Asian Photography 201403

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com
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MARCH 2014
` 100 US$9
J OIN US ON
DUSTIN
FARRELL
Nikon D3300
FujiFilm X-E2
Pentax K-3
Bali
CAMERA REVIEW
SHOOT MY CITY
PRO-PROFILE
Vol. 26 - No.3
Basics of shooting landscapes Symmetrical Photography Through the frames
Colour is in the air Architectural Momento From Colour to Monochrome
TIPS & TECHS
EDITORIAL
w w w. a s i a n p h o t o g r a p h y i n d i a . c o m
W
hile focussing on new and innovative things, we sometimes tend to miss out on the basics, a fact
that is also reminiscent in photography. So, in this month we have gone back to take a look at
something simple, yet surreal. Speaking of surreal, there is nothing that is more surreal than a
serene landscape. There is something about a beautiful landscape that transcends your mind, body and soul to
a completely different level. And even that will not be enough to describe the emotion you experience when
you look at the pictures of Landscape photographer Dustin Farrell. His images depict beauty that one can only
imagine and seldom get a chance to see.
Paired with the interview of the Pro-Profile, we also feature interesting tips on shooting landscapes,
architecture photography, using symmetry in images, importance of shooting RAW and a feature on
photographing through the frames. With the most colourful festival of the year round the corner, we have also
presented a special feature on Holi. In our Shoot My City section, we feature the beautiful destination of Bali.
The review section this month is all about the new cameras in the market. We feature the reviews of the Nikon
Df, Nikon 3300, Ricoh Pentax K-3 and the Fujifilm X-E2.
I also wanted to take this opportunity to thank you for your support on our social media platforms like
Facebook. It was only last year, in June, when we had approximately 10,000 followers on FB and today, we
have already crossed over 80,000 followers on the same platform. We have just started our initiative on Twitter,
recently. So, I would like to welcome you to follow us and continue to support us.
Until Next Time
Happy Reading!!!!
EDITOR / PUBLISHER
Trilok Desai
GROUP HEAD
Bhavya Desai
NEW DELHI BUREAU
Amitabh Joshi
SENIOR CORRESPONDENTS
Fred Shippie
Lester Ledesma
DIRECTOR MARKETING
Aruna Desai
DESIGN
Goraksh Kokate
Rajendra Gaikwad
EDITORIAL TEAM
Rojita Tiwari
Steve DSouza
Abhishek Desai
Yashnashree
Neha Aggarwal
Ushma Dhamdhere

SPECIAL CORRESPONDENT
Lopamudra Ganguly (Delhi)
MANAGER ADVERTISING
Laila Rupawalla
DY. MANAGER ADVERTISING
Kora Ganguly
MARKETING EXECUTIVE
Ragini Desai
Vatsala Dimri (Delhi)
Mamta Bhide
COPY DESK
Sameer Gadkari
PRODUCTION MANAGER
Manoj Surve
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www.asianphotographyindia.com
Send your questions to askyourexpert@asianphotographyindia.comand WIN exciting prizes
MARCH 2014
` 100 US$9
J OIN US ON
DUSTIN
FARRELL
Nikon D3300
FujiFilm X-E2
PentaxK-3
Bali
CAMERA REVIEW
SHOOT MY CITY
PRO-PROFILE
Vol. 26 - No.3
TIPS & TECHS
Cover Image: Dustin Farrell
Cover Design: Goraksh Kokate
follow us on Twitter@Asian_Photo
@Bhavya _Desai
Published by TRILOK DESAI on behalf of Special Audience Publications Pvt.
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Surreal Landscapes
March 2014 3
CONTENTS MARCH 2014
News
Column
The RAW Deal
Shoot My City
Bali
Pro-Profle
Dustin Farrell
Fujiflm India announces the new FUJIFILM X-E2 interchangeable
lens camera
Nikon releases the new RAW image processing and adjustment
software Capture NX-D
Nikon announces the launch of its new Nikon D4S
Kingston introduces fastest fash card in India for 4K and Ultra-HD
video capture
Five Indian photographers shortlisted for 2014 Sony World
Photography Awards
Tamron developing an all-in-one wide-angle zoom lens
22
28
37
Send your questions to askyourexpert@asianphotographyindia.com and WIN exciting prizes
MARCH 2014
` 100 US$9
JOIN US ON
DUSTIN
FARRELL
Nikon D3300
FujiFilm X-E2
PentaxK-3
Bali
CAMERA REVIEW
SHOOT MY CITY
PRO-PROFILE
Vol. 26 - No.3
TIPS & TECHS
17 Ask Your Expert
77 80 84
Tips and Techs
50
March 2014 39 38 March 2014 www.asianphotographyindia.com
TIPS &TECHS
BASICS OF SHOOTING
LANDSCAPES
PHOTO: Urm
as Haljaste
March 2014 63
Through The
Frames
C
omposition according to textbook
definition is something that is
created by arranging several things
to form a unified whole. That is exactly what
it is. The composition of your photograph is
the combination of visual elements coming
together to create the whole image. We
often put the photos we take into frames
as a way of displaying and drawing attention
to our main subject but there is another
type of framing that you can do, as youre
taking your shots, which can be just as
effective doing just the same thing. Framing
is the technique of drawing attention to the
subject of your image by blocking other
parts of the image with something in the
scene.
Framing helps in giving the photo a
context. For example, framing a scene with
a window can tell you something about the
place you are, by the architecture of the
window, or including some foliage in the
foreground of a shot can convey a little drama
in your shot. By framing your picture, you will
get your viewer much more attentive to your
shot making them wonder and take more
interest in figuring out your image.
TIPS &TECHS
Pentax K3 FujiFilm X-E2 Nikon D3300
62
44
90
94
Photoscape
Photomontage
44 Basic of shooting landscapes
50 Colour is in the air
56 Symmetrical Photography
62 Through the frames
66 From Colour to Monochrome
TIPS &TECHS
Colour
is in the air!
Colour
is in the air!
W
ith the month of March comes one
of the best festivals of the year - Holi!
A spring festival, commonly known
as the festival of colours, Holi is probably one
of Indias most widely celebrated festivals after
Diwali and Ganesh Chaturthi.
Camera Review
90 94
6
March 2014 www.asianphotographyindia.com
Dear Editor
I started photography four years ago and have fallen in love with it. I started with
18-55mm kit lens. As a beginner enthusiast, I love to shoot almost everything that
comes in my way. In between the years, I bought new lenses, and off late I have started
paying attention to the techniques and composition. When I subscribed to Asian
Photography magazine, it has been a great help to me in creating my own body of
work. It is pleasure to read the magazine which endeavours to answer the queries of
every photographer, be it an amateur or a professional.
Personally, I love to shoot under a particular theme. Working with themes is a
great way to practice your photographic skill. I have learned a lot
through my own mistakes during the series. Taking pictures is
like writing an essay. You want it to tell a story; however, instead
of using words you have to use pictures. I worked on three series
in last two years with 100mm macro lens. I would love to share
those series with you. However, I dont know whether those
series will go with the Photo Montage section or not. So, I am
sharing one of the series with you along with the write up.
Amit Vakil
Chamba, Himachal Pradesh
Dear Amit,
It is good to know that your interest in photography has grown a lot over the years,
and that you are taking it a lot more seriously than before. We are also glad to know
that we have contributed in some manner in growing your zest for the same. Well,
we usually book the Photo Montage section well in advance, and we have shortlisted
yours in one of the upcoming issues. We will notify you in the coming months if we
will feature the same in the magazine, but at the offset it looks very interesting and
unique.
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The
Letter
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The
Letter
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receive a gift
from Uniross
Dear Sir
I joined 500px.com photographers community on March 6th, 2013. This February, in
341 days, I have crossed 100,000 affections on the site. A feat never/seldom achieved
by an Indian (to the best of my knowledge). Would be glad to see you publish this fact
in your esteemed magazine, as this is a proud moment, not just for me, but also a
motivating piece of information, for all the budding photographers in India, who are
following photography as not only a subject of interest, but also considering it as a
career option.
Rahul Tripathi,
Faridabad
Dear Rahul,
It is good to know that you have achieved this feat and we support you for your
endeavour in the future as well. However, unless we can authenticate that no other
photographer has achieved the same, we cant go ahead and print it. So, in case you
have any factual information regarding that then please pass it onto us, and we can
take a look at it.
Dear Sir,
I am really passionate about nature and Asian Photography. My images have been
accepted in many national and international salons and also in National Geographic
Top 25 wild bird photographs. I want to send my images for your magazine, and I am
eagerly waiting for your feedback and response.
Tapas Chattopadhyay
Kolkata
Dear Tapas,
We have seen the link of the images that you have sent and it looks interesting. You can
send in your entries to our readers section and also get in touch with the team or the
Editor via email to speak something elaborate on the issues.
10
F
ujifilm India has announced the launch of FUJIFILM X-E2,
a premium interchangeable lens camera with the latest
APS-C X-Trans CMOS II sensor and worlds fastest AF
speed.
Rohit Pandit, EVP- Sales & Marketing, Fujifilm India said,
After the success of X-E1 in the Indian market, I am delighted
to announce this new X-E2 camera which offers many advance
features to become a delight of the professional photographers.
Building on the global success of the acclaimed FUJIFILM
X-E1, awarded 2013s Best Expert CSC by the Technical Image
Press Association, the X-E2 is intended to take image quality to
a dynamic new level that is comparable with full-frame cameras.
Fujifilm informed that the camera has the worlds fastest AF
speed of 0.08 seconds. It features 16.3 million pixels APS-C sized
X-Trans CMOS II Sensor that incorporates an original colour
filter array. The hybrid AF also combines phase detection AF
and contrast AF to ensure accuracy when shooting low-contrast
subjects and dark scenes.
The X-E2 is available in solid black or two-tone black and
silver, and is priced at ` 76,999 for body and `1,09,999 with
XF18-55mm kit lens.
NEWS
Fujiflm India announces the new FUJIFILM
X-E2 interchangeable lens camera
Nikon releases the New RAW image processing
and adjustment software Capture NX-D
N
ikon India, recently announced
that Capture NX-D (beta
version), software for processing
and adjusting RAW images captured with
Nikon digital cameras, will be available free
of charge beginning February 25, 2014.
Capture NX-D is a free software
application that will replace the current
Capture NX 2 application. RAW images
(with the NEF or NRW file extension)
captured with Nikon digital SLR
cameras, Nikon 1 advanced cameras
with interchangeable lenses, and Nikon
COOLPIX compact digital cameras can be
loaded into the application for high-quality
photofinishing through the processing and
adjustment of images. In addition to RAW
images, the application can also be used to
adjust JPEG and TIFF files. D comes from
the word, Development for software that
offers adjustment functions specialising in
RAW development.
During the period that Capture NX-D
(beta version) is available; Nikon will collect
requests and ideas regarding the application
from those using it on their website and
use those requests and ideas to improve
the application prior to its official release
scheduled for this summer.
Nikon will continue to update and
provide support for the current Capture
NX 2 application while the beta version
of Capture NX-D is available. However,
once the official version of Capture NX-D
is released, Capture NX 2 will no longer be
supported with updates.
Here are few of the primary features of
Capture NX-D:
- Adjustment functions specialised for
RAW processing, just as they were with the
Capture NX series including white balance
and exposure compensation.
- Support for simple adjustment of
JPEG and TIFF images such as tone curves,
brightness, and contrast, as well as functions
for correcting lateral colour aberration
caused by lenses.
- Floating palettes that are easy to use
with multiple screens
- A variety of displays, including
comparisons of multiple images and
adjustment before-and-after images
- Adoption of a sidecar format that saves
original data as non-destructive files
- Filtering functions have been built into
the application, allowing users to easily find
the images they are looking for by filtering
them according to criteria such as camera
name or lens focal length based on tag data.
March 2014 11
NEWS
Nikon announces
the launch of its
new Nikon D4S
N
ikon India recently announced
the launch of its new Nikon D4S.
Nikons new flagship model, the
D4S, offers advances over its predecessor,
with revisions to a number of features
and functions, including autofocusing
performance, image quality, workflow and
operation, and movie recording.
Nikon informed that the D4S
features an advanced AF performance,
superior image quality with sharpness
and enhanced depth that responds more
completely to the demands of professional
photographers and supports the speed
press photographers require. In addition
to D-Movie function for recording Full-HD
1920 1080 60p/50p movies, the Nikon
D4S supports exclusive Nikon technologies
and functions for more convenient and
smoother workflow.
The D4S ropes refined algorithms for
the autofocus (AF) system better suited
to acquire and track subjects regardless of
whether they enter the frame suddenly
or take up the entire frame, for a more
powerful composition. In addition to the
four time-tested modes available with the
D4 (namely Single-point AF, Dynamic-area
AF, 3D-tracking, and Auto-area AF), the
D4S offers a fifth AF-area mode known as
Group-area AF (which uses five focus points:
one specified by the user, as well as one
each above, below, to the left, and to the
right of the selected focus point). This mode
enables a smoother autofocusing, along
with continuous shooting at approximately
11 fps with AF and AE tracking.
The D4S also features new EXPEED
4 image-processing engine, together
with a new Nikon FX-format CMOS
image sensor, an effective pixel count
of 16.2-million pixels, and a range of
standard sensitivities from ISO 100 to ISO
25,600. The D4S also supports extended
sensitivities as low as the equivalent of
ISO 50 and as high as the equivalent of
ISO 409,600. Communication speed has
also been increased with 1000BASE-T
support for wired LAN communication,
making it possible to have extremely fast
image transfer. A RAW S Small (12-bit
uncompressed RAW) setting has also been
added for faster post-capture editing on a
computer.
Kingston introduces fastest fash card in
India for 4K and Ultra-HD video capture
K
ingston recently announced its fastest
addition to the Secure Digital product line.
The new SDHC/SDXC UHS-I Speed Class
3 (U3) card is intended to allow professionals and
consumers to capture 4K and other Ultra-HD
video resolutions. The new card is available in
16GB, 32GB, and 64GB capacities.
The SD Associations latest specification,
UHS-I U3 (Ultra High-Speed Bus, Speed Class
3), guarantees performance of at least 30MB/s
read and write, enough bandwidth to record and
playback 4K video without interruption. Kingstons
SDHC/SDXC UHS-I Speed Class 3 card provides
speeds of 90MB/s read and 80MB/s write, which
is up to 9x faster (read) and up to 8x faster (write) than standard
Class 10 SD cards. The faster speeds is intended to ensure the best
video and photo integrity by reducing stutter as well as faster PC
upload time especially when using USB 3.0 card
readers.
The SDHC/SDXC UHS-I Speed Class
3 is compatible with all SDHC and SDXC
host devices. It aimed at allowing users to
capture cinema quality Full HD (1080p), Ultra
HD (2160p), 3D, and 4K 2K videos on high-
performance cameras such as D-SLRs, mirrorless
cameras and video cameras. In addition to 4K
video capture, it can also be used for high density
photograph capture in burst or continuous capture
mode, television recording, and live broadcasts.
Users can capture up to 60 minutes of 4K HD
video or shoot high-density image files in RAW or
JPEG (up to 8,000 24MP images) on a 64GB card.
The SDHC/SDXC UHS-I Speed Class 3 is backed by a lifetime
warranty and free technical support.
12
The winners of the Open
categories for which two
Indian photographers are being
considered - will be announced
on 18 March and each will
receive the latest digital imaging
equipment from Sony.
The 14 Professional category
winners, the coveted LIris
DOr/ Sony World Photography
Awards Photographer of the
Year title and the overall Open Photographer of the Year will be
announced at a gala ceremony in London on 30 April.
The LIris DOr winner will receive $25,000 (USD) and the Open
Photographer of the Year will receive $5,000 (USD). All winners,
including category winners, will also receive the latest digital imaging
equipment from Sony.
NEWS
Five Indian photographers shortlisted
for 2014 Sony World Photography Awards
Tamron developing an all-in-one wide-angle to telephoto zoom lens
T
amron recently announced the development of an advanced
new all-in-one zoom lens, 16-300mm F/3.5-6.3 Di II VC
PZD MACRO (Model B016) exclusively for digital SLR
cameras with APS-C size image sensors that provides an 18.8X
zoom ratio, and 28-300mm F/3.5-6.3 Di VC PZD (Model A010)
for full-frame DSLR cameras. The lens sample will be on display
at the Tamron booth at the CP+ 2014, which will be held from
February 13 to 16 in Yokohama, Japan.
Tamron previously launched an 18-270mm (Model B008)
all-in-one zoom lens exclusively for digital SLR cameras with APS-C
size image sensors that features a 15X zoom ratio and Tamrons
acclaimed VC (Vibration Compensation) mechanism.
Having revolutionised the optical design of the previous
28-300mm (Model A20), Tamron is developing a new, high-power
zoom lens for full-frame DSLR cameras that enhances image quality
and incorporates the PZD (Piezo Drive) - a standing-wave ultrasonic
motor system optimised for swift, quiet AF - and the acclaimed VC
(Vibration Compensation) mechanism in an amazingly compact
configuration.
F
ive Indian photographers were recently announced on the
shortlist of the 2014 Sony World Photography Awards, one of
the worlds leading photography competitions.
The five photographers span the Professional, Open and Youth
competitions of the awards across five different categories. They
were selected by a panel of photography industry experts from nearly
140,000 submissions by photographers from 166 countries, the
highest number of entries in the awards seven year history.
The photographers are:
Professional categories for serious photographers and judged on a
body of work
Arko Datto, People
Palani Mohan, Nature & Wildlife
Open categories for enthusiasts and judged on a single image
Arup Ghosh , People
Anurag Kumar, Smile
Youth categories for photographers under 20 years old
Ishan Siddiqui, Portraits
In addition, 17 images by Indian photographers were commended
across the 10 Open categories.
Each year the Sony World Photography Awards rewards the very
finest contemporary international photography from the past year.
The five Indian photographers cover a diverse range of topics in their
imagery, including a provocative series by Arko Datto questioning the
role of the photographer in the digital age, and a beautiful study of the
Kazakh horseman in Mongolia by Palani Mohan, a finalist in both the
2012 and 2010 Sony World Photography Awards.
All the Indian shortlisted images will go on show at Somerset
House, London, from 1-18 May as part of the 2014 Sony World
Photography Awards Exhibition.
ARUP GHOSH
PALANI_MOHAN
ISHAN SIDDIQUI
ANURAG KUMAR
ARKO DATTO
March 2014 14
Nikon COOLPIX A and Nikon 1 AW1 receive
Germanys iF Product Design Award 2014
Transcend releases small form
factor M.2 and mSATA SSDs for
mobile computing devices
N
ikon India recently announced
that COOLPIX A, the first
COOLPIX camera to be
equipped with a Nikon DX-format
CMOS image sensor, and waterproof
and shockproof Nikon 1 AW1 advanced
camera with interchangeable lenses, are
the recipients of iF Product Design Award
2014, globally prestigious industrial product
design awards sponsored by International
Forum Design. The COOLPIX A is
equipped with a new wide-angle 18.5mm
(equivalent to a 28mm angle of view in
35mm [135] format) fixed focal length
NIKKOR lens with a maximum aperture
of f/2.8 designed exclusively for the
COOLPIX A for the ease and portability of
a compact digital camera and the rendering
capabilities of a digital-SLR camera.
The Nikon 1 AW1 offers all the
characteristics of Nikon 1 advanced
cameras with interchangeable lenses, and
it is also the worlds first digital camera with
interchangeable lenses to be waterproof
to a depth of 15m and strong enough to
withstand the shock of falls from up to 2m.
The iF Design Awards have been
sponsored by iF Industrie Forum Design
Hannover e.V. based in Hanover Germany,
since 1953. This year, 4,615 products from
55 countries were evaluated in, with the
various awards being presented to a total
of 1,626 products.
T
ranscend recently announced
the release of its SATA III 6Gb/s
N8S750 M.2 and MSA340 mSATA
solid state drives (SSD). Featuring compact
dimensions and the next generation SATA
III 6Gb/s interface, Transcends N8S750
and MSA340 SSDs are suited to address
the strict size limitations and increased
performance needs of todays advanced
portable devices.
The N8S750 SSDs compact 80mm M.2
form factor (80.0mm x 22.0mm x 3.5mm) is
aimed to meet market demands of ultra-thin
and light mobile devices that require an SSD,
including Ultrabooks, notebooks, tablets,
portable gaming systems, and smartphones. It
features the latest SATA III 6Gb/s specification,
DDR3 DRAM cache, and is comprised
of MLC NAND Flash chips. With transfer
speeds of up to 520MB/s read and 330MB/s
write, the N8S750 handles everyday
computing tasks as well as demanding
multimedia applications.
Transcends MSA340 mSATA SSD is
78% smaller than a standard 2.5 SSD and
measures a mere 50.8mm x 29.85mm
x 4.0mm. As a result, manufacturers
can benefit from design flexibility when
developing space-restricted embedded
applications such as tablets, smartphones,
Ultrabooks, eBook readers, navigation
systems, set-top boxes, hand held
scanners, mini PCs, and slim servers. The
MLC NAND Flash MSA340 supports the
latest SATA III 6Gb/s specification, boasts
high speed DDR3 DRAM cache, and
is built around a powerful controller to
deliver blazing fast transfer speeds of up
to 520MB/s read and 280MB/s write, and
long-term reliability.
The N8S750 M.2 and MSA340 mSATA
SSDs offer full support of SATA Device
Sleep Mode (DevSleep) and Intel Smart
Response Technology (ISRT). DevSleep
allows compatible mobile devices to
completely power off the SATA interface
when not in use while maintaining a
response time of less than 100ms (0.1
second), offering instant-on capabilities
akin to a smartphone. With ISRT, users can
configure their computer system with an
SSD used as cache memory between the
hard disk drive and system memory.
Transcends SATA III 6Gb/s N8S750
M.2 SSD is available in 32GB, 64GB and
128GB capacities while the SATA III 6Gb/s
MSA340 mSATA SSD is available in 32GB,
64GB, 128GB, and 256GB capacities.
NEWS
T
amron India will be organising
a series of workshops in
several major cities throughout
India in the month of March, April
and May 2014. Tamron informed that
these activities are part of Tamron
Indias several initiatives to strengthen
their bonds with photographers, both
amateur and professional. The goal of
these workshops is to enhance their
skills by playing a catalytic role as a
leading manufacturer of world-class
photographic lenses.
Titled, Lens Simplified, the
workshop would be moderated by
a panel of experts, each workshop
will present a unique opportunity
to participants for exchanging views
and experiences, clarifying doubts
and discussing the finer points of
photography. For example, topics
such as shooting with ambient light
instead of flash.
These workshops last for a
duration of one day and are free of
cost. For registration and detailed info
please visit the following link - www.
tamron.in/workshop
Tamron India
organising a series
of photography
workshops
15
NEWS
Hasselblad ofcially launches 50MP
medium-format CMOS camera
Samsung Galaxy S5 features 16MP
camera with 4K video
A
fter its first announcement in January
this year, Hasselblad has begun
shipping the H5D-50c, the worlds
first fully integrated medium format camera
system to use CMOS sensor technology.
The Hasselblad H5D-50c had a brief
debut at the CP+ Camera and Photo
Imaging Show, Japan, this February and is
now available worldwide. Ove Bengtson,
Hasselblad Product Manager said, As
with all our cameras, the H5D-50c was
developed with one goal in mind - to
produce simply the best image quality
possible today. This CMOS sensor model
represents a major leap forward in camera
development and breaks new grounds for
medium format photographers who now
will be able to shoot with the ultimate
in image quality, regardless of lighting
conditions. Outstanding ISO performance
- up to ISO 6400 - will raise available light
photography to new heights in this genre.
He added, The camera, which
we believe is one of the best we ever
S
amsung recently launched the Galaxy
S5, the fifth generation of Samsungs
high-end Galaxy S smartphone line.
Although the S5 is physically similar
to its predecessor, the S4, it has a load
of features, including a new camera. The
resolution of the camera has been increased
from 13 megapixels to 16 megapixels
with 4K video recording capabilities.
Samsung also claims the AF speed has been
improved. Other new camera features
include: real-time HDR processing, new
user interface and Selective Focus that
allows you to blur the background by taking
two pictures at different focus settings
and merging them. However, users will
have to make do without an optical image
stabilization system. The new phones shell
has been improved which is dust and water
resistant, which mean the user can shoot
under water.
designed, is supported by a range of 12
extremely high performance lenses with
built-in central lens shutter.
The H5D-50c key features a 50
megapixel CMOS sensor, high dynamic
range (up to 14 stops) for improved detail
in shadow and highlights areas, longer
shutter speeds (up to 12 minutes), 1.5
frames per second, live video in Phocus
with higher frame rate, True Focus auto-
focus system with Absolute Position Lock
and camera controls, options for working
with tilt-shift, GPS recording flexibility to
name a few.
Ian Rawcliffe, Hasselblad CEO,
stated, There is no price premium at all
for customers who wish to acquire this
groundbreaking technology. The H5D-50c
will ship with the same price tag that applies
to our H5D-50 model.
The outstanding ISO performance
of this new CMOS sensor-based model
has quite literally put medium format
photography into a new light. Now
photographers no longer have to be so
concerned about shooting in challenging
conditions - and of course they can choose
to work tethered or untethered with
the option of processing raw images in
Phocus or directly in Adobe Photoshop
Lightroom, he added.
The new H5D-50c will retail at
20,900 (excl. tax).
16
FEATURE
Samsung Forum 2014
W
e were recently invited to the Samsung Forum 2014 in
Bali, where Samsung introduced a wide range of products
for the APAC market which they are going to release this
year. Right from LED televisions to refrigerators, to smart vacuum
cleaner and the ever-growing mobile and tablet segment, Samsung
featured every product in this range at this years forum.
One of the key pillars of growth for the Southwest Asian
market is the strong trust we have built with our customers and
partners, said Mr. BD Park, President & CEO, Samsung South West
Asia. In 2014, Samsung will continue to achieve positive growth by
providing our consumers with innovative products and technologies
that will help consumers discover a world of possibilities, he added.
On the imaging front, the Samsung launched some new DSC
cameras with interesting features.
Samsung NX30
Samsung introduced the NX30 CSC featuring a 20.3 megapixel
APS-C CMOS sensor with NX AF System II for fast and accurate
focussing. The NX 30 has a fastest shutter speed of 1/8000sec.
With 9 fps and 3 inch Super AMOLED swivel touch display. The
NX30 features NFC and Wi-Fi which allows for sharing, remote
viewing.
Samsung 16-50 mm F2-2.8 S ED OIS lens
Samsungs first premium S Series lens has a wide aperture
opening (F2.0 at 16mm; F2.8 at 50mm). It features an Ultra-Precise
Stepping Motor (UPSM) with optical image stabilisation. The lens is
splash and dust proof. The forum also featured Samsung 16-50mm
F3.5-5.6 Power Zoom ED OIS lens, a lightweight lens weighing in
at 111g with silent auto focussing.
Samsung Galaxy Camera 2
Samsung revealed their smart camera with a 16 megapixel BSI
CMOS Sensor with a 21x optical zoom. The Samsung Galaxy 2
also features a 1.6 GHz Quad- Core processor with a 2GB RAM
and 2000mAh battery. It is loaded with a 4.8 inch HD Super Clear
Touch LCD.
All products will be launched by February end or early March.
Opening note by BD Park, President & CEO, Samsung South West Asia for
the Samsung Forum 2014
HAVE UNANSWERED QUESTIONS
ABOUT PHOTOGRAPHY?
THEN
Send your questions to
askyourexpert@asianphotographyindia.com
or
Ask Your Expert
SAP MEDIA WORLDWIDE LTD.
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Brought to you by
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The Ask Your Expert column where your
expert will answer all your queries on photography
I am a regular reader of the magazine and have a lot
of questions about photography. So, kindly address
the same.
1. What are the factors that need to be taken into
account when taking both natural and cultural
photos at once?
2. What is the reason a photo becomes attractive?
3. Where can one present their photos?
4. How can one become a real photographer?
Swagat Thapa
Dear Swagat,
The questions you have asked are very ambiguous
and there is no right answer for the same, since
it depends on each individuals perspective to be
honest. However, I have tried to answer the same
depending on what could be the best response.
There isnt a particular factor that one needs to
keep in mind, as what could be a good picture for
me, could be a bad one for you. Ideally, it is a good
idea to keep the simple rules in mind while clicking
any picture. These include composition, capturing
the mood/emotion, essence of the subject. These are
simple things that you should keep in mind while
capturing any picture.
There is no particular reason why a photo
becomes great or attractive. For me, personally, if
the photo that I am viewing connects or touches any
chord or emotion, then it automatically increases its
value in the viewers eyes.
As for your third and fourth question, there
are no real or fake photographers or a right way of
presenting your photos. You need to know what
the objective that you are trying to achieve is, while
presenting your photo, and the path that one needs
to take is usually followed post that. So, maybe you
need to ask yourself the same question.
-----------------------------------------------------------
I am a beginner and fairly new to photography.
The major problems I face are with the sharpness of
my image and the grains. I have recently switched
to Nikon D3200; lens18-105mm. I basically shoot
at f/4.5, shutter speed 1/125, and ISO 100-200.
Below is attached a photograph clicked by
me, kindly provide your review about
the same. Please tell me how can I
improve the sharpness of my image
and have a clean photo.
Jyoti Bharadwaj
Dear Jyoti,
I have seen the image that you have given
and there isnt anything wrong, when it comes to the
composition or the sharpness. Since it is a hi-res picture
Answered by
Bhavya Desai
Editor
Asian Photography
Send in your Questions to
askyourexpert@asianphotographyindia.com
Q
uestion
of the Month
A
P
18
I dont even see any issues with grain or noise as well.
However, I do see that the image lacks focus, which
is making it appear hazy and unclear. Probably, you
are referring to the same issue. This usually tends to
happen due to the accidental shift of the focus points of
the DSLR while shooting an image.
In fact, this is a common problem that most
photographers face. That is why it is important to lock
the focus point before you start shooting any image.
This can be done by pressing the OK button on the
back dial, which stops it from accidentally shifting.
Also, I noticed that you have kept the ISO setting
at 100-200. If you are shooting in the manual mode
during the daytime then it is suggested to keep it at ISO
400 or the best option would be to keep it at AUTO
mode. The common problem that one can see noise or
grain in the picture is due to the incorrect ISO settings,
so try and keep the same in the AUTO mode.
-----------------------------------------------------------
I am a new user of Nikon D90 DSLR. I am not
getting exact co-ordination between F-number and
ISO speed. Can you kindly suggest if any simple
tip or book is available that will clear my doubts
regarding this?
Probal, Kolkata
Dear Probal,
It may get overwhelming for a new user while
THE QUESTION OF
THE MONTH WINS CAMERA
CLEANING KIT WORTH `600
shooting with a DSLR. I would advise you to refer
to your instruction manual provided along with
your Nikon D90 and read up on the section related
to Exposure. Also constant practice and reviewing
the images will also give you a hand-on experience
and help you get a better idea of exposure. Nikon
has recently launched Nikon D-SLR Tutorial Video
Series on their Youtube channel (http://www.
youtube.com/nikonind). You being a Nikon user will
fnd this video tutorial series more helpful.
March 2014 19
18
NEWS
March 2014 19
22
COLUMN
The
RAW deal
March 2014
23
Todd Anthony Tyler
I
shoot in RAW sounds like a fairly
provocative statement to make, but
it is one I say often, as it is a common
question I am asked. Most people even if
they are not much of a photography buff
are familiar with what a JPEG file is or even
perhaps a TIFF file. However, the RAW
file remains somewhat of a mystery, at
least to those new to photography, and
in my experience, almost every client that
ever hires you.
It is a bit of a misnomer to call a RAW file
a file in the same way as you refer to a JPEG
or TIFF file. A RAW capture needs to be
processed to be fully edited and ultimately
printed or digitally displayed, whereas a
JPEG or TIFF tagged image is processed and
compressed and in some stage, used as an
image file. I say some stage, as there can be
several layers to fully completing an image
today, and several variations of the same
basic image.
24
So, what is a RAW file? Many cameras
can now output RAW files compared to the
past where RAW files tended to only exist in
the realm of high-end pro cameras. A RAW
file is a capture that is unprocessed and
uncompressed data which is, basically, all
of the data that is captured by the cameras
sensor when you make an exposure. The
file tag or format itself denotes the file
is not quite as universal, as say, a JPEG.
Generally, the RAW file format depends on
what camera you are shooting with a few
common ones are .CR2 for Canon, .NEF
for Nikon, .3FR for Hasselblad and .MOS
for Leaf.
Regardless of which camera you are
in RAW shooting with, you will always be
capturing an unprocessed file that most
people refer to as a digital negative, and as
with the hard copy negative, you need to
follow a processing step in your workflow to
produce a final image file. Unlike a JPEG that
is ready for use right out of the camera, as
the camera has made all the choices for you.
For some people the time required
and the extra computer editing is really not
worth it. They prefer to have, what I call the
Polaroid experience that JPEG files tend to
give you; that immediate satisfaction of having
an image that can be shared are further
manipulated and then output for use. There
is no doubt that when you shoot in RAW
you have added additional layers to your
workflow, and thus, the time required having
a usable image. However, there are several
advantages that come with shooting in RAW.
Just before I launch into what those are,
I will take a moment to say that shooting in
RAW is not an excuse to be sloppy about
your exposures, or get lazy in getting it right
in-camera; especially, if you call yourself a
professional or have intentions of developing
your photography to work professionally.
Anyone with even a bit of experience
with digital photography and shooting
and developing RAW files will tell you that
overall nothing still beats getting it right
in-camera on shutter release. Trying to fix
it later, in particular, if we are talking about
under-exposed images, never produces a
quality file in comparison to a solid exposure
in the first place. Not to mention that you
will never be able to monetise in your
career and business of photography, all of
that time spent in fixing your exposures and
images. Shooting RAW still means exposing
correctly in the first place, and dont think
you can use shooting RAW files as a crutch
to shooting wildly, with no care for the basic
laws of exposure in ISO setting, aperture
and shutter speed.
What RAW files do give you is essentially
choice and control over your final images,
as the processing is done by you and not
by an automated method by your camera
processor. All of those choices lead to a
higher image quality, as you have a larger
file with more colour shades, finer control in
white balance, hue, shadow details, highlight
exposure and even a choice in image
space. Unlike a JPEG file that has discarded
information and is compressed, a RAW file
gives you a starting point for creating an
image that you desire, and all accomplished
in a non-destructive way.
To help you understand a little better
the process of shooting in RAW, I am going
to walk you through a typical shoot for me.
I almost always shoot RAW with a small
JPEG. Now, why do I do that, if I am going
to ultimately not use the JPG files? Well, I
have found that for the rough edit, JPEG files
are very immediate and useful; whether it
March 2014
25
is for roughing together a layout, for quick
proofs that we might print up and pin up
on the board, as we shoot and develop the
fashion spread or catalogue, or for basic
presentation in a post-shoot meeting. We
also often use low-res JPEG to communicate
with clients, for making quick and easy final
image selections; the files are not too large
and can be swiftly exchanged and viewed
and selections made. Once we have
narrowed down what images we are using
and working on in post-processing for final
image output, then we move on to working
with the RAW files. To process a RAW file
you need to use a RAW file converting
software everyone seems to have their
favourites certainly there are forums filled
with discussions on what is better. However,
to keep it simple, I will just say you can find
RAW file conversion software with your
software that comes with your camera and/
or you can look at using a few of the more
common ones like Adobe Camera Raw,
Lightroom or Capture. I am often working
March 2014
27
with ACR, since I am just used to it.
A big part of the digital darkroom for
me happens in processing the RAW file, and
here lies why you would want to be making
your captures in RAW, if you crave creative
flexibility and choices in post. One of the first
things I usually do is go to camera profile
and take a look at my options often times I
find that there is something I like better than
Adobe Standard and I make the switch.
While I am on that tab, I will also usually
take a quick thought on any adjustments
in the colour ranges or shadows. Then I
will go back over to basic tab and consider
if I feel like the white balance needs to be
adjusted or that a different colour temp or
tint would be a plus to the final image. This
is followed by any tweaking in exposure,
contrast, highlight area, shadows, white,
blacks, clarity, vibrance and saturation. I
think you can further see from this basic
explanation how much more control and
personal input you have on your final image
when shooting in RAW, and the best part is
that the actual capture itself is not destroyed
in the process, and you can always go back
to create other variations or adjustments, as
that information is always there in the RAW
file. To finish up my file before exporting to
Photoshop for final post work I will always
usually do a bit of sharpening, though I like
to keep my main sharpening usually to the
last step of my post/retouch process.
There are several different details that
can be adjusted in RAW file conversion
I havent even touched here on the crop
tool, straighten tool, retouch tool, red-eye
removal, adjustment brush or graduated
filter, just to name a few. The question for
you as a photographer remains whether
you feel like it is worth the time to tackle
all of these adjustments and be processing
digital negatives. I heavily argue that it is.
I think there is no doubt that
photography has always been a combination
of skills, primarily that of a good natural eye
for composition, blended with good camera
technique and a skill in the darkroom. Why
let the camera do the darkroom work for
you? Take control of your work and images
right away and shoot in RAW. Shooting in
RAW doesnt define you as being a pro,
but it does take you a step in a professional
direction.
28
PRO - PROFILE
The
Exquisite
expanse
March 2014 29
After taking up photography 15 years ago professionally, he has carved out a niche for himself as
a landscape, time-lapse photographer. He has extensively shot around the Southwest of North
America, and produced stunning images and time-lapse videos in his Landscape series, that have
taken the internet by storm. This month, we talk to US-based photographer Dustin Farrell about
how he discovered photography, and his love for landscape and time-lapse.
30
L
egendary photographer Ansel
Adams helped define the genre of
landscape photography, and today
photographers are taking it to another level.
However, the enormity of the genre often
leaves the best of photographers baffled.
American photographer Dustin Farrell,
based in Phoenix, Arizona, has recently
emerged as a new and fresh voice in the
field of landscape. Dustins images and
videos of the vast landscapes of Southwest,
have won accolades from viewers, as well
as applauded by critics. However, Dustins
journey wasnt straight road to success.
The journey begins
Dustins first tryst with photography was
as a kid, playing around with his mothers
Polaroid Instamatic camera. He snapped off
a perfectly composed picture of a Florida
rainbow through some palm trees. He said,
I think that was everyones first hint that I
may also have the family gift.
He is the third generation of
photographers, and he says that it runs in
the family. We have been associated with
photography, as my grandmother was a
photographer and my father continues to
make a living as a director of photography,
he said.
Hailing from a family of photographers,
Dustin had several family members who
were an inspiration to him as a photographer.
However, he soon steered towards
videography. My father had achieved
some success as a news cameraman when
I was young, and that began to give me
ideas of concentrating on video instead of
photography, said Dustin.
The desire to create
Dustin then began work in local news
in North Carolina, and was tied up with
videography, working as a camera operator.
Working with ABC, NBC, ESPN and other
networks, Dustin won accolades for his
camera work over the years, and won
several awards and nominations.
However, he desperately missed
creating his own pieces of art, from start
to finish. When being hired to operate a
camera, you usually do not have much
creative input content-wise, and you
definitely have no say in the final product
that everyone sees, he said.
With the burning desire of a creative
outlet, Dustin initiated work on a timelapse
video project. Named as Landscapes,
Dustin put out a three-part video series
comprising of time-lapse videos of vast
landscapes, shot in and around the
Southwest.
After hitting the internet, the videos
gained thousands of hits, and became highly
popular with professionals and enthusiasts
alike. The first volume of Landscapes was
March 2014 31
a yearlong compilation of his time-lapse
work. The majority of the shots were in
my beautiful home state of Arizona. Goblin
Valley State Park and Natural Bridges
National Monument in Utah also make an
appearance, he said.
His second video in the series also
featured the state of Arizona and other
iconic landmarks with motion controlled
HDR and night timelapse, as a new way to
see old landmarks. In the third and the final
video of the series, Dustin captured some
of the most stunning visuals of waterfalls and
amazing colours of the Icelandic summer,
and the Aurora Borealis in Icelandic winter.
He said that even though Landscapes:
Volume 2 was a huge viral hit, he still
considers Volume 3 as his best work so far.
The dynamics
Speaking about the series, he said that
biggest challenge was the time. Squeezing
in timelapse days between the normal stuff
that I was shooting was a huge challenge.
To make the project possible, I practically
worked every day for three years, he said.
Describing his own style of photography,
Dustin said, I shoot for depth, for
foreground. In the end, my images are
usually finished into a timelapse video with
32
Dustins rst DSLR was Nikon
D70s. However, the rst
cameras he ever worked with
were lm. I cant remember
the models. I was one of
my high school yearbook
photographers. We even
developed our own lm in the
dark room. I actually dodged
and burned for real! Sigh, I
sound old, he joked.
Currently, Dustin mostly uses
Canon gear while shooting
landscapes. When it comes to
cameras, he uses the Canon
EOS 5D Mark III and the Canon
EOS 6D, which are full frame
cameras. For the lenses, he
uses the Canon EF 24mm
f/1.4L II USM prime lens for
making landscapes with dark
skies, the Canon EF 16-35mm
f/2.8L USM lens is his go-to
lens. I use the Canon 14mm
f/2.8 L II prime lens quite
often, and I also nd the Canon
EF 70-200mm F2.8 L IS II
USM lens pretty awesome. For
motion blur, I generally use
Lee lter holders and lters. I
use Dynamic Perception for my
timelapse dolly and Emotimo
for the pan/tilt, he said.
WEAPONS
OF CHOICE
Dustins rst DSLR was Nikon
D70s. However, the rst
cameras he ever worked with
were lm. I cant remember
the models. I was one of
my high school yearbook
photographers. We even
developed our own lm in the
dark room. I actually dodged
and burned for real! Sigh, I
sound old, he joked.
Currently, Dustin mostly uses
Canon gear while shooting
landscapes. When it comes to
cameras, he uses the Canon
EOS 5D Mark III and the Canon
EOS 6D, which are full frame
cameras. For the lenses, he
uses the Canon EF 24mm
f/1.4L II USM prime lens for
making landscapes with dark
skies, the Canon EF 16-35mm
f/2.8L USM lens is his go-to
lens. I use the Canon 14mm
f/2.8 L II prime lens quite
often, and I also nd the Canon
EF 70-200mm F2.8 L IS II
USM lens pretty awesome. For
motion blur, I generally use
Lee lter holders and lters. I
use Dynamic Perception for my
timelapse dolly and Emotimo
for the pan/tilt, he said.
March 2014 33
34
some sort of a dolly move. In my opinion,
foreground is always important, but it is
especially significant when the camera is
moving. I have been told several times that
my work gives viewers a sense of 3D.
We asked him what he loved most about
landscape photography, and he said that its
the quiet that he likes the most. Shooting
timelapse videos is usually relaxing, and
almost always requires a camping trip. I love
to camp, especially, with my wife Laura and
our dog Sadie, he said.
Landscape photography can be a
challenging task, and Dustin listed out
some of the common challenges one might
face. He said, In my opinion, dealing with
highlights and shadows is the toughest part
to good landscape photography. On the
other hand, sometimes finding good and
unique locations is tough. Other elements
can be challenging at times, like fences, No
Trespassing signs, cops/park rangers and
long hikes.
Talking about how he prepares for a
shoot, Dustin mentioned some short, yet
crisp tips. Clean sensors, clear media,
quadruple check gear, research locations,
check moon phase/sunset times, vehicle
maintenance, pack an extra car battery, pack
the winch and shovel, pack the beer, he
exclaimed.
Importance of a location
Dustin also said that deciding on a
location in advance is highly important.
Scout your location(s) online before you go
if you can. Remember to be early, as rushing
can really stifle creativity. Use your polarizer
and shoot north and south; the side lighting
looks better too. Dont ever leave as soon
Clean sensors, clear media,
quadruple check gear,
research locations, check
moon phase/sunset times,
vehicle maintenance, pack
an extra car battery, pack
the winch and shovel, pack
the beer
March 2014 35
36
as the sun has dipped below the horizon,
the show has just begun! Also, try shooting
that place that everyone has shot at night
for a different look, he said.
Dustins work on the Landscape
series has mostly been shot in and around
Southwest, but we asked him if he has
any dream locations where he would
like to shoot. The Southwest US has
spectacular views of the night sky, and this
will always be one of my favourite places
to shoot. However, I must and will visit
New Zealand sometime soon. Iceland was
incredible too. There I got my first taste of
the northern lights. It is something that I am
determined to shoot again many times in
my life, he said.
Memories
Talking about some of his most
memorable moments in the profession,
Dustin said that receiving a call from
Overbrook Entertainment was enjoyable.
The folks at Overbrook Entertainment
contacted me to let me know that Will
Smith was a fan and would like to meet me
someday. That was a cool phone call! he
said. He also said that shooting timelapse
scenes for the recently released 3D IMAX
film Jerusalem is something he will never
forget.
Discovering new horizons
We urged him to tell us about what he
was currently exploring, and if there were
any upcoming projects. He said that he was
currently working on a project in Las Vegas.
Its an exciting new project that highlights
the city of Las Vegas. I have gained access
to shoot some seldom shot locations. I was
recently given a Lamborghini for the night
to stick cameras on and drive down the Las
Vegas strip, he said.
Dustin also added that he was also
exploring urban photography a little bit.
However, in a little more than a year, viewers
and followers can expect an all-night landscape
timelapse video from him. Landscape
photography, especially timelapse, is not a
piece of cake, and we asked the master to give
amateurs some handy advice. He said that
having fun is the most important. Remember
to have fun. If its not fun, its not worth it. Also,
do it for the enjoyment of others. If your end
goal is monetary success then you will most
likely fail. Make photos for others to enjoy and
the success will follow, he concluded.
TEXT: ABHISHEK DESAI
March 2014 37
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38
SHOOT MY CITY
Bali
March 2014 39
I
n this month Shoot My City, we take
you to the exotic city of Bali. Generally
referred to as one of the most popular
vacation destinations in the world. Bali
attracts all kinds of tourists families,
honeymooners, surfers, backpackers and
many more. Our journey to Bali was the
shortest SMC Ive personally experienced;
I guess a week would be apt enough to
explore the place, but then again, I would
have loved to stay there for a month.
Our journey began from Mumbai
which got us to Bali roughly after 12 hours.
One of the most testing moments was the
never-ending immigration queue which ate
into our time in Bali and delayed us by a
few hours. Next in line were our transfers
to the hotel, which is something you should
check out, as it, is rather convenient for a
first time traveller than hunting around for
ways and means to reach your destination.
On our way to the hotel, we drove
over a dense network of bridges with stilts
over the sea from one island to another.
This was really amazing, as I had never
seen, let alone experienced something
40
March 2014 41
that is 23 metres high. Originally, it was
planned to create a structure which was
146 metre high which would be the largest
statue in the world. However, due to some
economic problems the work was halted
and now it has been continued.
Although most of Indonesia
predominantly follows Islam, Bali is home
to the Indonesias Hindu minority. A
majority of the population of Bali practice
Balinese Hinduism, a form of Hinduism;
one walk around the park and you notice
how much the architecture is influenced by
it. Bali is estimated to have around 20,000
temples. Besakih, the Mother Temple of
Bali on the slopes of the sacred Mount
Agung; Tanah Lot, Bali's famous sea temple;
The GWK Park currently
houses the statue of Lord
Vishnu that is 23 metres
high. Originally, it was
planned to create a structure
which was 146 metre high
which would be the largest
statue in the world.
like this. Our hotel was located in the
Nusa Dua district which is a sterile tourist
enclave, also called as Kawasan Pariwisata,
which means Tourism District. On arriving
at the hotel, we rushed ourselves, as we
were quite keen for the city tour organised
by the hotel. Unfortunately, the delay
caused by immigration caused us to miss
most of the tourist destinations on the
itinerary.
So we decided to head to Garuda
Wisnu Kencana Park (GWK) which is a
cultural park devoted to the Hindu god
Vishnu, and his mount, Garuda, the
mythical bird. The drive from the hotel
to Bukit Peninsula crosses lush greenery,
small villages, heaps of mangroves and an
overall picturesque scene, thanks to the
monsoon. On our way to the park, our
guide Francis pointed out that most of Bali,
especially Bukit, is a limestone plateau and
it rains for six months and is dry and sunny
for the next six months. The GWK Park
currently houses the statue of Lord Vishnu
42
PHOTO: Aldrin Silva
March 2014 43
with their photographer to capture some
amazing moments while the sun set in the
background. Bali is a popular location for
destination weddings, and couples from
across the globe travel here every year to
get hitched.
Another attraction in Bali is its
mouthwatering cuisine. Most of their food
has rice as a staple with small portions of
spicy vegetables, mostly fish served with
sambal. For those who had their fair share
of serenity and peace can head out to Kuta,
which is Balis nightlife capital. The street
has an array of bars, pubs, discotheques
and eateries roughly along a 7km stretch.
Before heading back for our flight to
Mumbai, we stopped by a local market
to pick up a few souvenirs. We saw small
shops selling artwork, leather goods,
clothing and other knick-knacks. This was
probably one of quickest and shortest
Shoot My City, I have been on, and the
desire to see the unseen Bali has left me
wanting. However, I did enjoy myself, and
I have a feeling I will head back there in the
near future.
TEXT AND IMAGES: STEVE DSOUZA
Ulun Danu which rises out of Lake Bratan
and Kerta Gosa at Klungkung are few of the
famous temples.
Other than being gifted with natural
beauty and such rich culture, Bali is home
to several mountains including the famous
Mount Agung (3031 m), also known as
the "mother mountain" which is an active
volcano; and tranquil beaches. For those
who are into adventure sports most resorts
also offer various water sports activities.
While our stay there, we saw people
windsurfing, snorkelling and surfing. A
casual conversation with another traveller
revealed that he had been water rafting
down the river Ayung, one of Balis
longest rivers. While returning back to
our humble abode, we came across a
newly married couple who were dressed
in a western wedding attire accompanied
44
TIPS & TECHS
March 2014 45
BASICS OF SHOOTING
LANDSCAPES
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Q
uite often, we come across a
beautiful landscape, and when we
photograph it, little does it look
like anything we had originally seen. When
we look at a scene, our eyes can selectively
focus on part(s) of it that appeal the most to
us. Our eyes and brain travel over a scene
before us and have the ability to ignore the
distractions. This cannot be done even by
the most sophisticated camera equipment.
However, there are a few ways you can
construct a good landscape photograph
with minimal distractions.
Here are a few tips that will help create
amazing landscape images
Preparation
One of the most important aspects
of creating landscape images is time; you
cannot expect to simply show up at a
location at any time and get a mind blowing
image. When you arrive at a place youve
not visited before, spend time scouting
for various locations. With advancement
in technology, it is easy to check where
and when the sun will rise and set, using
various apps on your smartphone. Check
the terrain, and the means to get there so
that you can plan how to get there. Be sure
to carry enough food and water as you may
be quite far from any place that sells food.
Equipment
You can carry the best of equipment -
lenses, cameras, and the best tripods, all
of it; but what if you have to trek or climb
to your location and you have a ton of
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March 2014 47
luggage to carry along with you. The key
point is to keep it simple. A simple DSLR
camera would be recommended with a
wide-angle zoom lens, anywhere from the
focal range of 10mm onwards. A zoom lens
with a maximum focal range of 300mm can
be useful to compress the frame. A good
sturdy tripod is needed, preferably with a
hook on its center stem, which gives similar
stability provided by heavier tripods. Other
accessories like cable release, good camera
bag, graduated filter, UV filter, a torch (just
in case you plan to trek to your location
in the dark before or after capturing the
sunrise or sunset or you can even use it
to illuminate elements in the foreground).
Last but not the least, additional batteries
for your camera and other equipment and
spare memory cards are a must.
Composition
Again, I would suggest you to keep
it simple; one of the easiest to try here is
the rule of thirds. Divide your frame into
imaginary thirds on both the horizontal
and vertical axis. Now simply place areas
of interest at the points at which the lines
intersect or in the case of a horizon
along one of the lines. However, dont be
afraid to break the rules once in a while.
Also while composing your frame, be
sure what you would like to include in your
shot. Avoid overhead wires and litter; you
might think you can clone them during post-
processing, but removing them from the
image before you shoot it will save you time. P
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Depth of feld
Ideally, landscape imagery demands pin
sharp image quality which can be achieved
by using smaller aperture openings like F/9
all the way to F/22. This is done so that the
subject in the foreground is as sharp as the
distant horizon. Shooting at such depth of
fields means that you would have to use
a slower shutter speed, which makes it
essential to use a tripod.
Shutter speed
One of the most variable factors while
shooting a landscape image is the shutter
speed. If youre creating imagery in the
middle of the day, you would shoot using
a higher shutter speed, whereas shooting
an image in low-light or diminishing light
would require you to shoot at a slower
shutter speed. While using a gradient filter,
irrespective of its density, you would be
Plan your shoot in advance to
avoid any last minute hassles
Carry sufcient batteries and
memory cards
Remember to check your
frame before shooting
Use a tripod and shutter
release to eliminate camera
shake
Stock up on adequate
supplies(food, water, clothing
etc.) while going to shoot
Shoot in camera RAW mode
QUICK TIPS
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March 2014 49
often pushed to use a slower shutterspeed.
Even though you shoot your images
in camera RAW, it is better to bracket your
shots so that all details can be captured from
highlights and shadows. This keeps the ISO
and aperture constant and changes the
shutterspeed to create various bracketed
images which can be later blended in a
software programme to create a HDR image.
Post Processing
Once you have shot your images in
camera RAW, all you need to do is run
them through a post-processing software.
Depending on the shot you have planned,
you can process the images. For example,
if you have bracketed the frame at different
exposure, you can merge them using
Photomatix to create a HDR or Exposure
fusion image. For the other images, you can
adjust the white balance, contrast brightness,
levels and curves as per your taste to create
some wonderful landscape images.
TEXT: STEVE DSOUZA
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TIPS & TECHS
Colour
is in the air!
Colour
is in the air!
W
ith the month of March comes one
of the best festivals of the year - Holi!
A spring festival, commonly known
as the festival of colours, Holi is probably one
of Indias most widely celebrated festivals after
Diwali and Ganesh Chaturthi.
Traditional celebrations of
Holi begin with a bonfire known
as Holika Dahan, the night before
Holi; it means to burn Holika, the
devil. However, the morning after
the bonfire is why the festival is
really popular; that is when the
real fun starts. People douse and
paint each other in a plethora of
colours all day, and rejoice and
celebrate the occasion.
In recent times, Holi is not
just celebrated in India, and has
spread to countries across the
globe, from USA to Europe.
People around the world galore
in colourful splendour, celebrating
the festival of Holi.
Recently, I got news from a
friend that an event company called
V Indus is organising a beachside
Holi festival in Singapore. Hearing
beachside Holi, and that too in
Singapore, got me excited, and
it was something which I just
couldnt afford to miss.
I booked the tickets and
started planning, and of course
preserving the best of moments
is on my priority list. I chose the
lightest and smallest equipment,
so I didnt need to bother about it
much while playing around. I had
two cameras at that time and a few
lenses. I chose the smallest crop
frame DSLR I had, as I wanted
52
to carry a lightweight camera.
Crop frame did not bother
me, as I was going to shoot in
daylight and also I needed that
extra reach which I get with the
crop frame sensor. I chose the
85mm prime from the lot, as I
just love shooting with primes.
Also with that lens, I can easily
isolate my subject and again,
its a lightweight lens and easy
to carry.
At first, I thought that I should
cover the equipment with some
polythene bags or waterproof
plastic. But my choice was to
either concentrate on freezing
moments or waste time in
March 2014
53
54
safeguarding my camera from
colour and water, and I chose
to concentrate on photography
part.
Being a diverse global-city, the
crowd there was from different
parts of the world like Australia,
Africa, USA, Europe, Malaysia,
India etc. For me, watching
different people from different
parts of the world celebrating a
Hindu festival, rejoicing together
in colour and water, was a
complete bliss in itself.
Holi shoots can generally
be a little stressful, as you
are mostly preoccupied with
the hassle of protecting your
equipment. There is also,
generally, so much action
happening at once, that it can
be a little overbearing to decide
what to shoot and what not
to. However, just go with the
flow, focus on capturing candid
and natural moments, as the
people celebrate care free.
While planning such kind of
fun shoots, here are a few
things you can keep in mind:
- No matter what, be a part of it.
- Carry less. Enjoy more.
- Dont be afraid to click
strangers.
- Dont chimp and rather shoot.
- Be Yourself.
Now get out and start shooting.
Happy Clicking :)
TEXT AND IMAGES:
MANIE BHATIA
March 2014
55
56
Symmetrical
Photography
-The Mirror Image Strategy
Remember learning about symmetry in your geometry classes? Now, we will tell you
how to use it in your images.
TIPS & TECHS
March 2014 57
S
ymmetry is all around us and has
always been associated with beauty.
Trying different techniques to
compose creative frames can result in an
interesting piece of art. In todays digital
world, photographers are not only trying
out different angles and techniques, but are
also adding different compositions. One
such composition is engaging symmetry
in images. Derived from the greek words
sun, meaning with and metron defining
measure, symmetry conveys the
pleasant sense of proportionality and
balance.
Symmetry has been used in other
visual mediums since long ago. In
photography, it is used to create an image
which can be divided into two equal parts,
which may be either horizontal or vertical,
depending on the frame you choose.
These two parts look the same as they
create mirror images. The line that splits
a symmetrical object is called the line
of symmetry. You might choose to be
creative with diagonal lines of symmetry.
In such images, the line of symmetry lies at
an angle of 45 degrees to the sides of the
picture frame.
Albeit, photographers may search
for symmetrical picture frames on
purpose, many a times, photographers
add symmetry in their photography
unknowingly, as most of them prefer to
apply the rule of thirds. In art, design
and photography it is a common practice
to employ the use of this rule in our
compositions. The rule of thirds is derived
from the Golden Ratio which has a
historical background in painting and arts
and also exists in many natural forms. By
virtue of this, symmetrical compositions
are usually avoided and are thought of as
unrefined and too simple.
Looking at a mirror image instantly
vouches for symmetry. A viewer is able
to recognise the duplicity within the
58
March 2014 59
shot as symmetry soothes the eyes and
mind of the viewer. Symmetry creates
an eye-catching point of interest and a
powerful composition. Without these two
elements, it cannot occupy the viewers
scrutiny for long. Although symmetry
can be easily seen, capturing it is the real
challenge. Here are a few tips you could
use while creating mirror images.
ANGLE
One of the tricks to capture symmetry
is to ensure that you are shooting from
the centre of the structure and not at any
angle which may cause distortion. Do not
forget to compose your frame in a manner
that the subject is equidistant to both its
sides. Tilting your camera would most
probably disturb the symmetry. Instead of
straightening it in post-production, get it
right in the camera.
CLEAN-UPS
Creating mirror images may seem
difficult if youre out and about on the
streets. See if any element present in your
photo is taking away the symmetry. Here,
it would be better to first clean up the
frame from the unwanted elements which
disarray the symmetry rather than in post-
processing.
EXPLORE THE GENRES
Depending on the genre of
photography, symmetry can be achieved
in a profusion of ways. Symmetrical
portraits can be very much alike, yet easily
distinguishable. Reflection of subjects in
water is a good way to find horizontal
symmetry. Furthermore, a shape of an
evenly balanced object can display vertical
symmetry very easily. Buildings, landscapes,
corridors, etc are great subjects for
vertical symmetry. Locating symmetry may
seem tough when shooting landscapes.
However, on a macro level, symmetry can
be easily found. Flower petals, spider web
pattern and snowflakes are such examples.
BREAK THE RHYTHM TO ADD DRAMA!
Although symmetrical images offer
a visual treat to the eyes of the viewers,
breaking its rhythm can make the photo
appear all the more appealing. You can
break the symmetry in an image and make
it balance at the same time. While trying
to break the symmetry with an added
60
element, one can attempt to keep it
balanced by adding a strong focal point in
their photograph. Another way to break
the monotony of repetition can be by
shooting a symmetrical shape with different
contrast levels. Such an example could be
a symmetrical corridor in which one wall is
well-lit and the other is darkly shadowed.
The point at which the symmetry gets
broken becomes the point of interest and
draws your attention. Breaking this rule can
be fun and adds drama to a photograph!
POST-PROCESSING
Keeping in mind the various photo-
editing tools akin to Adobe Photoshop,
there are a few work-around techniques
that may be applied while post-processing
to create symmetry. With technological
advancement, there are plenty mobile
applications like instaMirror for all those
who like to upload their pictures instantly
using which symmetry can be achieved to
enhance the photograph on the go.
To make you more familiar with this
concept, we have outlined a basic activity
that will help you train your eye in terms of
finding symmetrical patterns.
Powerful compositions can be created
using symmetry and discovering it is
completely based on your James Bond eyes,
so tag your camera everywhere you go. Try
and capture symmetry with different angles
and in different patterns! Remember, once
your eyes get trained, you will start noticing
symmetry more often.
TEXT AND IMAGES: NEHA AGGARWAL
Look around every room in
your house (or outside) and
discover anything that could
have a line of symmetry. Try
your window frame, your dining
room chairs, a table lamp, and
so forth.
Goal - 10 objects with lines of
symmetry.
You may fnd that it is easier
to spot a horizontal line of
symmetry rather than a
vertical or vice-versa.
Exercise
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TIPS & TECHS
March 2014
63
THROUGH THE
FRAMES
C
omposition according to textbook
definition is something that is
created by arranging several things
to form a unified whole. That is exactly what
it is. The composition of your photograph is
the combination of visual elements coming
together to create the whole image. We
often put the photos we take into frames
as a way of displaying and drawing attention
to our main subject but there is another
type of framing that you can do, as youre
taking your shots, which can be just as
effective doing just the same thing. Framing
is the technique of drawing attention to the
subject of your image by blocking other
parts of the image with something in the
scene.
Framing helps in giving the photo a
context. For example, framing a scene with
a window can tell you something about the
place you are, by the architecture of the
window, or including some foliage in the
foreground of a shot can convey a little drama
in your shot. By framing your picture, you will
get your viewer much more attentive to your
shot making them wonder and take more
interest in figuring out your image.
64
When is it worth framing in a photo?
Definitely when the subject is a bit desolate
in the photograph; when there is a lot of
useless space but either you cannot or do
not want to come closer to the subject.
As framing is a composition technique,
it can be created in the photo itself out of
the very elements of the composition. What
can you frame it with? You can look for trees,
branches, rocks or artificial elements like
doors or windows, traffic lights, buildings.
The fact is that the possibilities are endless
as to how and when you want to frame
your picture.
Frames for photographs come in all
shapes and sizes and as I mentioned before
can include shooting through overhanging
branches, shooting through windows, using
tunnels, arches or doorways you can
even use people, shoot them behind their
shoulder, or through a mirror. Your frame
doesnt need to go completely around the
edges of your image they might just be on
one or two edges of your shot.
Following are a few things you can keep
in mind while doing the same:
DEPTH AND LAYERS: When framing a
shot, giving your images a sense of depth
and layers by putting something in the
foreground, gives it an extra dimension, and
adds more drama to the shot.
LEADING LINE: Follow the leading line
which leads the eye of the viewer
towards your main focal point or
subject. Some also believe that a
frame can not only draw the eye
into a picture but that it keeps it
there longer giving a barrier
between your subject and the
outside of the shot.
INTRIGUE: Sometimes its what
you cant see in an image that draws
you into it as much as what you can
see in the picture. Perfect framing
can leave your viewers wondering
a little or imagining what is behind
your frame. Intrigue your viewer
with out of the box framing.
CONFUSED? If you are confused while
experimenting ask yourself will this add to
or take away from the image? Sometimes
framing an image through another frame
can add extra chaos to a shot and make it
feel cramped but at other times it can be
the difference between an ordinary shot
and a stunning one.
March 2014
65
Lastly, if you do use framing techniques you
also need to consider whether you want
your frame to be in focus or not. You can
always experiment by using a 1.8 or a 1.2
aperture and make either your foreground
or your background blur to add up to the
image. In some instances a nicely blurred
frame will really add a sense of mood and
depth to your shots. However, to have
your frame in focus can help with adding
context to the scene. In this case, use upper
apertures like 11 or more to give a shallow
depth of field to your picture.
These are the basic points on how
you can experiment with this type of
composition. At the end its all about
practicing and experimenting. Happy
Shooting!
TEXT BY: USHMA DHAMDHERE
TIPS & TECHS
From Colour to
Monochrome
-the colour debate
March 2014
67
A
lbeit the digital age has brought us better colours and millions
of megapixels, we continue to embrace the traditional
medium. Choosing coloured images over monochrome, or
viceversa, has been debated back and forth. Photographing portraits,
landscapes or even wildlife, can be moulded to suit anyones artistic
style and have become more accessible, as digital photography offers
a lot more creative freedom. A monochrome image is treated as
a genre in itself and there are no real limits to the subjects you can
shoot. The advantage is that we no longer have to select between
shooting in colour or in monochrome, since with the advent of the
digital age of photography.
The darkroom has also been updated giving credit to image-
editing software programmes like Adobe Photoshop which gives
photographers a lot more control over the conversion process when
it comes to adjusting light, contrast and tonal range.
It is not easy to judge which coloured shots will convert well in
monochrome, and it is vital to note that vibrant shots with a lot of
different colour hues do not always translate well into monochrome.
Colour Photography
Colour accents draw your attention and add a different feel to the
image altogether. Colour images liven up the scene and make things
come to life which feel more real and vivid. While shooting in colour,
you can add more hues and tones which you cannot do while
shooting in black and white. Here are some reasons which suggest
why shooting in colour at times could be better.
Did you know?
Colour photography rst came into picture in 1861 by
physicist James Clerk Maxwell
68
It allows you to highlight certain elements in an image
With colour you can highlight various elements of an image which
often get forgotten in monochrome. The mood in coloured images is
more energetic and contemporary as compared to monochrome images.
Grabs Attention
Vibrant colours yell look at me!, therefore, when shooting street
photography and you want your audience to look at something,
colour is definitely the way to go.
March 2014
69
It has richer dynamic range
With colour, you have more access to wider dynamic range in
terms of colours, tones, and hues.
Monochrome Photography
There is nothing more classic than a monochrome image. It often
reminds us of our past. As we do not see the world in black and
white, it makes these images interesting to look at. Here is why you
can opt to shoot in monochrome.
They have an everlasting look
When we think of the past, for some reason we always image the
memories and pictures in our mind in black and white. To add a nostalgic
mood to your images, monochrome photography is a great medium.
Simplicity
A monochrome image allows you to focus freely on the visual
rather than the colours, cutting out distractions. You can pinpoint
certain details in the composition which may have been obscured
by colour.
Adds drama!
With monochrome images, it is easy to create dramatic images
which have high contrast and heavy vignettes. In a black-and-white
image, without the distraction of colour, we see the subject and
its context more directly and can connect with the photographers
intent more easily. Furthermore, many street photographers prefer
black and white images as they illustrate more drama and emotions.
Resurgence of Monochrome
Strangely, shooting in colour is essential, if you want great
monochrome shots. Generally, it is a common practice to shoot
images in colour first with the intention of converting them into
monochrome later. To leave your shots open to all options, you must
ensure that youre shooting in RAW file formats, so if it doesnt work
in black and white, it still has a good colour image. This method is
beneficial when you need to adjust the photographs contrast and
tonal range as it hands you more control over the conversion process.
Shooting in RAW makes you gather as much information in the
scene as possible, so that youre guaranteed great quality conversions
that provide a plethora of detail across the entire photograph.
MONOCHROME CONVERSION TIPS
1. In-camera, check your colour exposure on the back LCD. This
will give you a preview of the image as a JPEG. Many cameras
give you the option to preview in black and white for an idea of
how the colour tones will convert.
2. Although colour hues can have a substantial effect on the outcome
of your image, dont get caught up in the rules when it comes to
converting. Experiment with all of the colour channels for artistic
results.
3. Activate your cameras grid lines to help you create your
monochrome shots in camera. These are particularly useful
when framing a photograph using compositional rules.
4. For the best monochrome shots seek out scenes that include
distinctive patterns, shapes and textures.
When composing a black and white image in colour, it is
important to notice the hues that feature within a frame. Its these
colours that are eventually accountable for the tonal range within
your monochrome image.
Before digital photography, monochrome film photographers
would rely on colour filters to enhance specific tones and contrast
within their shots. These days we can pretty much achieve the same
thing using image-editing softwares. Understanding how these filters
and colour channels can affect your image is vital. This is particularly
important while converting a colour capture to monochrome.
70
The strength of a monochrome image lies in its composition.
Unlike colour photography where vivid hues can command attention,
monochrome images rely seriously on their content in order to
connect the viewers to the frame.
Things to look out for in a composition
1. LEADING LINES
Encourage the viewer to engage the scene with leading lines to
guide their eyes around the frame. Use leading lines to create an
illusion of depth that can guide the viewers gaze.
2. SUBJECT
Distinct subjects that stand out can work just as well in black and
white as they do in colour.
3. LIGHT
Contrast is the key to adding depth so ensure the light and your
exposure settings are spot on!
4. TEXTURE
Texture is a great way to enhance depth in monochrome and
bring out contrast.
5. RULE OF THIRDS
The rule of thirds works excellently for monochrome stills. Use
your cameras grid lines for best results.
Converting an image into black and white can be as simple as
changing from RGB (Red-Green-Blue) to Grayscale mode. However,
if you are serious about getting strong monochrome images, it is
worth taking a little more time and trouble. When converting into
Monochrome Filters
Filters can enhance your black and white photography but
you need to know how to use them to get the full benet. The
SRB-Gritum lter kit is used in monochrome photography to
improve colours within the shot, with each lter enhancing
different aspects.
Red flters help to exaggerate clouds and darken greens
whilst lightening reds and yellows
An orange flter will enhance details such as stone work
Yellow flters darken blue skies, improve contrast and
lighten yellows
A green flter will lighten foliage as well as help the cloud
effects
monochrome, you need to pay close attention to how individual
colours are responding, as this can make or break the final image.
Another important thing to keep in mind is the contrast, which often
needs to be more dramatic in monochrome.
Monochrome images are making a comeback as digital
camera owners re-discover their beauty. There are cases in which
monochrome images are more appropriate, and times where colour
images are. There is absolutely no rule which defines when to use
colour or black and white, its completely up to you.
TEXT AND IMAGES: NEHA AGGARWAL
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72
TIPS & TECHS
Architectural
Momento
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I
n the last months issue we spoke about
the basics of Street Photography, this
month we bring to you some of the tips
and techniques that can be helpful while
shooting Architecture.
There are two major challenges that
a photographer faces while shooting
architecture perfect lighting and image
distortion. Image distortion occurs when
the building has lines running horizontally
and vertically and they appear distorted.
Distortion looks good sometimes, but not
all the time. When it comes to lighting,
when photographing the exteriors, natural
light is all you have got, and you have to
capture the subject at its most alluring
settings; you have options of lighting the
exterior up with artificial lights.
Interior architecture with repeating
patterns and different shapes is a golden
parachute to the falling photographers
while struggling to get the perfect
exposure. Use of different camera angles
would unfold the beauty of these designs.
Perspective is one of the most
important aspects of architectural
photography. You can use perspective to
your advantage to highlight the dimensions
or shape of the building. If youre capturing
a tall building emerging from a chunk of
smaller buildings, you will compose the
image from a distance. On the other
hand, to highlight the length of the building
dramatically, you can shoot straight up from
the footsteps, with the building soaring
against the blue sky.
Besides light, architectural photography
is a lot about the weather conditions that
significantly changes the appearance of all
buildings and architecture, the perspective
and the look both indoors and out. So
before you begin shooting look around,
check the time, the colour temperature,
the coloUr of the lights and consider the
clouds.
On a bright day, you might see
amazing, and sometimes surreal, streaks
of light coming in from corners, windows
or through ceilings in the entire structure
of the building. On the other hand, on a
cloud cast afternoon, it will be dark and
adverse. Often, you might find yourself in
a position where youd wish there were
more clouds or the day was a little less
bright. For example, if you are shooting a P
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fort with amazing interiors, there might be
a chance that you would look for a softer
source of light to bring out the calmness
and non-chaotic atmosphere around.
Also, unlike many other forms of
photography, interesting architectural
images can be shot and created in all types
of weathers. A conventional building on a
clear day may strike the audience as good
but maybe a bit bland, but on the other
hand the shot of the same building when
theres a storm brewing overhead or with
a an interesting dramatic cloud play can be
altogether more intriguing. By revisiting and
shooting the same building in these various
weather conditions, you will get the idea of
what time is suitable to shoot the building.
When it comes to any genre of
photography, gear doesnt really matter, but
for architectural photography it does. You
dont need the latest and greatest, but you
need basic equipment that will push a good
image into the realm of perfection.
It starts with a solid tripod. Yes, tripods
are often clunky, awkward and generally
a pain in the neck to tote around town.
However, any frustration spurred by their
unwieldy nature is always offset by their
tremendous usefulness, especially with
regards to architectural photography.
Heres why you need a tripod. When
youre shooting buildings, youll often set
your camera to a smaller aperture, or
f-stop, because doing so keeps more of
your subject sharp. The trade-off with
using a smaller f-stop is that you must set
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PHOTO: Rojita Tiwari
March 2014 75
Panorama is a technique in which
multiple images are stitched
together to increase the eld of
view or create a wider shot a lens
would not allow. Panoramic photos
can consist of anywhere from two
to an innite number of images.
With panoramic photography, its
possible to have a series of images
that span 360 degrees of view. A
true panoramic photo contains
a larger eld of view than can be
captured by the human eye or the
focal length of your available lens.
Photos that are cropped into a wide
format are not considered to be
true panoramic Images.
Panorama
your camera for slower shutter speeds so
enough light reaches the sensor or film.
Nudge the camera even a tiny bit and the
image will blur.
You might think that a tripod is
necessary only for dim, indoor shooting,
youre quite mistaken. Even when youre
outdoors in bright light, a tripod is a
really good idea. Picking the right tripod
is important, too. Firstly, forget ball-head
tripods. For serious shooting, you need
a geared tripod that allows for minute,
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creating the sharpest possible pictures.
A fish-eye or wide-angle lens is ideal
for shooting architecture, as it enables
the photographers to frame the entire
building, and its environment in one
frame. Although there might be times
where your lens cant capture an entire
building thats when you move a little out
of your comfort zone and take multiple
frames and create a panorama.
Thats pretty much all there is to it. Just
like all the different genres of photography,
you will need experience to define your
style, and its your personal style that will
bring in the exposure and money. So our
advice is to shoot, shoot and just keep
shooting. Good luck shutterbugs!
TEXT: USHMA DHAMDHERE
The fnal outcome of an
architecture shot shouldnt just
be aesthetic and graphic; they
should also provide dynamism
and movement so play with the
lines, the light and the shadows to
create drama and grasp attention.
Consider the limits of levels
and areas. Architecture is built on
the basic principle of symmetry,
so capturing this symmetry
will ultimately strengthen the
composition.
Discover the centre of the
symmetry by placing your hand
between your line-of-sight and
construct your frame around this
centre.
Alternatively, break free from
the straight lines and rectilinear
angles and follow the principles
of nature by including curves and
circles in the form of shadows or
reections, as they can help to
soften the structure.
Use a tripod and capture the
movement of people, or anything
that makes you wait to get a clear
shot; it makes your shot much
more interesting.
Tips
precise adjustments. Youll need one with
a bubble-level, too. And to make sure
your clunky fingers dont bump the shutter
button, you should invest in a cable release
for hands-free shooting.
Result? - A perfectly stable platform for
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March 2014 77
CAMERA REVIEW
Pentax K-3
F
rom lens-style to mirrorless full
frame cameras, we have had many
firsts, when it comes to reviews in
the past few months. This month, we are
reviewing a Pentax product for the first time
ever. Pentax, now a part of Ricoh Imaging,
launched K-3 last year has its flagship model
for their K digital SLR camera series.
The camera boasts of a weather
resistant body with 92 protection seals. It
has a 24 effective megapixel sensor APS-C
size CMOS sensor, with a PRIME III imaging
engine, and the worlds first anti-aliasing
simulator. It features 8.3 fps continuous
shooting, with full HD video recording.
The camera has won several accolades
around the world, but we put it to test to
see how it performed.
Look, Body and Feel
At first glance, the Ricoh Pentax K-3
seems like a pro-level body in a compact
size. One of the first things you will
notice while holding the K-3 is its deep
rubberised handgrip that allows for a
better shooting position, where the middle
finger comfortably sits in the groove of
the handgrip. You will also notice weight,
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Effective pixels 23.35 MP
Sensor 23.5 x 15.6mm CMOS sensor
Focus System SAFOX 11 TTL phase-matching - 27 point (25 cross type focus points
in the center)
LCD Monitor 3.2 TFT colour LCD with brightness/saturation/color adjustment AR
coating and air-gapless glass.
Flash Retractable P-TTL popup ash with Guide number: 13m (ISO 100)
ISO Sensitivity Auto: ISO 100-51200 (1, 1/2, 1/3 steps), Auto ISO range selectable,
White Balance Daylight, Shade, Cloudy, Fluorescent Light (D: Daylight Colour,
N:Daylight White, W:Cool White, L:Warm White), Tungsten Light,
Flash, CTE,
Shutter Shutter speed: 1/8000 to 30 sec (1/3 or 1/2 EV steps), Bulb
Video Full HD (1920x1080, 60i/50i/30p/25p/24p)
Drive Modes Mode selection: Single, Continuous (H,M,L), Self-Timer (12s, 2s),
Remote (0s, 3s, continuous), Exp. Bracketing (standard, timer,
remote), Mirror up (standard, remote), HDR Capture (3 shots at 1EV,
2EV, or 3EV, 3 blend settings plus Auto, pixel alignment)
Dimensions 5.17in x 3.94in x 3.05in
Weight 28.2 oz
Operating Humidity Weather resistant: Yes (92 special sealing parts)
Specifications
owing to its stainless-steel alloy frame and
lightweight magnesium-steel alloy body,
which is uncommon in other cameras of
that size. This is one of the most ergonomic
controls with more than easy access to the
aperture dial, shutter dial, shutter button
and other key control buttons.
The K-3 is dust, cold and water resistant,
and employs a system of 92 special seals
used throughout the K-3s design. Pentax
claims that it can operate at temperatures
as low as -10C. The top of the camera
features a mode dial with a dual locking
system which is unique to this camera. The
back of the camera is dominated with 3.2
inch LCD screen with a cluster of control
buttons placed throughout the rear of the
camera. The Pentax K-3 has a good solid
build with a very basic UI which is easy to
grasp after some use.
Features
24.4 megapixel APS-C CMOS sensor
Sensor-shift image stabilization with
rotational compensation
Anti-aliasing simulator (camera has no
optical low-pass filter)
SAFOX 11 TTL autofocus system
(27-point, 25 of which are cross-type)
3.2-inch LCD with 3:2 aspect ratio and
1.037k dots
Pentaprism optical viewfinder with
0.95x magnification, 100% coverage
8.3 fps continuous shooting
1920 x 1080 video recording (60i, 30p,
24p)
Dual SD card slots
Headphone, microphone ports
USB 3.0 support
Performance
As mentioned earlier, another new
feature to look out for is that the Pentax K-3
has done away with the low-pass filter, and
instead features the anti-aliasing simulator. Its
like an on-demand low-pass (anti-aliasing)
filter that applies microscopic vibrations to
the image sensor unit at the subpixel level
during image exposure that is supposed to
generate the same level of moir-reduction
effect as an optical anti-aliasing filter. What is
great about this intelligent feature is that you
can, at your own will, choose when to have
the low-pass filter, and when not to.
The Ricoh Pentax K-3 was tested
with the Pentax 18-135mm f/3.5-5.6 lens
during our review period. Focussing on
K-3 was fairly accurate and rapid too, but in
low-light situations, the auto-focussing can
be a little slow. The camera provided fairly
remarkable quality images, with the pictures
having fine colour reproduction, and a lot
of vibrance. However, the tonal range was
fairly limited. When zoomed in to the image
at 100%, we noticed that the image could
do with some more sharpness.
When it comes to shooting videos, the
output is quite good, with smooth transitioning
from well-lit to low-light areas. However,
the lack of auto-focus when shooting videos
could be disappointing for many.
The camera also provides post options,
right from transferring images to applying
digital filters, colour moir correction,
re-sizing and editing (image and video).
ISO Performance
While testing the Pentax K-3 for the
ISO performance, we noticed that the
Sample Image
March 2014 79
Solid, rugged build and design with
ergonomic controls

Look, body and feel rating
Good image and video quality and colour
reproduction but poor ISO performance

Performance rating
Built can be comparable to most pro-level
bodies, but image quality could use some
improvement.

Overall rating
ISO 200 (100% Crop) ISO 12800 (100% Crop)
ISO 1600 (100% Crop)
ISO 800 (100% Crop) ISO 51200 (100% Crop)
ISO 6400 (100% Crop)
ISO Performance
images shot between ISO 100 to ISO 400
exhibited no noise. However, on shooting
with ISO 800 starts showing slight hints of
digital noise on zooming in 100% to the
image. Increasing the sensitivity to ISO 1600
and above clearly showed amplified levels
of noise and overall an increased softness
in the image. Further, while shooting on
ISO 25600 and ISO 51200, the image had
visible noise which looked like spots making
the image look unusable.
Conclusion
At the price of Rs89,995 (only body)
and Rs119,595 (with 18-135mm lens),
the Pentax K-3 is a rugged camera, with a
solid all-weather body. The image output
of the camera was fairly remarkable, with
vibrant and colourful images. However,
the camera fell short when it came to
performing in low-light, high-ISO situations.
The video shot by us with the camera was
impressive, and had smooth transitioning.
The camera left us with mixed feelings; the
built of the camera is a definite plus, and
a worthwhile investment. However, the
ISO performance left us wanting for more;
especially, when entry-level cameras by
other brands perform better in the similar
ISO settings.
TEXT AND IMAGES: ABHISHEK DESAI
Sample Image
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CAMERA REVIEW
FujiFilm X-E2
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ince FujiFilm introduced their X- series
in 2010, they have bombarded the
imaging industry with some chic,
retro-looking cameras with brilliant optics
and image quality. One of their latest
entrants in the compact system camera
segment is the FujiFilm X-E2 which replaces
the X-E1. Few of the improvements that the
X-E2 has over its predecessor are the 16.3
megapixel APS-C sized X-Trans CMOS II
sensor, a Lens Modulation Optimiser which
automatically corrects diffraction blur, EXR
Processor II, hybrid auto-focus system with
fast AF speeds of 0.08 second, 7fps burst
shooting, a built-in flash, Wi-Fi connectivity
and Full HD video recording capabilities at
up to 60fps.
Look, Body and Feel
At the first glance, the X-E2 looks similar
to its predecessor, the X-E1, with similar
body design and layout of controls. The
FujiFilm X-E2 has the traditional X series
rangefinder design with the top and front
magnesium alloy plates and a leather finish
that wraps around the body. The camera
feels sturdy and solid during use, with most
of the control buttons ergonomically placed.
The back of the camera is dominated by
the larger 3-inch, higher-resolution screen
as compared to the predecessor. The X-E2
also features a 2,360,000 dot OLED panel
which automatically switches between the
LCD by means of the proximity sensor.
The View Mode button has been done-
away with on the X-E2 as compared to its
predecessor which means it is not possible
to switch modes quickly without fiddling into
the menu.
Features
16MP X-Trans CMOS II sensor
EXR Processor II
ISO 200-6400, plus 100 - 25600
expanded
7 fps continuous shooting; 3 fps with
continuous AF
Lens Modulation Optimizer (for sharper
JPEGs when shooting at large or small
apertures)
2.36M dot OLED electronic viewfinder
March 2014 81
3-inch 1.04M dot 3:2 fixed LCD
(non-tilting, not touch-sensitive)
Built-in Wi-Fi for image transfer to
smartphones or computers
Full HD movie recording (1920x1080,
60fps, 36Mbps bitrate), with built-in
stereo microphone
2.5mm stereo microphone socket, also
accepts electronic remote releases
Performance
The FujiFilm X-E2 was tested with the
Fujinon 18-55mm F2.8-4.0 lens for our
review. The images produced by the X-E2
were of excellent quality. The images
exhibited a wider gamut of tonal range,
considering it has an APS-C sized sensor
where most of the images could directly be
used for print out of camera.
The autofocus on the X-E2 performed
well in bright and dark lighting conditions,
Sample Image
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Number of effective pixels 16.3 million pixels
Image sensor 23.6mm x 15.6mm (APS-C) X-Trans CMOS II with primary colour lter with
Ultra Sonic Vibration Sensor Cleaning system
Storage media SD memory card / SDHC memory card / SDXC (UHS-I) memory card
Sensitivity AUTO (Control available up to ISO6400)
Equivalent to ISO 200 - 6400 (Standard Output Sensitivity)
Extended output sensitivity: Equivalent to ISO 100, 12800 and 25600
Exposure control TTL 256-zone metering, Multi / Spot / Average
Exposure mode Programmed AE, Shutter Speed priority AE, Aperture priority AE, Manual exposure
Shutter type Focal Plane Shutter
Shutter speed (P mode) 1/4 sec. to 1/4000 sec.,(All other modes) 30 sec. to 1/4000 sec.;
Bulb (max. 60 min.)
Continuous shooting Approx. 7.0 fps (JPEG: max. approx. 28 frames, RAW / RAW+JPEG: max.
approx. 8 frames)
Auto bracketing AE Bracketing (1/3EV, 2/3EV, 1EV)
Film Simulation Bracketing (Any 3 types of lm simulation selectable)
Dynamic Range Bracketing (100% 200% 400%)
ISO sensitivity Bracketing (1/3EV, 2/3EV, 1EV)
Focus Single AF / Continuous AF / MF Distance Indicator with Intelligent Hybrid
AF (TTL contrast AF / TTL phase detection AF), AF assist illuminator
available
White balance Preset : Fine / Shade / Fluorescent light (Daylight) / Fluorescent light
(Warm White) / Fluorescent light (Cool White) / Incandescent light /
Underwater
Flash Manual pop-up ash (Super Intelligent Flash)
Guide number: approx 7 (ISO200 m), approx 5 (ISO100 m)
Flash modes Auto / Forced Flash / Slow Synchro / Suppressed Flash / Rear-curtain
Synchro / Commander
Viewnder 0.5-in., approx. 2.360K-dot OLED color viewnder
LCD monitor 3.0-inch, aspect ratio 3:2, Approx. 1,040K-dot, colour LCD monitor (Approx.
100% coverage)
Movie recording Full HD 1920 x 1080 60p / 30p, Continuous recording: up to approx. 14 min.
Wireless function Geotagging, Wireless communication (Image transfer), View & Obtain
Images, PC Autosave
Other functions PictBridge, Exif Print, Language selection, Time difference, High
Performance mode, Silent mode
Dimensions 129mm (W) x 74.9mm (H) x 37.2mm (D) / 5.1 in. (W) x 2.9 in. (H) x 1.5 in. (D)
Weight Approx. 350g / 12.3 oz. (including battery and memory card)
Specifications
however there were a few times that the
camera focussed incorrectly and still allowed
us to shoot in dimly-lit conditions.
Another welcome feature in the FujiFilm
X-E2 is its capability to record video in Full
HD at 60fps. The video recorded on the
X-E2 was smooth and crisp teamed with
the kit 18-55mm lens allowed for an extra
smooth zoom which is not even possible on
most high quality DSLR zoom lens, which
often are jerky while zooming in or out.
Additional feature of Wi-Fi connectivity
allows for users to instantaneously share
JPEG images of camera to various social
media sites. It is still not possible to remotely
shoot using this feature, but if Fujifilm puts
out an upgraded firmware, it can surely do
the trick.
ISO Performance
The FujiFilm X-E2 produced outstanding
noise-free images at higher ISO sensitivities
while shooting JPEGs. We could hardly
notice visible noise up to ISO 5000. Even
shooting at ISO 6400 showed hints of
noise, but it could be passed off as film grain
which is very usable. At ISO 12800 and
ISO 25600, the images show slight noise
and overall were softer, and not as sharp.
Sample Image
March 2014 83
Conclusion
With a price tag of `76,999 for
body and `1, 09,999 with XF18-
55mm kit lens, the FujiFilm X-E2
is quite an expensive option in the
CSC range. One of the problems
with its predecessor was a slow
autofocus system. However, this
has been addressed by Fuji using
a new hybrid AF system that
offers quick focussing. Its excellent
image quality and amazing ISO
performance, teamed with its
chic looks, is definitely worth
considering for most photography
enthusiasts and pro-level users.
Looks similar to its predecessor, solid built
and ergonomic controls

Excellent image, with amazing high ISO
noise performance, and high quality Full HD
video

Performance rating
Overall a great camera, but is more on the
dearer side

Overall rating
TEXT anD IMagES: STEvE DSOuza
ISO 200 (100% Crop)
ISO 1600 (100% Crop)
ISO 12800 (100% Crop)
ISO 800 (100% Crop)
ISO 6400 (100% Crop)
ISO 25600 (100% Crop)
ISO Performance
Sample Image
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Nikon D3300
CAMERA REVIEW
Sample Image
PRICE
` 32,450
(ONLY BODY)
N
ikons latest entry, the
D3300, is the companys
latest entry-level DSLR
camera which replaces the Nikon
D3200. The Nikon D3300 boasts of
a 24.2 megapixel APS-C sensor along
with the latest EXPEED 4 processor. It
also features 5fps continuous shooting
and Full HD video recording. The
cameras ISO range tops out at
25,600 and optional wireless sharing
to smartphones or tablets can be
accomplished via Nikons WU-1a
module or an Eye-Fi SD card.
We put the D3300 to the test this
month, and lets take a look at how it
turned out.
March 2014 85
Sample Image
Look body and feel
The Nikon D3300 is similar to its
predecessor, the Nikon D3200. The
camera has a rubber grip along the handgrip
and thumb rest at the back of the camera.
Overall the camera feels well-built and
sturdy while using it. Most of the control
buttons are similar to that of the D3200
with the exception that the D3300 is
slightly smaller and compact as compared
to its predecessor. The D3300 features
a memory card slot on the right side and
shutter release, microphone, AV out and
HDMI ports on the left side.
It also features the Guide mode on the
mode dial, similar to the D3100 and D3200,
to help teach beginners about the various
camera settings to use under various situations.
The back of the camera houses a 3-inch
LCD screen with a 921k dot resolution which
is easy to view images even in bright sunny
conditions. Pressing the i button allows for
quick change of setting like image quality,
white balance, metering, ISO, focusing mode,
AF area mode, exposure compensation and
flash compensation options.
Features
Being an entry level camera, the Nikon
D3300 boasts of the following features that
are unlike any other cameras in the similar
segment.
24.2-megapixel DX-format sensor with
no OLPF
Guide Mode: Clear, step-by-step
assistance
ISO 100-12,800 (expandable to ISO
25,600 equivalent)
EXPEED 4 image processing engine
5 fps continuous shooting
11-point AF system with a cross-type
sensor in the centre
420-pixel RGB metering sensor with
Nikons Scene Recognition System
D-Movie: Full HD movies at frame rates
up to 50/60p
7.5 cm (3.0-in.) with wide-viewing angle
and 921K-dot resolution
Small, lightweight body: Approx.
124x98x75.5mm. Weighs just 410g
(without battery and memory card)
Performance
We tested this camera with the kit lens
(18-55mm f/3.5-5.6 G VR II) provided with
the Nikon D3300. The D3300 produced
good quality images with a decent tonal
range and colour contrast. We tested the
camera on the default picture mode which
made some images look flat, however
changing the picture mode or running the
image through a post-processing software
can help you achieve the desired result.
The focussing on the Nikon D3300 is
fairly quick and accurate in bright well-lit
conditions. Shooting in low-light conditions
on the D3300 was surprisingly fast with
very little tracking as compared to its
predecessors.
The D3300 can record Full HD video at
frame rates up to 50p/60p with continuous
autofocus which delivers smooth video
with good clarity. The audio recording
by the built-in microphone was clear and
surprisingly sounds great. You can also add
an external mic to the camera for better
sound quality.
86
Looks similar to its predecessors, small
size may not appeal users with large hands

Good image and video quality with decent
ISO performance

Performance rating
Average built with good final image and
video

Overall rating
Effective pixels 24.2 million
Image sensor 23.5 x 15.6mm CMOS sensor
Total pixels 24.78 million
Dust-reduction
System
Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2
software required)
Image size (pixels) Easy panorama mode: 4800 x 1080 (normal, horizontal pan) 1632 x 4800 (normal,
vertical pan) 9600 x 1080 (wide, horizontal pan) 1632 x 9600 (wide, vertical pan)
Other modes: 6000 x 4000 (Large) 4496 x 3000 (Medium) 2992 x 2000 (Small)
File format NEF (RAW): 12 bit, compressed JPEG: JPEG-Baseline compliant with ne (approx.
1: 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression NEF (RAW)+JPEG:
Single photograph recorded in both NEF (RAW) and JPEG formats
Picture Control
System
Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected Picture
Control can be modied
Media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards
Shutter speed 1/4000 - 30 s in steps of 1/3 EV; Bulb; Time
Frame advance rate Up to 5 fps Note: Frame rates assume manual focus, manual or shutter-priority auto
exposure, a shutter speed of 1/250 s or faster, and other settings at default values.
Metering method Matrix metering: 3D colour matrix metering II (type G, E, and D lenses); coloUr
matrix metering II (other CPU lenses) Center-weighted metering: Weight of 75%
given to 8mm circle in center of frame Spot metering: Meters 3.5mm circle (about
2.5% of frame) centered on selected focus point
ISO sensitivity ISO 100-12800 in steps of 1 EV. Can also be set to approx. 1 EV (ISO 25600
equivalent) above ISO 12800; auto ISO sensitivity control available
Focus point Can be selected from 11 focus points
AF-area mode Single-point AF, dynamic-area AF, auto-area AF, 3D-tracking (11 points)
White balance Auto, incandescent, uorescent (7 types), direct sunlight, ash, cloudy, shade,
preset manual, all except preset manual with ne-tuning.
Lens servo Autofocus (AF): Single-servo AF (AF-S); full-time servo AF (AF-F)Manual focus (MF)
AF-area mode Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF
Autofocus Contrast-detect AF anywhere in frame (camera selects focus point automatically
when face-priority AF or subject-tracking AF is selected)
Video 1920 x 1080, 60p (progressive)/50p/30p/25p/24p, high/normal 1280 x 720, 60p/50p,
high/normal 640 x 424, 30p/25p, high/normal Frame rates of 30p (actual frame rate
29.97 fps) and 60p (actual frame rate 59.94 fps) are available when NTSC is selected
for video mode. 25p and 50p are available when PAL is selected for video mode.
Actual frame rate when 24p is selected is 23.976 fps.
Dimensions (W x H x D) Approx. 124 x 98 x 75.5mm (4.9 x 3.9 x 3in.)
Weight Approx. 460 g (1 lb 0.2 oz) with battery and memory card but without body cap;
approx. 410 g/14.5 oz (camera body only)
SPECIFICATIONS
ISO 100 (100% CROP) ISO 400 (100% CROP) ISO 800 (100% CROP)
ISO 25600 (100% CROP) ISO 6400 (100% CROP) ISO 1600 (100% CROP)
Sample Image
ISO Performance
Shooting from lower ISOs like ISO 100
to ISO 400 produce good quality images
without any noise. There are slight hints of
noise from ISO 800, but it is only visible if
you zoom in more than 100%. From then
on, the ISO noise gradually increases from
ISO 1600 to ISO 3200, but the image is
still usable. Pumping the ISO sensitivity to
ISO 6400 all the way to ISO 12800 clearly
shows digital noise and loss in detail.
Conclusion
Priced at `32,450 (only body) the
D3300 is slightly dearer (by `5200) than its
predecessor, which is competitively priced
considering the upgrades removal of the
Optical Low Pass Filter, EXPEED 4 processor,
expanded ISO range 100-25,600, 5fps
burst shooting, 50/60p movie recording,
improved battery life, and a new range of
special effects found in the mid segment of
Nikon DSLR cameras. Good image quality,
quick autofocus teamed up with decent
ISO performance and good quality Full HD
video recording marks the Nikon D3300 a
cut above the other cameras in the same
segment.
March 2014
87
Nikon Df
Nikon Df
CAMERA REVIEW
P
R
IC
E
`
1
8
3
,9
5
0

T
he Nikon Df is supposed to be a
fusion of the old and the new. At
first sight, this camera does grab you
by the eyeball, especially if youre a fan of
retro. But underneath all the styling, has
a lot really changed? We put the camera
through the paces this month to see for
ourselves what the fuss was all about.
Look, body and feel
The camera comes in chrome and
black. The Nikon Df has engraved solid
metal dials, alloy top, rear and bottom
plates, and it takes a real cable release too.
Like other DSLRs, there are two electronic
command dials too. The design is beautiful.
Those of you whove grown up with film
will perhaps appreciate it better.
The Df is possibly Nikons lightest full-
frame camera. It is small, light and tough, and
the camera feels great and sturdy to use. In
terms of build quality, Id give the camera a
10 on 10. The Df would be a good weapon
in the arsenal of street photographers who
choose SLRs for their speed and versatility
in a variety of situations.
I thought the dial for ISO could have
done without a lock. Also there is no
auto ISO position. Some of the manual
adjustments that I thought should lock
dont. For example, I wouldve liked the
dial for the drive mode to have a lock. The
shutter speed dial is a bit oddly placed, and
locks at B, X, and 1/3 step. Using it is a bit
cumbersome.
Features
The camera features a 16 megapixel full-
frame CMOS sensor (same as Nikon D4).
With an ISO 100-25,600 (expandable to
ISO 50-204,800 equivalent), the Df makes
for a good camera to use in low light. The
Lens mount Nikon F mount (with AF coupling and AF contacts)
Effective angle of view
and effective pixels
Nikon FX format, 16.2 million
Image sensor and total pixels 36.0 x 23.9 mm CMOS sensor. 16.6 million
Image size (pixels) FX (36 x 24) image area : 4928 x 3280 (L), 3696 x 2456 (M), 2464 x 1640 (S)
DX (24 x 16) image area : 3200 x 2128 (L), 2400 x 1592 (M), 1600 x 1064 (S)
File format NEF (RAW): 12 or 14 bit, lossless compressed, compressed, or
uncompressed TIFF (RGB) JPEG: JPEG-Baseline compliant with ne
(approx. 1 : 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression
(Size priority); Optimal quality compression available NEF (RAW)+JPEG:
Single photograph recorded in both NEF (RAW) and JPEG formats
Media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards
Frame coverage FX (36 x 24): Approx. 100% horizontal and 100% vertical DX (24 x 16):
Approx. 97% horizontal and 97% vertical
Magnication Approx. 0.7 x (50 mm f/1.4 lens at innity, -1.0 m-1)
Compatible lenses Compatible with AF NIKKOR lenses, including type G, E, and D lenses
(some restrictions apply to PC lenses) and DX lenses (using DX 24 x 16 1.5x
image area), AI-P NIKKOR lenses, and non-CPU lenses. IX NIKKOR lenses
and lenses for the F3AF can not be used. The electronic rangender can
be used with lenses that have a maximum aperture of f/5.6 or faster (the
electronic rangender supports the center 7 focus points with lenses that
have a maximum aperture of f/8 or faster and the center 33 focus points
with lenses that have a maximum aperture of f/7.1 or faster).
Shutter Type Electronically-controlled vertical-travel focal-plane shutter
Shutter Speed 1/4000 - 4 s in steps of 1 EV (1/4000 - 30 s in steps of 1/3 EV with main
command dial), X200 (with shutter-speed dial only), bulb, time
Frame advance rate 1 - 5 fps (continuous low speed) or 5.5 fps (continuous high speed)
Exposure Metering TTL exposure metering using 2016-pixel RGB sensor
ISO sensitivity (Recommended
Exposure Index)
ISO 100 - 12800 in steps of 1/3 EV. Can also be set to approx. 0.3, 0.7, or
1 EV (ISO 50 equivalent) below ISO 100 or to approx. 0.3, 0.7, 1, 2, 3, or 4
EV (ISO 204800 equivalent) above ISO 12800; auto ISO sensitivity control
available
Autofocus Nikon Multi-CAM 4800 autofocus sensor module with TTL phase detection,
ne-tuning, and 39 focus points (including 9 cross-type sensors; the center
33 points are available at apertures slower than f/5.6 and faster than f/8,
while the center 7 focus points are available at f/8)
Focus point Can be selected from 39 or 11 focus points
AF-area mode Single-point AF; 9-, 21-, or 39-point dynamic-area AF, 3D-tracking, auto-
area AF
Monitor 8-cm/3.2-in., approx. 921k-dot (VGA), low-temperature polysilicon TFT
LCD with approx. 170 viewing angle, approx. 100% frame coverage, and
brightness control
Battery One rechargeable Li-ion EN-EL14a battery
Dimensions (W x H x D) Approx. 143.5 x 110 x 66.5 mm (5.6 x 4.3 x 2.6 in.)
Weight Approx. 765 g (1 lb 11 oz) with battery and memory card but without body
cap; approx. 710 g (1 lb 9 oz; camera body only)
Supplied accessories BS-1 accessory shoe cover, BF-1B body cap, EN-EL14a rechargeable
Li-ion battery, MH-24 battery charger, DK-26 eyepiece cap, AN-DC9 strap,
UC-E6 USB cable, String for eyepiece cap, ViewNX 2 C
Specifications
39-point AF system with nine cross-type AF
points is the same as D610. The camera has
a 3.2-inch, 921K-dot LCD screen. There is
only a single SD card slot, but since theres
no video, you could probably make do with
just one card.
Performance
The Df is a very responsive camera,
and its built for fast shooting. However, the
camera has a 5.5 fps rate, which isnt very
impressive for serious sports photography.
In terms of overall image quality, we had no
complaints.
Low-light performance is impressive
when it comes to picture quality. That
said, since the camera doesnt have any
AF illuminator of its own, it struggles a bit
in low-light conditions with autofocus. The
camera doesnt have a built-in flash. While
this isnt a handicap if youre equipped
with an external flash, having a built-in flash
wouldnt hurt.
The 16-MP sensor yields brilliant, sharp
images. While using high ISOs, noise seems
manageable under ISO 6400, creeping up
only in images ISO 1600 and above.
Sample Image
Sample Image
March 2014
89
Excellent build quality and overall design

No video, built in fash

Performance rating
Classic styling, good low light output. AF
performance could be better in low light

Overall rating
Conclusion
The Df is fun to shoot with in good light,
and produces exceptional image quality,
consistent with other cameras in its class.
At `183,950, this camera is an expensive
buy. If youre a casual buyer looking to buy
based on features, price, specifications and
test reports, the D610 might be more value
for money.
TEXT AND IMAGES: GEORGE KURIEN
Sample Image
ISO 200 (100% Crop)
ISO 400 (100% Crop)
ISO 800 (100% Crop)
ISO 3200 (100% Crop)
ISO 6400 (100% Crop)
ISO 12800 (100% Crop)
90
Picture by: Indrajit Debnath
Camera: Nikon D90
Shutter Speed: 1/40 sec
F-Number: f/10
Focal Length: 18mm
ISO: 640
Send in your entries to photoscape at asianphotographyindia@gmail.com
March 2014
91

Picture by: Abhishek Tripathi
Camera: Canon 550D
F-Number: f/13
Focal Length: 55mm
ISO: 100

Picture by: Avishek Mal
Camera: Fujifilm Finepix S4500
F-Number: f/4.0
Focal Length: 8mm
ISO: 100
Picture by: Ayan Kumar Mitra

Camera: Nikon D7000
F-Number: f/5
Focal Length: 38mm
ISO: 2000
92

Picture by: Bimalendu Samanta
Camera: Nikon D90
F-Number: f/5.6
Focal Length : 32mm
ISO: 200

Picture By: Dr. Sayan Bhattacharya
Camera: Nikon D3100
F-Number: f/4.5
Focal Length: 26mm
ISO: 400

Picture by: C. Easwaran
Camera: Canon 1000D
Shutter Speed: 0.5 sec
F-Number: f/4.0
Focal Length: 50mm
ISO : 100
March 2014
93
Picture by: Partha Pramanick

Camera: Nikon Coolpix P5000
F-Number: f/7.3
Focal Length: 26mm
ISO: 64
The
Winner
Of the Monthly
PHOTOSCAPE
Section will
receive a gift from
Uniross

Picture By: Sabuj Nandi
Camera: Nikon D3000
F-Number: f/7.1
Focal Length: 48mm
ISO: 100
Picture by: Swarup Das

Camera: Nikon D90
F-Number: f/5.6
Focal Length: 48mm
ISO: 200
94
Dear Editor
This series of photographs are from a trip I took in order to find, photograph and film the Aurora Borealis (Northern Lights) from Iceland back in
November 2013. Iceland lies a stunning country, what is most astonishing about Iceland is how within a few minutes travel, you could journey
through ghastly winds, to heavy snowstorms and arrive at the foot of a rainbow. I was shooting in very harsh conditions such as the strong winds
and bitter coldness. However, through my photos and time lapse video, I hoped to have shown the countrys natural and untamed beauty at
its best.
Amritpal Sembhi
Send in your portfolio at: asianphotographyindia@gmail.com
The Featured
portfolio in the
PHOTOMONTAGE
section will receive a
gift from Uniross
96
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