Smart Photography - June 2016

S
IEW
REV
SUBSCRIBERS COPY TOTAL PAGES 148
INDIAS NUMBER 1 IMAGING MAGAZINE!
SONY
CANON
PANASONIC EF-S 18 -135MM
F/3.5-5.6 IS USM
FZ300
Smart
RS.150
PHOTOGRAPHY
ALPHA 68
8 pages BenQ supplement with June 2016 issue
ISSUE 3 | VOLUME 12 | JUNE 2016
PHOTO FEATURE
Mauritius
LEARNINGS
CREATING
PANORAMAS
HOW TO BLUR
MOVING WATER
DGFLICK ALBUM XPRESS PRO
ALSO
REVIEWED
Profile
Interview
K.P. Krishnan
Jayanth Sharma
AF-S NIKKOR 24-70MM F/2.8E ED VR LENS

SAMSUNG GALAXY S7 EDGE SMARTPHONE
BENQ BL3201PT MONITOR
EPSON PERFECTION V800 SCANNER
Smart
PHOTOGRAPHY
Why would you buy a Smart Photography subscription?
e
v
i
s
u
l
Exc r
Offe
Here are 4 really good reasons!

up to 50% on
1Save
cover prices
free
3Delivered
to your door
And most important of

4
all, a seriously good
quality magazine...
Never miss an
issue again
For 3 Years
44%
Discount
THREE EASY WAYS TO SUBSCRIBE
Online
Visit at
http://secure.nextgenpublishing.in/
Call
+91 22 4352 5252
TO SUBSCRIBE
Post
Next Gen Publishing Ltd., Trade World,
C-Wing, 2nd Floor, Kamala Mills
Compound, Senapati Bapat Marg,
Lower Parel (W), Mumbai 400013, India.
Cash Discount Offer

Pay ` 5400 ` 3000 for 3 Years subscription and save ` 2400 (44% Discount) on the cover price
Pay ` 1800 ` 1400 for 1 Year subscription and save ` 400 (22% Discount) on the cover price
International rate - 1 Year INR Rs. 9000 or USD 150 for by air mail post
YOUR DETAILS (ALL DETAILS IN CAPITAL LETTERS)
Kindly draw the cheque/DD/PO in favor of NEXT GEN PUBLISHING LTD. (Please add
Rs. 20/- extra for outstation cheque)Please Find enclosed
Name: Mr/Ms
Cheque/DD no.
Occupation
Dated
Bank
Date of birth
Branch
Address
Or please charge my credit card
Visa
MasterCard
Card No.
State
Pincode
Email
Phone (Off)
Phone (Res)
Mobile No.
Card expiry date

Name
Date
TO GIFT A SUBSCRIPTION (ALL DETAILS IN CAPITAL LETTERS)

Please fill out both the recipients details, below, and your details above. To gift more
than one subscription, please provide address details on a separate sheet.
Please send me latest updates on Special Offers and Events of Smart Photography
Name: Mr/Ms
Please complete the order form and mail it to us at Next Gen Publishing Ltd.,
Occupation
2nd Floor, C Wing, Trade World, Kamala Mills Compound, S.B.Marg, Lower Parel (W). Mumbai 400013
Date of birth
You can also fax the order for credit card purchases to +91 22 2495 5394
Address
For clarifications, email: subscriptions@nextgenpublishing.net or call +91 22 4352 5252

TERMS AND CONDITIONS: Please allow 4-5 weeks for processing of your subscription. Copies will be sent by
(as appears on card)
Signature
ordinary post only. Next Gen Publishing will not be responsible for postal delay, transit loses or mutilation of cop-
City
State
ies. No cancellation of subscriptions will be entertained after commencement of subscription. Please mention
Pincode
Email
your name and address on the reverse of your DD/Cheque. All disputes are subject to the exclusive jurisdiction
Phone (Off)
Phone (Res)
of courts in Mumbai only.
June 2016*
City
PHOTOGRAPHY
Mahesh Reddy
HEAD-DESIGN & PRODUCTION
Ravi Parmar
ASST ART DIRECTOR
Nandkishor Sawant
DESIGN
Sanjay Awad
PRODUCTION SUPERVISOR
Dinesh Bhajnik
HEAD COLOR CORRECTION&QUALITY CONTROL
Deepak Narkar
Smart
PHOTOGRAPHY
A
s they say, time and technology waits for no

one. One of the more interesting developments
of the last few months is the introduction of
360 photography. The new virtual reality headsets
like the HTC Vive and the Oculus Rift, transport you
to a new virtual world making you the centre of
the subject. Imagine the possibilities with sport like
motor racing as also covering great architecture. As is
the case with any new technology, these are early days
but the quality can only improve.
PUBLISHER
Girish Mallya
PRODUCT MANAGER
Perseus Master
HEAD OFFICE - MUMBAI
2nd Floor, C Wing, Trade World, Kamala Mills Compound,
Senapati Bapat Marg, Lower Parel (W), Mumbai 400013
Tel: + 91 22 43525252 Fax: + 91 22 24955394
Email: sp@nextgenpublishing.net
Dont say that you were not warned.
H. S. Billimoria
CIRCULATION AND SUBSCRIPTION

Digambar Kosamkar (d.kosamkar@nextgenpublishing.net)
Sachin Kelkar (Subscription Supervisor)
Tel: + 91 22 43525220 Fax: + 91 22 24955394
Email: subscriptions@nextgenpublishing.net
Apple Newsstand & Magzter Queries:
help@magzter.com
Zinio Subscriptions Queries:
http://in.zinio.com/help/index.jsp
MARKETING OFFICES
Ahmedabad: Devendra Mehta - Mobile No.- 09714913234
Bengaluru:
Unit No. 509, 5th Floor B Wing, Mittal Towers, MG

Road, Bangalore -560001, Tel: +91 80 6611 0116/17
Fax: + 91 80 41472574
Chennai:
Cenetoph Elite, No.5, 1st street, Teynampet,

Chennai-6000018.
Tel: + 91 44 4210 8421/ 44 4217 5421
New Delhi:
26-B, Ground Floor, Okhla Industrial Estate, Phase-III,

New Delhi - 110020. Tel: +91 11 4234 6600 / 6678
Fax: + 91 11 4234 6679
Pune:
401B, Gandhi Empire, 2, Sareen Estate, Kondhwa Road,

Pune 411040. Tel: + 91 20 3293 0292
Fax: + 91 20 26830465
Hyderabad: Srinivas Gangula, Territory Sales Incharge (Circulation),

Mobile no. 09000555756
Kolkata:
Vidyasagar Gupta Territory Sales Incharge (Circulation),

Mobile no. 09804085683
HERES WHAT
MAKES US
#1
WE ARE GLUED TO THE GLOBAL IMAGING INDUSTRY

Our team is updated with all the benchmarks and road blocks that the field of photography and
imaging across the globe experiences. This helps us record the changes in the global perspective,
thus making us the first to predict which products will be a rage in the Indian markets.
WERE IMPARTIAL
Loyalty towards our readers is a given, and their best interests are always on our mind. Every
verdict is honest and not influenced by advertisers or personal favorites. So when we say a product
is a BEST BUY, then, it is just that!
OUR TESTS ARE CONDUCTED BY EXPERTS
All equipment go through a series of tests at the hands of our experts. Our reviewers are experts in
the field of photography across the country and have many years of experience. That gives us the
foresight to distinguish between a passing trend and a big change in the field of photography and
imaging. And finally, our reviews are not extended to just fill up the pages!
WE ARE HERE TO HELP YOU
There is no debate on why we are here. Our sole goal is to provide you options and better your
judgement in product purchase while, sharing tips and tricks to improve your images. Our biggest
joy is in building a bridge between you and your perfect picture!
Views and opinions expressed in the magazine are not necessarily those of Next Gen Publishing Pvt. Ltd.
Next Gen Publishing does not take the responsibility for returning unsolicited material sent without adequate postal
stamps for return postage. No part of the magazine may be reproduced in part or full without the prior express
written permission of the publisher. Printed by Girish Mallya, Next Gen Publishing Pvt. Ltd., Trade World, 2nd
Floor, C Wing, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Published by
Girish Mallya on behalf of Next Gen Publishing Pvt. Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills Compound,
Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Printed at Kala Jyothi Process Pvt. Ltd, 1-1-60/5 RTCX
Roads, Hyderabad - 20. Published at Next Gen Publishing Pvt. Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills
Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai 400013. Copyright 2014 SMART PHOTOGRAPHY
All readers are recommended to make their own independent enquiries before sending money, incurring
expenses or entering into commitments in relation to any advertisement appearing in the publication. Smart
Photography does not vouch for any claims made by advertisers for their products and services. The editor,
publisher, printer and employees of the publication shall not be held liable for any consequence in the events
of such claims not being honoured by the advertisers. All disputes are subject to the exclusive jurisdiction of
competent courts and forums in Mumbai only.
Editor Hoshang S Billimoria
www.smartphotography.in
Smart Photography
June 2016
EDITOR
Hoshang S. Billimoria
TECHNICAL EDITOR
Rohinton Mehta
ASSISTANT EDITOR
Sujith Gopinath
COPY EDITOR
Disha Khemchandani
WELCOME
Contents
Smart
EW S
RE VI
SUBSCRIBERS COPY TOTAL PAGES 150
PHOTOGRAPHY
SONY
CANON
PANASONIC EF-S 18 -135MM
F/3.5-5.6 IS USM
FZ300
Smart
ISSUE 135 / JUNE 2016
RS.150
PHOTOGRAPHY
ALPHA 68
8 pages BenQ supplement with June 2016 issue
ISSUE 3 | VOLUME 12 | JUNE 2016
PHOTO FEATURE
Mauritius
135
LEARNINGS
CREATING
PANORAMAS
HOW TO BLUR
MOVING WATER
ISSUEISSUE
10 | VOLUME
3 | VOLUME
10 | JANUARY
12 | JUNE 2016
2014
24
34
46
48
Kaleidoscope
Showcase
ALSO
REVIEWED
Profile
Interview
K.P. Krishnan
Jayanth Sharma
AF-S NIKKOR 24-70MM F/2.8E ED VR LENS

SAMSUNG GALAXY S7 EDGE SMARTPHONE
BENQ BL3201PT MONITOR
EPSON PERFECTION V800 SCANNER
Cover credit: Jayanth Sharma
REGULARS
10 Mail Bag
12 News Watch
24 Kaleidoscope
A platform for budding photographers to

exhibit their talent and get noticed!
30 Picture of the Month

34 Showcase
Master
Craftsman
Photo Feature
A photographic proile of the person

behind the lens
40 If I Were You
Our expert comments on how your

pictures can be taken to another level
43 Ask Uncle Ronnie
Your photo queries answered by Uncle Ronnie
46 Mastercraftsman
The masters of the craft share their insights

and photographs
48 Photo Feature
Mauritius
Smart Photography
June 2016
146 The Last Word
Just a moment!
Readers can find the updated Buyers Guide, log on http://smartphotography.in/news/monthly-special

Smart Photography thanks the readers who participate in the Picture of the Month contest. We would like to bring to your attention a few changes in the rules for submission.
From now on, you may send in your images with the longer side measuring atleast 17 inches. Please note that the images have to be horizontal. This permits readers to submit
panoramic shots, which was not possible with the current size of 17 x 11 inches.
ISSUE 135 / JUNE 2016
Contents
Smart
PHOTOGRAPHY
SUBSCRIPTION
OFFER
page
LEARNINGS
72 DgFlick Album Xpress PRO
76 Panoramic Photography Part II
82 How to Blur Moving Water
84 Sweet Spot
76
82
88
92
100
104
Learning
Learning
85 My Life with Cameras
REVIEWS
88 Sony Alpha 68
92 Panasonic Lumix FZ300
97 Samsung Galaxy S7 edge
100 Canon EF-S 18-135mm
f/3.5-5.6 IS USM
Review
Review
102 Nikkor AF-S 24-70

F/2.8E ED VR
104 BenQ BL3201PT Monitor
106 Epson Perfection V800
Photo Scanner
108 First Look:
Kodak Selie Photo Booth
Smart Photography
June 2016
BUYERS GUIDE
SMART
TRAVEL
CONTEST
56
109
Review
Review
BA
L
I
A
WS
PHOTOGRAPHY
RE VIE
Smart
NIKON
OLYMPUS
OM-D E-M10 II
HONOR
5X
Smart
RS.150
PHOTOGRAPHY
D5
ISSUE 2 | VOLUME 12 | MAY 2016
INDIAIVE
US
EXCLVIEW
RE
CANON
80D
EOS
LEARNINGS
HOW TO CREATE
PANORAMAS
MAGIC OF
Interview
Pratap J
Write to us at:
Smart Photography,
Next Gen Publishing Ltd,
Trade World, C-Wing, 2nd Floor,
Kamala Mills Compound, Senapati Bapat Marg,
Lower Parel(W), Mumbai 400013.
E-mail: sp@nextgenpublishing.net
Special
Feature
Amlan Sanyal
TILT-SHIFT LENSES
CAPTURING A TOTAL
LUNAR ECLIPSE
Profile
Amith Nag
ALSO
REVIEWED
EPSON PERFECTION V39
Realistic pictures
Dear Sir,
Almost in every issue of Smart Photography, I ind something unique and different. The photographs
in In Focus-Quid ditch in the Himalayas (SP May 2016) are really different interesting to watch
and enjoy! And Picture of the Month and Special Feature-Urban development show some really
down to earth scenes - realistic pictures of the 21st century.
Yours faithfully,
Mahesh Kumar
Perspective
Dear Editor,
I have been a reader of Smart Photography since the past ive years. And kudos to these photographers.
Photography is truly an art, and to be able to show such unique perspectives in conditions that might not
favour the photographer, is truly a commendable feat. Keep bringing out the work of such photographers.
Regards,
A. Kumar, Pune
Inspiration
Respected Editor,
I was always intrigued by photography, and a colleague once was reading the magazine. I happened
to browse through a few pages, and I quite liked what I saw. I immediately subscribed to the
magazine, and found my point and shoot camera, burried under some old boxes. Since then, it has
been a wonderful learning journey with this magazine. And I am hoping that one day, I can even
shoot with a proper professional camera, and ind my name in this magazine.
Regards,
T. Thakur, Gujarat
Respect
Dear Sir,
Smart Photography
June 2016
I have immense respect for Uncle Ronnie. I think he has done a great job in explaining the nuances of
photography in such an easy way without the details appearing to be too overwhelming. Keep up the
good work, Uncle Ronnie.
10
Thank you,
N. Kumar, Delhi
SP
S
W
NE
International
Snippets
Panasonic Corp. has conceptualised
new studio-handy 4K cameras the
AK-UC3000 and AK-HC5000. The
AK-UC3000 uses a 4K MOS sensor. It
features two video modes High sense
and Standard. The former supports
simultaneous UHD and HD/SD quality
output. The AK-UC3000 features a 2/3
format lens without an adapter. The AKHC5000 features a 2.3 inch Type MOS
image sensor.
HTCs latest offering HTC 10
boasts extended battery life by nearly
30% along with a certification by the
Japan Audio Society. The touchscreens
responsive quotient has been boosted by
50% and another improvement is a two
times faster app launching speed. The
smartphone features a 5.2 inch display
with a resolution of 1440 x 2560 pixels.
It also includes a 2 TB memory card
slot, rear camera that supports 4K video
capture etc.
Canon debuts new

laser printer models
anon has launched

10 models of its
laser printer series
Satera. The Satera
LBP 352i is an A4 format
monochrome printer that
prints 62 sheets per minute.
It also has the capacity
to contain about 3800
sheets within its optionally
available paper feeder. The
Satera LBP712Ci is a colour
printer in the A4 format that
prints 38 sheets per minute.

Due to an optional paper
feed tray, it can hold nearly
2660 sheets. This model will
be up for purchase in July at
a suggested price of 148,000
Yen.
The Satera MF 511dw
is a multifunctional
monochrome A4 format
printer outputting 40 sheets
per minute. The printer
also boasts functions like

copy, scan and facsimile.
Canon has estimated that
16 million units will be
marketed throughout the
world and 740,000 units
in Japan. When it comes to
multi-functional models,
20 million units will be
circulated throughout the
world whereas for Japan,
the number will reduce to
720,000 units.
Panasonic to launch 4K
cameras, IP support
Panasonic and Sigma have announced

firmware updates for specific products.
The GH4 will feature the new Post
Focus function, 4K photo mode and
burst capture. Sigma has upgraded the
firmware for its 150-600mm f/5.6-6.3
DG OS HSM sports and contemporary
lenses with Canon and Nikon mounts.
The new firmware enhances the
autofocussing algorithm and optimises
the HSM control.
Smart Photography
June 2016
5 million units of Fujifilms Instax

cameras have been sold in the fiscal
year 2015, which ended on 31st March,
2016. The company is expecting to
sell approximately 6.5 million units in
fiscal year 2016. Fujifilm sold about 1.4
million digital cameras in fiscal 2015 as
the digital camera industry witnessed a
19% sales decline.
12
anasonic is all set

to showcase its new
compact video camera
in the UX series at NAB 2016.
The company has grown
its 4K acquisition line from
handhelds to studio. This
new series of 4K handheld
camcorders succeed the
AVCCam HD series. Currently,
two models are being
developed the AG-UX180
and AG-UX90. These models
are to be released during
the Fall season. The UX-180
uses a 1-inch Type MOS

sensor, 20x optical zoom
etc. Its expected street price
is less than $4000. The
UX90 features a 15x optical
zoom and 30p recording
for approximately under
$3000. Panasonic has also
announced the immediate
availability of the AK-UC3000
and the AK-UC5000 camera
models. The AK-UC5000
features two-thirds 3-CMOS
sensors. It is priced at
$42000. The AK-UC3000
uses a single MOS sensor.

It is priced at $37000. The
company is also eyeing 4K
and 8K transmissions as it
recently adopted the Tico
Alliance codec. Panasonic
has also declared a
collaboration with Canon
to support IP inter
operability. It will
demonstrate videooverIP on the NAB show floor
with a 10GbE switch that
will connect the Canon and
Panasonic booths.
SP
S
W
NE
International
Kyushu Island Jolts Cripple

camera production
he earthquake in
the Japanese island
of Kyushu, widely
known as Silicon Island,
has severely affected
operations of many camera
manufacturers. Sony, in a
release, announced that
production at their image
sensor manufacturing plant
in Kumamoto stopped
following the earthquake
on April 14 and remains
suspended. The company
further said that although
some of the manufacturing
equipment at Sonys
Nagasaki Technology Center
and Oita Technology Center

had been temporarily halted,
the affected equipment
has been sequentially
restarted from April 17, and
production has resumed.
The Kagoshima Technology
Center has continued its
production operations after
the earthquakes, and there
have been no major effects on
its operations.
Nikon announced that their
manufacturing has also
been severely affected by
the earthquake that struck
Kumamoto Prefecture.
The statement meantions

that suppliers of parts
for interchangeable lens
cameras, interchangeable
lenses and compact cameras
were affected by the quake
and this will inevitably
impact production. Canon,
while stressing that there
have been no serious injuries
among Canon employees or
their families in the region,
has stated that production
of some products has been
halted due to the impact on
part suppliers. The statement
further says that none of
the companys buildings or
facilities have incurred any

significant damage and all
Canon Group companies in
the region are able to operate
normally. On a positive note,
the company has stated that
at the moment the impact to
the business is minimal and
that the future situation is still
being assessed.
Though other Japanese
manufacturers such as
Panasonic and Fujifilm also
suffered some disruptions
in operation, the impact is
understood to have been
minimal.
HTC launches immersive

Vive VR headset
TC has started selling

its Vive VR headset
globally. Built in
partnership with Valve, the
consumer edition of Vive
brings immersive virtual
system at $799 (or equivalent
in other countries) that makes
it easier to enjoy immersive
virtual reality content.
Smart Photography
June 2016
The consumer edition builds

on Vive Pre and comes with
refreshed branding, updated
headstrap, wireless controllers
14
with haptic feedback and dual

stage triggers, a front facing
camera that allows customers
to enjoy greater stability and
balance and an improved
visual system with brighter
displays to give a deeper sense
of immersion.
Additionally, Vive also features
Phone Services that allows
the user to stay connected
to the real world while using
the Vive. The service enables
user to receive and respond to
both incoming
and missed
calls, get text
messages
and send
quick replies
and check
upcoming
calendar
invites directly
through the
headset.
Vive can be bought right now in

the United States and 24 other
countries. HTC hasnt revealed

the release date for India but
hopefully, it should be out soon.
SP
S
W
NE
International
HP launches new
notebooks and desktops
P took wraps off

Pavilion x360
convertibles, three new
Pavilion range of notebooks, allnew Pavilion All-in-Ones, and
an HP Pavilion desktop.
The 15.6-inch HP Pavilion x360
is available via the companys
website at $579.99. The 13.3inch HP Pavilion x360 is priced
at $479.99. Starting June 12,

HPs 14-inch Pavilion notebook
will be available for $539.99,
and HPs 15.6-inch pavilion is
up for purchase at $599.99. The
17.3-inch HP Power Pavilion
notebook is priced at $899.99.
When it comes to the all-inones, HP will unveil the 23.8
inch Pavilion AIO at a price of
$699.99 from July 10. From July

3, the 27-inch HP Pavilion AIO
will be available at $999.99.
The HP Pavilion desktop
is expected to be available
from June 29 at $449.99. The
company has stated that other
retailers will also house these
products but their release dates
and pricing will be slightly
different.
Carl Zeiss to market Batis 18mm f/2.8

for Sony full-frame E mount cameras
arl Zeiss is introducing

the Batis 18mm f/2.8
interchangable lens
well suited with Sony E mount
in the full-frame IL cameras,
from 20th May.
The comapany already offers

Batis 25mm f/2 and Batis
85mm f/1.8. With this new
launch, the company now offers
three lenses from ultrawide-angle, wide-angle and
Tamron debuts
full frame Sony a
mount lenses
Smart Photography
June 2016
16
amron launched
two new fixed
focus lenses in its
high quality SP series for
Sony A mount full frame
cameras - the SP 35mm
F/1.8 Di VC USD and SP
45mm F/1.8 Di VC USD
will sell at a suggested
list price of 90,000 yen
each. The company has
already marketed these for
Canon and Nikon mounts.
Because the Sony A mount
cameras are equipped
with image stabilization
in the body, the lens has
ommited the VC
system.
The lenses feature

high optical
characteristics and
close up photography
with high image
magnification, almost
equaling macro
photography, is
possible. Not
only that, they are
also capable of
wideangle macro
photography with
smooth bokeh.
mid-range tele-photo lens in the

Batis series.
The lens construction of the
Batis 18mm f/2.8 is Distagon
11 elements in the 10 groups
that includes low dispersion

glass and a spherical glass lens
elements.
The suggested price for Batis
18mm f/2.8 is 195,000 yen.
Technical Glitches
upset Nikons Release
Schedules
Nikon has announced new release dates for their cameras

folowing some technical problems. It is not clear whether
these are trickle down effects from the Kyushu Island
earthquake that halted production in April.
According to the release, the new Nikon compact digital

cameras, Coolpix A300 and B500 will be available in May
2016, the Coolpix A900 and B700 will arrive in July 2016 and
the Nikon KeyMission 360 action camera will be available in
October 2016. Nikon has quoted software adjustment delays
as reason for the new schedule. The new Coolpix products
were originally scheduled for release in April and the
KeyMission 360 action camera for spring 2016. In addition to
Coolpix series, the premium compact cameras, Nikon DL1850 f/1.8-2.8, DL24-85 f/1.8-2.8, and DL24-500 f/2.8-5.6,
will be delayed due to the serious issues with the integrated
circuit for image processing. These were originally set to
release in June 2016.
Samyang Optics from South

Korea has announced the launch
of two AF lenses for full-frame
Sony E-mount mirrorless
cameras: 14mm f/2.8 ED AS IF
UMC and 50mm f/1.4 AS IF UMC.
The lenses include aspherical
elements to minimise aberration
and unnecessary light dispersion,
delivering high-resolution from
the centre to the corners of
the image. The lenses will be
available globally from July 2016.
Cosina to
introduce
15mm f/4.5
ultra-wideangle lens
Ricoh unveils A3 colour

LED printers
icoh Co. has launched

four models of colour
LED printers in the A3
format the SP C751/C751M
and SP C750/C750MM. All the
models output 35 sheets per
minute in colour as well as
monochrome. The machines can
sustain nearly 600,000 pages.
The printers are armed

with the AirPrint function
and are compatible with
iOS and Wi-Fi. The printers
measure 484x552x360mm.
For ease of operations,
the printers use a 4.3-inch
colour LCD panel with
touchscreen.
Canon announces a new Macro lens

for its mirrorless EOS M series
anon Inc has

announced the
developement of an
interchangeable lens EF-M
28mm f/3.5 Macro IS STM
for its M-series mirrorless
cameras. The lens will be
marketed in late June. This
will be the first macro lens
in the world to feature builtin LED lights on the left and
right side of the lens and the
user can use either one or
both. The lens will have a
Super Macro Mode and will
offer magnification between
0.7x and 1.2x. The lens will
have 11 elements in 10
groups and will include a
Hybrid IS image stabiliser.
The suggested list price is
set at 45,000 yen.
Cosina Co. announced a new

15mm f/4.5 full-frame lens for
Sony E-mount cameras. The lens
will cover an angle of 131 degrees.
The suggested list price is
155,000 yen and will be available
from May end. This will be a
manual focussing lens employing
two aspherical glass elements to
minimise distortion and provide
corner-to-corner sharpness.
Sony posts more

than 4x gain in
profit for fiscal
2015/16
Sony Corpn. announced on April

28, 2016, that it posted a 329.2%
year-on-year gain in operational
profit to 294.2 billion yen on sales
of 8,105.7 billion yen, a 1.3%
fall for the fiscal year ended on
March 2016. Net profit turned
black to 147.8 billion yen from
the previous years loss of 126
billion yen.
Chinese smartphone makers

continue to be strong in 2016
he global smartphone
shipments in 2016 is
expected to grow 7-8%
to approximately 1.5 billion
units, according to US research
company IHS Technology,
pushed by Chinese suppliers
such as Huawei, Xiami, ZTE

and Lenovo group. The
reasearch company estimates
the combined shipments of
10 major Chinese smartphone
makers to increase by 15% to
550 million units, including over
130 million units by Huawei.

These Chinese suppliers are
increasing the exports of their
lower-priced models around
US$200 to Southeast Asia
and India besides the Chinese
domestic market.
Smart Photography
June 2016
Samyang
announces
Sony E-mount
full-frame
lenses
17
SP
S
W
NE
Business
Canon reports decline

in proits
anon announced its

results for Q1 of 2016. The
company stated that the
operating profit has decreased
by 39.4% year-on-year to
40.087 billion Yen, and net
profit has gone down by 17.5%
to 27.991 billion Yen on total
sales of 797.23 billion Yen.
The Imaging Sytem Business

units sales volume of
interchangeable lens digital
cameras did not change, and
it was around the same level
like the earlier year due to a
demand for models like EOS
80D, EOS M3 and M10. Except
for PowerShot G-series, sales
volume for compact models
plummeted due to the on-going

contraction of the market.
Sales promotions for new

products ensured growth in
units sales for inkjet printers
in developed markets whereas
models with large capacity ink
tanks were in demand in Asia
where conditions have remained
sluggish.
In the Office Business unit,
sales for office multifunctional
devices surged due to a
strong performance by
A3 colour models like
imageRUNNER ADVANCE
C3300-series and the
imagePRESS C10000VP-series.
For laser printers, unit sales

volume decreased year-onyear due to a result of a
shift in sales strategy from
selling low-end models with
low profitability favouring
profitability through the
proactive promotion of high
value models.
The business unit posted sales

of 454.4 billion Yen while
operating profit was calculated
to be 44.7 billion Yen.
Canon expects its net sales to

touch 3,600 billion Yen in 2016,
operating profit to be 300 billion
Yen and a net income of 200
billion Yen.
Fujiilm posts proit of 123.3

billion Yen
Smart Photography
June 2016
ujifilm Holdings Corp.

announced a 4% year-onyear gain, which summed
up to a net profit of 123.3
billion Yen. The companys total
revenue was 2,491.6 billion Yen
whereas its operating profit
surged by 10.9% to 191.2 billion
Yen. The Imaging Solutions
segment reported sales of
353.3 billion Yen, down by
2.1% whereas operating profit
increased by 55.5% to 32.2
18
billion Yen. In the photo imaging

business, sales mushroomed
due to a favourable demand
for instant cameras revolving
around Europe and the United
States.The unit sales of Instax
mini cameras increased by 30%
to 5.05 million units.
In the electronic imaging
field, sales volume of digital
cameras plummeted due to the
contraction of the product line-
up of compact models whereas

for the X-series, sales were
favourable in the Asian region.
For fiscal 2016/17, the company
is expecting a total revenue of
2550 billion Yen; increased by
23%, operating income of 220
billion Yen; surged by 15.1% and
a net income of 125 billion Yen.
The company is also expecting its
Imaging Solution units sales to
touch 365 billion Yen and a profit
in operation of 38 billion Yen.
Sharp posts net loss of 255.9

Billion Yen for Fiscal 2015/16
harp Corp. announced on

May 12 that it posted a
net loss of 255.9 billion
yen and 161.9 billion loss in
operation for its fiscal year
ended on March 2016, on total

sales of 2,416.5 billion yen, a
12% fall year-on-year. It is said
that sales of small-size LCD
panels for mobile terminals,
such as smartphones and

tablets were sluggish, which
led to a big extraordinary loss.
Sales of soar panels declined
some 40%.
Epson leads
Indian projector
market
According to data released by

the Cyber Media Research for
the period 1H FY15-16, Epson
has retainted its first position
in the Indian projector market.
Epson continues to dominate
the projector market with
24% market share in terms
of unit shipments and 27% in
terms of revenue.
Currently more than 20
brands are competing in the
Indian projector market.
The Indian digital projector
market noted a revenue of
Rs.3527 million in 1H FY15-16
and the volume is expected to
grow at a CAGR of 7% from
FY2015-16 to FY2020-21.
The company has stated that
its 3LCD projectors are able to
deliver thrice the brightness
in colour than its competition.
Epson has noted home
consumer and education
market projector segments
potential. The company is
emphasising an increase
in penetration across all
segments through its channel
and distribution network.
Samba Moorthy, Vice

President -Sales & Marketing,
Epson India, said, Being
recognised as the No.1
projector brand in India is
a validation of our product
quality and the superiority of
our 3LCD technology. Epson
prides itself on providing
projectors that are 3 times
brighter than the competition
technology. Our projectors
incorporate innovative and
cutting-edge technology,
whether its interactivity
for increased collaboration
in a corporate environment
or an unparalleled viewing
experience in a personal home
theater.
SP
S
W
NE
National
Business
Sharp to appoint Dai its President
harp Corp. announced that

the company has decided
to appoint Mr. Dai, Vice
President, Hon Hai Precision
Industries of Taiwan, as its
new President. He will replace
the current president Kozo
Takahashi in October 2016,
when the Taiwanese company
pays up 388.8 billion yen to
right to vote.
According to U.S. Research

company IHSI, in 2015 Samsung
shipped approximately 320
million units while Apple
approx. 230 million units,
totaling their share to 38.9%
Nikkei estimates that shipment
by both of them in 2016 might
decrease and their total share
may come to 34.2%. The
combined share of the Big 2
was 47% in 2012, 44.9% in 13,
39.2% in 14, according to IHS.
to high-end models and will

Sales of Apples iphone 6s,
be affected more by emerging
which debuted in autumn
makers from china. Besides
last year went slow,
the Big two, Sony and LG
decreasing by double-digit
Electronics will also be affected
percent from Jan-to June, 2015.
by competition from Chinese
And Nikkei estimates that
rivals.
would be diffiult to recover
sales of new
models slated for
autumn this year,
. Samsung has
a wider lineup
from low-end
Olympus Corp. announced on 2nd May that
it posted 62.5 billion yen in net profit for the
fiscal year which ended in March 2016, a
record high first in 8 years recovering from
the loss of 8.7 billion yen of the previous year.
Total sales rose by 5 % year-on-year to 804.5
billion yen and profit in operation up 15% to
104.4 billion yen.
Hon Hai has named new

management team consisting
six members including Mr. Dai,
T. Takayama, Vice President
of Sakai Display Products
Co. and two from outsiders
named by Hon Hai plus three
named by Sharp to speed up
Apple, Samsung project decline in

smartpone shipments in 2016
apans economic journal

Nikkei has projected that
shipments of smartphones
in 2016 by Apple and
Samsung, may decline from
the previous year for the first
time mainly due to emerging
companies in china, which
are pursuing the big two with
less expensive models. Japans
components suppliers are
eyeing Chinese makers for new
customers.
Apples sluggish sales of

smartphone begin to affect
Japanese suppliers
Smart Photography
June 2016
20
eclined smartphones
sales by Apple
began to badly affect
Japanese device and electronic
component suppliers for the
fourth quarter of fiscal 2015/16
ending march 31. Japan
display Inc. reported a loss
of 7.2 billion yen on sales of
176.3 billion yen, a 24% year
on year decline and it wrote
an operational loss of 7.2
billion yen from 10.7 billion
oprational income for the
same period on year ago. On
the restructuring. Hon Hai

intends to develop products
for consumers of its own.
The company has thus far
heavily depended on EMS
(Electronic Manufacturing
Service) production, for Apple
in particular, and its finance
tends to be affected by Apples
performance.
acquire a part of Sharps asset.

Then twelve out of thirteen
management executives of
Sharp, including Takahashi will
retire. If the capital increases
by the third party and it is
approved at the shareholders
meeting slated in late june,
Hon Hai will get 66% of
Sharps captial and obtain the
top of that, evaluation loss of

over 10 billion yen occured be
progressing appreciation of yen
against foreign currencies. Total
sales of the quarter fell 42%.
Sluggish sales of smartpones
by Apple is affecting other
suppliers which supplied
their products to Apple. In
Sonys Device business, sales
from January to March 2016
declined 16% to 189.9 billion
yen and an operational loss
of 79.9 billion yen. Toshiba,
which supplies
flash memories,
posted an
operational
loss of 124.8
billion yen
for Jan-March
period.
Murata Mfg,
Alps Electric
and TDK posted
operational
losses of 25%,
40% and 10%,
respectively.
Olympus renews net

profit record the first
time in 8 years
Medical equipment segment : sales of the

unit increased 9.1% to 608.92 billion yen,
profit in the operation gained 12.3% to 140.2
billion yen, centering on endoscopes for
digestive organs, and supportive devices for
operation using endoscopes.
Scientific products division: sales of this
unit decreased by 2.2% to 101.6 billion yen
while profit in operation increased by 24.1%
to 8.48 billion yen, thanks to cost reduction
and integration of sales basis.
Forecast for current fiscal year (ends in

March 2017): Sales of 800 billion yen, profit
in operation is 90 billion yen and net profit is
80 billion yen.
S
W
NE
National
P
S
Canon celebrates one year anniversary
of Karanjoti village adoption
anon India
marked
its first
anniversary of
the adoption of
Karanjoti village
in Thane. This
is yet another
milestone in
Canon Indias
flagship
programme
Adopt a Village.
More than 40
Canon India
employees
paid a visit
to Karanjoti.
School children
welcomed the
employees with
regional dance
performances. A
carrom and quiz
competition was also organised.
Experiments revolving around
heat conduction, water
purification etc. were also
conducted under the guidance
of teachers in a science
exhibition. Students also
showed their prowess in an art
and craft exhibition. Students
were given a pair of new
school bags, shoes and socks
as a token of appreciation. A
free eye check-up camp was
also set up by Canon wherein
children with refractive errors

were identified and were given
spectacles.
The company has set up solar

panels, new water purifiers and
toilets have been rebuilt with
new doors. Focussing on eye
care facilities, Canons vision
centre in the village has tested
nearly 62 villagers. More than
80 students, 40 employees and
85 villagers were a part of this
celebration.
Kazutada Kobayashi, President

& CEO, Canon India, said, The
Adopt a Village initiative is
our way to ignite the passion
to live a healthy informed
life. Our vision of develop
the communities around us
has brought us a long way.
The anniversary celebration
at Karanjoti village stands
testimony to our efforts and
accomplishments in the
communities we serve. As
we come by a year, it is truly
overwhelming and satisfying

to see the outcomes of our
various endeavours. Every
village we adopt is part of the
extended Canon family. Our
employees take equal interest
in engaging with the villagers to
create awareness and educate
them about the basics of living
a holistic life. We aspire to
continue of dedicated efforts in
various villages as to achieve an
all-round development for the
community.
anasonic India has

launched the Eluga I3
at Rs. 9290. This 4G
VoLTE phablet features a 5.5
inch HD IPS display. Its back
design is textured which also
ensures a premium look and
better grip. The phablet is
available in three colours
Champagne gold, Rose gold
and Marine blue.
The Eluga I3 is powered by

Android 5.1, 1.3 GHz Quad
Core processor, 2 GB RAM
and 16 GB Internal memory,
expandable up to 32 GB. It also
uses the Panasonic FitHome
user interface.
The phablet is armed with a 5
MP secondary camera and 13

MP rear camera with LED flash.
It uses a 2700 mAh battery.
Pankaj Rana, Business Head
Mobility Division, Panasonic
India, said, With the launch
of Eluga I3, we believe we
will surely address some
major consumer concerns
by providing them with a

better viewing experience
and more productivity onthe-go. The Eluga I3 comes
at the most appropriate time
when mobile internet is on
the rise and there has been
persistent increase in demand
for larger screens and video
consumption.
Smart Photography
June 2016
Panasonic India debuts 4G VoLTE phablet
21
SP
S
W
NE
National
Nitin Pawars first solo exhibition
itin Pawar, who works

as a photographer at
the Ordinance Factory
in Ambernath, Mumbai, had
his first solo exhibition of
photographs at the Piramal
Art Gallery, National Centre

of Performing Arts, Mumbai.
The exhibition, which was
inaugurated by Subachan Ram,
Commissioner of Income Tax,
Mumbai, showcased fifty-three
photographs with sizes varying

between 18x24 and 24x84.
The exhibition was on from 6th
-15th May 2016.
Nitin is an avid traveller, and
Sony launches 6300 with

quickest AF speed
Smart Photography
June 2016
ony India unveiled the

6300 a new addition to
its mirrorless line-up. The
camera uses a 4D focus system
that can focus on a subject in as
less as 0.05 seconds. It boasts
425 phase detection AF points
over a complete field of view
enabling it to focus throughout
a wide area along with shooting
at up to 11 frames per second
with sustained autofocus and
exposure tracking.
22
The camera features a 24.2 MP

APS-C size Exmor CMOS sensor
that works in tandem with
a BIONZ X image processing
engine. Its ISO sensitivity spans
from100-51200.
The 6300 can also shoot and

record high resolution 4K video
with full pixel readout and
no pixel bining in the 35mm
format. Its recording time is up
to 29 minutes.
The camera also uses an XGA

OLED Tru-Finder with about 2.4
million dots that provide corner
to corner visibility.
The 6300 is constructed using
Magnesium alloy. The camera
is dust and moisture resistant.

It further adds a reinforced lens
mount structure, shutter release
button and mode dial in its design.
The 6300 will be available at
all Sony centers, Alpha flagship
stores and major electronic
stores across India.
is interested in landscape and

portrait photography. He is a
managing committee member
of The Photographic Society of
India (PSI) and has been its Jt.
Hon. Secretrary in the past.
Manfrotto
190 Go tripod
wins TIPA
award
Manfrottos 190 Go tripod has

won the Best Tripod award
from TIPA for the year 2016.
The endorsement recognizes
the extreme compactness,
lightness, stability and
sturdiness that have made the
190 Go tripod a resounding
success with photographers
and videographers around the
world. The Manfrotto 190 Go
tripod is made in Italy.
ADVERTORIAL
iBall begins the Digital

revolution with launch of its
Laptops at below ` 10,000
Mr. Sandeep Parasrampuria, Director and CEO of iBall

iBall in association with Intel and Microsoft sparks a digital
revolution in India with the launch of its latest category
laptops - under its sub-brand iBall CompBook. Bringing
in the power to empower, iBall aims to reshape the social
landscape offering laptops at a revolutionary price of Rs.
9,999 only. With this new offering, iBall aims to address the
need of affordable computing, in line with the Honorable
Prime Ministers Digital India Initiative, to narrow the
gap between consumer needs and the devices currently
available in the market.
Commenting on the launch of iBall CompBook, Mr.
Sandeep Parasrampuria, Director and CEO of iBall says,
iBall has always remained at the forefront of technological
developments. Our latest products at iBall are focused on
innovation with pricing, as we understand the needs of
Young India and most of the digital gaps can be bridged
if technology is made affordable. We at iBall, have made
it our task to empower the lives of several Indians by

delivering technologies that create a promising future for
the society. iBall in association with Intel and Microsoft, is
devoted to drive forward the digital revolution in India with
World class products and offerings.
Democratising the computing needs of every Indian,
the two models of iBall CompBook Excelance and
Exemplaire are targeted towards first time buyers be
it a student or a business user. For the student and home
user the iBall CompBook Laptops are available in Windows
10 Home version, whereas for the business user, the iBall
CompBook Laptops are available with the latest Windows
10 Pro that have unique features like Secure Boot, Domain
Join, Bit locker, Remote Desktop and other enterprise class
experiences at affordable price points, starting from
Rs. 19,999.
iBall CompBook Excelance 11.6 comes in royal blue
colour and Exemplaire 14 in choco colour making them
both world class offerings. The Excelance 11.6 weighs less
than 1.1 kg and Exemplaire 14.1 less than 1.5 kg.
The key highlight of the device is the gigantic
10,000mAh battery that guarantees a working time of
8.5 hours or 22 hours of non-stop music for uninterrupted
entertainment. Powered by Intel Quad Core Processor, 2GB
RAM and storage expandable to up to 32GB with Micro SD
Slot, this device is a workhorse that provides a lag free user
experience.
The in-built Wi-Fi, Bluetooth (v4.0), HDMI port and 2
USB ports, iBall CompBook ensures several connectivity
options. Both the laptops are also equipped with high
quality Dual speakers, facilitating powerful sound that will
bring you an incredible audio experience. Besides, it also
comes with supplementary add-ons such as Insurance pack
(covering Accidental damage, Theft and Breakage) as well
as additional optional one year warranty pack.
With the launch of iBall CompBook laptops, iBall adds
another feather to its cap with a whole new segment
leading the Digital Revolution in India.
Undoubtedly, iBall today is considered as one of the
most innovative and fastest growing brands in most of
its product categories. It has a strong pan India presence
with 26 branches across the country. iBall has enviable
penetration and its products are available in over 750
cities and towns right from large format retail outlets to
small neighborhood shops. iBall is perhaps the only brand
which has over 150 self-owned service centers to provide
after-sales services across the country. At iBall, there is a
continuing endeavor to improve, enhance and introduce
robust products with the latest technologies.
PE
O
C
OSeel K
D
I
LE ah
KA Sw
For the love of
Macro
As told to Disha Khemchandani
Swaheel K
Smart Photography
June 2016
Was(su)p
24
waheel K is a techie by profession and a photographer by passion.

He has been pursuing photography for close to a decade now.
Nature, macros, candid portraits, and wildlife form his favourite
genres while his favourite subjects would be water and light itself. A
strong believer of the tagline No life without light, he enjoys clicking
anything in good light. He also uses photography to generate money for
charity through calendars and other initiatives. If there is one thing that
sets him apart then that would be his ability to create interesting frames
out of mundane subjects. |SP
Camera: Canon 450D
Lens: Canon 50mm
Aperture: f/10
Shutter speed: 1/80s
ISO: 800
(Lens reversed)
Flame
Smart Photography
June 2016
Camera: Canon 450D

Lens: Canon 55-250mm
Aperture: f/10
Shutter speed: 1/1600sec
ISO: 400
25
Flicker
Smart Photography
June 2016
Camera: Canon 450D

Aperture: f/8
ISO: 200
26
Mornings
Camera: Canon 450D
Aperture: f/10
Shutter speed:1/160sec
ISO: 400
Studded beauty
Camera: Canon 450D

Lens: Canon 50mm
Aperture: f/10
ISO: 400
(Lens reversed)
Camera: Canon 450D

Lens: Canon 50mm
Aperture: f/11
Shutter speed:1/160sec
ISO: 800
(Lens reversed)
Smart Photography
June 2016
Pearls on a web
27
PICTURE OF THE MONTH
A NOTE TO OUR READERS

1. The picture has to be horizontal.
2. Kindly ensure that the longer side should measure atleast 17 inches, at 300ppi.
3. Low resolution images will not be accepted.
4. We do not check images on online galleries.
5. Kindly ensure complete contact/address details are provided. Winners will have
to collect their prize from SPs Mumbai office or send an authorised representative
to do so.
6. Please make sure that your picture does not have your name/logo on it.
ph by
a
r
g
o
t
o
Ph
y
o
R
s
i
s
A
PICTURE OF THE
MONTH
We are sure that all of you have a few

pictures that you think are prize worthy.
It happens very often that you dont know
where to send the image that could put a
feather in your cap. If you have such images
(were sure you have many!), send us ONE
such horizontal image. If it qualifies, we
shall publish it as a double-spread.
a. You have to guarantee that the picture
was shot by you
b. If there are people in the picture who can
be identified, well need a model release
c. The picture should not have been printed
elsewhere (magazine newspaper, or
offered to any publication)
d. Mark the entry as Picture of the Month
and rename the file using your name
e. You may send images via print/e-mail
to: Next Gen Publishing Ltd.,2nd Floor,
C Wing, Trade World, Kamala Mills
Compound, Senapati Bapat Marg, Lower
Parel (W), Mumbai 400013 (or) sphoto.
india@gmail.com
V. V. Ramana
ADVERTORIAL
V. V. Ramana is today one of the premier league

photographers in the country. Within the professional
fraternity, he is known more for his technical
expending. Despite the average life of technology
in photography domain getting bleak, he believes
in exploring the potential of each technical artifact
available in the market.
Jewelry is one of the hardest objects to

photograph because of the nature of its
components. The metals, precious stones
such as diamonds, and other elements that
most fine jewelry is made up of, are highly
reflective and can prove extremely tedious
to photograph if the right tools are not used.
Therefore, understanding the nature of jewelry
and obtaining the right tools are essential for
producing high-quality jewelry photographs.
I chose the Elinchrom FXR 400 kit for this

shoot, since they offer a strong and robust
build and are ideally suited for product and
architectural photography. These lights
along with the EL-Skyport Transmitter
helped me to synchronize and adjust the
flash power at up to 656-feet away from
the subject. The output was amazing, and
features like Pre-flash detector system
enable the FRX series to be used with
speed-lights. Many other programmable
features such as variable f-stop steps,
modeling lamp settings and ready beep
function give professionals like me, a true
sense of freedom to express my work.
Perfect
Combination of
Creativity and
Performance
Elinchrom FRX 200 / 400
Rigid chassis enables the largest

accessories to be used.
High capacity intelligent fan cooling
offers higher work capacity.
Independent modelling lamp control.
The FRX range

givesmore freedom
tophotographers in
their workflow.
The FRX compact flash units are a further evolution of the features and quality that are
Elinchrom. The concept is simple: control, power, speed and versatility. With many
programmable features and the EL-Skyport remote system, the FRX enables
photographers the greatest freedom. The FRX series delivers the quality of performance needed for a modern workflow. Available in either 200 Ws, 400 Ws or 600 Ws
(Master RX) they are perfect for portraiture, product and architectural photography.
The FRX - series kit includes the following:
Accurate Exposures with consistent

colour.
Short Flash duration and Fast
recycling time.
2 x FRX Flash Heads
2 x Portalite Softbox
2 x Lights stands
1 x Lights stand Bag

1 x Lights Bag
1 x EL-Skyport
Transmitter Plus
Smart Photography
June 2016
The key to good jewelry photography is

sharpness, lighting and exposure, and the
Elinchrom FRX series offers a perfect balance
of creativity and performance.
33
SE
A
WC ishnan
O
SH Kr
KP
A Walk in the
Wilderness
Smart Photography
June 2016
34
KP Krishnan a
photography
entrepreneur
from Chennai
discovered his
love for nature at
an early age. His
frequent travelling
KP Krishnan
experiences due
to his father, who
was in the army, also made him understand
the value of conserving the ecosystem.
Through his pictures, he endeavours to
evoke a feeling by interpreting an event that
has taken place in the wilderness. He has
been inspired by Ramki Sreenivsan, Shekar
Dattatri, Aditya Singh and others. He believes
that to conserve nature one has to understand
and then document it. To see more of his
work, visit www.klachak.com/
www.fotogurus.com
The Barafundle Bay
Smart Photography
June 2016
Camera: Canon 5D MK II;

Lens: 24mm
Aperture: f/4;
Shutter speed: 1/2000secs;
IS0: 100
35
SE
A
WC ishnan
O
SH Kr
Camera: Nikon D800E;

Lens: 200mm
Aperture: f/4;
IS0: 400
KP
Cub on Rocks
Smart Photography
June 2016
Mothers Love
36
Camera: Nikon D3s;

Lens: 400mm
Aperture: f/8;
IS0: 400
In Safe Fangs
Camera: Nikon D800E;

Lens: 200mm
Aperture: f/2.8;
IS0: 400
Chitals Conlict
Smart Photography
June 2016
Camera: Nikon D3;

Lens: 600mm
Aperture: f/4;
IS0: 640
37
SE
A
WC ishnan
O
SH Kr
KP
Camera: Canon 5D MK II;

Lens: 17mm
Aperture: f/10;
IS0: 100
Lakeview
Smart Photography
June 2016
The Look
38
Camera: Nikon D4;

Lens: 70mm
Aperture: f/8;
IS0: 400
If
I Were
You
E-mail your images at sp@nextgenpublishing.net
Our Imaging Expert

No one can take a picture that everyone likes. But,
almost every picture can have scope of improvement.
Often, we are not our best critics, while others can
immediately point out the faults. In If I were you,
our expert comments on how your pictures could be
taken to another level.
Rohinton Mehta,
Technical Editor, Smart Photography
Original
Monkey
SP reader Sriram
Radhakrishnan has sent us
this photo of a monkey for
critique. He wants to know
how this photo could have
been improved.
I like the busy expression on

the monkeys face and the
fact that the background has
been put out of focus by using
the 500mm lens wide open
at f/4.
I feel that the placement of
the monkey in the frame is
not correct. Please see the
edited image wherein I have
extended the left side of the
picture and cropped from
the right. I also feel that if
the monkey was looking at
you, the eye contact would
have improved the picture.
The lighting is a bit too soft,
resulting in a lack of punch.
Smart Photography
June 2016
Camera: Canon EOS 7D; Lens: EF 500mm f/4L IS II USM

Aperture: F/4; Shutter speed: 1/160sec; ISO: 160
40
Edited
Pond Heron
Original
SP reader Vijay
N. N. has started
photography very
recently. He loves birds
and he says this is my
irst attempt to send
an image for critique.
This is a good irst
attempt. The next
time though, try
to photograph the
bird against a plain
backdrop. Of course
we cannot order a
bird to perch where
we want it to, but
thats what makes
bird photography a
challenge.
Try to avoid placing

your subject in the
centre of the frame.
See the edited image
in which I have
extended the lower
area and re-composed
the frame. During
post-processing, I
have also toned down
some bright areas of
the backdrop so that
greater emphasis is
placed on the bird.
Smart Photography
June 2016
Camera: Canon EOS 1200D;

Aperture: F/7.1;
Shutter speed: 1/400 sec; ISO: 100
Edited
41
IF I WERE YOU
E-mail your images at sp@nextgenpublishing.net
Note: If I Were You is meant to encourage and guide readers, and help them
improve their photography. Please ensure that the required camera/exposure
details are sent to us (or are available in the EXIF data). We shall not accept images
for this section if the required data is not available. Readers are requested to send
their images at 300ppi for 8 x 10-inch size. If they are too small, working on them is
difficult, and hence they may be rejected.
Camera: Nikon D7100; Lens: 24mm (36mm equivalent);

Aperture: F/8; Shutter speed: 1/60sec; ISO: 100
Original
Smart Photography
June 2016
Tadoba landscape
42
This is one of my own pictures,

taken at Tadoba. I think it was
the beginning of the rainy season.
In trying to expose correctly
for foreground details, the sky
got overexposed. I should have
ideally taken two shots one
correctly exposed for the sky
and the other correctly exposed
for the foreground and later
merged them in Photoshop to
get adequate details in the sky
as well the foreground. But I was
in another vehicle and using a
tripod was out of question.
So what could I do to get back
the lost details in the

sky?
In Photoshop, I
selected the sky using
the Magic Wand and
then using Levels,
darked the sky till
I was happy with
the details. I also
selected the path and
brightened it very
slightly (I am not sure
if the difference will
be noticeable
in magazine
printing). |SP
Edited
Ask your question to Uncle at sp@nextgenpublishing.net
Ask Uncle
Ronnie
Pl suggest. Which, out of these,
is the best camera for amateurs?
Canon SX60 HS, Nikon P600 or Sony
HX400V.
Manhar Shah, Hon FIP
A broad question like this is difficult to

answer since you have not mentioned
specific details like the genre of
photography that you intend to cover,
whether you will photograph mainly
in good light or poor light, why would
you prefer any of these models over a
D-SLR/mirrorless models etc.
First, know that these three models

employ a very small imaging sensor
(6.17x4.55mm). This automatically
restricts your photography to bright
light conditions; in low light (that
includes shadow areas), you are likely
to encounter more digital noise since
you will be forced to use higher ISO
sensitivities.
Canon SX60 HS
Secondly, these three models have

long zooms; 21-1365mm for the
Canon SX60 HS; 24-1440mm for
the Nikon P600 and 24-1200mm
for the Sony HX400V. In spite of the
image stabilisation in all the three,
hand-holding a camera with such
long zooms often result in less-thansatisfactory sharpness, especially if
you try to print large. Unless I am
mistaken, you have opted to choose
from these three models because you
want to photograph far away subjects,
may be animals and birds. Remember,
these subjects dont always stay in
bright light, forcing you to raise the
ISO or lower the shutter speed, both
adverse to good image quality.
When you go to extremes in focal

length, somethings got to give. I would
prefer shorter zooms for better image
quality. Having said that, if you still
must choose between these three, I
would suggest the Canon model since
it can shoot in Raw. I would also try to
restrict using the longer focal ranges
as far as possible, but again, I think you
want this type of camera just for that
to photograph far away subjects.
Sony HX400V
Nikon P600
A Monsoon Query
Now that the monsoon season is

approaching, I have a question
regarding the so-called weather
resistant cameras. Would you be
carefree to use such a camera in
inclement weather?
John Rodrigues, Assam
I certainly would not be carefree. An

occasional spray of water may not
harm these weather-resistant models
but I cannot say with any measure of
certainty, that your camera will not be
adversely affected. There are those who
claim to use their cameras (without any
form of protection) when its drizzling;
good luck to them! I would not risk
my camera. I do photograph when its
raining (in fact I love to), but I take all
necessary precautions. I use a plastic
bag over the camera and take the
camera out only when I intend to take
some frames. I also cover my camera
under my raincoat, and at the same
time, use an umbrella for additional
protection. Doing this is not easy as I
have only two hands, but I somehow
manage either by myself or with the
help of a friend!
Weather -resistant cameras do offer
a good degree of protection from
dust and humidity. So, if I have to
photograph in a dusty/high humidity
area, I would certainly prefer a
weather-resistant model.
Having said that, there are cameras

that can be used even under water.
Using such models is safe even during
a heavy downpour. I have tried using
rain covers but most of them leave
the filter-end open and I dont feel
comfortable with them. You could
also consider specialised water-proof
housings for D-SLRs , but they are very
expensive, heavy and designed only for
particular D-SLR models.
Smart Photography
June 2016
Which camera?
43
K
AS
NIE
N
O
ER
L
C
UN
First attempt at indoor
photography
I want to try my first in-door shots.
Actually, it is a hotel owned by a
good friend of mine. Can you please
give some tips?
A. S. Verma, Coimbatore
Oh, you are a lucky guy! Since the hotel

belongs to your good friend, you need
not worry; in case you dont nail it
the first time, you could always give it
another shot. This is important because
you can work without any stress.
Here are my suggestions:
Use a good tripod.
Set your camera in a position from

where you can cover most of the room/
hall. Try various viewpoints. Using a
wide-angle lens, try to be at a distance
that will not cause distortions due to
the proximity of the lens to the closest
subject. Sometimes, this is not possible;
in which case try to minimise the
distortions.
Set your camera to Aperture Priority
at f/11 or f/16, which will give you
good depth of field.
Set the ISO sensitivity as per the
available light; lower ISOs will reduce
digital noise.
Looking through the viewfinder,
observe carefully for unwanted

reflections from polished surfaces, like
wooden tables etc. It may be necessary
to use a Circular Polariser to reduce/
eliminate the reflections. Note that the
use of a CPL will reduce about 1.5-2
stops of light.
Smart Photography
June 2016
One of the major challenges while
44
shooting interiors, is lights of various

colour temperatures. Since you are
a beginner, I suggest you try to work
with only one colour of light (if that is
possible). This could be only daylight,
or only incandescent lights or only
fluorescent lights. Many professional
interior photographers work at night
so that they are in a better position
to control the colour of the light. For
example, if you work at night, you do
not have to worry about the colour of
daylight. Then you can opt for either
household bulbs or tube lights. The

idea is to correct for only one colour
temperature as it is very difficult to
correct for various colour temperatures
at the same time. You may even try
a mix of colour temperatures for
effect! Shooting in Raw will allow
you to change the WB easily in post
processing.
As mentioned earlier, try

photographing from different
viewpoints. Whenever possible, keep
your sensor plane parallel to the
subject plane so that you do not get the
keystoning (leaning back) effect.
I would also suggest you go through

some good interior photos to get an
idea of what you should and should not
do.
Soft, silky clouds
I have seen some beautiful

landscapes where the clouds in the
sky take on a soft silky appearence.
Any idea how thats done?
Amar Seth, Bangalore
To achieve the effect you want, the

clouds should move during the
exposure. This is how its done:
Tripod your camera and frame the

scene.
The exposure will be a bit of trial and

error. Using Manual exposure mode,
select a long shutter speed; how long
depends on how much of movement
is there in the clouds.You could try
shutter speeds varying between 5 and
10 seconds with the corresponding
aperture. Note that depending on the
brightness of the scene, you might need
a Neutral Density filter (to decrease
the overall amount of light entering
the lens) and also Graduated Neutral
Density filter (to further darken only
the sky area).
The slow shutter speed will
automatically suggest a very narrow
aperture (like f/16 or f/22) which will
provide adequate depth of field.
Time-Lapse
I have Nikon D7000 camera. I am

unable to set my camera for time lapse
photography. I want to shoot moving
clouds at a interval of 5 second and

make a video for 15 seconds.
Virag Sharan, Jaipur
The Nikon D7000 does not have the

option of Time-Lapse photography. (In
Time Lapse photography, the exposed
frames are automatically stitched by the
camera to provide you with a video).
Instead, you can take several shots using
the Interval Timer and then join them in
a suitable software to create a video.
First consider the frame rate at which
you want to shoot your video. Lets say
it is 24fps (which is normal for video).
Since you want to make a 15-second
video, the total number of frames you
require would be 24x15 or 360 frames.
Since you want an interval of 5 seconds
between frames, in 1 minute you will be
shooting 12 frames. Therefore, for 360
frames, the total time required would be
30 minutes.
First, ensure that the day and date has

been set up on your camera. Without
doing this, you will not be able to
proceed.
Go to the Shooting Menu and select

Interval timer shooting. Press the right
arrow on the 4-way controller.
You can now choose a starting time.

The options are Now and Start time.
Select Start time and press the right
its pretty close to it. Just for your

information, Sigma currently provides
a close-up filter (AML72-01) with this
lens, which will get you to 1:2. Kindly
check if this offer applies to India too.
Set the interval between shots. In this
case it is 05 seconds. Press the right

You will see the Timer active screen.

The Interval Timer will start at the time
you have set.
Is it a Macro lens?
1) Is the Sigma 18-300mm f/3.5-6.3

DC MACRO OS HSM / Contemporary
a Macro lens or is it a normal
telephoto zoom lens marked as
Macro?
2) I am beginner in photography and
want to buy a Canon 700D body with
the above mentioned Sigma lens
instead of buying the 18-55mm and
55-250mm lenses. Will this Sigma
lens work properly with the 700D?
3) Can I pursue wildlife photography
with 700D and the Sigma lens?
Select the No. of times (360) x No. of

shots (1 shot each time). The screen
will show 360 x 1=0360. Press the right
3) With the combo in question,

your effective focal length will
be approximately 29-480mm.
Photographing large animals will not
be a problem but photographing small
animals and birds could be. If I were
you, I would not worry too much about
this. So go ahead.
Sony G Master lenses
I read about the G Master lenses that

Sony has just introduced. They claim
that these new breed of lenses are
designed to provide the best image
quality with high-resolution sensors
of modern digital cameras. I also
understand that these lenses are
very expensive. What are your views
about their imaging qualities?
Vijay C. N. , Chennai
Dhaval Chavda, Gujarat
1) By definition, a true macro lens

has to provide a magnification ratio
of 1:1 (life-size). In practice however,
lenses offering a magnification ratio
of 1:2 (half life-size) are also accepted
as macro. The Sigma lens in question
will give you a maximum magnification
ratio of 1:3. This means that an object
1 long will be recorded as 1/3.
Technically, that is not a macro but
Canon EOS 700D
Select On for the timer.
Sigma 18-300mm f/3.5-6.3 DC

MACRO OS HSM
I will be able to answer

your query with
conviction only after we
test these lenses at
Smart Photography. I
had been to the Press
Conference where Sony
demonstrated these
lenses and I was
impressed with what I
saw. But as they say, the
proof of the pudding is
in the eating. There are
many aspects to check,
and we will do so once we
receive the said lenses. |SP
Smart Photography
June 2016
Set the time at which you want the

interval timer to start (the starting time
should be at least 3 minutes more than
the time set on the camera). Press the
right arrow on the 4-way controller.
2) Yes, the Sigma 18-300mm f/3.5-6.3

DC MACRO OS HSM / Contemporary
lens should work well with the Canon
EOS 700D body.
45
AN a
M
S
AFT rm
R Sha
C
R
E
AST anth
Jay
A Wild Edge
Smart Photography
June 2016
A Polar Bear in the Arctic
46
specialist in an IT firm. He has photographed areas

ranging from Southeast Asia to Canada, Brazil to
Norway and East Africa to eastern Russia. He has
also worked in the mighty Himalayas, the unexplored
Northeast, the secretive South and the tiger havens of
Central India. Check out more of his work on
www.wildlifetimes.com
What prompted you to pursue

wildlife photography?
I was born and brought up in Mysore
and I studied in a school where a
large part of the property was a forest
area. I grew up loving the outdoors. I
started admiring photographers like
Krupakar and Senani. In my early 20s,
I had the time and money to explore
my relationship with nature and since
photography was a family business,
it fell in place gradually and I moved
out of my IT job to take up wildlife
photography professionally.
According to you, how can an

amateur photographer find his feet
in wildlife photography?
Wildlife photography is an area
where 99% of the photographers
dont make a living out of it. So for
an amateur photographer it makes
sense to extract the pleasures out of
this endeavour. But not depend on
it to make a living out of the income
Smart Photography
June 2016
What are the challenges that you

have faced during a wildlife shoot?
Since I work in a variety of habitats
from the Arctic to Antarctica and
the Far-east of Russia to the wild
west, I find each habitat posing a
different challenge. Sometimes it is
having to bear the extreme cold or
sometimes the opposite. Some times
its the challenge of finding an animal,
and sometimes to create photoopportunities in a not-so photogenic
location. However, the biggest
challenge I face all the time is to live
up to the standards that I have set for
myself, and thereby separating the
average opportunities from the better
ones. Also since I am not a speciesdocumenting wildlife photographer
but a photographer who tries to make
pretty-pictures, I face challenges like
finding my subjects but not finding
good photo opportunities. Another
challenge that I often face is to be
on the top of my game and always
control the excitement of the animal/
bird sighting in order to make images
that need my brains bandwidth.
Jayanth Sharma
Jayanth Sharma
Jayanth Sharma cofounder of Toehold ( a

travel and photography
company) took up
photography in 2004 after
gradually moving out of his
day job of a user experience
47
R Sha
C
R
E
AST anth
Jayanth Sharma
AN a
M
S
AFT rm
Jay
Jayanth Sharma
Grand Canyon after sunset
Smart Photography
June 2016
Jayanth Sharma
Monitor Lizards combating
48
Elephant in Amboseli
Jayanth Sharma
Gorilla, Rwanda
Smart Photography
June 2016
Jayanth Sharma
A Flamingo in Rann of Kutch
49
AN a
M
S
AFT rm
R Sha
C
R
E
AST anth
Jay
Smart Photography
June 2016
Jayanth Sharma
A Polar Bear photographed using a wide-angle lens
Jayanth Sharma
Jayanth Sharma
Monument Valley, USA
Jayanth Sharma
50
A Cheetah hunting an Imphala
that is generated by shooting wildlife

images. Having said that, if one pushes
to the level of being the best and makes
images that are extraordinary, then
there is still a chance for some to make
it work.
How do you ensure your safety

during a wildlife shoot?
I feel, ensuring the subjects safety is
as important as being safe

ourselves. I ensure that I
dont encroach an animals
privacy and I study the
behaviour before making
my moves. When I feel the
animal is threatened, for
example a mother bear with
cubs or a tiger on a hunt, I
ensure my photograph is
not more imporant than the
subjects interests. I also
understand what works for
what kind of a habitat and
animals and birds. I always
put my subjects safety first
and inturn always remain
safe.
Do you believe that wildlife

photography can impact
wildlife conservation?
Certainly, when powerful
images are made, they do
leave an impact. The general
concern for the subject will increase
and the awareness too, which makes
a point. However, one must also
remember that photos are assets to
communicate conservation messages.
Smart Photography
June 2016
A Walrus photographed in the Arctic
51
Jayanth Sharma
AN a
M
S
AFT rm
R Sha
C
R
E
AST anth
Jay
on a wildlife
photography
shoot.
I feel most wildlife
photographers
dont realise the
importance of a
wide-angle lens.
I also never go
out on a shoot
without a tripod/
ball head.
Smart Photography
June 2016
Keel-billed Toucan, Costa Rica
52
Name any particular photography

technique that is used by you during
a shoot?
I am great fan of shooting silhouettes.
I love underexposing my images, and
using the Exposure Compensation on
Aperture priority many times during
sun-sets and sun-rises to create
dramatic silhouettes.
Which photographers work has

inluenced you?
I am influenced by many
photographers but I admire the work
of photographers like Paul Nicklen and
Ole Liodden.
Are there any accessories that
are absolute must-haves for you
Which has been

the happiest
moment in
your career
as a wildlife
photographer?
I was visiting
Bandipur with
a colleague.
While we were
cruising towards
the reception,
my colleague
pointed out to
two Monitor
lizards, who were
engaged in a
combat. Soon they
stood on their
hind legs, and the
battle continued.
I fired a few shots
and realised I was
fighting a battle
I could not win.
At such a slow
speed, I couldnt
freeze any action.
I decided to click
four pictures in
the Manual mode
using a 1/60sec
shutter speed,
which was a few
stops down to
what was needed.
I opened the four
images in Canon
Digital Photo Professional and simply
increased the brightness of the
images. In a couple of months, this
picture found its place on Sanctuary
Asias magazine cover, and it was my
first ever published image. This was
truly the happiest moment in my
career, and I am looking forward to
many more. |SP
IN
US
FOC
Shapoorji Pallonji develops
wildlife hotspot
in Alibaug
Dragonfly sculpture made out of scrap metal
Smart Photography
June 2016
Arial view of the native biodiversitygarden
54
Disha Khemchandani
here is certainly more to Alibaug than beaches.

The conceptualisation of Shapoorji Pallonjis
Native Biodiversity Garden at Teenvira attests
to the truth in this statement. Our planets green cover,
wildlife, natural ecosystems etc. are under threat due
to industrialisation, urbanisation, pollution etc. Taking
stock of these problems, Shapoorji Pallonji has put a
step forward with its newest garden. The garden has
been developed in collaboration with the Centre for
Environmental Research and Education and Raigad
Zilla Parishad. However, this garden is not a first for
Shapoorji Pallonji. The Indian business conglomerate is
also known for its award winning Biodiversity Garden
at SP Infocity, Pune.
Shapoorji Pallonjis Native Biodiversity Garden at

Teenvira is spread across 1.25 acres, and endeavours to
promote biodiversity and environmental sustainability.
A land that was considered to be barren is now home
to 50,000 plants of 525+ different native species along
with types of Harvester Ants, Praying Mantis, Signature
Spiders, Chameleons, Toads, Wild Hare etc.
In this garden, plants have been grown in 17 thematic
sections so that children can understand the distinctive
characteristics of each plant group. These sections also
have a detailed information plaque whereas individual
species have been labelled.
In the construction of this garden,

environmental sustainability has been
kept in check. The garden lights and
water pump in the pond are powered
by solar energy. The garden is watered
through drip irrigation to ensure water
conservation.
The garden also has a nursery where

native plants and seeds can be purchased.
This move has been incorporated to
boost wildlife, which in turn will increase
the biodiversity of the area.
The garden will also have an

information kiosk wherein visitors
will be enlightened on key concepts
like importance of biodiversity, native
species planting etc.
Shapoorji Pallonji also aims to spread

the idea of developing many more
native gardens. A website has also been
developed, which will educate visitors,
teachers and students on different
activities that will be conducted in
the garden. For ease of learning and
identification, the website will also
contain a section that lists all the plants
in the garden.
Zarine Commissariat, Head, Corporate

Social Responsibility, said, Shapoorji
Pallonji places great emphasis on
environmental sustainability and has
taken numerous innovative strides
Musical Bamboo grove
Blue Tiger
in this direction. The afforestation

programme has been underway since
the last four years involving local
communities in tree planting and
nurturing. The Native Biodiversity
Garden is one more step towards
our commitment to preserve the
environment and educate the public,
especially children, on the importance
of biodiversity
Dr. Rashneh Pardiwala, Founder and

Director, Centre for Environmental
Research and Education, opined,
Biodiversity gardens, like this one,
give us the opportunity to regenerate
vulnerable species like the Eulophia
Orchid, Krishnagaru, Sandalwood trees
and the Asian wasp moth!
For further details, please visit

www.spbiodiversitygardens.com
Red Trumpet Lily
Traditional Deepmal
Smart Photography
June 2016
Beauty is best experienced with all the

senses. And this garden has interpreted
this thought in its design. It includes
sensory stations where children can walk
barefoot, and also tinker with musical
bamboos to create sounds. Plants rich in
fragrance like Magnolia champaca and
Sontakkas have also been grown.
55
Share your best travel images with us!

And win exciting prizes...
Cant wait to print your travel photos on this canvas!
Email your Photo to: smarttravel.shot@gmail.com
Send us maximum 4 images, Horizontal pictures with 300dpi. High Image Resolution.
Please ensure that you send your Complete postal address with telephone number.
Picture should not have been printed in any magazine / newspaper, or offered
to any publication and, if applicable, scanned copy of model release (in case of
identifiable portraits) along with the entry.
n
Wi eparcko150
w p
Loormat Bac&k on
F
oStetdyr450 i
h
P
is
:
ity
Please ensure that you have renamed the clicked image with Full name and the
Destination name.This is to ensure that your correct name appears in the magazine
along with the image.(e.g: If your name is RAVI SHARMA, rename the entry as
RAVI SHARMA_Gateway of India _Mumbai.JPG . This is to ensure that your correct
name appears in the magazine along with the image.
Kil
ip
Ra
u
r, P
nja
y
B
h
nis
Ja
Ma
SMART
TRAVEL
C O N T E S T
OKEW
O
B VI
RE
The Grand
Maestros Of
Indian
Classical
Music
Rohinton Mehta
iren Desai, a freelance fine art

and advertising photographer
based in Mumbai, has
launched his coffee table book on a
crowdfunding platform.
Smart Photography
June 2016
The book, The Grand Maestros

of Indian Classical Music, is an
exploration of the creative and soulful
lives of the greatest contemporary
Indian classical musicians. Capturing
their lives, both on and off stage, the
book encapsulates the personalities
of 22 legendary artists.
Who are the maestros? (In
alphabetical order)
58
Ustad Abdul Halim Jaffer Khan

Ustad Alla Rakha
Ustad Amjad Ali Khan
Pandit Bhimsen Joshi
Ustad Bismillah Khan
Pandit C.R.Vyas
Vidushi Girijadevi
Pandit Hariprasad Chaurasia
Pandit Jasraj
Vidwan L. Shankar (Shenkar)
Vidwan Dr. M. Balamuralikrishnan
Vidushi M.S.Subbulakshmi
Vidushi N Rajam
Pandit Ram Narayan
Pandit Ravi Shankar
Pandit Shivkumar Sharma
Vidushi Shobha Gurtu
Vidwan T.H.Vinayakram(Vikku)
Vidwan T.K.Murthy
Ustad Zakir Hussain
Ustad Zia Fariduddin Dagar
Ustad Zia Mohiuddin Dagar
For years, he would hear them at

concerts, baithaks & festivals. He
stood mesmerized by the celestial
music behind which surely lay years
of hard work, patience, dedication and
sadhana. The more he listened, the

more his curiosity to know the person
behind the music grew. Their persona
on stage, the adulation they received
from their listeners completely
overshadowed the real person, and that
was the one Viren wanted to get close
to. Fuelled by this dream, he chose his
camera to tell their intimate stories.
Viren first approached Ustad

Zia Mohiuddin Dagar and Pandit
Hariprasad Chaurasia, explaining the
concept of the book that he wanted to
create and how he wanted to showcase
them. After the maestros graciously
This piece of work contains a

compilation of never seen before
images of these maestros, all shot
exclusively for this book. Interspersed
with beautiful anecdotes describing
their life, family, love & most
importantly, their music, insightful
quotations drawn from personal
interviews with each artist, they open
wonderful new windows into them
for eg. to read about the laughter of
Pandit Ravi Shankar, to see the shy
smile of Amma Subbulakshmi and
to know about Ustad Bismillah Khan
reminiscing about the unforgettable
taste of his mothers Gobi ka sabji, is

just priceless.
The book has 288 pages (12 x 12)

with 158 colour photographs and
130 black and white photographs.
It is divided into 22 chapters, each
depicting a single artist along with
inspiring quotes & collated knowledge
- all capturing their dedication to
their art and craft.
This project ultimately stands as a
testimony to the music and the lives
of these legends that have enriched so
many people across the globe.
Viren is now using the crowdfunding

platform Fueladream.com to bring this
coffee table book to life.
About Viren Desai
Viren graduated from the Rochester

Institute of Technology, New York
in 1985 and then worked as a
freelancer in New York for 2 years,
before moving to Mumbai in 1987.
Since then, he has worked for
corporate and advertising campaigns
for brands like Hero Honda, Visa,
Channel V, Concern India, Shrenuj,
Ravindra Heraeus, Pepsi and more.
Viren is also an Indian classical
music buff, and has used this book to
combine both his passions.
Check out his work on:
www.virendesaiphotography.com
To know more about his project, please visit www.fueladream.com/home/campaign/90
Smart Photography
October
June
2016
2015
agreed to take out time from their

busy concerts and teaching schedules,
Viren saw his dream turn into reality.
59
R
ATU
FE itius
O
T
HO aur
Smart Photography
June 2016
60
Ajay Sood (Travelure) is an accomplished travel photographer and a travelogue writer. His sole objective is to make the
destinations he covers desirable. He has been profiled as Mastercraftsman in Smart Photography
(May 2012). He was on the jury of Canon Photomarathon in 2012 and has been nominated yet again in 2015. He is also an
assignment photographer for National Geographic Traveller.
Ajay Sood (Travelure)

Canon Photo Mentor
He is a Canon Photo Mentor. Besides mentoring photography workshops, he leads photo-tours and contributes travelogues
and features to various publications. He has a passion for capturing the sights, sounds and stories of places he visits. He has
travelled across India extensively and to over 25 countries across the globe.
His 27 years in the communication industry have been his training ground, leading to his deep understanding of the visual
medium, reflected in his unique compositions. More of his work may be seen at www.travelure.in. Winner of Grab Your
Dream Season 2 photo contest organised by Cox & Kings and EzeeGo.
Mauritius
A 9-lettered word for FUN
Beach at Shanti Maurice
Smart Photography
June 2016
Recently, Mauritius Tourism had invited me to visit the

Island nation. Though it was my third visit there, this
weeklong visit left a life-long impression. I am privileged
to share the experience with you. Since it was a packed
fun-filled itinerary, the story is being shared in two
parts. Heres Part-I of my Mauritius story!
61
R
ATU
FE itius
O
T
HO aur
Shanti Maurice Beach
he van was speeding down

a perfectly tarred dual
carriageway. We were doing
100 kmph and the lush green
sugarcane plantations seemed to be
travelling with us. On the horizon, the
sky was a striking shade of electric
blue. Soon, we made a turn and the
greens of sugarcane fields gave way
to myriad hues of unending ocean.
Smart Photography
June 2016
The van windows were down and the

air felt invigorating and, well clean!
It had just been a few minutes since
we stepped out of Sir Seewoosagur
Ramgoolam International Airport,
and yet, the closed confines of the
aircraft were already a thing of
distant past.
62
Soon, we reached our hotel - Shanti

Maurice. Its entrance and the
driveway were nondescript. But as
soon as we reached its lobby, the
magic of the property started to
unravel and it reached its zenith once
I checked in and reached my room.
Bridge leading to my room in Shanti Maurice
Sunset at Shanti Maurice Beach
After a relaxing massage in Nira Spa,

the lazy evening that followed was
made special by some exotic Mauritian
home-brewed infusion rums and rumcocktails, served in Shanti Maurices
signature restaurant - Rum Shed.
Our next morning took us to La Vanille

Reserve des Mascareignes - a crocodile
park that also houses giant tortoises
and iguanas. These giant tortoises
were once plentiful in Mauritius but
were driven to the verge of extinction
as sailors hunted them in hordes. This
park is engaged in a laudable effort
of saving them from total extinction.
Some of these tortoises residing here
are over a hundred year old!
We took pictures with baby crocodiles,

giant tortoises and colourful-yetmenacing-looking iguanas. The
park had multiple enclosures that
helped segregate the species and also
provided a friendly habitat for them to
thrive.
An interesting private collection of
butterflies, beetles, bugs and spiders
by Mauritian scientist, Jacques
Siedlecki, also resides here. This is
a result of a 30-year labour of love
and has on display some of the rarest
species of butterflies and bugs!
Interestingly, the restaurant here
serves crocodile dishes!
We had our lunch at La Vallee Des

Couleurs Nature Park. Spread over
hundreds of hectares, this nature park
boasts of a hilly terrain and scenic
waterfalls. It offers a wide range of
leisure activities for the visitors.
Smart Photography
June 2016
The French window opened straight

on to the beach. Soon I realised that
since the hotel was at the southern
tip of the island, the beach offered
glorious view of both - sunrise as well
as sunset!
63
R
ATU
FE itius
O
T
HO aur
Giant tortoises at La Vanille Reserve des Mascareignes
Smart Photography
June 2016
Kudus in Casela
64
We experienced the thrill

of zipping down the thirdlongest zip line in the world
a 1.5 kms long wonder!
The view from here was
breath-taking - while it
passes over a stretch that
has the 23-coloured sand
(remains of volcanic lava),
the view included some
other spectacles like the
scenic waterfalls, the lush
green estate and the deep
blue Indian Ocean on the
horizon!
Smart Photography
June 2016
A waterfall in La Vallee Des Couleurs Nature Park
Later, we climbed on to
the quad-bikes. A short
beginner lesson followed
and soon, we went
vrooming around on these
powerful hunks! The terrain
was rugged and we were
still unfamiliar with the
maneouvrability of these
machines. That added
hugely to the adrenaline
Quad-bike ride in La Vallee Des Couleurs Nature Park
65
R
ATU
FE itius
O
T
HO aur
A rainbow greeted us when we left Rhumerie de Chamarel
Ostriches at Casela
Exotic rums at Rhumerie de Chamarel
Posing with a baby crocodile
flow and also contributed to some

amount of fear-factor! Overall, this ride
was sheer thrill!
Day 3. It was time to move from south

to east. We checked out of Shanti
Maurice and carried our bags in our
van as we were to check into Radisson
Blu later in the day! It was the day
when our bags would roam around
with us!
Smart Photography
June 2016
Our first stop was Casela Nature and

Leisure Park. While the name betrayed
little, the adventure we were in for
was huge. We started by entering
an enclosure of lions. Under strict
attendant supervision, we patted the
lions here and got our pictures taken
with these graceful creatures!
66
We were then ushered into another
Gently stroking a caracal - At Casela
Our further exploration of Casela

took us to a machaan from where
we fed giraffes and to an open
zoo where we saw Kudus, Rhinos,
Ostriches and many more exotic
species of fauna.
Afternoon took us to a lovely meal

and some rum tasting at Rhumerie
de Chamarel. The route to this
iconic estate is lined with sugarcane,
coffee, pineapple and other tropical
fruits. Their accomplished chefs
painstakingly curated the fare served.
It included a variety of local fish like

Mahi Mahi, Dorado and Salmon along
with delicious Duck Confit served
with an orange dip. The meal was
rounded off with delicately flavoured
sorbets.
After the meal and the conducted

tour of the Rhumerie, we were
escorted for a rum-tasting session.
A wide variety of subtle and not-sosubtle tastes followed - XO rum, VSOP
rum, spice rum, vanilla rum, coffee
rum and then some! This tasting
session ensured that we carried some
of these exotic flavours back with us
for subsequent imbibing!
As soon as we stepped out of the

Rhumerie, a rainbow splashed across
the sky greeted us! It had been a
pleasant, yet a long day. And we were
glad to be driven back to our new

abode - Radisson Blu, an east-coast
condominium hotel. With a resolve to
catch the sunrise next morning, we
called it a night!
Before I sign out, I just thought I may

as well flag an important observation
normally, my experience of visiting
an island is all about chilling on the
beach, reading a book, having a beer,
or at best partying at a nightclub;
but, the experience in Mauritius has
been a complete departure since
this island relentlessly throws you
in the whirlwind of activities suited
for all age groups. Just go there and
your impression of an island vacation
would transform forever! |SP
(To be continued in August Issue as
Part-II)
Smart Photography
June 2016
enclosure that housed caracals.

These knee-high felines are one of
the rarest animals on earth. While we
were clicking around merrily, these
adorable things were snuggling up and
gently brushing past us. Their pointyears were a fascinating sight!
67
Smart Photography app
Download now!
SP
EC
The Ones that

Did Not Make it...
IAL
H. S. Billimoria
We start with Agfa (also known

as Aktien Gesselschaft fur
Anilinfabrikation), a photo chemical
company founded outside Berlin
in 1873. The founders were Paul
Mendelssohn (son of the famous
classical composer Felix Mendelssohn)
and Carl Alexander. It soon became the
largest film manufacturing and photo
products company in Germany. Agfa
was to Germany what Kodak was to
the US and Konica (and later Fuji) was
to Japan. Also known as Agfa Gevaert,
the Gevaert part was actually Belgian
and was a leading manufacturer of
photographic paper. Agfa and Gevaert
merged in 1964 and in 1981, the
company became a 100% subsidiary
of Bayer. Agfas main claim to fame
was the maiden introduction of colour
reversal film in 1936. Although popular
in Germany and parts of Europe, Agfa
never achieved the sort of universal
popularity for its films that Kodak and
subsequently, Fuji did. Agfa film was
known for its strong reproduction
of magenta. Also, the dyes were not
very stable and colour prints as well
as transparencies tended to fade
earlier than competition. Perhaps, the
bosses at Agfa saw their East German
competitor, Orwo, as competition
rather than Kodak and therefore did

everything to keep Orwo at bay and in
the process, missed the big picture.
Agfa also played a role in popularising

small format rangefinder cameras as
well as SLRs. The rangefinder cameras
were known as the Agfaflex series and
the Agfaflex 1 was launched in 1959.
It featured a leaf shutter and in fact
and 135mm. Whilst the Ambiflex 1

came with an interchangeable waist
level finder, the Ambiflex2 had an
interchangeable pentaprism finder.
The Ambiflex series was followed by

the Selecta-Flex series. This series
also featured a Leaf Prontor Shutter
Agfaflex
Selecta-Flex
but added shutter priority automatic
exposure.
was the only leaf shutter camera ever
made with interchangeable finders. The
Agfaflex range went upto the Agfaflex
5 which came with a fixed Agfa Color
Solinor 55mm f2 lens.
The rangefinder era was rapidly

coming to an end in the fifties and
the world, led by Japan, was moving
to single lens reflex cameras. Agfa
launched its SLRs under the name
Ambiflex and Colorflex. The Ambiflex
1 was launched with a bayonet mount
and 4 lenses - 50mm, 35mm, 90mm
Ambiflex
By the mid sixties, the SLR industry had

become viciously competitive. Japanese
SLRs were better made, aggressively
priced and aggressively marketed.
The Agfa equivalents did not stand a
chance. Agfa subsequently withdrew
from the SLR market and retreated
to marketing cheap compact cameras
to accompany its films. Meanwhile, it
started focusing on the needs of the
printing industry.
The digital revolution took the photo

industry by storm. Companies like
Agfa did not foresee the digital storm.
Consequently, they had to wind up their
presence in the photo industry and
retreat to more friendly industries like
the graphics industry and healthcare.
Agfa Photo filed for bankruptcy in
2005.
The red Agfa box, however, remains
etched in our memory. |SP
Smart Photography
June 2016
he photography industry has

been through a highly exciting
but tumultuous century. During
this period, many corporates have
entered and exited the camera
business. The industry had been
severely competitive in the nineteen
sixties, seventies and eighties and
this inevitably took its toll. Starting
with this issue, SP tracks those
companies that did indeed play a
part in the fortunes of the industry,
but for a variety of reasons were
forced to exit the business.
69
T
N
I
O
W
VIE
The Last Word

in Firmware!
H. S. Billimoria
ll digital cameras today are

sophisticated instruments
using the latest in
information technology. The word
firmware refers to permanent
software programmed into the
ROM of a device like a camera.
This firmware controls, monitors
and manipulates data in order to
enable the device to work to its
specifications.
Smart Photography
June 2016
Frequently, manufacturers choose

to update the firmware after
the release of the product in the
market. This may be necessitated
due to bugs that were discovered
subsequently or to improve the
performance of the product. All
manufacturers have resorted to
issuing notifications in the press
referring to the latest firmware
update relating to their specific
camera models. The method
of doing so is easily available
on the manufacturers website.
Unfortunately, by doing so,
70
manufacturers have
opened the door to
hackers who use this
route to discover the
type of chips that
the camera has used
and how they can be
manipulated.
Hackers have written

firmware to improve
the functioning of
cameras. Examples
are where they have
given a RAW file
capability to cameras
that didnt have it.
Other examples are
giving the camera
remote control
abilities and also
improving the video
capability of the
camera.
Canon was one company that

suffered from this hacking. A
website called CHDK (Canon Hack
Development Kit) allowed access
to Canons own software and using
a program called Magic Lantern
enabled the camera to acquire added
video capability. Panasonics GH4
has also been affected by a software
called P tool that can modify/
enhance Panasonic firmware to
improve video quality even further.
Nikon similarly has a Nikon Patch.
Is such hacking, however well
intentioned, legal? For a start, it
invalidates the cameras guarantee
and therefore you hack at your own
risk. In their defence, the hackers
claim that they actually increase
camera sales by enhancing the
performance of the cameras. The
jury is out on that one... |SP
G Pro
NIN ress
ARlbum Xp
A
Get Familiar with

Manual Mode
Sujith Gopinath
Manual Interface
the current position.

However, you have
the option to rotate
the image or move
the image vertically
or horizontally. If you
want to move the
image around, you
will have to click on
the padlock and it will
display an unlocked
image. This is
applicable even to the
background text.
Setting Defaults
72
ast month, we got an overview of

the host of features that DGFlick
Album Xpress PRO incorporates.
Now is the time to go into details.
In this issue, we will see what effect
options we have in Album Xpress
PRO. For this, we will use the Manual
option for album creation since this
provides access to the maximum
number of adjustments. Album Xpress
PRO is essentially a wedding album
designing software and hence the
templates are all themed around
wedding. Let me make a confession
here that I am not a wedding
photographer and hence do not have
the apt images. However, the images
in this page should give a fair idea of
the concept.
First we have to select a template.
Templates are listed according to the
type or orientation and the number of

photos on a page. However, the actual
size and orientation of the album
depends on the defaults you have set
on the home screen (refer to the last
part in May issue). The default formats
are in landscape format, but if you
prefer portrait orientation for your
album, you have to manually specify
the width and height of your album.
I have selected 12 x 18 inches for my
album and specified this as dimension
for single page.
Once you choose the Manual option,
it will open the design screen. Here
you have all options to customise the
album. Let us get familiar with this
screen. For this, I have marked and
numbered the various areas on the
screen and this would make it easy to
explain.
Here you have the option to choose

the template, theme and photo.
The Template tab is activated by

default. To select a template, you
can use the drop down menu or
use filters if you are looking for a
particular feature such as orientation
or number of photos on a page. The
templates are named according to
the orientation (or type) and the
number of photos on a page. You have
to double click on the page to select it
and then double click on your chosen
template to apply it on that page. If
you want to change your selected
template, you can simply double click
on another template of your choice.
Choose Template
background patterns. You

have the choice of selecting
one theme for all pages or
use different themes for
individual pages.
The third tab allows you
to choose Photos. You can
double click on the photo
or drag and drop it to add
to the placeholder. Here
you can see the padlock
sign on the selected
image. This means that
this image is locked at
To change the theme, click on the

Theme tab and you will get different
coloured themes with various
Smart Photography
June 2016
Smart Photography
June 2016
Choose Theme
73
72
DgFlick Album Xpress Pro
G raph
NIN otog
AR Ph
LEstanding
er
Und
Smart Photography has been continually receiving requests to start a basic course for beginners. With this in
mind, we have asked a very knowledgeable photographer from Hyderabad to take over writing these articles. We
have also requested him to be as jargon-free as it is possible, so that newcomers to photography feel comfortable
to pursue the hobby.
The author, Ashok Kandimalla has been in the photographic field for over three decades and has extensive
experience in both film and digital photography. Being an electronics engineer by profession and a photographer,
he possesses a unique and deep insight into the technical aspects of digital photography and equipment. He has
published several articles on photography and some of his writings have also been published in the well-known
international magazine Popular Photography.
Ashok Kandimalla
An avid collector of photographic books and vintage cameras, Ashok has a keen interest in the history of
photography and a passion for sharing his knowledge on photography through teaching and writing. He is
presently working as a Management and Engineering consultant. You can see his work at http://www.flickr.com/
photos/ashok_kandimalla. He can be reached at kashokk@gmail.com
Panoramic
Photography
Picture 5: Photoshop main menu Marquee tool and

Brush Tool.
Part II
(Creating Panoramas and Tiny Planets)
ast month you have seen the

principles behind panoramic
photography. For those who have
tuned in late, here is a quick recap on
how to take the sequence of images to
make a panorama.
Keep the camera on

the panorama / ball /
pan head and level it.
between successive images so that the

software can merge them together.
Creating a panorama:
Assume that you have taken a sequence
of images as shown in Pictures 1 to

4. Keep all these images in one folder.
Let us call it Panorama Images. Now,
you need to merge these to make a
panorama.
Pictures 1 to 4, before merging. Note the overlap between successive images. These
were made with the camera mounted on a tripod but without a panoramic head.
Picture 1
Picture 2
Picture 6: The Photomerge window of Photoshop.
Position the camera at

its nodal point based on
the lens.
76
LE
Open Photoshop on your computer and

go to the Main menu (Picture 5). Now
from the Main menu,
File > Automate > Photomerge
Picture 3
This will open a new window (Picture

6). Here, click on Browse button and
then choose the Panorama Images
Picture 4
Image > Crop
This will trim away the unwanted

portions. In this case the bottom was
trimmed away to remove some unwanted
objects. You can also post-process the
image now, as you would normally do. The
resulting image is shown in Picture 8. Save
the file. Your panorama is now ready!
Picture 8: The completed panorama after trimming and post-processing.
Start from one side

and take as many images
as needed to complete
the panorama you had in
mind. Ensure that there
is at least a 30% overlap
77
76
Panoramic Photography - Part II
G
NIN
AR
How to Blur
Moving Water
Balance (dont use Auto White

Balance)
Set the camera to Aperture Priority

mode with the sensitivity (ISO) set to
the base ISO. Set a narrow aperture
like f/11 or f/16 for greater depth
of field. Note that this will also slow
down the shutter speed.
Take anything between 10-15 shots

of the flowing water, but wait for
about 1 second between shots.
Rohinton Mehta
To create our above vision, we need

to experiment using slow shutter
speeds. But heres the problem. When
photographing in daylight, even with
the narrowest aperture on the lens
and the lowest possible ISO sensitivity
on the camera body, we may not be
able to achieve the really slow shutter
speeds that may be required. The
solution is to use Neutral Density (ND)
filters. But, to make this discussion
more interesting, lets say that we
dont have the ND filters! Now what?
In that case, you could delay the shoot
Load the images on to your
computer. Open Bridge, which is a

part of Photoshop. Select the required
images.
Go to Tools > Photoshop > Load

Files into Photoshop Layers.
to Smart Object.
Go to Layer > Smart Objects >

Stack Mode >Mean. Enjoy your
creation.
Note: If you try this technique

without a tripod, try to use a higher
shutter speed to avoid hand-shake.
But after point no. 6 above, go to
Edit> Auto Align Layers. This will
(hopefully) register all the images
without any overlap. |SP
Select all the Layers in the Layers
Panel (select the top layer and then

keeping Shift pressed, click the
bottommost layer) and go to
Layer > Smart Objects > Convert
till the ambient light levels

fade. But lets say that delaying
the shoot is not possible (you
have to catch that 6.30pm
train back home!). Any more
suggestions?
Yes! Take several short
exposures and merge
them together. And try the
experiment where the flow of
the water is strong enough.
The Procedure
Place your camera on a

sturdy tripod. For further
safety against inadvertant
camera movement during
exposure, it may be wise to use
a cable release (if your camera
permits that) or better still, a
wireless release.
Note: Some people use this
technique even without a
tripod. If you do so, be extra
careful to maintain the same
framing (which, in my opinion,
is not very easy).
Smart Photography
June 2016
nlike video, our photographs

are still images. Hence, to
show movement of any kind,
we need to use very slow shutter
speeds (how slow could depend of
the speed of the subject, the distance
between the camera and the subject,
the focal length used and the effect
that you are trying to achieve). Lets
take an example. We want to create a
smooth, dreamy blur of flowing water,
but keeping the non-moving elements
as sharp as possible. We may like to
include partial blurring of tree leaves
fluttering in the breeze.
Set the necessary White
83
Picture 1: An example of a panorama. This is the result of merging 4 images.
82
How to Blur Moving Water
G
NIN
AR
LE
Sweet Spot
Rohinton Mehta
ne of our readers has

requested us to discuss
sweet spot as applicable to
photographic lenses. Well, here it is...
When referring to photographic
lenses, photographers often use the
term sweet spot. What exactly does
it mean and how does one find it?
How can knowing the sweet spot of
our lenses help us?
Every lens, howsoever expensive or
cheap, has one aperture setting that
provides the maximum resolution at
the plane of focus. This aperture is
known as the sweet spot.
Please note the words at the plane of

focus. This simply means that we are
referring to the point or points that
lie in the same focus plane (see the
diagram)
The sweet spot is generally about

2-stops down from the maximum
aperture, but depending on the lens
design, could vary. So, as examples,
lets consider the following lenses: a
50mm f/1/4, 50mm f/2 and 50mm
f/2.8. For the 50mm f/1.4, the sweet
spot is likely to be f/2.8; for the
50mm f/2 lens, it could be f/4 and
for the 50mm f/2.8, it could be f/5.6.
This further means that if we were to
consider the 50mm f/2 lens, we could
get the maximum resolution that the
lens is capable of, at f/4.
Step 1
Smart Photography
June 2016
Smart Photography
June 2016
After the merge operation is

completed, the Photoshop screen will
look as in Picture 7. If you open the
Layers sub-window in Photoshop you
will notice that each image is now a
In the merged image shown, you will

notice that the image is more or less a
proper rectangle. This is because the
camera was on a tripod and leveled
carefully. If you had handheld the camera,
then you may get an irregular shape. In
that case, you should use the Marquee
tool from the tool box (Picture 5), draw
a rectangle and select the portion of the
image that you want to retain. Now from
the Main menu,
Do not alter the

position of the camera
by shifting your tripod.
(The idea for this tecnique is based on

a write-up I read somewhere on the
internet, but cant remember where
or who wrote it. To that original idea,
I have added my inputs wherever I
thought it necessary).
82
layer. More importantly each layer is

appropriately masked. The top most
layer has the merged image.
Also from this window, choose

Auto option (Picture 6 left top).
You also need to tick the four
options at the bottom viz., Blend
Images Together, Vignette
Removal, Geometric Distortion
Correction and Content Aware
Fill Transparent Area. These
will correct for any faults in
the images and give you the
best results. Now click on OK button
and then wait while the Photoshop
completes the merging.
Smart Photography
June 2016
Smart Photography
June 2016
Set White Balance,

focus, exposure, focal
length (in case you
are using a zoom lens)
and do not change
these settings till the
panorama sequence is
over.
Picture 7: The Photoshop screen after executing Photomerge. Each file that was merged is shown as a layer,
with the merged layer shown the top most.
folder and select images one

after another. You can do this by
holding the Control key down
while clicking on the name of
each file.
84
Its obvious that the sweet spot

aperture will not get us the maximum
depth of field, but will give the the
maximum resolution (sharpness) at
the focussed plane.
So, how does knowing the sweet spot
help us in practical terms?
Lets say that we wish to take a head
and shoulder portrait, using an
A
C
Camera
Plane of focus
Paint A, B & C are all in the same plane - they form the plane of focus
85mm f/1.4 lens. If we use the lens

wide open at f/1.4, the background
would be very soft but chances are,
the subject may also be not as sharp
as expected. The best resolution that
the lens could provide, could be at
f/2.8 (the sweet spot of that lens).
This would provide the expected
sharpness at the focussed plane (the
subjects eyes in this case), and still
provide a soft bokeh (the quality of
the out of focus background).
Now lets say that we wish to

photograph a landscape. Generally,
we would use a narrow aperture
(like f/11 or f/16 or even f/22)
to get the required front-to-back
sharpness. But using very narrow
apertures have their own problems
of diffraction that causes overall
softness in the image. This is one
more occasion where knowing the
sweet spot of our lens could prove
beneficial. Instead of using a very
narrow aperture (that could cause
diffaction problems), we could use
the sweet spot aperture and do
what is known as focus stacking.
Tripod your camera. Using the sweet
spot, focus on the nearest element of

the landscape that you want sharp,
take the shot and then take several
other frames (without moving the
tripod or changing the exposure)
focussing progressively further into
the landscape. After the images are
loaded into Photoshop, you can blend
them together to get a perfectly sharp
front-to-back image.
The same tecnique could be used to
create an end-to-end sharp image
of a non-moving macro subject. The
additional advantage here would
be a soft background (because
you wouldnt be using a narrow
aperture).
A practical test to find the sweet
spot of your lens
Locate a subject with sharp text (a

movie poster would do).
Tripod your camera on Aperture
Priority mode and place it squarely

against the subject (make sure that
the subject and the cameras sensor
are absolutely parallel to each other).
Take a series of shots at all the
apertures that your lens offers. It

may be worthwhile to lock up the
mirror before every shot and use a
wireless remote (if thats possible)
to guarantee that the tripod stays
absolutely steady during the entire
test.
Load all the images in Photoshop

and very carefully, ascertain the
sharpest image.
The aperture that provides the
sharpest image is your sweet spot

aperture.
Use this aperture for maximum
sharpness at the focussed plane. |SP
84
Sweet Spot
Learnings
LE
lick
DgF
G ss Pro
N
I
N pre
ARlbum X
E
L kA
DgF
lic
Get Familiar with

Manual Mode
Sujith Gopinath
Setting Defaults
Smart Photography
June 2016
72
ast month, we got an overview of

the host of features that DGFlick
Album Xpress PRO incorporates.
Now is the time to go into details.
In this issue, we will see what effect
options we have in Album Xpress
PRO. For this, we will use the Manual
option for album creation since this
provides access to the maximum
number of adjustments. Album Xpress
PRO is essentially a wedding album
designing software and hence the
templates are all themed around
wedding. Let me make a confession
here that I am not a wedding
photographer and hence do not have
the apt images. However, the images
in this page should give a fair idea of
the concept.
First we have to select a template.
Templates are listed according to the
type or orientation and the number of

photos on a page. However, the actual
size and orientation of the album
depends on the defaults you have set
on the home screen (refer to the last
part in May issue). The default formats
are in landscape format, but if you
prefer portrait orientation for your
album, you have to manually specify
the width and height of your album.
I have selected 12 x 18 inches for my
album and specified this as dimension
for single page.
Once you choose the Manual option,
it will open the design screen. Here
you have all options to customise the
album. Let us get familiar with this
screen. For this, I have marked and
numbered the various areas on the
screen and this would make it easy to
explain.
Here you have the option to choose

the template, theme and photo.
The Template tab is activated by

default. To select a template, you
can use the drop down menu or
use filters if you are looking for a
particular feature such as orientation
or number of photos on a page. The
templates are named according to
the orientation (or type) and the
number of photos on a page. You have
to double click on the page to select it
and then double click on your chosen
template to apply it on that page. If
you want to change your selected
template, you can simply double click
on another template of your choice.
To change the theme, click on the
Theme tab and you will get different
coloured themes with various
Manual Interface
the current position.

However, you have
the option to rotate
the image or move
the image vertically
or horizontally. If you
want to move the
image around, you
will have to click on
the padlock and it will
display an unlocked
image. This is
applicable even to the
background text.
Choose Template
The third tab allows you

to choose Photos. You can
double click on the photo
or drag and drop it to add
to the placeholder. Here
you can see the padlock
sign on the selected
image. This means that
this image is locked at
Smart Photography
June 2016
background patterns. You

have the choice of selecting
one theme for all pages or
use different themes for
individual pages.
Choose Theme
73
G ss Pro
N
I
N pre
ARlbum X
E
L kA
DgF
lic
Choose Photos
Here you have access to

shortcuts for alignment and
such controls.
The various options available

are Lock/Unlock object,
Arrange Objects (Send to
Back, Send Backward, Bring
to Front, Bring Forward), Page
based alignment, Object Based
Alignment, Equal Spacing
Between Objects, Equal Size
(Photos), Create Photo Grid,
Split Photo, Rotate Objects,
Edit, Undo and Redo. Let us try
out some of the less obvious
options.
Split Image
Smart Photography
June 2016
The Split option splits the

image into specified number
of pieces. The effect looks as in
the image below.
74
There is another option in the

same tool called Break, which
breaks each split part as a
separate image. You can choose
to delete individual parts or
shift them around.
Now if you feel that you have

made a mistake, you cannot
undo these changes. The only
option then is to delete the
Break Image
EditXpress Eraser
image and insert the original.

Also, if you need to enlarge or
reduce an image within a frame,
you can do that simply by
holding the Ctrl key and
using the scroll wheel on the
mouse.
A very important option in this
group of tools is Edit photo.
Here you can edit the image in
DGFlick Edit Xpress or Adobe
Photoshop. The options include
Enhance, Lasso, Chroma,
Touchup, Highlighter, Eraser,
Photoshop and Edit Xpress.
If you choose any option other
than Photoshop or EditXpress,
the image opens in an Edit
Xpress window. This is a plugin
built into Album Xpress. Please
see the images on the left.
EditXpress Full Version
Now if you save this image, it

will be saved in your album
without affecting the original.
If you want to utilise the

advanced editing options in
Edit Xpress, choose the Edit
Xpress option. If you have the
Edit Xpress dongle connected,
you will have access to the full
version; if not, you have the
option to run the application as
trial.
Please note that if you choose

to edit the image on an external
editor such as EditXpress or
Photoshop, you will have to
save the image as a copy and
place it again or save it in the
album folder.
Photoshop Link
We will see the other tools in

our subsequent issues. |SP
Smart Photography
June 2016
Photoshop Edit
If you have Adobe Photoshop

installed, you can provide the
path of this application to
Album Xpress so that the image
opens in Photoshop. You can
also permanently set this up
by clicking on the Preferences
option (the spanner icon near at
the top right corner).
75
G grap
N
I
N oto
hy
ARding Ph
E
L an
rst
e
Und
Smart Photography has been continually receiving requests to start a basic course for beginners. With this in
mind, we have asked a very knowledgeable photographer from Hyderabad to take over writing these articles. We
have also requested him to be as jargon-free as it is possible, so that newcomers to photography feel comfortable
to pursue the hobby.
The author, Ashok Kandimalla has been in the photographic field for over three decades and has extensive
experience in both film and digital photography. Being an electronics engineer by profession and a photographer,
he possesses a unique and deep insight into the technical aspects of digital photography and equipment. He has
published several articles on photography and some of his writings have also been published in the well-known
international magazine Popular Photography.
Ashok Kandimalla
An avid collector of photographic books and vintage cameras, Ashok has a keen interest in the history of
photography and a passion for sharing his knowledge on photography through teaching and writing. He is
presently working as a Management and Engineering consultant. You can see his work at http://www.flickr.com/
photos/ashok_kandimalla. He can be reached at kashokk@gmail.com
Panoramic
Photography
Part II
(Creating Panoramas and Tiny Planets)
ast month you have seen the

principles behind panoramic
photography. For those who have
tuned in late, here is a quick recap on
how to take the sequence of images to
make a panorama.
Keep the camera on

the panorama / ball /
pan head and level it.
Picture 1
between successive images so that the

software can merge them together.
Creating a panorama:
Assume that you have taken a sequence
of images as shown in Pictures 1 to

4. Keep all these images in one folder.
Let us call it Panorama Images. Now,
you need to merge these to make a
panorama.
Pictures 1 to 4, before merging. Note the overlap between successive images. These
were made with the camera mounted on a tripod but without a panoramic head.
Picture 2
Position the camera at

its nodal point based on
the lens.
Smart Photography
June 2016
Set White Balance,

focus, exposure, focal
length (in case you
are using a zoom lens)
and do not change
these settings till the
panorama sequence is
over.
76
Do not alter the

position of the camera
by shifting your tripod.
Start from one side

and take as many images
as needed to complete
the panorama you had in
mind. Ensure that there
is at least a 30% overlap
Picture 3
Picture 4
Picture 7: The Photoshop screen after executing Photomerge. Each file that was merged is shown as a layer,
with the merged layer shown the top most.
folder and select images one

after another. You can do this by
holding the Control key down
while clicking on the name of
each file.
Picture 6: The Photomerge window of Photoshop.
Open Photoshop on your computer and

go to the Main menu (Picture 5). Now
from the Main menu,
File > Automate > Photomerge
This will open a new window (Picture

6). Here, click on Browse button and
then choose the Panorama Images
Also from this window, choose

Auto option (Picture 6 left top).
You also need to tick the four
options at the bottom viz., Blend
Images Together, Vignette
Removal, Geometric Distortion
Correction and Content Aware
Fill Transparent Area. These
will correct for any faults in
the images and give you the
best results. Now click on OK button
and then wait while the Photoshop
completes the merging.
After the merge operation is

completed, the Photoshop screen will
look as in Picture 7. If you open the
Layers sub-window in Photoshop you
will notice that each image is now a
layer. More importantly each layer is

appropriately masked. The top most
layer has the merged image.
In the merged image shown, you will

notice that the image is more or less a
proper rectangle. This is because the
camera was on a tripod and leveled
carefully. If you had handheld the camera,
then you may get an irregular shape. In
that case, you should use the Marquee
tool from the tool box (Picture 5), draw
a rectangle and select the portion of the
image that you want to retain. Now from
the Main menu,
Image > Crop
This will trim away the unwanted

portions. In this case the bottom was
trimmed away to remove some unwanted
objects. You can also post-process the
image now, as you would normally do. The
resulting image is shown in Picture 8. Save
the file. Your panorama is now ready!
Picture 8: The completed panorama after trimming and post-processing.
Smart Photography
June 2016
Picture 5: Photoshop main menu Marquee tool and

Brush Tool.
77
G grap
N
I
N oto
hy
ARding Ph
E
L an
rst
e
Und
Picture 9: The inverted image. This is the unprocessed version of Picture 8.
Creating a Tiny Planet:
Once you have created a panorama

that is not end of it! You can create an
interesting variation of this called the
Tiny Planet. Here the image which is
rectangular in shape will be converted
into a circular one. This is how you
do it. Here is a tip. Start with the
panorama that has been trimmed but
not post-processed in any other way.
This will help you later.
First open the completed panorama
image in Photoshop. From the Main
menu,
Image > Image Rotation > 180
This will invert the image (Picture 9).
You now need to convert this

rectangular image into a square image.
Again from the Main menu,
Smart Photography
June 2016
Image > Size
78
This will show a window (Picture 10).

Observe the link symbol (red arrow).
Normally it binds the Width and
Height fields so that when you change
one the other changes correspondingly
to maintain the same aspect (that is
width to height) ratio. However, in this
case we want to break it so that we can
convert the rectangular shape into a
square shape. For this just click on the
link and now both fields ae delinked. In
the Height field enter the same number
as the Width.
Also, enable the Resample check box
(blue arrow).
Click on OK and you will find that the

rectangular image has become a square
Picture 10: Image Size Window. Here a number of 3000 was entered in the
Height field so that both the fields are the same.
Picture 11: The resulting square image.
image. It looks distorted now (Picture

11) but dont worry as this is not the
final image.
So far the image is in the Rectangular

coordinate system and to make it
into a circular planet you need to
convert it into the Polar coordinate
system. No, please dont get scared!
You dont need a masters degree in
mathematics to do this as Photoshop
will do this for you. Just follow the
steps given in here. From the Main
menu,
Filter > Distort > Polar Coordinates

You will now see a window (Picture
12). The next step is simple. Just select
the Rectangular to Polar option (red
arrow) and click on OK. That is all
(Picture 13).
Picture 13: This after the conversion from Rectangular to Polar coordinates. At this stage the image is
not post-processed.
As mentioned our planet is still square

shaped. Planets are however circular
and hence you need to make the image
into a circle. For this go to the Tool
Box (Picture 5) and right click on the
Marquee tool. From the drop down
list, choose the Elliptical Marquee
tool. Start from the approximate
center of the square and drag. As you
drag, keep both the Shift and Alt keys
pressed. This does two things. First,
it converts the ellipse into a circle.
Second, it shifts the circle in such a way
that the point you originally clicked
will now become the center of the
circle. Continue dragging the circle to
till you include what you want. If the
circle is not exactly at the center, nudge
the circle using the arrow keys on your
keyboard.
Smart Photography
June 2016
Picture 12: Filter that converts the Rectangular coordinates to Polar coordinates.
You can now see that the image has

been warped around and made into
a circle but overall the image is still
a square. Warping involves joining
of the two ends of the image. Hence
there could (but not always) be a
seam at the joining area. Since you
have started with an unprocessed
image, it is easy to eliminate it. You
can use, for example Content Aware
fill to do this. At this stage you may
want to post-process the image to
crop, adjust contrast, saturation, etc.
You may also want to rotate the image
for better aesthetics (compare images
13 and 14 to understand this).
79
G grap
N
I
N oto
hy
ARding Ph
E
L an
rst
e
Und
Picture 14: Our Tiny

Planet and it is rather
rocky! Starting from Picture 13 this is the result
of post-processing and
also rotating the image.
Since a planet is in space, the image

should be surrounded by empty space.
The surrounding space will be black
when you display the image on a
monitor and white when you print on a
paper. So, correspondingly, you should
fill the area outside the circle with
black color for display and with white
color if you want to print it. For this,
follow these steps:
Duplicate the layer and then from
Main menu,
CONCLUSION
Smart Photography
June 2016
Select > Inverse
80
This will select the area outside the

circle. You need to fill this area with
black or white using the Brush Tool
from the Tool Box (picture 5).
Since you are going to see the image

printed in Smart Photography, I used
white for filling. The result is a Tiny
Planet (Picture 14). |SP
In this concluding part you have seen how images are

merged to form a panorama using Photoshop. You have
also seen a step by step procedure for converting the
usual panorama into a tiny planet. Though the steps
involved may look to be many they are simple and you
can practice them easily. We at Smart Photography hope
to see a few nice Tiny Planets from our readers.
All text diagrams and images Ashok Kandimalla
Note: This image was

created by the Author
and was exhibited in
Hyderabad by the Save
the Rocks Foundation.
NIN
R
A
LE
How to Blur
Moving Water
Rohinton Mehta
(The idea for this tecnique is based on

a write-up I read somewhere on the
internet, but cant remember where
or who wrote it. To that original idea,
I have added my inputs wherever I
thought it necessary).
Smart Photography
June 2016
nlike video, our photographs

are still images. Hence, to
show movement of any kind,
we need to use very slow shutter
speeds (how slow could depend of
the speed of the subject, the distance
between the camera and the subject,
the focal length used and the effect
that you are trying to achieve). Lets
take an example. We want to create a
smooth, dreamy blur of flowing water,
but keeping the non-moving elements
as sharp as possible. We may like to
include partial blurring of tree leaves
fluttering in the breeze.
82
To create our above vision, we need

to experiment using slow shutter
speeds. But heres the problem. When
photographing in daylight, even with
the narrowest aperture on the lens
and the lowest possible ISO sensitivity
on the camera body, we may not be
able to achieve the really slow shutter
speeds that may be required. The
solution is to use Neutral Density (ND)
filters. But, to make this discussion
more interesting, lets say that we
dont have the ND filters! Now what?
In that case, you could delay the shoot
till the ambient light levels

fade. But lets say that delaying
the shoot is not possible (you
have to catch that 6.30pm
train back home!). Any more
suggestions?
Yes! Take several short
exposures and merge
them together. And try the
experiment where the flow of
the water is strong enough.
The Procedure
Place your camera on a
sturdy tripod. For further

safety against inadvertant
camera movement during
exposure, it may be wise to use
a cable release (if your camera
permits that) or better still, a
wireless release.
Note: Some people use this

technique even without a
tripod. If you do so, be extra
careful to maintain the same
framing (which, in my opinion,
is not very easy).
Set the necessary White
Set the camera to Aperture Priority
mode with the sensitivity (ISO) set to

the base ISO. Set a narrow aperture
like f/11 or f/16 for greater depth
of field. Note that this will also slow
down the shutter speed.
Take anything between 10-15 shots

of the flowing water, but wait for
about 1 second between shots.
Load the images on to your

computer. Open Bridge, which is a
part of Photoshop. Select the required
images.
Go to Tools > Photoshop > Load
Files into Photoshop Layers.
Select all the Layers in the Layers

Panel (select the top layer and then
keeping Shift pressed, click the
bottommost layer) and go to
Layer > Smart Objects > Convert
to Smart Object.
Go to Layer > Smart Objects >

Stack Mode >Mean. Enjoy your
creation.
Note: If you try this technique

without a tripod, try to use a higher
shutter speed to avoid hand-shake.
But after point no. 6 above, go to
Edit> Auto Align Layers. This will
(hopefully) register all the images
without any overlap. |SP
Smart Photography
June 2016
Balance (dont use Auto White

Balance)
83
NIN
R
A
LE
Sweet Spot
Rohinton Mehta
ne of our readers has

requested us to discuss
sweet spot as applicable to
photographic lenses. Well, here it is...
When referring to photographic
lenses, photographers often use the
term sweet spot. What exactly does
it mean and how does one find it?
How can knowing the sweet spot of
our lenses help us?
Every lens, howsoever expensive or
cheap, has one aperture setting that
provides the maximum resolution at
the plane of focus. This aperture is
known as the sweet spot.
Please note the words at the plane of

focus. This simply means that we are
referring to the point or points that
lie in the same focus plane (see the
diagram)
Smart Photography
June 2016
The sweet spot is generally about

2-stops down from the maximum
aperture, but depending on the lens
design, could vary. So, as examples,
lets consider the following lenses: a
50mm f/1/4, 50mm f/2 and 50mm
f/2.8. For the 50mm f/1.4, the sweet
spot is likely to be f/2.8; for the
50mm f/2 lens, it could be f/4 and
for the 50mm f/2.8, it could be f/5.6.
This further means that if we were to
consider the 50mm f/2 lens, we could
get the maximum resolution that the
lens is capable of, at f/4.
84
Its obvious that the sweet spot

aperture will not get us the maximum
depth of field, but will give the the
maximum resolution (sharpness) at
the focussed plane.
So, how does knowing the sweet spot
help us in practical terms?
Lets say that we wish to take a head
and shoulder portrait, using an
Camera
Plane of focus
Paint A, B & C are all in the same plane - they form the plane of focus
85mm f/1.4 lens. If we use the lens

wide open at f/1.4, the background
would be very soft but chances are,
the subject may also be not as sharp
as expected. The best resolution that
the lens could provide, could be at
f/2.8 (the sweet spot of that lens).
This would provide the expected
sharpness at the focussed plane (the
subjects eyes in this case), and still
provide a soft bokeh (the quality of
the out of focus background).
Now lets say that we wish to

photograph a landscape. Generally,
we would use a narrow aperture
(like f/11 or f/16 or even f/22)
to get the required front-to-back
sharpness. But using very narrow
apertures have their own problems
of diffraction that causes overall
softness in the image. This is one
more occasion where knowing the
sweet spot of our lens could prove
beneficial. Instead of using a very
narrow aperture (that could cause
diffaction problems), we could use
the sweet spot aperture and do
what is known as focus stacking.
Tripod your camera. Using the sweet
spot, focus on the nearest element of

the landscape that you want sharp,
take the shot and then take several
other frames (without moving the
tripod or changing the exposure)
focussing progressively further into
the landscape. After the images are
loaded into Photoshop, you can blend
them together to get a perfectly sharp
front-to-back image.
The same tecnique could be used to

create an end-to-end sharp image
of a non-moving macro subject. The
additional advantage here would
be a soft background (because
you wouldnt be using a narrow
aperture).
A practical test to find the sweet

spot of your lens
Locate a subject with sharp text (a
movie poster would do).
Tripod your camera on Aperture
Priority mode and place it squarely

against the subject (make sure that
the subject and the cameras sensor
are absolutely parallel to each other).
Take a series of shots at all the
apertures that your lens offers. It

may be worthwhile to lock up the
mirror before every shot and use a
wireless remote (if thats possible)
to guarantee that the tripod stays
absolutely steady during the entire
test.
Load all the images in Photoshop

and very carefully, ascertain the
sharpest image.
The aperture that provides the
sharpest image is your sweet spot

aperture.
Use this aperture for maximum
sharpness at the focussed plane. |SP
SP
EC
My Life with
Cameras...
1
968
My father, who initiated me
to the wonderful world of
photography, gave me an Agfa Click III
camera as a present when I finished
my elementary school. This was
my first camera. When I joined my
engineering degree course, I again
got as a gift from my father, my first
serious camera - the Asahi Pentax
Sv, with a 50mm normal lens. I slowly
acquired a no-name telephoto lens and
a wide-angle lens too. After this, I did
not pursue photography seriously for
a while, but the interest remained.
1968
1980
Whether I pursued photography or
not, technology moved on and the
autofocus (AF) feature was introduced.
I immediately got attracted to it and
bought a Yashica point and shoot
(P&S) AF camera (AF SLRs were yet
to make an appearance). This served
me well and I must have exposed a
few hundred rolls with it. It was, in
any case, a P&S camera and soon its
limitations made me buy my first
Nikon - the F401X, a 35mm AF SLR.
Along with it came the 35-70mm AF
Nikkor zoom lens.
1980
At this point I decided to take up

photography as a serious hobby (in
retrospect a very good decision) and
I bought a Nikon N80 (Year 2000)
when I went on a trip to the US. This
is one of my favorite cameras of all
time, with a very nice user interface. I
complemented it with 24-50mm and
70-300mmED Nikkors. The N80 was
my last film SLR.
2002
A revolution was brewing and that
was the capture of images by digital
means. The first digital

cameras produced
mediocre images but
being a technology buff, I
was sure of the potential
of digital photography.
I just waited till a 5MP
digital camera appeared
- the Nikon Coolpix
5000 - and I purchased
it. Though not a D-SLR, it
had all the features like
spot metering, different exposure
modes, exposure compensation,
etc. Most importantly, it had a
relatively fast lens! Though it cost
me a whopping Rs.70,000/- in 2002,
the camera was awfully slow. Yet, it
convinced me of the immense power
of this new technology.
Having used film SLRs, it did not take

me long to realise that I really needed
a D-SLR. As soon as Nikon introduced
an affordable D-SLR the D70 I was
smitten by it. By the time I gathered
2002
Smart Photography
June 2016
Ashok Kandimalla
IAL
85
IA
C
E
SP
the funds, an upgraded model, the

D70s appeared which I purchased
(with an 18-70mm kit lens). Since I
could use all my old Nikon lenses I
was ready to go. I took thousands of
images with my D70s. My next D-SLR
was the Nikon D90, bought mainly
for its CMOS low-noise sensor. I also
upgraded my Nikkor telephoto zoom
to the new VR version. I continued
with the D90 for a longtime.
I was photographing increasingly

in low light and thus it was time to
upgrade to a full frame D-SLR with
low noise. So, I bought a Nikon D750,
having heard great things about its

high ISO performance. I added a few
old MF lenses - Nikkor 50mm f/1.4,
20mm f/4, 75-150mm f/3.5, etc. I also
purchased the superlative MF 50mm
Zeiss Makro Planar lens, one of the
best macro lenses available. Last year I
finally got my big lens, the Nikkor 80400AFS VR. And for portraits I have
the brilliant 85mm f/1.8 Nikkor.
2013
Except for the first few cameras, all
my cameras were Nikon. They gave
me great service. However, as I aged,
I wanted something flexible and light.
So, I decided to go for the mirrorless

MFT (Micro 4/3) format. I purchased
an Olympus Pen EP-3 but was not
happy with it due to its poor lowlight performance. I upgraded it to
an Olympus OM-D EM-5 and happy
times were back again. Small in size
even with a set of fast prime lenses,
the MFT format is unbeatable for
travel and street photography. For this
format, I have now acquired several
lenses like - 9-18mm, 18-200mm,
100-300mm, 25mm f/1.4 Summilux,
45mm f/1.8, 17mm f/1.8 and a 7.5mm
f/3.5 fisheye.
I still use the Nikon system when
highest picture quality and high AF
speed are needed.
Having used so many cameras, I feel

that there is nothing like The best
camera and that every camera has a
specific set of applications for which
it is optimal. What is excellent for me,
may not be for you. So, when you want
to buy a new camera make sure it
meets your needs fully. And that may
not be the latest and the greatest! |SP
2013
Smart Photography
June 2016
2015
86
88
92
97
104
100
106
102 108
D-SLR Review
Bridge Camera Review

Panasonic Lumix FZ300
Smartphone
Review
Samsung Galaxy S7 edge
Monitor Review
BenQ BL3201PT
Lens Review
Canon EF-S 18-135mm

f/3.5-5.6 IS USM
Scanner Review
Epson Perfection V800 Photo
Lens Review
Nikkor AF-S 24-70

F/2.8E ED VR
Change in Rating System

Smart Photographys new rating
system exercises stricter evaluation
in view of improvements in the
overall performance of photographic
equipment. Marks will be awarded for
the following parameters...
Final Rankings
Recommended ......................................... 75-80%
Best Buy .........................................81% and above
Reviews
Sony Alpha 68
First Look
Kodak Selfie Photo Booth
D-SLR CAMERAS
LENSES
COMPACT CAMERAS
Design & Build Quality .................... (out of 20)
Key Features........................................... (out of 20)
Ergonomics ............................................. (out of 20)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Sharpness.....................................................(out of 5)
Distortion control .................................(out of 5)
Aberrations ................................................(out of 5)
Darkening of corners.........................(out of 5)
Extra Features............................................(out of 5)
Performance
Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5)
Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5)
Value for Money ....................... (out of 10)
Value for Money ................................. (out of 10)
Value for Money ....................... (out of 10)
Grand Total ............................... (out of 100)
Grand Total ......................................... (out of 100)
Grand Total ............................... (out of 100)
LRW
S
D-REVIE
Inside the Box
Body
Lens (18-55mm kit lens)
Accessory shoe cap
Battery NP-FM500H
Battery charger BC-VM10A
Body cap
Eyepiece cup
Micro USB cable
Power Cord
Shoulder strap
he A-mount Sony Alpha 68,

which replaces the Alpha 65, is
a 24-megapixel D-SLT camera
using an APS-C size CMOS sensor. It
utilises 79 Phase-Detection AF points
that provides wide frame coverage and
ultimate tracking accuracy. We received
our test piece with a 18-55mm kit lens
(DT 3.5-5.6/18-55 SAM II).
Design & Build Quality
By design, the Sony Alpha 68 is a digital

Single Lens Translucent (SLT) mirror
camera. It is reasonably lightweight yet
well-built. The finish is excellent. The
body as well as the 18-55mm lens is
made in Thailand.
Smart Photography
June 2016
Key Features
88
The Sony Alpha 68 is a 24.2 megapixel

Interchangeable lens D-SLT camera
employing a APS-C size ( 23.5 x
15.6mm) Exmor CMOS imaging sensor.
Still image size can be set to Large
(24MP), Medium (12MP) and Small
(6MP). Image quality can be set to
Raw, Raw+JPEG, Extra Fine, Fine and
Standard. The camera uses a TTL phase
detection AF system that has 79 AF
points (includes 15 cross type). The
A68 offers more features than one
would normally require, making it
complicated to set-up. In its defence,
the A68 has an In-Camera Guide which
Sony Alpha 68
78,995
Rohinton Mehta
Good Performer
displays descriptions of the Menu
items, Function button and settings and
explainations as to why a particular
function cannot be set.
The A68 has a Mode Dial on the top left

(with a safety lock) and the user can
select from these exposure modes: Auto,
P (Program. Program Shift is included),
A (Aperture Priority,), S (Shutter
Priority), M (Manual), Memory Recall
1/ 2/ 3 (for recalling often used modes),
Movie, Tele Zoom Continuous AE, Sweep
Panorama and Scene modes. The Tele
Zoom Continuous AE allows continuous
shooting while the shutter button is fully
depressed. During this time, the central
area of the image is cropped and the
camera records the images continuously
at a maximum of about 8 images per
second, but at 6MP and in JPEG only. The
number of focus area points is set to a
maximum of 25 points.
The Auto mode is subdivided into iAuto
(Intelligent Auto) and Superior Auto. In

iAuto, when you half-press the shutter
release button, the camera recognises
the scene in front of it (also shows
the selected icon on the top left hand
side) and sets the optimum exposure.
Superior Auto uses more shooting
settings to create even better quality
images. Depending on the lighting
situation, the camera may even take
multiple shots to create a composite
image (may even create Auto HDR if the
subject demands it). The Superior Auto
is a feature that most users will love.
Note: The Scene Recognition modes
under iAuto and Superior Auto are
Portrait, Infant, Night Portrait, Night
Scene using a tripod, Backlit Portrait,
Landscape, Macro, Spotlight, Low Light
and Hand-held Twilight.
For still photography, Focus Mode can
be set to AF-S, AF-A, AF-C or Manual
focus, whereas Focus Area modes can
be set to Wide, Zone,

Centre, Flexible Spot,
Expand Flexible Spot
and Lock-on AF: Expand
Flexible Spot. Another
important feature of
the A68 is the 4D Focus.
This feature can track a
moving subject in any
direction forward/
backward or side-toside.
Wedding photographers
using the A68 can
benefit from a special
colour profile. Very
often, under lights
of various colour
temperatures, certain
colours, mainly reds, do
not reproduce well. By
selecting the Portrait
Mode in Creative Style, it
is possible to get better
reds.
ISO sensitivity can be set
to Auto ISO (100-3200),
or manual between
100-25,600. Metering
modes available are
Multi, Centre and
Spot. Colour Space on
the A68 can be set to
RGB or sRGB. White
Balance settings are
Auto, Daylight, Shade,
Cloudy, Incandescent,
Fluorescent (4
types), Flash, Colour
Temperature/Filter,
Custom (3 settings),and
Custom Setup.
The A68 allow you to set

Creative Styles as per
your own preferences.
Available are: Standard,
Vivid, Neutral, Clear,
Deep, Light, Portrait,
Landscape, Sunset, Night
Scene, Autumn leaves,
Black & White, and
Sepia. Picture Effects are
also possible (only with
JPEGs): Toy Camera, Pop
Colour, Posterization,
Retro Photo, Soft High
Key, Partial Colour, High
Contrast Mono, Soft
Smart Photography
June 2016
Mahesh Reddy
Aperture: f/9
Shutter Speed: 1/1600sec
ISO: 200
89
LRW
S
D-REVIE
NOISE
ISO 400
ISO 800
Smart Photography
June 2016
Focus, HDR Painting, Rich Tone Mono,

Miniature, Watercolour, Illustration,
and Off.
90
Steady shot (image stabilisation) can

be used for Stills as well as Movies.
Movies can be shot in 60p, 50p, 60i,
50i, 30p 25p and 24p. When shooting
movies, you can set the following
file formats: XAVC S, AVCHD or MP4.
Please note that you can use XAVC S
only with SDXC Class 10 memory cards
of 64GB or larger capacity. XAVC S
allows recording at 50Mb/sec; AVCHD
between 20-30 Mb/sec and MP4
between 5-10Mb/sec. When in Movie
mode, you can use Aperture Priority,
Shutter Priority, Program or Manual
exposure modes but for AF to work,
only the Movie Program mode can be
used. ISO can be set between 10012,800. The in-built flash cannot be
used during movies.
The built-in flash has a Guide Number

ISO 1600
ISO 3200
JPEG Compression
JPEG, Fine Quality,

100% (10.1 MB)
JPEG, Standard Quality, 100% (7.1 MB)
ISO 6400
The camera is powered by a

rechargeable lithium-ion battery pack
(NP-FM500H) and weighs 890g with
its 18-55mm kit lens, battery and SD
memory card.
The Kit Lens: DT 3.55.6/18-55 SAM II
The kit lens is marked at the following

focal lengths: 18, 24, 28, 35 and 55mm.
Apertures range from f/3.5-22 at the
wide-angle ens and from f/5.6-36 at
the 55mm end. Filter size is 55mm. The
KEY SPECIFICATIONS
Camera type: Interchangeable lens D-SLT

camera
Effective megapixel: 24.2 million
Sensor size: APS-C (23.5 x 15.6mm)
Sensor type: Exmor CMOS
Steady Shot: Still images: Image sensorshift mechanism; Movies: Electronic
AF system: TTL Phase Detection (with
central f/2.8 sensor); 79 points (includes 15
cross type)
Viewfinder: Electronic (Organic Electro-Luminescence), 1cm; Frame coverage: 100%;
Dioptre-Adjustment
LCD monitor: 2.7 TFT drive/Clear Photo
LCD screen
Metering method: 200-zone Evaluative
Metering range: -2 to +17EV
ISO sensitivity: Auto, 100-25,600 for Stills;
Auto, 100-12,800 for movies
Exp. compensation: +/- 5EV
Shutter speeds: 30secs-1/4000sec, plus
Bulb for Stills; 1/4sec-1/4000sec for Movies
Flash sync: Up to 1/160sec
Built-in flash: GN 12m (ISO 100), covers
16mm lens, as indicated on the lens
Cotinuous shooting: Max. 8 images/sec
Recording format: Stills: JPEG, Raw;
Movies: MPEG-4 AVC/H.264 XAVC S ver.1.0
format compliant
Recording media: Memory Stick Pro Duo,
SD card
Power: NP-FM500H battery pack
Dimensions: 142.6 x 104.2 x 82.8mm
excluding protrusions
Weight: 675g (body only) with battery and
Memory Stick Pro Duo
minimum focussing distance is 0.25m

(0.82feet). The lens appears well-built.
FINAL SCORE
Ergonomics
The finger-grip is very nice and

comfortable, while the body contour at
the thumb position provides assurance
of a steady grip. The eyepiece cup
prevents scratches on the users eye
glasses. The Control Wheel with its
4-way controller at the back is rather
small. The Movie button is too close to
the Dioptre-Adjustment Dial and I find
that even if I am careful, I inadvertantly
press the movie button while adjusting
the dioptre to suit my eyesight. The
Mode Dial on the top left has a safety
lock so that you dont inadvertantly
change the shooting mode. The
adjustable LCD monitor is very useful
for low-level/high-level shots. The dust
reduction mechanism makes a noise
every time you switch off the camera.
Performance
The overall performance of the A68

was satisfactory. Autofocus was
reasonably fast, though in poor light
it did tend to slow down. Images had
good colour balance. Noise control
was okay though we often felt that
the internal noise reduction was on
the stronger side, resulting a softer
images at higher ISOs. Flare could be
observed in shots that included the sun,
along with some purple fringing. There
was very little darkening of corners
at the widest focal length (18mm),
which is good. We had set the Shading
compensation, CA compensation and
Distortion compensation to Auto for
the test. These features work well, for
we saw almost no lens distortion.
Auto White Balance as well as the

preset White Balance performance was
perfect in Sunlight; in Shade, the preset
WB had a slight yellow cast, while AWB
was perfect. At all other settings, there
was a slight yellowish/yellowish-red
cast, which was very easy to get rid of
in post-processing.
Value for Money
The Sony Alpha 68 is available at an

MRP of Rs.55,990 (body only), or
Rs.59,990 with the 18-55mm kit lens.
We feel that the price is reasonable. The
body and the 18-135mm lens together
costs Rs.85,990. |SP
79.5%
Design and Build Quality17/20
Key Features
17/20
Ergonomics
15/20
Performance
Autofocus
Metering
Noise Control
Sharpness
LCD/EVF
Auto WB
4/5
4/5
4/5
3.5/5
4/5
4/5
23.5/30
Sub-Total
Value for Money
7/10
PLUS
MINUS
(with the 18-55mm

kit lens)
Good build quality
Good image
quality
manual (in-depth
instructions to be
downloaded from
Sonys website)
Rather
complicated user
interface
Fairly lightweight
Poor instruction
VERDICT
The Sony A68 is a compact and
lightweight D-SLT camera that offers
satisfactory performance at a very
reasonable cost. The inexpensive
kit lens (DT 3.5-5.6/18-55 SAM II )
produced almost no distortion, which
is admirable. Sony would do well in
implementing an easy-to-understand
instruction manual and create a
simpler user interface, which will
definitely improve its sales potential.
Smart Photography
June 2016
of 12m at ISO 100 and offers Autoflash,

Fill-flash, Slow-sync, Rear-sync,
Wireless usage and Flash Off. Flash
exposure compensation (+/- 3EV) is
possible.
91
ERA
M
A
E C EW
IDG REVI
R
B
Inside the Box

Camera
Lens hood
Lens cap
Lens cap string
Shoulder strap
Battery
Battery charger, cord
User Manual
USB cable
DVD
PHOTOfunSTUDIO 9.7PE
SILKYPIX developer Studio 4.3SE
LoiloScope (trial version)
Adobe Reader
Smart Photography
June 2016
Effective pixels
Focal length
The Panasonic Lumix FZ300 is a

lightweight Bridge camera with a
comfortable grip. The build quality is
adequate though we have seen better
build quality on other Panasonic
models. The lens filter thread is
52mm. The camera is made in China.
Surprisingly, the name FZ300 is not
mentioned anywhere on the camera
except on the base plate!
Min. Focussing distance
Key Features
Lets first see the key similiarities and

differences between the FZ300 and
FZ200.
45,990
Rohinton Mehta
An Upgrade
on FZ200
he Panasonic LUMIX DMC

FZ300 was launched in India
in October 2015. The camera,
also known as FZ330 in UK, is water/
dust-resistant. Its features are very
similar to the FZ200, but with a few
improvements. The FZ300 has built-in
Wi-Fi, touchscreen, focus peaking, 4K
video, larger buffer and offers faster
shutter speeds.
92
Panasonic
Lumix FZ300
Max. Aperture
Sensor size
Sensor
Image processor
White Balance
Image stabilisation
ISO sensitivity
File formats
Viewinder
VF resolution
Screen size/Resolution
Touch screen
Shutter speed range
Metering modes
Weather resistant
Video resolution, max.
FZ300
FZ200
12 million
12 million
6.17 x 4.55mm
6.17 x 4.55mm
25-600mm equivalent
F/2.8
CMOS, BSI
Venus Engine
5 presets
Yes, Optical
Auto, 100-6400
25-600mm equivalent
F/2.8
CMOS, BSI
Venus Engine VII

5 presets
Yes, Optical
Auto, 100-3200
Raw, JPEG, Raw+JPEG
Raw, JPEG, Raw+JPEG
1,440,000 dots
1,312,000 dots
30cm
Electronic
30cm
Electronic
3, 1,040,000 dots
3, 460,000 dots
Multi, Centre-wtd., Spot
Multi, Centre-wtd., Spot
Yes
60-1/16,000sec
Yes
No
60-1/4000sec
No
4K: 3840x2160 (30p, 24p) 1920x1080 (60p)
Yes
Post Focus
Highlight indicates an advantage.
No
Mahesh Reddy
Smart Photography
June 2016
Aperture: f/5.6
ISO: 400
93
ERA
M
A
E C EW
IDG REVI
R
B
NOISE
ISO 400
ISO 800
Smart Photography
June 2016
At first glance, youd wonder why we

need a new version of the FZ200, but
probing deeper, you will see various
new features in the FZ300.
94
An important addition to the FZ300

(and which I love the most) is Post
Focus, which has been developed
based on Panasonics 4K / Depth from
Defocus (DFD) technology (works with
firmware version 2.0). This feature
allows you to select your point of focus
even after the shot has been taken!
This is how it works: When you use
this feature, the camera takes 30 shots
in quick succession in 4K resolution,
each shot focussed at a slightly
different point. When reviewing,
you simply touch that element of the
recorded frame which you want in
perfect focus. Voila! This feature works
well for any genre of photography, as
long as your subject is stationary.
The Panasonic Lumix FZ300 is a 12.1
ISO 1600
megapixel Bridge camera using a

1/2.3 Type (6.17x4.55mm) High
Sensitivity MOS sensor. It offers
a grip quite similar to a D-SLR.
However, the 25-600mm equivalent
Leica DC Vario-Elmarit 1:2.8 lens
is not interchangeble. The lens can
be zoomed using the Zoom Lever
(adjacent to the shutter release
button) or using the Side Lever (on
the left of the lens). Autofocus can be
achieved using the Shutter Release
button or the Side Dial (only if AF+MF
is set to ON in Custom Menu). You
can also touch the image on the touch
sensitive LCD screen where you want
clear focus.You can use the Side Dial to
manually focus the lens. A Focus Mode
Lever (near the thumb position) lets
you set the focussing operation to be
performed when the shutter release
button is pressed half-way. The
options are AFS/AFF, AFC and MF.
The Mode Dial on the top allows you
ISO 3200
ISO 6400
to set the following recording modes:

iA (intelligent Auto, when pictures
are taken with automatic settings;
iA+ (intelligent Auto Plus, allows the
user to adjust exposure and colour),
P (Program), A (Aperture Priority), S
(shutter Priority), M (Manual), Creative
Video, Custom, Panorama, Scene and
Creative Control mode. The Scene mode
offers the following 24 settings: Clear
Portrait, Silky Skin, Backlit Softness,
Clear in Backlight, Relaxing Tone,
Sweet Childs Face, Distinct Scenery,
Bright Blue Sky, Romantic Sunset Glow,
Vivid Sunset Glow, Glistening Water,
Clear Nightscape, Cool Night Sky,
Warm Glowing Nightscape, Artistic
Nightscape, Glittering Illuminations,
Handheld Night Shot, Clear Night
Portrait, Soft Image of a Flower,
Appetizing Food, Cute Dessert, Freeze
Animal Motion, Clear Sports Shot and
Monochrome. The Creative Control
mode offers additional 21 picture
The FZ300 allows the user to assign

frequently used functions to any of
the Function buttons (Fn1, Fn2, Fn3
and Fn4 on the camera body) or to
five icons (Fn 5-9, displayed on the
screen). Assigning these functions can
be confusing as there are many of them
and it is difficult to then remember
which function was assigned to which
function button.
The 25-600mm equivalent Leica DCVario-Elmarit lens used on the FZ300
is constructed with 14 elements in 11
JPEG Compression
JPEG, Fine Quality,

100% (3.3 MB)
groups which includes 5 Aspherical

elements, 9 Aspherical surfaces, 3
ED elements, 1 Nano coat. An optical,
5-axis HYBRID image stabiliser aids
in achieving sharp still
images as well as
video (the OIS
does not work
during 4K and
high-speed
video). The
JPEG, Basic Quality,

100% (6.7 MB)
FZ300 offers a shutter speed range

from 60 seconds to 1/4000sec using
the mechanical shutter and from 1sec
to 1/16,000sec using the electronic
shutter. The apertures range between
f/2.8-8 for Still images and between
f/2.8-11 for video.
White Balance can be set to AWB,

Sunlight, Cloudy, Shade, Incandescent,
Flash, Custom (4 settings) or Kelvin
temperature. AWB will work between
approximately 2800 and 7000 Kelvin.
Images can be recorded in Raw,
Raw+JPEG or JPEG. When Face/
Eye Detection is enabled, the
camera can auto-detect
upto 15 faces but focus
will be adjusted on
the eye closest to the
camera.
The built-in flash
offers the usual
features and can
operate between
0.3-8.8m (W)
at Auto ISO or
Smart Photography
June 2016
effects. They are: Expressive, Retro,

Old Days, High Key, Low Key, Sepia,
Monochrome, Dynamic Monochrome,
Rough Monochrome, Silky
Monochrome, Impressive Art, High
Dynamic, Cross Process, Toy Effect, Toy
Pop, Bleach Bypass, Miniature Effect,
Soft Focus, Fantasy, Star Filter, One
Point Colour, and Sunshine.
95
ERA
M
A
E C EW
IDG REVI
R
B
between 1.0-8.8m (T) at ISO auto. The

camera measures 13.16x9.15x11.71cm
and is powered by a rechargeable Liion battery pack. The camera weighs
725g with its lens hood, battery SD
memory card and neck-strap.
Ergonomics
Once you get used to the interface,

the FZ300 is easy to use. Most users
however, will find the user interface
complicated. There are 40 functions
that can be assigned in the Recording
Menu; 3 in the Motion Picture Menu,
Smart Photography
June 2016
KEY SPECIFICATIONS
96
Camera type: Effective pixels: 12.1 million

Sensor size/Type: 1/2.3 Type/High Sensitivity MOS sensor
Lens: Leica DC-Vario-Elmarit
Lens construction: 14 elements in 11
groups; (Includes 5 Aspherical elements, 9
Aspherical surfaces, 3 ED elements, 1 Nano
coat)
Aperture range: Still image: F/2.8-8; Motion
Picture: F/2.8-11
Focal length: 25-600mm equivalent (varies
slightly depending on aspect ratio/video)
Image stabiliser: Optical, 5-axis HYBRID;
(Works also during video, except for 4K and
high-speed video)
Focussing: 30cm-infinity (W); 200cm-infinity (T); 1cm-infinity (W); 100cm-infinity (T)
at Macro, Intelligent Auto, Motion Picture.;
AFS, AFC and AFF (Flexible)
Autofocus : Face/Eye Detection, Tracking,
49-area, Custom Multi, 1-area, Pinpoint
Shutter speed range: 60-1/4000sec
(Mechanical shutter), Bulb; 1-1/16,000
(Electronic shutter)
Shutter speeds (video): 1/25sec 1/16,000sec (24p); 1/2-1/16,000sec (Creative video M mode/MF mode)
File format: Still: JPEG, Raw; Motion Picture:
AVCHD, MP4
Recording modes: Intelligent Auto, P, A, S,
M. Creative Video, Custom, Panorama shot;
Scene Guide, Creative Control.
Viewfinder: 0.99cm OLED Live View Finder
(1440K dots)
LCD monitor: 7.62cm Free-Angle TFT
(1040K dots)
Built-in flash: Yes, with usual flash features;
(0.3-8.8m (Wide, ISO Auto); 1.0-8.8m (Tele,
ISO Auto)
Recording media: SD, SDHC, SDXC cards
Power: Li-ion battery pack ((7.2V, 1200mAh)
10 in the Custom Menu and 6 in the

Playback Menu! The camera being
compact and lightweight, is easy to
carry along the whole day. Its focal
range of 25-600mm (equivalent) is
practical and very useful. The free
angle touchscreen also makes it easy
to take pictures from various angles.
FINAL SCORE
82.5%
Performance
The FZ300 produced images with

good sharpness and colours, and
with adequate contrast. The camera
exhibited superb control over
darkening of corners at the widest
focal length (25mm equivalent); at
f/2.8 (wide open aperture) and at
f/4, there was a negligible amount of
darkening in the left lower corner. We
saw no darkening at f/5.6 and at f/8.
Distortion barrel and pincushion
was also well controlled. At the
marked 4mm setting on the lens
(25mm equivalent), there was very
little barrel distortion, which further
decreased by the 6mm setting. We
observed no distortion at the other
focal lengths.
Shots that included the sun exhibited
flare though we did not notice any
chromatic aberration. White Balance
performance in Sunlight and Shade
was good (though the preset WB
in Shade had a slight yellow cast).
Incabdescent and Flash showed
yellow cast.
Control over digital noise was good.
The native image size was 13.33 x
10 at 300ppi. At 25% screen size,
results were good all the way up to
its maximum ISO sensitivity of 6400.
At ISO 6400 though, some softening
of the images was noticed. At 50%
screen size, some noise could be
seen at ISO 800 and above, but again,
if necessary, I would use it all the
way up to its maximum of ISO 6400
(images at ISO 1600 and onwards
were a bit soft). At 100% screen size,
images were usable up to ISO 1600.
Value for Money
The Panasonic Lumix FZ300 is

available at an MRP of Rs.45,990.
Considering its features and
performance, we feel that the price is
justified. |SP

Key Features
13/15
Ergonomics
13/15
Performance
Autofocus
Metering
Noise Control
Sharpness
Darkening
of Corners
Flare and CA
Distortion
LCD/EVF
Auto WB
Sub-Total
3.5/5
4/5
3.5/5
4/5
5/5
4/5
4/5
4.5/5
4/5
36.5/45
8/10
Value for Money
PLUS
Post Focus
technology
Practical zoom
range
Fast, sharp lens
MINUS
Confusing User
Interface
Confusing User
Manual
12MP low by todays

standards
VERDICT
The Panasonic Lumix FZ300 is a great
camera to have in your kit bag. It offers
a very useful focal range and the f/2.8
maximum aperture throughout the
zoom range, aided by the cameras
5-axis image stabiliser, helps you to
take steady shots even in low light.
The only caveat is the confusing user
interface and the user manual.
SM
AR
RE TP
VIE
he Samsung Galaxy S6 and S6

edge were launched with much
fanfare, but the devices proved
less than perfect for their price. But this
time, the S7 and S7 edge were carefully
launched silently without initially
creating a hype around the expected
release. And the result is a no-nonsense
device with enough power to carry on
the tasks assigned to it unhindered.
HO
NE
Inside the Box

Samsung Galaxy S7 edge
smartphone
Power Adapter
USB cable
Headset
Warranty card
Design and Build Quality
Key Features
The Galaxy S7 edge is Samsungs second

curved screen model under the Galaxy
series. The phone features a 5.5-inch
dual edge Super AMOLED display with
a Corning Gorilla Glass 4 screen. The
screen has a resolution of 2560 x 1440
pixels (Quad HD) and can reproduce up
to 16 million colours. The device has
edge screens on either side; you can
choose which one to use. If the Edge
screen was just a gimmicky feature in
the S6, it has grown in utility in this
device. You can customise the screen
to provide quick access to various
applications, services and alerts.
Samsung
Galaxy S7 edge
56,900
Sujith Gopinath
The Temptress!
The international version of the device
(what is available in India) is powered
by a Samsung Exynos Octa 8890
processor with four cores clocked at
2.6GHz and the other four at 1.59GHz.
With the Exynos processor, this device
is believed to be faster, less power
hungry and produce less heat than the
Qualcomm Snapdragon 820-powered
U.S. version. The phone has a 4GB RAM,
up from 3GB on the S6. Of the 32GB of
internal memory, 24.4 GB is available to
the user. Unlike the S6 and S6 Edge, this
Galaxy adds external memory support
for up to 200GB via a MicroSD card slot.
However, it is important to note that
this is a hybrid slot that can it either
a MicroSD card or a second Nano-SIM.
So if you use this phone as a dual SIM
device, you have to be contended with
the in-built 32GB memory; but for the
majority who use a single SIM for both
data and calls, you can have a whopping
200GB of extra space locally if you
choose so.
The Samsung S7 edges main camera

uses a 12.0 megapixel Dual Pixel CMOS
sensor, while the front camera has a
5.0 megapixel CMOS sensor. The S7
Edge is said to be shipping with two
different main cameras, one with a
Samsung ISOCELL S5K2L1 sensor and
the other with a Sony IMX260 (Exmor
R) sensor. Both are 1/2.5 inch Backside Illuminated (BSI) sensors, and our
test piece had a Sony sensor. The front
camera uses a Samsung SLSI S5K4E6
sensor, which is a 5-megapixel BSI
CMOS imager. The main camera has a
maximum aperture of f/1.7 and can
produce videos up to 3840 x 2160 (4K,
UHD) at 30fps. This camera features
Phase Detection Auto Focus via the
dual pixel CMOS. The camera also
features image stabilisation along with
video stabilisation. The camera has an
accompanying lash. The front facing
camera does not have a real lash, but
for selies, the screen itself acts as a light
source by brightening up so that your
Smart Photography
June 2016
The Samsung Galaxy S7 edge has a

stylish design, and this time, the curved
body repeats even on the back glass.
It is better designed than the S6 edge,
though not signiicantly different. The
S6 had a camera that projected out of
the back surface, while the S7 edge has
solved this issue by not attempting to
make it super-slim. The curved glass
meets with the curved metal alloy bezel
near-seamlessly. Both the front and
back surfaces are protected by Corning
Gorilla Glass 4. The device has a nonremovable battery. The S7 edge is waterproof with an IP68 ingress protection
rating. This is the highest level of
protection available for any device, and
can be interpreted as totally dust tight,
and protected against prolonged effects
of immersion under pressure.
97
N
HO
RE
Mahesh Reddy
SM
TP IEW
R
A V
Smart Photography
June 2016
Aperture: f/1.7
ISO: 50
98
face is well-lit. The camera has a few

interesting modes such as Wide Selie,
Hyperlapse and Motion Photo. Wide
Selie allows you to pan the camera
sideways to include more people in
a group selie. Hyperlapse is a highspeed time lapse mode, while Motion
Photo captures a short three-second
video just before you click the shutter
release. You can even choose the frame
you like to preserve as still image. The
camera offers shutter speeds from
10 sec to 1/24,000 sec, while the
sensitivity ranges from ISO 100 to 800.
It offers all the usual White Balance
options along with Auto and Kelvin
colour temperature settings.
Autofocus can be Manual or Auto. You
can select either the central AF point
or Multi AF mode. The device provides
the usual three metering modes
Matrix, Centre-weighted and Spot.
These settings are available in the Pro
mode.
The S7 edge is powered by a 3600mAh

non-removable battery. This means an
additional 1000 mAh over the S6, which
drew lak for being underpowered. The
battery is complemented by a 9.0V fast
charging adapter, which charges the
phone completely in just 100 minutes.
The device measures 150.9 x 72.6 x
7.7mm and weighs 157g.
Ergonomics
The S7 edge has double glass surface,

but it is not very slippery. The phone
is very comfortable to use and is more
ergonomic than the S6 Edge. The
new Edge screen can accommodate
up to nine panels, each with different
functionality. For example, the Apps
Edge panel can house up to 10 app
shortcuts, while the Quick Tools Edge
features some handy tools such as
compass, ruler and lashlight. Of course
the options dont end here. The phone
has an Always On Display, which
displays information even when the

phone is in sleep mode. The display
gets automatically disabled when the
phones in your pocket or bag, when
its face down or when the batterys
running low. The S7 edges Game Tools
feature provides some useful functions
to enhance your gaming experience,
such as gameplay recording and no
notiications during game. The volume
buttons are on the left while the power
button is on the right. The ingerprint
sensor works even if your ingers
are wet. Overall, the device looks like
Samsungs attempt to correct all laws in
the S6 edge.
Performance
Last year when we reviewed the S6

edge, we felt that the release was
premature because of a few problems
we encountered during testing. But this
time, Samsung seems to have ixed all
problems and carved out a model that
Value for Money
is highly desirable by any standards.

The interface is quite responsive and
the edge screen is useful as a shortcut
panel. The design too looks evolved.
The display looks closer to true colours
without the typical synthetic tones
reproduced by AMOLED screens. The
fingerprint sensor worked like a charm
every time.
Tha Samsung Galaxy S7 edge retails at

the moment on Samsung website for
Rs.56,900. This price is certainly on the
higher side, but prices keep falling fast
in the smartphone world, and we are
optimistic that it will do in the case of
the S7 edge too. |SP
The battery lasted for a day even with

some heavy use, which is not the best,
but still quite decent. The device did
not heat up like the S6 and we never
felt any lag even in heavy gaming.
Benchmarking software ranked the S7
edge above all other Android devices,
which is predictable for such a premium
smartphone.
KEY SPECIFICATIONS
Display: 13.95cm (5.5 inches) dual edge

Super AMOLED
Resolution (Main Display): 2560 x 1440
(Quad HD)
Colour Depth (Main Display): 16M
Best Video Quality: 3840 x 2160(4K,
UHD)@30fps
Main Camera sensor: Dual Pixel 12.0 MP
CMOS
Max Aperture: f/1.7
Flash: Available
Auto Focus: Available
Front Camera sensor: 5.0 MP CMOS
Max. Aperture: f/1.7
Processor: Samsung Exynos Octa 8890
processor (4 x 2.6GHz, 4 x 1.59GHz )
Memory: RAM 4 GB; ROM (Internal Memory) 32 GB; Available Memory (Available to
user) 24.4 GB
External Memory Support: MicroSD (Up to
200GB)
SIM: Dual Nano-SIM (4FF)
NFC: Yes
OS: Android
Battery: 3600mAh non-removable
Dimension (HxWxD): 150.9 x 72.6 x 7.7mm
Weight: 157g
86%
The improved edge screen can

accommodate important shortcuts
removable in post processing. Most

of the users are unlikely to notice the
subtle difference in colours. Native print
size is 10.08 x 13.44 inches at 300ppi.
At 25 percent of the screen size, there
was no perceptible noise at any ISO, and
all were perfectly usable. Viewed at 50
percent, we observed slight noise from
ISO 400 onwards, observable only if you
look closely. The images were usable
up to ISO 400. ISO 800 appeared soft
due to the extravagant noise-reduction
applied by the processor. At 100 percent
view, noise could be seen at all ISOs, but
ISO 100 could be used in an emergency.
This time, we decided to test the Raw
(DNG) file from the camera at ISO 800.
We applied noise-reduction carefully
and then sharpened this image further,
layer-by-layer in Adobe Camera Raw,
and the result was much better than the
out-of-the-box JPEGs. So if you know
your way around Raw files, the S7 edge
has a great camera for impromptu photo
ops.
Key Features
17/20
Ergonomics
18/20
Performance
18/20
Value for Money
15/20
PLUS
MINUS
Impressive features
No USB Type C
Stylish design
Very expensive
Superior performance
High-capacity battery
Fast charging
Very responsive
Excellent camera
Expandable memory
VERDICT
The Galaxy S7 edge is arguably

Samsungs best smartphone to date, and
the company has successfully packed
an impressive array of features in this
device. It is looks like a perfect marriage
of hardware, style and performance.
Need we say we are impressed?
Smart Photography
June 2016
Coming to photography, then S7 Edge

produced stunning images that can put
a few of the point-and-shoot cameras
to shame. The main camera offers a Pro
mode, which lets you choose all settings
yourself like in professional cameras.
Colours were true to the original under
natural light, while slight casts produced
under artificial light sources were easily
FINAL SCORE
99
NSEW
E
L VI
RE
Inside the Box

N.A. (Included in EOS 80D kit)
anon announced a slew of

products in the CP+ exhibition,
and one of the new gadgets was
the PZ-E1 power zoom adapter. Along
with this, the EOS 80D and its new kit
lens, the EF-S 18-135mm f/3.5-5.6 IS
USM were also announced. Till this
date, these are the only body-lens
combination that is compatible with
the PZ-E1. The new kit lens features
much more improvements than the
power zoom compatibility. Read on to
ind out more.
The new Canon 18-135mm IS USM

lens has a sturdy polycarbonate
exterior. The lens has a single
extending barrel, which extends by
5.3cm at the telephoto end. The zoom
ring has a rubber lining, while the
focus ring has a plastic lining on top
and both these are knurled for better
grip. The new lens has a shiny black
ring between the zoom and focus
rings to distinguish it from the old
series, which has a white ring. Being
compatible with the new Power
Zoom adapter, the lens has electrical
contacts at the base along with
mounting notches on either side. The
lens mount is metal while the ilter
thread is plastic. The new 18-135mm
measures 77.4 x 96mm and weighs
approximately 515g.
Smart Photography
June 2016
Key Features
100
The Canon EF-S 18-135mm f/3.55.6 IS USM features some advanced

technologies hitherto not featured in
any other lens. Being fast and nearsilent, the lens is optimised for both
stills and videos. At the heart of this
lens is a new Nano USM system, which
combines the features of ring type
USM and STM. The new chip-shaped
ultrasonic motor delivers high-speed,
smooth and near-silent autofocus with
Canon EF-S 18135mm f/3.5-5.6

IS USM
`37,995
Sujith Gopinath
Kit Lens Goes Prime

full-time manual override. The lens is
constructed with 16 elements in 12
groups including a UD and a highprecision (Precision Molded Optics)
aspherical lens element. The special
elements help reduce lare, ghosting
and chromatic aberration.
The lens is compatible with Canons
new Power Zoom Adapter PZ-E1.
In fact this is the only lens that is
currently compatible with the PZ-1.
The power zoom adapter provides a
smooth and more natural zooming
during movie capture than manual
zoom in addition to slow and fast
zoom action and remote operation.
Canon claims to have improved the

performance of the Image Stabilisation
system of the lens. The new system
is believed to provide a 0.5-stop
advantage over the previous lenss
3.5-stop. The dynamic IS system in
the lens helps compensate for camera
shake during movie recording, which

is very helpful when hand holding the
camera.
Ergonomics
The Canon 18-135mm lens is

lightweight and comfortable to
operate. The Zoom and focus rings
offer excellent grip and are optimally
damped. The lens does not extend
and the front element does not rotate
during focussing. The lens has a zoom
lock switch, which allows you to lock
the zoom at 18mm so that it does
not creep while transporting and
damage the precise mechanism. The
18-135 has a simple stabiliser switch
with only On and Off options along
with an AF/MF switch.
Performance
We tested the Canon 18-135 on a

Canon EOS 80D body and all lens
correction options (peripheral
illumination, chromatic aberration)
Mahesh Reddy
Aperture: f/8
ISO: 500;
KEY SPECIFICATIONS
Focal length: 18-135mm
Maximum Aperture: f/3.5 (Wide),
f/5.6 (Tele)
Lens Construction: 16 elements in 12 groups
Diagonal Angle of View: 7420-1130
Focus Adjustment: AF with full-time manual
Closest Focusing Distance: 39cm
Filter Size: 67mm
Max. Diameter x Length: 77.4 x 96mm
Weight: 515g
Videos shot with the 18-135mm lens

were free of the autofocus or zooming
sound. The Image Stabilisation system
worked very well, though could not
measure the effect if this feature.
Value for Money
The Canon 18-135mm f/3.5-5.6

IS USM lens retails at an MRP of
Rs.37,995. This is competitive pricing
for this lens. |SP
FINAL SCORE
81%

Key Features
18/20
Ergonomics
17/20
Performance
Autofocus
Sharpness
Distortion control
Aberrations
Darkening
of corners
Extra features
Sub-Total
Value for Money
MINUS
PLUS
Super-fast
4/5
3.5/5
3/5
4/5
4.5/5
4/5
23/30
6/10
autofocus
Excellent optics
4-stop Image
Stabilisation
Power Zoom option
None observed
VERDICT
The Canon EF-S 18-135mm lens is

an excellent performer among the
kit lenses. With a competitive Image
Stabilisation system and compatibility
with the power zoom adapter, this
lens is capable of changing the way
you capture still and video images. It
is certainly one of the best kit lenses
available for Canon.
Smart Photography
June 2016
were kept on since all new Canon

bodies now come with these options,
including the EOS 1300D. The Canon
18-135mm delivered sharp images
overall, and the sweet spot varied
from f/4 to f/5.6 from the wide-angle
to the telephoto end. As expected, at
narrow apertures, the images were
unsharp due to diffraction. Autofocus
was fast (almost instantaneous in
good contrast), smooth, precise and
near-silent. We did not observe any
darkening of corners at the wide-angle
end with the lens wide open. The lens
exhibited slight lare at the wideangle end at f/3.5 in strong againstthe-light shots, along with a tinge of
purple fringing. The lens produced
barrel distortion till 24mm and slight
pincushion distortion thereafter.
101
NSEW
E
L VI
RE
Inside the Box

Lens
Front lens cap, snap-on, LC-82
Rear lens cap, LF-4
Lens hood, bayonet type, HB-74
Lens case, CL-M3
he Nikkor AF-S 24-70 f/2.8E

ED VR is the irst Nikkor lens to
feature an Aspherical Extra-Low
Dispersion glass element paired with
Aspherical, Extra-low Dispersion and
High Refractive Index elements to
offer a new level of optical precision.
The new design, as per Nikon, takes
stills and videos virtually free from
lare, ghosting, comma, chromatic or
spherical aberration, even at the far
edges of the frame. So lets see how
this new iteration performs in our
tests.
The Nikkor AF-S 24-70 f/2.8E ED

VR is a well-built pro-level lens. The
dull-black inish is immaculate and the
lens markings in white are very easy
to read. The lens mount is made of
metal; the ilter size is an odd 82mm.
The lens is made in Japan and weighs
approximately 1070g.
Key Features
Let us irst see the key similarities and

differences between the new and older
version on this lens:
The irst thought that you might have

is about the extra cost and weight,
when compared to the earlier version
of the lens. The extra weight is mainly
due to the greater number of lens
AF-S Nikkor 24-70
f/2.8G ED
Vibration Reduction
Yes (4-stops)
No
1070g
900g
Weight
Lens elements
Lens groups
Diaphragm blades
ED glass elements
Aspherical elements
Super Integrated Coating
Filter diameter
Price (US $)
Yes
Yes
20
16
9
2
3
Yes
Rohinton Mehta
A Good Upgrade
AF-S Nikkor 24-70

f/2.8E ED VR
Silent Wave Motor
Smart Photography
June 2016
`1,69,950
Lens nomanclature
Nano Crystal Coat
102
Nikkor AF-S
24-70 F/2.8E ED VR
82mm
2,399.95
Yes
Yes
15
11
9
3
3
Yes
77mm
1,799.95
elements and the 4-stop advantage VR

system, which of course also raises the
cost. The letter E in the name stands
for the electromagnetic diaphragm.
The lens is constructed with 20
elements in 16 groups that includes
the speciality elements mentioned
in the intro. The minimum focussing
distance varies between 1.25 to 1.35
feet depending on the focal length in
use. The aperture range f/2.8-22 is
constant throughout the focal range.
Ergonomics
We tested the lens on Nikon D750

body. The lens was very easy to use.
The zoom ring had the right amount of
resistance while the manual focus ring
was silky smooth. The lens markings
were easy to see even in low light. The
combo felt quite heavy after a while.
Performance
Autofocus was fast and accurate, even
Mahesh Reddy
FINAL SCORE
84%
Key Features
18/20
Ergonomics
17/20
Performance
Autofocus
Sharpness
Distortion control
Aberrations
Darkening
of corners
Extra features
Sub-Total
in low light. Centre sharpness was

very good (even at f/2.8) but the
corners were stilghtly soft when
compared to the centre. Darkening of
corners was very well controlled (the
camera body was set to automatically
correct corner darkening). There was
KEY SPECIFICATIONS
Focal length: 24-70mm

Aperture range: F/2.8-22
Designed for: FX format (Full-frame, 35mm)
(Can be used on DX format)
Construction: 20 elements in 16
groups(includes 2 ED, 1 Aspherical ED, 3
Aspherical, 1 High Refraction element, and elements with Nano-Coat or Fluoride coats)
Min. Focus Distance: 0.38m (1.25 ft) between
35-50mm; 0.41m (1.35 ft): at 24, 28 and 70mm
Internal focussing: Yes
Silent Wave Motor: Yes
G-type: Yes
Vibration Reduction: Yes
Diaphragm blades: 9 (Rounded)
Filter diameter: 82mm
Dimensions: Approx. 88mm (Dia) x 154.5mm
(from lens mount lange)
Weight: Approx.1070g
Value for Money

noticeable barrel distortion at 24 and
35mm, while 50 and 70mm showed
pincushion distortion. Flare could be
seen in shots that included the sun
and a slight amount of colour fringing
was noticed at the corners with high
contrast subjects.
The Vibration Reduction (VR) feature

worked well; it allowed us to take
sharp hand-held shots even at slow
shutter speeds though we have no way
of ascertaing Nikons claim of a 4-stop
advantage.
Value for Money
The Nikkor AF-S 24-70 F/2.8E ED VR

is available at an MRP of Rs.1,69,950.
Considering that the US price is $2400
and considering the taxations levels
in India, one might consider the price
as reasonable. On the other hand,
comparing Indian prices between the
new and the earlier version of this
lens (Rs.1,69,950 against Rs.1,25,650
respectively), would you be willing to
shell out Rs.44,300 extra for the newer
version? I leave it to your judgement. |SP
PLUS
Very sharp lens

Advantage of VR
Max. aperture f/2.8
throughout
4/5
4/5
24/30
7/10
MINUS
Heavy
Expensive
Odd-size ilter
VERDICT
The 24-70mm is the perfect focal range
for landscape and nature photographers
(barring wildlifers). The Nikkor AF-S 2470 F/2.8E ED VR is one of the sharpest
lenses from Nikon. Funny though, for I
used to say the same thing for the nonVR version of this lens! So, should you
invest in the earlier model or should
you spend 44K more to get this version?
The answer depends on how deep your
pockets are, your needs and whether
you are a tripod-man or a free-bird who
hates carrying and using a tripod. As
for me, I always use a tripod (well, at
least most of the time) and hence the
new lens is not for me. If you do a lot of
treking or mountaineering (and dont
want to carry a tripod), then this lens is
deinitely for you. Best Buy!
Smart Photography
June 2016
Aperture: f/7.1
ISO: 800;
4.5/5
4/5
3.5/5
4/5
103
OR
T
I
ON IEW
V
RE
Inside the Box
Benq BL3201 PT monitor

Stand
Base
OSD Controller
Driver CD-ROM
enQ is a strong player in the

professional display space, and
they have especially proven
their mettle in specialist LED monitors
for photographers, animators and
video editors. The BL3201PT is their
32-inch monitor capable of 4K (UHD)
resolution. The monitor is one of the
few that are optimised for CAD/CAM
applications. For the photographer who
needs the ultimate perfection in his
work, this monitor provides the ability
to work on minute details with utmost
precision.
The BenQ BL3201PT is predominantly

made of polycarbonate and is quite
sturdy. The pivot stand is metal and the
base has a metal reinforcement to keep
it sturdy. The heavy base and stand
prevents the monitor from toppling
over even by accident, though the
stand is not very broad. The monitor
has a thin-bezel design, which helps
this large display to sit on your desk
without wasting much space.
Smart Photography
June 2016
Key Features
104
The BenQ BL3201PT is a 32-inch

monitor with an aspect ratio of 16:9.
It provides a maximum resolution of
3840 x 2160 (4K, Ultra HD resolution)
at 60Hz with DP or mDP input or
30Hz with DVI or HDMI input. The
display area is 708.4 x 398.5mm and
BenQ BL3201PT
1,20,000
Sujith Gopinath
Experience
Your Images
it has a pixel pitch of 0.185mm. The
3201PT provides a typical brightness
level of up to 350 nits and native
contrast ratio of 1000:1 (Dynamic
Contrast Ratio of 20M:1). The panel
uses In-Plane Switching technology.
The viewing angle can be adjusted up
to 178 in all directions. Height can
be increased up to 150mm from the
base. The monitor has a Grey-to-Grey
response time of 4ms and can display
1.07 billion colours, i.e., 100% sRGB.
The large display area of the monitor
allows video editors, animators, CAD/
CAM engineers and photographers

to place all their professional tools in
one screen without needing a second
monitor for this purpose.
The screen uses anti-glare technology

to minimise colour differences due
to ambient light, further aided by the
LED backlight. The panel conforms to
Energy Star 6.0 rating. The monitor
uses BenQs proprietary flicker-free
technology, which reduces eye fatigue,
thereby allowing you to concentrate
on the details of your work. In addition
KEY SPECIFICATIONS
LCD Size: 32 inches
Max. Resolution: 3840 x 2160 at 60Hz (DP,
mDP), 30Hz(DVI, HDMI-1,2)
Display Area: 708.4 x 398.5mm
Pixel Pitch: 0.185mm
Brightness: 350 (typ)
Native Contrast: 1000:1 (typ)
DCR (Dynamic Contrast Ratio): 20M:1 (typ)
Panel Type: IPS technology
Viewing Angle (L/R;U/D) (CR>=10):
178/178
Response time: 4ms (GTG)
Display Colours: 1.07 Billion
Colour Gamut: 100% sRGB
Colour Bit: 10bits
Backlight: LED
Regulations: Energy Star 6.0
Input Connectors: DVI-DL / DP1.2 / mDP1.2
/ HDMI1.4 x2 / headphone jack / line in
Dimensions with Wall Mount (w/o base):
436.4 x 740.3 x 65.6mm (HxWxD)
Net Weight: 12.5kg
Height Adjustment: 150mm
Display Screen Coating: Anti-Glare
Flicker-free Technology: Yes
Animation mode: Yes
CAD/CAM mode: Yes
Low Blue Light: Yes
Eco Sensor: Yes
Eye Protect Sensor: Yes
Auto Pivot: Yes
Speaker: 5W
OSD controller: Yes
USB Hub: USB3.0 x 5
Card Reader: SD/SDHC/SDXC, Memory
Stick /MS Pro / Duo / Pro Duo
Mac Compatible: Yes
Windows Compatible: Yes (Windows7, 8,
8.1, 10)
The BL3201PT has a built-in 5W

speaker. The on-screen display can be
controlled using an optimally designed
OSD controller, which fits snugly to
its designated slot. The monitor has 5
USB 3.0 ports along with a card reader
that accepts SD/SDHC/SDXC and
Memory Stick/MS Pro/Duo /Pro Duo
type cards. Input connectors available
are DVI-DL, DP1.2, mDP1.2, HDMI1.4,
headphone jack and line in.
Value for Money
The BenQ BL3201PT retails at an MRP

of Rs.120,000. This is slightly on the
higher side, though it is a 32 inch UHD
monitor optimised for graphics. |SP
FINAL SCORE
The monitor has dimensions of 436.4

x 740.3 x 65.6mm (HxWxD) without
the pivot stand and weighs 12.5kg.
80%
Ergonomics
The BL3201PT is quite easy to set

up and use. Pivot and orientation
adjustments are smooth and quite
responsive. The OSD controller has
three shortcut buttons that can be
configured according to your needs.
The supplied software was quite userfriendly.
Performance
The BL3201PT, with a large display,

allows you to be a part of your scenes.
No matter what your subject is, you
feel like you are part of the scene
while working on fine details. The
monitor performed as intended in the
short time we had it with us. Setting
it up looked easy for us, probably
because of our experience with other
similar monitors. If you are concerned
too much about the ambient light
settings, you can choose one of the
built-in modes and be happy with it.
The monitor is optimised for video
and animation specialists and is not
capable of hardware calibration; hence
BenQ has not provided the Palette
Master software with it.
The 3201PT did not produce any
distortion and the colours appeared
consistent from corner to corner.
In the contrast test, the monitor
performed very well, displaying all
sections in the coloured wedges.
Banding was greatly reduced with
good gradient in greyscale. Our
graphics card (AMD Radeon R5 240)
displayed a maximum reported
resolution of 1920 x 1080 and would
not allow us to set a higher resolution.
Hence we could not test the full
potential of the monitor.

Key Features
16/20
Ergonomics
17/20
Performance
15/20
Value for Money
14/20
PLUS
MINUS
Large 32 inch
display
4K UHD resolution
Useful OSD
controller
Extremely
adaptable
VERDICT
No shading hood
Cables not
supplied
No hardware
calibration support
Pricey
The BenQ BL3201PT is essentially a

graphic monitor for video professionals
and CAD/CAM and animation specialists.
The monitor can be used for photo
editing, but we would recommend one
of the PG or SW series monitors for this
work since they are capable of hardware
calibration and are dedicated for
photography applications. Please note,
however, that our review of this monitor
is based on its utility as a photo editing
device, as we are not experts in the field
of animation and CAD/CAM applications.
Smart Photography
June 2016
to this, the eye-protect sensor detects

ambient light levels throughout the day
and adjusts the brightness of display
accordingly. The BL3201PT features
various modes such as Display mode,
Animation mode, CAD/CAM mode
and Low Blue Light mode. Each of
these are optimised for the function
they represent. For example, in the
animation mode, the monitor presents
10 levels of brightness adjustment
to suit any ambient light setting. The
monitor also features Auto Pivot
feature, which automatically rotates
the image to suit the orientation of the
monitor.
105
ER
N
AN VIEW
C
S E
R
Inside the Box

Epson Perfection V800
Power adapter
Power cord
USB Cable
Film Trays
CD-ROM
Installation manual
scanner might not be a device

for daily use in this age of digital
photography. However, there
might be still a lot of our childhood
memories catching dust and moisture
in those albums, behind cellophane
sheets. Restoring those fading
memories requires a competent photo
scanner to begin with. The Epson
Perfection V800 is such a specialist
photo scanner that can scan both
prints and film, both negatives and
transparency.
The Epson Perfection V800 is a

professional quality photo scanner,
and it lives up to this reputation. The
device has a sturdy construction with
a body crafted with polycarbonate. The
scanner has trays for film scanning, and
these are also constructed well. The
buttons on the scanner also feel solid in
build quality.
Key Features
Smart Photography
June 2016

premium photo scanner providing
up to 6400 dpi resolution in main
scanning and 9600dpi in sub scanning
along with an optical density of 4.0
Dmax for film scanning. It incorporates
a flatbed colour image scanner and can
scan both paper and transparencies.
Reflective media can be up to 216 x
297mm in size and transparencies
up to 203 x 254mm. Other formats
acceptable are 35mm x 18 frames strip
film, 35mm x 12 frames mounted film,
6 x 20cm frame medium format, 4 x 5
inch, and other documents up to 8 x 10
inches.
106
The device provides an optical

resolution of 6400 dpi (main) x 9600
dpi (sub). This means that the optical
scanner (which is a long strip of
sensors along the scanning element)
has a resolution of 6400 dpi and it
provides 9600 dpi resolution while
moving from one edge to the other.
Epson Perfection
V800 Photo
34,619
Sujith Gopinath
Refresh your
Memories
The scanner uses an Epson Matrix CCD,
which is a six-line colour CCD with onchip micro lens. This device provides
a maximum resolution of 40,800 x
56,160 pixels at 4800 dpi. The light
source is a white LED. Sub-scanning is
done using a moving carriage, while the
document remains fixed. The scanner
produces an output resolution of 25 to
12,800dpi at 16 bits per pixel.
Document scanning takes 12 seconds
at 300 dpi. Positive film scanning
varies according to resolution as: 40
sec (2400dpi), 70 sec (4800dpi) and
91 sec (6400dpi), while negative film
scanning speeds are 37 sec, 67 sec and
89 sec respectively.
The V800 gets ready in no time

without needing to warm up, thanks
to the energy-efficient ReadyScan
LED technology. The machine
uses a dual lens system to deliver
exceptional quality in scans. The
scanner includes film holders for
35mm strip film or mounted film,
6 x 20cm medium format film, 4
x 5 large format film and a film
area guide for scanning up to 8 x
10 transparency. The film holders
have anti-Newton Ring glass to take
care of diffraction and maintain film
flatness while scanning.
The scanner weighs 6.6kg and

measures 308 x 503 x 152.5mm.
Ergonomics
The V800 is not a compact device,

and certainly occupies some space
on the desk. But this is not meant
KEY SPECIFICATIONS
Optical Resolution: Film Scanning with

Film Holder: Main 6400 dpi x Sub 9600 dpi;
Reflective and Contact Sheet Scanning: Main
4800 dpi x Sub 9600 dpi
Optical Density : 4.0 Dmax
Document Size: Reflective: Up to 216 x
297mm; Transparency: Up to 203 x 254mm;
35mm x 18 frames strip film; 35mm x 12
frames mounted film; (6 x 20cm) x 1 frame
Medium format; (4 x 5) x 1 frame, Up to 8 x
10 (with film area guide)
Interface: Hi-speed USB 2.0
Photoelectric Device: Epson Matrix CCD (6
line colour CCD with On Chip Micro Lens)
Max. Resolution: 40,800 x 56,160 pixels
(4800 dpi)
Light Source: White LED
Sub-Scanning Method: Fixed document and
moving carriage
Output Resolution: 25 to 12,800dpi
Pixel Depth: 16 bits per pixel (Input 16 bits/
pixel, Output 16 bits/pixel)
Scanning Speed: Reflective (Speed Mode);
Preview: 6 sec; Monochrome: 12 sec (300
dpi); 24 bit Colour: 12 sec (300 dpi); Film
Scanning (Quality Mode): 35mm Positive
Film; 40 sec (2400dpi); 70 sec (4800dpi);
91 (6400dpi); 35mm Negative Film; 37
sec (2400dpi); 67 sec (4800dpi); 89 sec
(6400dpi)
Supported Platforms: Microsoft Windows
XP/Vista/7/8/8.1; Mac OS X 10.6.8 or later
Weight: 6.6kg
Dimensions: 308 x 503 x 152.5mm
to be a home scanner, and hence

we cannot really complain. It was
quite easy to set up the device. For
reflective scanning, you have to insert
the reflective white pad, which is
also quite easy to install. The device
has two buttons, one for power
and the other a shortcut button for
scanning. The top plate is detachable
to facilitate scanning of thick books
and documents. The software bundled
with the scanner could not initially
connect the device through the Epson
utility software, probably because
we were using Windows 10. But the
drivers and software are all available
on Epson website and once the site
detected Windows 10 on our PC, we
only had to get the latest version to
get it working.
colour restoration feature instantly

corrects the colours and matches the
scan to the original.
We did not observe any flaw in the
scans during our limited time of
testing.
Value for Money
The Epson Perfection V800 retails at

an MRP of Rs.34,619. This seems good
value for money for a professional
scanner of this standard. |SP
FINAL SCORE
Performance
The Perfection V800 is a professional

quality photo scanner and the device
worked perfectly in our tests. Though
the scanner is a specialist in scanning
films, we could not find negatives or
transparencies to test this feature.
However, we feel this is not necessary
since the scanning element and other
features remain the same all the time.
The V800, as Epson claims, was ready

to scan the moment it was switched
on, without requiring to warm up.
The Epson Scan software provides
three main options for scanning such
as Full Auto Mode, Home mode and
Professional mode. As you might
have guessed, the Full Auto mode
does not let you do anything except
press a button, while the Home mode
provides you a few controls such as
selection of the type of document,
image type, type of output, and
checkboxes to activate features such
as Descreening, Backlight Correction,
Colour Restoration and Digital ICE
technology. In the Professional mode,
you get access to all fine-tuning
options with the help of sliders,
curves etc. We tested all modes and
found that they worked perfectly. The
professional mode allows you to push
the scanner to its limits by offering
resolution up to 12800 dpi and up
to 48 bit colour. The results were
excellent and a bit of colour balance
adjustments in Photoshop made the
scans comparable to the originals. The
85%

Key Features
17/20
Ergonomics
16/20
Performance
18/20
Value for Money
16/20
PLUS
Superior image
quality
Professional
results
Film scanning
MINUS
Not very compact
VERDICT
professional grade scanner that can
scan documents, prints and film
including transparency. The scanner
provides stunning image quality,
close to the original. Certainly one of
the best options for a professional
photographer who needs to restore old
photographs and scan film rolls.
Smart Photography
June 2016
The Epson V800 comes bundled with

scanning and imaging tools such
as Epson Copy Utility, Epson Event
Manager that allows you to create
custom scan settings and assign
shortcut button, LaserSoft SilverFast
SE 8 for dust and scratch reduction
and noise elimination and Epson Scan
software. Other advanced features
include colour restoration, backlight
correction and Digital Ice (detects dust
and scratch and removes them in the
image).
107
S
FIR
O
LO
Kodak Selfie Photo Booth

Rohinton Mehta
An Innovative
& Novel Idea
he Selfie Photo Booth is a

marketing arrangement
between Kodak Photo
Service and Piquor Technologies.
It offers an innovative and novel
solution to capture, share and print
your happy moments at weddings,
parties, school gatherings and
other social events. Currently, this
service is available at Mumbai,
Bangalore, Delhi, Chennai, Kolkata,
Ahmedabad, Raipur and Ludhiana.
The company has plans to expand
these services across 30 cities in
India and Asia Pacific in the next
six months.
Smart Photography
June 2016
Creating your selfie is an easy

affair. The selfie booth lets you
see yourself and your friends on a
large 20-inch screen. Once you are
satisfied with your pose, press a
button to take the shot, and within
seconds, you are presented with
the photo which is also ready to
be shared on social media like
Facebook and Twitter. You can even
email the image to your near and
dear ones.
108
The Selfie Photo Booth can be

rented on easy terms.
For further details, please call

Rajeev
Email ID: selfiekiosk@gmail.com
Contact No.: 022 62136400 |SP
READERS CAN CHECK THE ENTIRE BUYERS GUIDE,

THAT FEATURES SPECS AND PRICES OF
D-SLRS, ILCCS, DIGITAL COMPACTS AND LENSES VIDE LINK
Smart Photography
June 2016
http://www.smartphotography.in/buyers-guide
109
Buyers Guide - Digital SLRs

CANON EOS -1D X MARK II
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
:
:
:
:
:
: CMOS
36 x 24mm
Full-Frame
Effective Pixels
: 20.2 million
File Formats
: JPEG, Raw
Metering Modes : Evaluative,
Partial, Spot,
Centre-weighted
average
Exposure Modes : P, Tv, Av, M, Bulb
100 51,200 (50 409600 with boost)
30 1/8000 sec
4K capable; MOV, MP4 formats
Dual slot for CF, CFast cards
1530g (Body only)
CANON EOS 5D MARK III
Sensor Type/size
Sensor Type/size
Effective Pixels
Supported
File Formats
Metering Modes
Exposure Modes
:
:
ISO Equivalence
Shutter Speed
LCD Monitor/Dots
Storage Type
:
:
:
:
Weight
Price: Rs.455,995 (Body only)
:
:
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
:
:
:
:
: CMOS, 35.8mm
x 23.9mm
Effective pixels
: Approx.
20.2 million
Supported File formats: JPEG, RAW (14bit, Canon
original),
RAW+JPEG
Metering Modes : Evaluative
metering (315
zones), Partial,
Spot, Center-weighted
Program AE for movie shooting, Manual
exposure
100-25600 (expansion possible to ISO
50, ISO 51200 and 102400)
1/4000 to 30 sec.
3.0-inches, 1,040,000 dots
SD card, SDHC card, SDXC memory card
680g (Body only)
LCD Monitor
ISO Equivalence
:
:
Shutter Speed
Storage Type
:
:
Weight
Smart Photography
June 2016
Shutter Speed
Storage Type
Weight
110
: 22.3 x 14.9mm
(APS-C) CMOS
Supported File Type : Raw,
JPEG, MP4
Exposure Modes : P, S, A, M
Partial, Spot,
Centre-weighted
: 3.0-inch 1,040,000-dot
Capacitive Touch Screen
: ISO100 6400 (Expandable
to 12,800)
: 30 1/4000 sec.
: SD/SDHC/SDXC memory card
: 520g (Body only)
: 20.20 million
: CMOS sensor
(22.4 x 15.0mm)
Supported File Type : JPEG, Raw (14bit Canon
original)
Exposure Modes : P, S, A, M
Metering Modes
: Evaluative,
Partial, Spot,
Centre-weighted
3.0-inch, 1.04 million dots
ISO 100 - ISO 16000, expandable to H1
(equivalent to ISO 25600)
30 to 1/8000 sec., Bulb
CF (Type I, UDMA 7 supported), SD/
SDHC/SDXC memory cards
910g (Body only)
CANON EOS 1300 D

: 24.2 million
Sensor Type
ISO Equivalence
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Price: 252,995 / 265,995 (body only)
CANON EOS 80D
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
Sensor Type/Size : APS-C Type

22.3 x 14.9mm
CMOS
Effective Pixels
: 24.2 million
File Formats
: JPEG, Raw
Partial, Spot,
Centreweighted
average
: P, Tv, Av, M, Bulb
: 100 - 16000 set (ISO 25600
with boost)
: 30 - 1/8000 sec
: Full HD (1920x1080); MOV,
MP4 formats
: SD, SDHC, SDXC
: 730g (Body only)
Price: Rs. 128,795 (body only)
CANON 760D
LCD Monitor
: 50.6 million
: 36 mm x 24mm
(Full-Frame)
CMOS
Supported File Type : Raw/JPEG/
MOV video
Exposure Modes : Program AE,
Shutter priority
AE, Aperture
priority AE
Manual , Bulb
: Evaluative, Partial, Spot,
Centre-weighted
: 3.2-inch, 1,040,000-dot TFT
: ISO100-6400 (expandable to 50-12,800)
: 30-1/8000 sec
: SD & CF dual slot
: 845g (Body only)
Effective Pixels
Sensor Type
Price: Rs. 1,19,995 (body only)
Effective Pixels
: JPEG (Exif 2.3 [Exif

Print] compliant)
RAW: RAW,
sRAW1, sRAW2
(14bit, Canon
original RAW 2nd edition)
Multi, Center-weighted, Spot, Partial
Auto+ Program AE, Shutter priority AE,
Aperture priority AE Manual (Stills and
Movie), Custom (x3)
100-25600 (50-102400 in expanded mode)
30 sec - 1/8000 sec
3.2-inch, 1,040,000 dots
Compact Flash Type I (UDMA compatible),
SD/SDHC/SDXC
950 gms (Body only)
CANON 7D MARK II
Sensor Type/size
ISO equivalence
Effective Pixels
Sensor Type
: CMOS, Fullframe 36 x 24 mm
: 22.3 million
CANON EOS 6D
Exposure Modes
CANON EOS 5DS/5DSR
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
:
:
:
:
Effective Pixels : 22.3 x 14.9mm

(APS-C) CMOS
Effective Pixels: 18.0 million
File Formats : JPEG, Raw (14-bit
Canon original)
Metering Modes : Evaluative, Partial,
Centre-weighted
average
Exposure Modes : P, S, A, M, Scene, Auto
ISO 100 6400, expandable to H1
(25,600 equivalent)
30 to 1/4000 sec
Full HD (1920 x 1080); MOV format
SD, SDHC, SDXC
440g (Body only)
Price: Rs. 29,995 (18-55mm kit)
Price: TBA
Nikon D5
Effective Pixels
Effective Pixels
File Formats
Metering Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
:
:
:
:
:
: Full Frame
(35.9mm,
x23.9mm)
CMOS
: 21.33million
: JPEG, Raw
: Matrix, Centreweighted, Spot
: P, S, A, M
Exposure Modes
100 to 102400
30 to 1/8000sec
3840 x 2160 (4K UHD); MOV format
XQD, CompactFlash (CF)
1405g (Body only)
Price: TBA
Buyers Guide - Digital SLRs

Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
:
:
:
:
NIKON D610
: DX Type (23.5 x
15.7mm) CMOS
: 21.5 million
: Raw, JPEG
: Matrix, Centreweighted, Spot
: P, S, A, M
: 100 51200 (50
to 1640000 with
boost)
30 to 1/8000sec
3840 x 2160 (4K UHD); MOV format
1 XQD and 1 Secure Digital (SD)
860g (Body only)
Price: TBA
NIKON D750
:
:
:
:
:
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
NIKON D3300
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
:
:
:
:
:
Weight
:
:
:
:
:
:
: 24.2 Million
: 23.5 x 15.6 mm
CMOS sensor
Supported File Type : JPEG, RAW
(12 bit)
Exposure Modes : Auto, Programmed
auto with exible
program (P);
shutter-priority
auto (S); aperture-priority auto (A);
manual (M); scene, special effects
Matrix, Centre-weighted, Spot
3-in., approx. 921k-dot (VGA) TFT
ISO 100-12800 (Expandable up to 25,600)
30 to 1/4000 sec
SD/SDHC/SDXC memory card
460g (Body, with battery and card)
PENTAX K1
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
: 37.09 Million
: 35.9mm,
x24.0mm CMOS
Supported File Type : JPEG, RAW (12
or 14 bit), TIFF
Exposure Modes
: Program with
exible program
(P); shutterpriority (S); aperture-priority (A); manual (M)
Matrix, Centre-weighted, Spot
3.2-inch, approx.1229k-dot TFT
64-12800 (Expandable to 51,200)
30 1/8000 sec
CF (Type I, UDMA compliant), SD/SDHC/
SDXC (dual slot)
Price: Rs. 1,99,950 (Body only)
NIKON D5500
Effective Pixels
Sensor Type
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
: 24.2million
: Nikon DX format
(23.5 x15.6mm)
CMOS
Supported File Type : NEF (Raw): 12or 14 bit, JPEG
Exposure Modes
: Auto, P, S, A, M,
Scene, Special
effects
: Matrix, Centre-weighted, Spot
: 3.2inch, approx.1037k-dot TFT
: ISO 10025600, Auto
: 30 to 1/4000 sec, Bulb, Time
: SD, SDHC (UHS-I compliant), SDXC
(UHS-I compliant)
: 470g (Body only)
Price: Rs. 29,450 (Body only)
Effective Pixels
Sensor Type
Metering Modes
: 24.2 million
: Nikon DX format
(23.5mm,
x15.6mm)
CMOS
Supported File Type : Raw, JPEG, MOV
Exposure Modes : Program AE,
Shutter priority
AE, Aperture
priority AE Manual
Matrix, Centreweighted, Spot
3.2-inch 1,229,000-dot TFT
ISO100 25,600
30 1/8000 sec
SD/SDHC/SDXC dual slots
765g (Body only)
:
:
:
:
:
Effective Pixels
Sensor Type
Nikon D7200
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Effective Pixels
Sensor Type
Metering Modes
: 24.93million
: 35.9mm, x24.0mm
CMOS
Supported File Type : JPEG, RAW (12 or
14 bit)
Exposure Modes
: Auto, Scene,
Special Effects,
Program with
exible program
(P); shutter-priority
(S); aperture-priority (A); manual (M)
Matrix, center-weighted, or
highlight-weighted
3.2-inch, approx.1229k-dot tilting TFT
100-12800 (expandable to 51,200)
30 1/4000 sec
SD/SDHC/SDXC (Dual Slots)
Effective Pixels
Sensor Type
Sensor Type/Size
Metering Modes
Shutter Speeds
LCD Monitor/ Dots
Storage Type
Weight
: CMOS sensor
(35.9 x 24.0 mm)
Effective Pixels
: 24.3 million
Supported File
Formats
: NEF (RAW)/JPEG
ISO Equivalence
: ISO 100-6400 in
steps of 1/3 or
1/2 EV
Exposure Modes
: Auto; scene;
programmed
auto with exible program (P);
shutter-priority auto (S); aperture-priority
auto (A); manual (M)
Matrix, Center-weighted, Spot
30 sec to 1/4000 sec
3.2-inch/ approx. 921k-dot
SC/SDHC/SDXC
850 g (Body only)
NIKON D810
PENTAX K3 II
Sensor Type/Size: 35.9 x 24.0mm (Full

Frame) CMOS
Effective Pixels : 36.40 million
File Formats : JPEG, Raw
Metering Modes : Multi-segment,
Centre-weighted,
Spot
Exposure Modes : P, S, A, M, Bulb,
Scene
: ISO 100 to 204,800
: 30 to 1/8000sec
: Full HD (1920 x 1080); MOV format
: SD, SDHC, SDXC
: 925g (Body only)
Price: TBA
ISO Equivalence
Shutter Speed
Video
Storage Type
:
:
:
:
Weight
Sensor Type/Size :
APS-C
Type (23.5 x
15.6mm) CMOS
Effective Pixels : 24.35 million
File Formats : Raw, JPEG
Metering Modes : Multi-segment,
Centre-weighted,
Spot
Exposure Modes : Green, P, Sensitivity,
S, A, S and A, M
100 to 51200
30 to 1/8000 sec
Full HD(1920x1080); MOV, AVI
Dual slots: SD, SDHC, SDXC, Eye-Fi,
FLU card.
785g (Body only)
Smart Photography
March2016
June
2016
NIKON D500
111
Buyers Guide - ILCCs (Mirrorless)

CANON EOS M3
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
: APS-C Type (22.3 x 14.9mm)

CMOS
: 24.2 million
: JPEG, Raw
Centre-weighted average
: P, Tv, Av, M
: 100 12800 (ISO 25,600
with boost)
: 30 1/4000 sec., Bulb
: 1920 x 1080 (Full HD); MP4
: SD/SDHC/SDXC
: 366g (Body only)
CANON EOS M10
Sensor Type/Size
: APS-C Type (22.2 x 14.8mm)

CMOS
: 18 million
: JPEG, Raw
Centre-weighted average
: P, Tv, Av, M
: 100 to 12800 (25600
with boost)
: 30 to 1/4000 sec.
: 1920 x 1080 (Full HD); MP4,
MPEG-4 AVC / H.264
: SD/SDHC/SDXC
: 301g (Body only)
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
Price: Rs.49,995
NIKON 1 J5
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
Price: Rs.25,950
Smart Photography
June 2016
OLYMPUS PEN E-PL7
112
Effective Pixels
: 16.1 million
Sensor Type
: 4/3 Live MOS Sensor
Supported File Type : RAW, JPEG
Exposure Modes
: iAuto, P, A, S, M, Bulb, Time,
Scene select, Art Filter
Metering Modes
: Digital ESP, Centre-weighted
average, Spot
LCD Monitor
: Approx.1037k-dot,
3.0-inch tilting
ISO Equivalence
: ISO 100 - 25600
Shutter Speed
: 60 1/4000 sec
Storage Type
: SDHC, SDXC, UHS-I compatible
Weight
: Approx. 357g with battery
and Memory card (Body only)
Price: TBA
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
Price: Rs.39,995
OLYMPUS OM-D E-M5 II
: CX Format (13.2 x 8.8mm)

: 23.01million
: Raw, JPEG
: Matrix, Centre-weighted, Spot
: P, S, A, M
: ISO 200 to 12800
: 30 to 16000 sec
: 1920 x 1080, MOV format
: microSD, microSDHC, microSDXC
: 265g (Body only)
FUJIFILM X-T10
: 16.1 million
: 4/3 Live MOS Sensor (17.3 x 13.0 mm)
: JPEG, Raw, MPO
: iAUTO, P, A, S, M, Bulb, Time,
Scene select, Art Filter, My Set
average, Spot
: 3.0-inch vari-angle
: ISO 100-25,600
: 60 to 1/8000 sec, Bulb, Time
: SD, SDHC, SDXC (UHS-I, II
compatible), Eye-Fi Card
compatible
: 469g (Body only)
Price: TBA
OLYMPUS OM-D E-M10 II
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
Sensor Type/Size
Effective Pixels
ISO equivalence
: CMOS sensor (17.3 x 13 mm)

: 16MP
: 100-25600 in 1/3EV or
1EV increments
Supported File
: JPEG/RAW (ORF)/ MPO
Exposure Modes
: Auto/Program, Shutter Priority,
Aperture priority, Manual,
Photo story/ Art
: Art lter/ SCN, Movie
Metering Modes
: Multi, Center-weighted,
Shutter Speeds
: 60 sec to 1/8000 sec
LCD Monitor/ Dots : 3-inch 1037 k-dot
Storage Type
: SD/SDHC/SDXC , Eye-Fi
Movie
: MPEG-4 AVC/H.264/
Motion JPEG
Weight
: 497 g (Body only)
: 17.3 x 13.0 mm (4/3 Type)

Live MOS
: 16.1 million
: JPEG, Raw
average, Spot
: P, S, A, M, Scene, Art
: ISO 200 to 25600
(Expandable from 100)
: 60 to 1/4000 sec
: Full HD (1920 x 1080); MOV, AVI
: SD, SDHC, SDXC, Eye-Fi
: 390g (Body only)
OLYMPUS OM-D E-M1
: 23.6mm x 15.6mm (APS-C)

X-Trans CMOS II
: 16.3 million
: JPEG, Raw
: Multi, Spot, Average
: P, S, A, M
: ISO 200 6400 (Expandable
from 100 to 51,200)
: 30 to 1/32,000
: Full HD (1920 x 1080);
MOV format
: SD, SDHC, SDXC
: 331g (Body only)
PANASONIC DMC G7
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
: 17.3 x 13.0 mm (4/3 Type)

Live MOS
: 16.00 million
: JPEG, Raw, MPO
: Multiple, Centre-weighted, Spot
: P, S, A, M
: ISO 200 to 25,600
(Expandable from 100)
: 60 to 1/16000 sec
: 4K (3840x2160); AVCHD, MP4
: SD, SDHC, SDXC
: 410g (Body only)
Price: TBA
Buyers Guide - ILCCs (Mirrorless)

PANASONIC DMC-GM5
Effective Pixels
Sensor Type
: 16.05 million
Effective Pixels
: 16 million
: Live MOS Four-Thirds
Sensor Type
: 17.3 x 13.0 mm (Four Thirds)
(17.3 x 13.0 mm)
Live MOS
Supported File Type : JPEG, Raw, MPO, MOV,
Supported File Type : Raw, JPEG, AVCHD, MP4
MP4, AVCHD
Exposure Modes
: P, S, A, M
Exposure Modes
: P, A, S, M
Metering Modes
Metering Modes
: Multi-pattern, Centre-Weighted, LCD Monitor
: 3-inch 921,000-dot TFT
Spot
ISO Equivalence
: ISO100 25,600
LCD Monitor
: 3.0-inch free angle OLED
Shutter Speed
: 60 1/16,000 sec
screen, 1,036,000 dots
Storage Type
: SD/SDHC/SDXC
ISO Equivalence
: ISO 100 (Extended) to 25600 Weight
: 211g (Body only)
Shutter Speed
: 60 to 1/8,000 sec, Bulb
Storage Type
: SD/SDHC/SDXC card
(UHS-I compatible)
Weight
: 560g (Body only)
PANASONIC GX80
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
: 17.3 x 13.0 mm (4/3 Type) Live MOS

: 16.00 million
: JPEG, Raw, MPO
: P, S, A, M
: ISO 200 to 25,600 (Expandable
from 100)
: 60 to 1/16000 sec
: 4K (3840x2160); AVCHD, MP4
: SD, SDHC, SDXC
: 426g (Body only)
Effective Pixels
: 36.4 million
Sensor Type
: 35.924.0mm, Exmor CMOS
Supported File Type : JPEG, Raw
Exposure Modes
: iAUTO, Superior Auto, P, A,
S, M, Sweep Pano, Movie
Metering Modes
: Multi-segment, centreweighted, spot
LCD Monitor
: 3.0-type wide type TFT
with 921,600 dots
ISO Equivalence
: ISO100 to 25600
Shutter Speed
: 30 to 1/8000 sec
Storage Type
: SD Type/Memory Stick Type
Weight
: Approx. 465 g Body with
battery and memory card
Price: Rs.1,24,990 (Body only)
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
: 17.3 x 13.0 mm (4/3 Type) Live MOS

: 20.30 million
: JPEG, Raw, MPO
: P, S, A, M
: ISO 200 to 25,600 (Expandable
from 100)
: 60 to 1/16000 sec
: 4K (3840x2160); AVCHD, MP4
: SD, SDHC, SDXC
: 487g (Body only)
Shutter Speed
Video
Storage Type
Weight
Price: TBA
SONY ALPHA 7R II
Effective pixels
Sensor Type/size
: 42.4 million
: Full frame (35.924.0mm),
ExmorR CMOS
Supported File Type : JPEG, Raw
Video Format
: XAVC S, AVCHD, MP4
Best Video
: 4K (3840 x 2160)
Storage Type
: MS PRO Duo/PRO-HG Duo,
SD/SDHC/SDXC (UHS-I compliant)
Exposure modes
: AUTO, P, A, S, M, Movie,
Sweep Panorama,Scene
ISO equivalence
: ISO 100-25600, expandable
from ISO 50 to ISO 102400
LCD Monitor
: 3.0-inch 1,228,800-dot TFT
Shutter Speed
: 30 to 1/8000 sec, Bulb
Weight
: 582 g (Body only)
Price: TBA
SONY ALPHA 7R
PANASONIC GX8
Price: TBA
SONY ALPHA 7S II
Sensor Type/Size
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
SONY ALPHA 7 II
Effective Pixels
Sensor Type
Supported File Type
Exposure Modes
Metering Modes
LCD Monitor
ISO Equivalence
Shutter Speed
Storage Type
Weight
: 24 Million
: Full Frame (35.8 x 23.9mm)
: JPEG, Raw, XAVC S, AVCHD, MP4
: AUTO, P, A, S, M, Movie, Sweep
Panorama, Scene
: Multi-segment, centre-weighted, spot
: 3.0-inch 1,228,800-dot TFT
: ISO 100-25,600, expandable
up to 50
: 30 to 1/8000 to 30 sec, Bulb
: Memory Stick PRO Duo/PROHG Duo/XC-HG Duo, SD/
SDHC/SDXC memory card
(UHS-I compliant)
: 599g (Body only)
: Full frame (35.6 x 23.8 mm),

Exmor CMOS
: 12.2 million
: JPEG, Raw
: Multi-segment, Center-weighted, Spot
: Auto, P, A, S, M, Scene
Selection, Sweep Panorama,
Movie / HFR
: 100-102400 (expandable to
ISO 50-409600)
: 30 to 1/8000 sec
: 4K: 3840 x 2160; XAVC S,
AVCHD, MP4
: Memory Stick, SD
584g (Body only)
Price: Rs.2,34,990
SONY ALPHA 68
Effective Pixels
Effective Pixels
File Formats
Metering Modes
Exposure Modes
ISO Equivalence
Shutter Speed
Video
Storage Type
Weight
: 23.5 x 15.6mm (APS-C type )

Exmor CMOS sensor
: 24.2 million
: JPEG, Raw
: Multi segment, Spot,
Centre weighted
: P, S, A, M, Sweep
Panorama, Scene
: ISO100 to 25,600
: 30 to 1/4000 sec
: Full HD (1920 x 1080);
XAVC S, AVCHD, MP4
: Memory Stick, SD, SDHC
: 596g (Body only)
Smart Photography
June 2016
PANASONIC DMC-GH4
113
SP
Recommends
Compact Cameras
Canon PowerShot
G7X
Canon PowerShot
G3X
Fujifilm Finepix
X100s
Nikon Coolpix
P7800
Nikon Coolpix
P900
Canon PowerShot G3X

uses a 1-inch Type sensor
to deliver superior lowlight performance than
traditional small-sensor
compacts. With a 24600mm lens, the camera
takes competition to a
different level. Assisted
by a DIGIC 6 processor
and capable OIS,
the camera delivers
good image quality
throughout the
zoom range.
The Fujifilm Finepix

X100s comes with a 16
MP APS-C size CMOS
sensor, paired with a
35mm equivalent f/2
lens and a 2.8 LCD
screen. The X100s
noise control and
hybrid viewfinder are
very impressive and
it produces pleasing
pictures with good
accuracy.
The Coolpix 7800

is Nikons top
professional compact.
It features a 12.2
megapixel 1/1.7inch Type CMOS
sensor, a 28-200mm
f/2.0-4.0 lens, a 3
articulated LCD
monitor and an EVF.
Overall, the Coolpix
7800 produces very
good results, with an
impressive Auto White
Balance system.
The Coolpix P900 is a

16.0-megapixel superzoom camera with 83x
optical zoom equivalent
to 24-2000 mm. This
features Optical
Vibration Reduction
along with Wi-Fi
connectivity. The lens
is constructed with 5
ED and 1 super ED lens
elements for superior
image quality.
Panasonic Lumix
LX100
Panasonic DMCFZ330
Sony Cyber-shot DSC

RX10 M2
Sony Cyber-shot
DSC RX1
Sony Cyber-shot DSC

RX100 M4
Featuring a Four Thirds

sensor, this point-andshoot offers manual
modes along with 4K
Ultra HD videos. The
12.8MP camera has a
fast Leica DC VarioSummilux 24-75mm
equivalent f/1.7-2.8
lens and an integrated
accessory shoe.
The DMC-FZ330 is a
weather-proof camera
with a Leica zoom lens
with a constant f/2.8
maximum aperture. The
lens provides a focal
length of 25-600mm
equivalent range along
with 4K video recording
and Raw format.
The 20.2-megapixel
Sony RX10 M2 features
a 24-200mm f/2.8 lens
along with a 1.0-inch
Type Exmor RS stacked
CMOS sensor. A DRAM
chip coupled with the
sensor allows for highspeed signal processing
and an optical image
stabiliser assists you
in getting shake-free
images and seamless 4K
videos.
The RX 1 is the worlds

first compact camera
with a full frame 24.3
MP CMOS sensor. It
has a Carl Zeiss Sonnar
35mm f/2 lens that
can be switched to
macro mode. There is a
built in 3 LCD screen.
Anyone wanting a
compact camera that
produces high quality
results should look at
the RX1.
The fourth generation

of the RX100 series,
this camera offers 20.1
megapixel imaging with a
1.0-inch Type Exmor RS
stacked CMOS sensor.
The sensor unit is coupled
with a DRAM chip for
high-speed processing,
useful for 4K video
recording. Coupled with
a 24-70mm equivalent
ZEISS Vario-Sonnar T*
f/1.8-2.8 lens, this camera
is a winner all the way.
With a 1-inch Type

20.2-megapixel BSI
CMOS sensor, the
PowerShot G7 X is
expected to deliver
superior image quality
in this category of
compact cameras. It
has a 24 100mm
equivalent f/1.8 2.8
lens along with Wi-Fi
and NFC capabilities.
114
Now read your favourite magazine wherever you go...
Available on PC... Mac... Tablet... or any other handheld device!
R 1 IMAGING
SUBSCRIBERS COP
Smart
MAGAZINE!
RS .15 0
WS
Y
H
P
A
R
G
O
PHOT
R E V IE
150
Y TOTAL PAGES
BE
INDIAS NUM
SONY
ALPHA 68
CANON
18 -135MM
PANASONIC EF-S5-5.6 IS USM
F/3.
FZ300
ISSUE 3 | VOLUM
E 12 | JUNE 201
E
PHOTO FEATUR
tius
Mauri
8 pages BenQ
e
June 2016 issu
supplement with
135
LEARNINGS
CREATING
PANORAMAS
HOW TO BLUR
TER
MOVING WA
RESS PRO
UM XP RES
DGFLICK ALB
14
Y 2016
NE
AR
| JU
12 NU
ME| JA
LU10
ME
| VO
3 LU
| VO
10UE
ISSUEISS
ALSO
D
REVIEWELE
VR NS
Profile
K.P. Krishnan
w
Intervie
Jayanth Sharma
-70MM F/2.8E ED
AF-S NIKKOR 24
ARTPHONE
XY S7 EDGE SM
LA
GA
G
UN
MS
SA
MONITOR
PT
01
32
BL
BENQ
SCANNER
00
V8
N
TIO
EPSON PERFEC
Digital Platform Partners

Available on
www.zinio.com/smartphotography
http://pocketmags.com/nextgen
GLOSSARY
Jargon
Photographic
Terms used in photography can often confuse a photographer, especially a beginner. Here is a list of
photographic jargon, with as-simple-as-possible explanations.
Rohinton Mehta
APS-C: Describes a imaging sensor size

or a camera using this size of sensor.
APS-C
24mm
Full
Frame
15.7mm
36mm
23.7mm
Smart Photography
June 2016
APS-C stands for Advance Photo

System, type C . Sensor size 15.7 x
23.7mm approximately. Varies slightly
between manufacturers
Aperture: Set of metal blades
that control the amount of light
entering a lens (same as Diaphragm)
AVCHD: Advanced Video Coding
High Definition. A format for digital
recording and playback
AF Sensor: A sensor used in achieving
autofocus
116
Buffer: Temporary storage of data

before the images are written to the
memory card
Sensor
Buffer
Memory
card
Bridge camera:
Describes a
camera that
fits between a
compact and
a D-SLR. Also
known as Prosumer camera
Ballhead: (Used on a tripod). Performs
similar functions as a
pan and tilt head but
uses a central ball as
a pivot to allow for
camera movements
Battery Grip: A
device that attaches to the base
of a D-SLR.
The battery
grip, not only
provides
better grip
for vertical shooting, but uses extra
batteries to supply power to the
camera when the camera battery
dies down. In some cases, it helps
to increase the frames-per-second
firing rate
Burst mode: A camera mode that
allows continuous firing
Barrel distortion: The outward

bulging of
straight lines
in the centre
of the frame
due to lens
imperfection
Bit: Refers
to a binary digit the smallest unit of
computer data, either 0 or 1
Bit depth: A measure of the number of
possible colours/tones in an image. Our
images are basically formed using the
three primary colours (also known as
channels), red, green and blue. JPEG
files are 8-bits per channel (which is the
same thing as 24-bit. When we say 24bit, we should not say per channel).
Raw files can be 12-bits per
channel or 14-bits per channel, that is
36-bit or 42-bit respectively
Bracketing: A method of taking three
or more shots in succession (using
different exposures), with a hope that at
least one of them will be accurate. We
also bracket when shooting for HDR
imaging. Bracketing could also be for
White Balance and ISO
CMYK: Cyan, Magenta, Yellow, Black.

These are the colours used in books/
magazines printing
Colour temperature: A measure of
the colour of light.
D-SLR: Digital
Single Lens Reflex
camera. An
interchangeable
lens camera that
uses a reflex mirror
for viewing
Diaphragm: Set of
metal blades that
control the amount
of light entering
a lens (same as
Aperture)
Depth-of-field: The zone of sharpness
in a photo.
DOF Preview Button: A button on the
camera that allows you to visually check
the depth-of-field.
Dynamic Range: The range of brightness
that can be captured by a film or digital
imaging sensor. This range is much
lower than the dynamic range of our eyes
Digital zoom: In-camera electronic
enlargement of the central area of
a frame. Use of digital zoom should
be avoided if high image quality is
required. The same effect can be
achieved during post-processing, by
cropping an area and enlarging it
DPI: Dots Per Inch. A measure of print
resolution
Diffuser: (1) A camera filter that softens
an image (generally used with portraits).
(2) Any material that softens
the light from a hard light source like
the sun or a flashgun. Placed between
the light source and the subject
Exposure meter: A light-meter that

recommends the aperture and shutter
speed for a given lighting condition.
An exposure meter can be
built into the camera or can
be an external hand-held
variety. To use any light
meter, you first need to set
the ISO sensitivity.
EVF: Short form of
Electronic View Finder
Evaluative meter: One of the in-built
exposure meter that divides the frame
into various segments and based on
thousands of pre-set exposures built
into the cameras memory, selects a
suitable exposure depending on the
lighting conditions and the set ISO
sensitivity. Also known as Segmented/
Matrix meter
Frame rate: A measure of how many
frames a camera can fire in one second
Flare: Image degrading, unwanted
reflection of light within the lens
Full-frame: Denotes a camera/imaging
sensor that is the same size as a 35mm
film (24 x 36mm)
Focal plane: Describes the location
of the film/imaging sensor within the
camera
Focal plane shutter: A type of shutter
used in SLRs/D-SLRs. This shutter is
placed in front of the film/sensor.
Focal length: In a simple convex lens
(a magnifying glass for example) and
with light coming from infinity the
Focal Length
Smart Photography
June 2016
CCD/CMOS: Types of imaging

sensors. CCD stands for Charged
Coupled Device. CMOS stands
for Complementary Metal-Oxide
Semiconductor
Compact camera:
Describes a small,
point-and-shoot
type of camera
Center-weighted meter: One of the
in-built exposure meter that places
greater emphasises on the central area
of the frame. The user generally has
the choice of selecting the area (8, 12,
20mm circle at the center)
Circular Polariser (CPL): A polarising
filter designed to be used with digital
cameras (as well as certain film cameras).
A CPL prevents secondary polarisation
of light at the reflex mirror, thereby
preventing exposure/focussing error.
Contrast-detection AF: A system
of autofocussing wherein the camera
uses contrast as the basis of evaluating
correct focus
Chromatic Aberration: The inability
of all the three primary colours (Red,
Green, Blue) to focus on the same
plane. This manifests itself in the form
of colour fringing at the edges and is
most noticeable against high-contrast
elements in the picture
Clipping: Overexposing of highlights.
Underexposing of shadows.
Crop factor: A factor by which the
focal length of a lens needs to be
multiplied to get the equivalent focal
length of a full frame 35mm sensor
Close-up lens/filter: A magnifying
glass that is attached to the front of a
lens to make the lens focus closer. The
magnifications are described by the
term dioptre. Eg. +1, +2, +3 etc.
117
GLOSSARY
Smart Photography
June 2016
118
distribution of tones in an image. The

horizontal axis shows the gradation of
tones from the darkest to the left, to the
brightest at the right. The vertical axis
shows how many pixels are there in any
particular tone.
Intervalometer: A device that allows

you to automatically take pictures at
fixed intervals
IS: Image Stabilizer a feature that
eliminates/reduces the effect of handshake (Originally a Canon Moniker)
ILCC: Interchangeable Lens
Compact Camera. Describes a
mirror-less digital camera with
interchangeable lenses,
Incident Light Meter: A hand-held
light meter that reads the amount of
light incident to (falling on) the subject.
(see image, Exposure meter)
Interpolation: (As related to digital
imaging) The act of introducing new
elements (pixels) in an image
Linear Polariser (PL): A polarising

filter designed to be used with film
cameras that do not use a light-splitter
in the exposure metering system
Live View: A camera feature that allows
the LCD to be used as a viewfinder
LCD: Liquid Crystal Display the display
(monitor) at the rear of digital cameras
Luminosity: Brightness of colour,
without considering hue or saturation
LZW: An option while saving TIFF files.
LZW compresses the file size without
loss of data. LZW actually stands for
Lempel Ziv Welch, the names of
three persons who devised it
Matrix meter: See Evaluative meter
Multi-segmented meter: See
Evaluative meter
Micro Four Thirds: A sensor format
jointly created by Kodak, Olympus and
36mm
JPEG: Joint Photographic Experts Group

a compressed (data losing) file format
Jitter: Another way to describe the
effects of hand-shake
Kelvin: A unit of measurement of colour
temperature based on absolute zero.
Lateral CA:
Chromatic
aberration in
which all the
colours are in focus in the same plane but
are not placed along the optical axis
Longitudenal CA: Chromatic
aberration
in which
different
colours do
not focus at the same point
Leaf shutter: A type of shutter used in
rangefinder cameras. Situated between
the lens elements
Full
Frame
Micro Four
Thirds
24mm
H.264: A standard for video

compression
Hardware: (In terms of computers)
The physical elements that make up a
computer system
HDR Imaging: High Dynamic Range
Imaging. A technique of extending the
dynamic range beyond the normal
capacity of the imaging sensor. Three (or
more) shots are taken from various areas
of the scene (one from the shadows, one
from the highlights and one from the midtones) and then combined in a computer
program to create a picture with good
detail in shadows as well as highlights.
HDR technique is used when the lighting
contrast is very high.
Histogram: A graph showing the
HSB: Hue, Saturation, Brightness. The

standard colour model for adjusting
colour in image editing programs
13mm
distance between the vertical centre

of the lens and the point where the
light rays meet. Focal length tells us how
much of the scene will be covered by
the lens and what the magnification will
be
Firmware: A downloadable software
offered by the camera manufacturer.
Generally used to upgrade/improve
on a cameras performance
Filter: (As applicable to a camera) A thin
glass/plastic or gelatine placed in front
of the lens to modify the colour/quality/
quantity of light entering the lens
17mm
Panasonic. Sensor size approx. 13 x

17mm
MOV: A common multi-media format
for saving movies and other video films.
Macro lens: A special lens designed
for life-size (1:1) photography
Memory card: The removable module
within a digital camera, that stores the
images
Mid-tone: Average tone. Neither too
dark or too light; an in-between tone
Noise: The digital equivalent of film
grain. Noise is caused mainly due to
underexposure.
Normal lens: A lens having a focal
length equivalent to the diagonal of the
given format
Pan and Tilt head: A camera support

used along with a
tripod, that allows
the camera to be
tilted (up/down)
and
panned
sideways. It is different from a ballhead in that it uses separate levers to
control the pan and tilt
Perspective Control/Tilt-Shift lens:
A special lens designed for correcting
perspective distortion
Polariser: A filter that cuts off polarised
light from entering the lens. This filter,
when used correctly, has the ability to
darken blue sky, cut reflections from
water, glass, painted metal, wood,
paper etc.
Phase-detection AF: A method of
autofocussing that splits the image
in two and compares the images for
similar light intensity patterns
Perspective: The size relationship
between the foreground, mid-ground
and background objects in a photo.
Pin cushion
distortion:
The inward
pulling of
straight lines in
the centre of
the frame due
to lens imperfection.
Prosumer camera: Same as Bridge
camera
Partial metering: Found mostly in
Canon cameras, roughly 10-15% of the
frame is measured in the centre.

Pixel: The building block of any digital
image; the smallest unit of any digital
image. Short form of Picture Element
Plug-in: A software designed to
supplement a computer programs
performance or features. Generally
created by third parties
PPI: Pixels Per Inch. A measure of image
resolution (applies to images on the
computer screen)
Raw: Refers to the data received
directly from the imaging sensor,
without any image parameters applied
to it
Reflected Light meter: A light meter
that reads the amount of light reflected
from a subject. Light meters built into
cameras are reflected light meters.
RGB: The primary colours (Red, Green,
Blue) of the additive colour system
RAID: Redundant Array of
Independent Disks. A stack of hard
disks, functioning as one
Reflector: Any material that can reflect
some light back onto a subject
Resampling: The act of increasing or
decreasing the resolution of an image
by interpolation
Sensor: (Imaging Sensor): Digital
equivalent of film.
Spot meter: One of the in-built
exposure meter that reads a very small
area of the frame (typically 3-5% area).
External, hand-held 1-degree spot
meters are also
available.
Softbox: A
type of light
modifier,
generally used
with studio
lights
Software: A computer program that

instructs a computer what to do, when
to do and how to do
TIFF: Tagged Image File Format a
lossless file format
Telephoto lens: A lens having an
angle-of-view narrower than that of a
Normal lens (Eg. 70, 85,
100, 200, 300mm etc)
Teleconverter: A lens
that fits between the
camera body and the
main lens. Its job is to
increase the focal length, thereby
offering a larger image
Umbrella: A light modifier in the shape
of an umbrella
VR: Stands for Vibration Reduction
a feature that eliminates/reduces the
effect of hand-shake
White Balance: A process of getting
rid of colour casts. White objects
should appear white in prints (there
could be several reasons why that may
not be so). Once white objects appear
white, all other colours appear without
any colour casts
Wide-angle lens: A lens having an
angle-of-view greater than that of a
Normal lens (Eg. 35, 28, 24, 20mm etc)
X-sync speed: Shutter speeds
compatible with electronic flash
Zoom lens: A lens having multiple focal
lengths
Smart Photography
June 2016
Optical Viewfinder: The normal

viewing device in a camera, through
which you view and frame a subject.
It uses optical glass as opposed
to Electronic Viewfinder that uses
electronic circuitry to boost the
information within
119
Lens Nomenclature Guide

Lens manufacturers use different suffixes to identify certain lens characteristics.
Here they are, along with simple explanation (wherever required) of how they help.
Rohinton Mehta
CANON
DO
EF
EF-S
IS
L
NIKON
AF-S
CRC
D
DX
FX
ED
G
N
IF
RF
: Diffractive Optics: Special lens elements that reduce colour aberrations to the minimum, thus
improving image quality.
: Denotes that the lens is designed for full-frame cameras
: Denotes that the lens is designed for APS-C cameras
: Image Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure.
: Luxury-series lens: Canons high-end, professional lenses.
: Denotes that the lens is using a Silent Wave Motor: For fast and quiet autofocus
: Close Range Correction: Allows lenses to focus closer, while still maintaining good sharpness. This is
done using a floating lens element design. Generally used in macro and wide-angle lenses.
: Distance information passed on to the camera body: Helps to provide more accurate exposures
: APS-C camera lens
: Full-frame camera lens
: Extra Low Dispersion glass element: Corrects for chromatic aberrations
: Lens without aperture ring; aperture is controlled from the camera body
: Nano Crystal Coat: Greatly reduces flare due to internal reflections of light.
: Internal focussing: Instead of moving all the elements further away or closer to the film/sensor to
focus, IF lenses move only certain internal elements. This allows for much faster focussing.
: Rear Focussing: Similar to IF but only the rear group of elements move to focus the lens.
Smart Photography
June 2016
OLYMPUS
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
120
PANASONIC
OIS
: Optical Image Stabilizer: Helps to eliminate/reduce blur caused by camera movement during exposure.
Mega OIS : Mega Optical Image Stabilizer
Power OIS : Power Optical Image Stabilizer: A superior design of Mega OIS.
ED
: Low Dispersion glass element: Corrects for chromatic aberrations
:
:
:
:
:
:
:
:
Apochromatic lens element: Corrects for chromatic as well as spherical aberrations

Aspherical lens element: Corrects chromatic aberrations
APS-C camera lens
Full-frame camera lens
Hyper Sonic Motor: Internal motor, for fast and quiet autofocus
Optical Stabiliser: Helps to eliminate/reduce blur caused by camera movement during exposure
Rear Focussing: Only the rear group of elements move to focus the lens
Excellent series lens
TAMRON
AD
USD
ASL
Di
Di-II
HID
LD
IRF
VC
PZD
:
:
:
:
:
:
:
:
:
:
Anomalous Dispersion element: Eliminates lateral chromatic aberration

UltraSonic Silent Drive
Aspherical lens element: Corrects chromatic aberrations
Digitally integrated: Full-frame camera lens designed for digital cameras
Digitally integrated: APS-C camera lens
High Index Dispersion glass element: Special glass for improving optical performance
Low Dispersion glass: Corrects for chromatic aberrations
Internal Rear Focussing: Only the rear group of elements move to focus the lens
Vibration Correction: Helps to eliminate/reduce blur caused by camera movement during exposure
Piezo Drive: Internal motor, for fast and quiet autofocus
TOKINA
AT-X
PRO
SD
: Advanced Technology Extra- range of lenses

: Professional lens
: Super-low Dispersion element: Corrects chromatic aberrations
PENTAX
SDM
DA
: Sonic Direct-drive Motor: Internal motor, for fast and quiet autofocus
: APS-C camera lens
SONY
DT
: APS-C camera lens
Smart Photography
June 2016
SIGMA
APO
ASP
DC
DG
HSM
OS
RF
EX
121
PHOTOGRAPHY INSTITUTE
PHOTOGRAPHY INSTITUTE
PHOTO PRODUCT AND ACCESSORIES
Congratulations, India.
Finding a Profoto flash
was never easier.
As of May 2016, Srishti Digilife manages the distribution and
service of Profoto in India. The renowned Swedish flash is
now available for demo and purchase at selected dealers.
Learn more: profoto.com

ADNT Rathna
Chennai
Capital Photo Service
Kolkata
Cochin Photo Emporium
Cochin
Dubai Shoppe
Hyderabad
Foto Circle
Bangalore
Foto Trade
Chennai
Mehta Enterprises
Mumbai
Photosystems
Delhi
Rational Photographics
Kolkata
Smart Shoppers P Ltd
Chennai
Savithri Photo House
Coimbatore
V Traders
Cochin
PHOTO PRODUCT AND ACCESSORIES
Flower arrangement par excellence!
Smart Photography
June 2016
TH
ST
A
L
R
WO
146
Supplement with
June 2016 issue
June 2016 Smartphotography Published on the 26th of every previous month
WHY DO YOU
NEED COLOUR
MANAGEMENT?
For a professional photographer, his images are everything, and he needs to deliver images that
look natural, suiting his signature style. This way, most photographers are very sensitive about how
his images are reproduced. And only a photographer knows how difficult it is to get the tones right
in his image. Any electronic device, whether it is a camera, printer, or monitor, needs to reproduce
colours the way the photographer wants it to be reproduced. However, there is no simple formula to
make it happen. All electronic devices are capable of reproducing colours over wide range. By colour
management, we attempt to match the same ISO values of color on all the connected device viz Source,
Display & Printer. This means that after colour management, the image will appear the same whether
it is printed from a connected device or displayed on a connected monitor.
Color perception is subject to ambient light levels, and the

ambient white point; for example, a red object looks black in blue
light. It is therefore not possible to achieve calibration that will
make a device look correct and consistent in all capture or viewing
conditions. The computer display and calibration target will have
to be considered in controlled, predefined lighting conditions.
HARDWARE
CALIBRATION?
COLOUR
PERCEPTION
Hardware calibration allows you to adjust the

image processing chip in the monitor without
changing the graphic card output data. It keeps
images consistent with its original copies
without being affected by graphic settings. In
addition, the calibration results can be saved
directly into the monitor under two of the
preset modes..
Unlike printers and cameras, a monitor is capable of operating at a wide range of frequencies
and reproducing an extended range of brightness, contrast and colours. Hence it is easier
to tweak the colour response of monitors than playing around with various parameters on
the camera or printer. Moreover, photographers and designers judge the quality of an image
by what is being displayed on the monitor and make changes so that it looks good on the
display. Normal monitors will not be able to reproduce all the hues properly. For colourcritical applications such as photography, the monitor should be capable of calibration with
minimum deviation from the desired standards. The BenQ SW2700PT for example, provides
a Delta E2 for both sRGB and Adobe RGB colour space. Delta E is a measure of error
tolerance of the monitor, and anything less than 4 is considered ideal. This monitor also uses
a 3D Look-up Table for colour mapping, which is the most accurate way of profile conversion.
With the ability to reproduce 99% Adobe RGB gamut, these professional monitors are the
best you can get for image post production.
WHY DO
PHOTOGRAPHERS
NEED PROFESSIONAL
QUALITY MONITORS
FOR IMAGE EDITING?
Published on the 26th of every previous month June 2016 Smartphotography
WHY BENQ SW2700PT

Both these represent the range of colours that a monitor can
reproduce, technically referred to as colour gamut. The sRGB gamut
can reproduce most of the colours properly, but if you require
absolutely true representation of a scene, you need a wider range
of colours. Adobe RGB gamut includes a wider range of colours and
hence a monitor capable of reproducing a wide range of Adobe RGB
will produce greater colour accuracy than one that is capable of
reproducing only sRGB gamut. The Pro Graphic monitors from BenQ
can produce up to 99% Adobe RGB colour space and are therefore
ideal for image post-processing and designing applications.
sRGB AND
ADOBE RGB
10-BIT DISPLAY
FOR EXTREME
COLOURACCURACY
With the use of Palette Master Element and a calibrator,

you can tune and maintain the color performance of
the monitor at its most optimal state.
Support OS system: Win 7 / Win 8, OS 10.6.8-10.10

Support Calibrator: X-Rite i1 Display Pro / i1 Pro / i1
Pro 2 & Datacolor Spyder 4
PROPRIETARY
PALETTE MASTER
ELEMENT
CALIBRATION
SOFTWARE
14-BIT 3D LUT
& DELTA E2
With ultra-high pixel density, every
photographic image will be displayed with
stunning clarity, definition, and accuracy,
allowing all the details in your photos to be
brought out in all its glory on screen.
Enjoy the smoothest shading and color transitions in

natural gradations on a 10-bit display. The 10-bit display
can create more than one billion colors to guarantee the
silkiest and smoothest gradations.
The 14-bit 3D Look Up Table (LUT) improves

RGB color blending accuracy, resulting in
impeccable color reproduction. Having Delta
E2 in both Adobe RGB and sRGB color spaces
gives you the truest and most representative
view of the original image.
109 PIXELS
PER INCH FOR
STUNNING
CLARITY
BLACK-ANDWHITE MODE
With a simple click of a button, you can

preview color photos in black-andwhite
before adding the actual effect. Review
and edit black-andwhite photos without
losing any of the detail or tone youre
trying to achieve.
What the
EXPERTS Say
ith the BenQ

SW2700PT, I am able to
calibrate all my devices
to the same measure, but the true
beauty comes once I view my images
on the screen. I perceive the most
accurate colour mixtures, courtesy this
monitors 14-bit 3D LUT with its superb
RGB colour blending accuracy. My
colour images are simply brilliant due
to the monitors 99 percent Adobe RGB
coverage. My black and white photos
reveal amazing ranges of black, white
and grey tones. I love working on my
BenQ SW2700PT. The monitor displays
outstanding tonal precision and more
fidelity than other monitors. Having a
more precise view of my photographs
saves me an immense amount of
retouch time. Also, corner to corner
consistency is imperative for my work,
and I have faith in the displayed images
as a result.
ANDY BIGGS,
Nature and Wildlife Photographer
Andy Biggs is an avid adventurer, conservationist,

teacher and outdoor photographer. He is a recipient
of the BBC Wildlife Photographer of the Year 2008.
"T
KEITH COOPER
Landscape and
Architectural Photographer
Keith Cooper is a
professional photographer
specialised in fine art
landscape photography and
also a popular educator in
photography. He also covers
architecture, interiors,
annual report photography,
advertising and corporate
events/PR for national and
international clients.
he SW2700PT is aimed
at photographers like
myself, who require a
well specified monitor with a larger
than normal gamut, but don't really
need all the additional precision and
certification you get with one like the
24" BenQ PG2401PT.
I am going to be using one of the two

calibration presets. Having two options
allows me to have a monitor set up
for normal web use at 6500K and say
120 CD/m2, with a different setting
matched more closely to my print
viewing set-up. This monitor offers
the big colour space I am looking for,
and the smoothness of the hardware
LUT means I could detect no banding
or posterisation in any of the images I
have checked it with.
y experience from teaching colour

management workshops is that
buying a colour capable monitor is
fairly low down on a photographers shopping list,
even though its the one essential item too many of
us neglect in our photography workflow. The BenQ
SW2700PT is a great display, at a very good price,
but it retails for less than BenQs other monitor
aimed at photographers serious about colour
management, the PG2401PT. Im lucky enough to
have both monitors hooked up to my computer,
making it easy for me to share my thoughts on
both.
MARK WOOD,
Professional Photographer
Mark Wood is a professional photographer and

educator, having worked in creative arts for almost
a quarter of a century. He has worked as a press
photographer, and commercial photographer
specialising in interiors and products.
As photographers we would rather spend our

money on cameras and lenses, even though colour
capable monitor is one essential item too many of
us neglect in our photography workflow. I know
plenty of 'semi-pro' photographers that rely on
laptop displays for colour accuracy. This is a huge
mistake. At the time of writing no laptop display can
display the colour range necessary for reliable print
reproduction. The BenQ SW2700PT can display
99% of AdobeRGB colour; a gold standard for print.
It also can display tonal gradations beautifully, with
far greatly accuracy than a laptop monitor.
ART SUWANSANG,
Digital Workflow Specialist and Educator
Art Suwansang is a requested lecturer at Chula Lonkorn

Univeristy, Bangkok and a consultant at the Bath Spa
University, United Kingdom. Art's international workshops
in digital workflow and advanced lighting have been
hosted by professional photography organizations in
Europe, Asia, and the United States.
ecause everything is display

driven, one of the most
crucial, and critical pieces
of equipment in colour management
is the display. In the world of colour
accuracy not all displays and panels
are equal. The display should be
capable of hardware colour calibration
like the new BenQ SW2700PT colour
management monitor. It has a 27 inches
display that is designed specifically for
a photographer, or anyone who requires
a colour critical workflow. This is
BenQs second entry into the hardware
calibrated display market, a really small
market with only a few players. And
they have built a really great product
that challenges the status quo.
Aside from its sleek, matte black,
exterior, every SW2700PT ships
with the shading hood as a standard
accessory. This is a really high qualityshading hood that helps minimize stray
light hitting the display panel, reducing
reflection, and helping to maintain
optimal panel contrast.
Best Photo Monitor in the World

Winner at TIPA Awards 2016
SW2700PT
Best Photo Monitor in the World

Winner at TIPA Awards 2016
WHAT TIPA SAYS

BenQ's SW2700PT 27-inch monitor is aimed specifically at photographers who want IPS technology and 99% Adobe
RGB colour space coverage, as well as a brightness level of 350 lux and high contrast for rendering deep blacks. The
monitors other remarkable assets include inputs and outputs such as Display Port, DVI and HDMI, with USB 3.0 ports,
SD card reader and a unique OSD controller. BenQ SW2700PT can be hardware colour calibrated which is essential for
serious photo retouchers and graphic designers alike. Last but not least, a detachable hood underlines the professional
attributes of this affordable but in essence high-end monitor.
Color Management Features
Color Management Features

1
14-bit 3D LUT
& Delta E 2
Palette Master
Calibration Software
Hardware
Calibration
IP S
IP S
14-bit100%
3D LUT
& Delta E 2
sRGB
100%
sRGB
Palette OSD
Master
B&W
Software
PhotoCalibration
Mode
Controller
B&W
Photo Mode
OSD
Controller
DisplayHardware
USB3.0x3
Calibration
Port 1.2
Card Reader x1
Display
Port 1.2
USB3.0x3
Card Reader x1

23.8-inch/27-inch wide 2560x1440 (QHD) display
Advanced IPS technology
BL2420PT / BL2710PT
100% sRGB colour space
10-bit colours renders over 1 billion hues
178 degrees ultra-wide viewing angle
CAD/CAM mode with SolidWorks Certification
Animation mode with 10 levels of brightness adjustment

Desktop Partition feature for multitasking
BenQ Display Pilot software for better colour management

Height, tilt, pivot, stroke and swivel adjustments
Auto Pivot detects the movement of monitor and rotates the contents
Proprietary Flicker-free technology

Exclusive Low Blue Light modes
BL3200PT
32-inch Monitor with 2560x1440 (QHD) resolution

Advanced VA LED display
100% sRGB reproduction

PIP & PBP mode
Dual Aspect Ratio - 5:4 & 4:3
10-bit colour renders over one billion hues
Reduced colour shift up to 178 viewing angle

CAD/CAM mode
Works with SOLIDWORKS, AutoCAD, CATIA and other CAD/CAM software

Solidworks Certification in professional display standards
Animation mode with 10 brightness levels
REC. 709 colour space for video production

High-speed connectivity
Desktop Partition
OSD Controller
Low Blue Light Mode

Auto Pivot
32-inch/27-inch 3840x2160 (4K2K) display
Ultra-Vivid IPS Technology
For CAD/CAM, animation, video editing and graphic arts
PIP & PBP mode
Dual Aspect Ratio - 5:4 & 4:3*

100% sRGB colour space
10-bit panel renders over one billion hues
CAD/CAM mode
Pro/E, SolidWorks, AutoCAD, CATIA and other CAD/CAM software
SolidWorks Certification in professional display standards

Animation mode offers 10 brightness levels
Smooth and realistic colour rendition
Display Pilot software for workspace management
Colour-Shift-Free Display
Desktop Partition
OSD Controller
Proprietary Flicker-free Technology

* only in BL3201PT
Low Blue Light Modes
Flicker-free Technology
BL3201PT / BL2711U
RNI No. MAHENG/2005/14978 Postal Reg no. MCW/53/2015-2017 Licenced to post at Mumbai Patrika Channel sorting
office G. P. O. Mumbai 400 001 Published on 26th of each month and posted on 26/27 of every previous month
24.1-inch widescreen LED backlit IPS monitor
Printing-Industry Colour Certified (G7/Fogra/Ugra)
PG2401PT
Individually Tested to Verify Performance
Aspect Ratio - 16:10
100% CMYK and 99% Adobe RGB colour space

10-bit IPS Panel
Predictable Colours with 14-bit 3D LUT

Delta E2 in Adobe RGB and sRGB
Hardware Calibration
Brightness Uniformity
Only Monitor in
the world
Certified by
G7/Fogra/Ugra
Shading Hood
Individually tested to verify performance

Full Range of connectivity
Coming Soon Video Editing Monitors

PV270
Technicolour Certified
100% REC-709 & 96% DCI-P3 Colour Gamut

Gamut Duo with PIP modes
Real 24P play back (48Hz & 72Hz supported)

2560 x 1440 QHD resolution
27-inch screen
14-bit 3D Lookup Table
Palette Master software

Delta E1.5
Colour Display Clone eliminates guesswork

Shading Hood
PV3200PT
Software Development Kit included
4k UHD monitor
32-inch display
10-bit 100% sRGB and Rec.709 precision

14-bit 3D Lookup Table
Delta E1.5
Palette Master Element software
Brightness uniformity
OSD Controller
Corporate Office:
Ben Q India Pvt. Ltd.
9B Building, IIIrd Floor, DLF Cyber City, DLF Phase III,
Gurgaon, Haryana, India - 122002
Tel: +91 124-4501400, Fax: +91 124-4501440
www.BenQ.co.in
Call Us: 9599002301
E-mail: Aman.Singh@BenQ.com
8 Copyright 2016 BenQ Corporation. All right reserved. Corporate names and trademarks are property of their perspective companies. Features & Specification may change without any prior notice.
148

Smart Photography - June 2016

Enviado por

Dados do documento

Direitos autorais

Formatos disponíveis

Compartilhar este documento

Compartilhar ou incorporar documento

Opções de compartilhamento

Você considera este documento útil?

Este conteúdo é inapropriado?

Direitos autorais:

Formatos disponíveis

Smart Photography - June 2016

Enviado por

Direitos autorais:

Formatos disponíveis

S

SUBSCRIBERS COPY TOTAL PAGES 148

INDIAS NUMBER 1 IMAGING MAGAZINE!

8 pages BenQ supplement with June 2016 issue

ISSUE 3 | VOLUME 12 | JUNE 2016

DGFLICK ALBUM XPRESS PRO

AF-S NIKKOR 24-70MM F/2.8E ED VR LENS

Here are 4 really good reasons!

And most important of

THREE EASY WAYS TO SUBSCRIBE

Cash Discount Offer

YOUR DETAILS (ALL DETAILS IN CAPITAL LETTERS)

Or please charge my credit card

Card expiry date

TO GIFT A SUBSCRIPTION (ALL DETAILS IN CAPITAL LETTERS)

For clarifications, email: subscriptions@nextgenpublishing.net or call +91 22 4352 5252

(as appears on card)

of courts in Mumbai only.

s they say, time and technology waits for no

Dont say that you were not warned.

CIRCULATION AND SUBSCRIPTION

Unit No. 509, 5th Floor B Wing, Mittal Towers, MG

Cenetoph Elite, No.5, 1st street, Teynampet,

26-B, Ground Floor, Okhla Industrial Estate, Phase-III,

401B, Gandhi Empire, 2, Sareen Estate, Kondhwa Road,

Hyderabad: Srinivas Gangula, Territory Sales Incharge (Circulation),

Vidyasagar Gupta Territory Sales Incharge (Circulation),

WE ARE GLUED TO THE GLOBAL IMAGING INDUSTRY

SUBSCRIBERS COPY TOTAL PAGES 150

INDIAS NUMBER 1 IMAGING MAGAZINE!

ISSUE 135 / JUNE 2016

8 pages BenQ supplement with June 2016 issue

ISSUE 3 | VOLUME 12 | JUNE 2016

DGFLICK ALBUM XPRESS PRO

AF-S NIKKOR 24-70MM F/2.8E ED VR LENS

Cover credit: Jayanth Sharma

A platform for budding photographers to

30 Picture of the Month

A photographic proile of the person

Our expert comments on how your

43 Ask Uncle Ronnie

Your photo queries answered by Uncle Ronnie

The masters of the craft share their insights

146 The Last Word

Readers can find the updated Buyers Guide, log on http://smartphotography.in/news/monthly-special

ISSUE 135 / JUNE 2016

85 My Life with Cameras

102 Nikkor AF-S 24-70

INDIAS NUMBER 1 IMAGING MAGAZINE!

ISSUE 2 | VOLUME 12 | MAY 2016

Canon debuts new

anon has launched

prints 38 sheets per minute.

also boasts functions like

Panasonic and Sigma have announced

5 million units of Fujifilms Instax

anasonic is all set

uses a 1-inch Type MOS

uses a single MOS sensor.

Kyushu Island Jolts Cripple

and Oita Technology Center

The statement meantions

facilities have incurred any

HTC launches immersive