to use a camera that can perform well when using high ISOs

"If there's space, try getting the model to sit down or go for a full-length shot"


Overexposed Background

Equipment

- Net curtain
- Silver or white refletor

Techiques
- Use a nantura background
- Use a reflector as a key light
- Remove background detail

The Look

Rather than positioning the model so that the light is falling onto her face, you could also try posing her with her back to the light source. If there's enough space in you location, perhaps you could even consider getting the model to sit down or go for a full length shot.



The Setup

A small reflector is used to ensure light bounces back onto the model from the window behind her. This setup almost exactly recreates the studio setup we tried using just two background lights and a reflector. Just as we did then, we've opened up the camera's aperture to ensure that the model is correctly exposed.

Getting shot 

Ask the model to look off to the side and slightly overexpose the image again. Ignore the camera's meter. IF you expose for the background (in this care the window light) not only will the model end up being very underexposed, you will also record detail from outside such as cars an brick walls.




Location Setups

Using your flash or speed light off camera dramatically increases the range of shots you can take on location and lets you control the ambient light.


Check list

Equipment

- Hotshoe flash unit
- Flash braket and stand
- Portable softbox
- PocketWizards or wireless trigger

Techiques

- Underexpose the light
- Balance flash with ambient light






Off-Camera Flash

The Look

For this shot, we will produce a fashion style images with very underexposed ambient light. Our model's is illuminated by just one small off camera flash. The more power offered by the flash the better as it makes underexposing the ambient light easier. However, the effect can still be achieved with a regular hotshoe flash or speed light.

The setup

we are using a Nikon SB-800 mounted on the portable stand and fitted with a small softbox to light this shot. This was positioned to the right of the camera (the model's left) an angled at 45 degrees toward her. Using the flash mounted on the camera would have resulted in a less effective looking shot as we wouldn't be able to control how the shadows fall on her face.

Getting the shot

The ambient light is underexposed by two and a half to there stops, leaving the flash to do all the work. We asked the model to play with her scarf and look straight into the lens.

"Play around with the white balance settings on your DSLR"
This is a great way of creating a quick and dramatic effect outside. For an extra bit of contrast, try adding a half CTO gel in addition to the full CTO gel.




Using Gels


This is a great way of creating a quick and dramatic effect outside. For an extra bit of contrast, try adding a half CTO gel in addition to the full CTO gel.




Check list
Equipment
- Hotshoe flash unit
- Flash braket and stand
- Portable softbox
- PocketWizards or wireless trigger

Techiques
- Underexpose the light
- Balance flash with ambient light

The Look

You can create dramatic effects outdoors by experimenting with a gel on your flash and playing around with the white balance settings on your DSLR. This can produce a range of creative and interesting effects straight out of the camera with minimal post processing work.

The Setup

A hotshoe flash fitted with a full CTO ( Colour Temperature Orange) gel was positioned on a portable stand to the right of the camera (the model's left). The gel ensures that the background records as a cool blue due to the white balance settings used.

Getting the Shot

We asked the model to sit in one of the trees and compose the image so that the line of trees stretching out into the distance is visible over her right shoulder. Only the model, plus the tree in which she is sitting, are affected by the output from the flash, creating the effect we were after.

Pros and cons of location lighting

- There can be lots of potential to explore
- Use flash or the ambient light, depending on the effect you can

> Weather conditions may not be great on the day
> It can be har to get rid of all distracting/unattractive elements from the scene