Nikon Speedlight SB-910

November 30, 2011

A high-end Nikon Speedlight offering simple and smooth operation

TOKYO - Nikon Corporation is pleased to announce the release of the Speedlight SB-910, the new high-end Nikon Speedlight.

The SB-910 is a high-end Speedlight for advanced amateur to professional photographers that offers a number of improvements over its predecessor, the Nikon Speedlight SB-900. Among these improvements are smoother operation, greater illumination precision, and the adoption of hard color filters. The SB-910 fully supports the creative photography of advanced amateurs to professionals who demand the ability to make the most of light to achieve their individual intent.

SB-910 primary features

1. A refined user interface for smoother operation
   Users can now quickly access custom settings using the new MENU button. In addition, the graphical user interface (GUI) has been improved to offer simpler application of settings for all operations.
2. Three illumination patterns for use according to the scene
   The SB-910 offers selection from three illumination patterns (standard, even, center-weighted), allowing users to choose the pattern most appropriate for the scene. Illumination precision has also been increased.
3. Automatic detection of hard color filters attached to the front of the flash head
   The SB-910 supports hard color filters because they are more durable, stand up better to the heat generated by the flash head, and are easier to use than the gel color filters supported by its predecessor. One incandescent filter and one fluorescent filter are supplied with the SB-910.

Additional SB-910 features and functions

• Guide number of 34/111.5 (at ISO 100, m/ft., 35-mm zoom head position, in FX format, standard illumination pattern) for high flash output volume
• Fully compatible with the Nikon Creative Lighting System
• Power zoom function with which the SB-910 automatically adjusts the zoom head position to match lens focal length
  FX format, Standard illumination pattern : 17–200 mm (14 mm with the built-in wide panel in place)
  DX format, Standard illumination pattern : 12–200 mm (10 mm with the built-in wide panel in place)
• Automatic switching of zoom head position with detection of the camera’s image area setting—FX or DX format—for optimal angle of flash coverage

• Imaging Products—lineup—Speedlights

 

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Available In

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399

Body with SEL1855 (PINK)

Creative freedom is yours with a stylish, ultra-compact camera that operates with ease, and puts professional quality right in your pocket.

• Exmor™ APS HD CMOS Sensor
• Picture Effect
• Photo Creativity Interface
• HD Video Recording
• 3D Sweep Panorama
• Included with multi-purpose SEL1855 zoom lens

Concept Cinema DSLR Official

• NOVEMBER 3, 2011
 
• CANON 5D MARK III
 
• FOLLOW ON OUR FORUM

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Coming Attractions: New Canon Digital SLR Camera Under DevelopmentHOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011 – Canon Inc. today announced that the company is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series lineup, the new camera will be ideally suited for cinematographic and other digital high-resolution production applications. The model will be equipped with a 35 mm full-frame CMOS sensor and, enabling the recording of 4K video (at a frame rate of 24P, with Motion-JPEG compression), will make possible the type of exceptional image quality and sublime imaging expression to be expected from the next generation of “EOS Movies.”

The announcement coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

Further details regarding the new EOS digital SLR camera currently under development, including the product name, specifications and scheduled launch date, have yet to be decided.

EOS Movie: A New Industry StandardMovie recording has been a standard feature in all newly introduced Canon EOS-series digital SLR cameras since the launch of the EOS 5D Mark II in November 2008. Coupled with the diverse array of lenses in Canon’s current interchangeable EF lens lineup, this feature has heralded rich visual expressive possibilities, delivering such characteristics as beautiful image blur and low noise while also garnering kudos for the mobility and maneuverability made possible through the cameras’ compact and lightweight body designs.

The impressive images created by the combination of Canon EOS digital SLR cameras and EF lenses, known as “EOS Movies,” have already earned their screen credentials on the sets of multiple productions, from television commercials and artist promotion videos to episodic dramas and even major motion pictures.

Enabling Black & White

When shooting in P, S, A or M modes you can activate the Black & White option by selecting theMonochrome (MC) setting inside the Picture Control menu.

Once you’re inside the Picture Control menu, select the Monochrome (MC) option, then highlight the Toning effect and choose B&W.

This setting will allow you to capture photos in black and white. If you’d like to switch back to color, just access the Picture Control menu again and select the Standard (SD) option.

For more details, you can reference page 97 of the manual.

Hope you enjoyed this D3100 tip-torial…happy shooting!

P.S. If you like my site, you can reward me by using your shutter clicking skills on theGoogle +1 button and the Like button below. In return, I'll cook up more tips and tutorials to share with you. Thanks for your support! :)

Nikon Releases New EDG Fieldscopes 85 VR and 85-A VR

October 6, 2011

Nikon Vision Co., Ltd., a subsidiary of Nikon Corporation, is pleased to announce the release of its EDG Fieldscopes 85 VR and 85-A VR, new models in the Nikon Sport Optics flagship EDG series.

These new EDG VR Fieldscope models are the world's first^*1 fieldscopes to incorporate the lens-shift type VR function. The vibration reduction algorithm, based on Nikon's sophisticated VR mechanism used in NIKKOR VR lenses, has been optimized for these scopes.

The VR function accurately compensates external vibrations caused by wind and operations such as focusing, panning and tilting. The VR function makes composition easy by reducing vibrations to approximately 1/8^*2 of image blur caused by vibrations during normal observation. This also enhances focusing accuracy even when manual focus is used during super-telephoto digiscoping. The system provides an effective equivalent to a shutter speed approximately two stops^*2 faster and is especially effective when digiscoping in bad conditions such as windy weather.

EDG Fieldscope 85 VR

EDG Fieldscope 85-A VR

12th September 2011: Canon EF 8-15mm Fisheye review

The Canon EF 8-15mm Fisheye zoom is a unique lens which delivers 180 degree fisheye views to any Canon DSLR, be it full-frame, APS-H or APS-C; full-frame owners also enjoy the option of full circular fisheye images. As such the EF 8-15mm effectively works as four lenses in one, making it invaluable for anyone who uses more than one Canon DSLR. It's one of the most exciting lenses in the Canon - or indeed any - catalogue so I've taken a different approach in my full review, featuring many more real-life images from a variety of conditions including one of the first tests showcasing it for snow-sports. I've also included second opinions from other photographers to see what they think of this unique lens. So for an in-depth hands-on report, check out my Canon EF 8-15mm Fisheye review!

How to Fireworks Photographs.

1. Use a Tripod

Photo by Piero Sierra

Perhaps the most important tip is to secure your digital camera to something that will ensure it doesn’t move during the taking of your shots. This is especially important in photographing fireworks simply because you’ll be using longer shutter speeds which will not only capture the movement of the fireworks but any movement of the camera itself. The best way to keep your camera still is with a tripod (read our series on tripods and how to use and buy them). Alternatively – keep in mind that there are other non Tripod options for beating camera shake.

2. Remote Release

One way to ensure your camera is completely still during fireworks shots is to invest in a remote release device. These will vary from camera to camera but most have some sort of accessory made for them. The other way of taking shots without touching your camera is to use the self timer. This can work but you really need to be able to anticipate shots well and its very very hit and miss (read more on remote shutter releases).

3. Framing Your Shot

One of the most difficult parts of photographing fireworks is working out where to aim your camera. The challenge you’ll face in doing this is that you generally need to aim your camera before the fireworks that you’ll be photographing goes off – anticipation is key. Here are a few points on getting your framing right.

Photo by Stuck in Customs

• Scope out the location early – Planning is important with fireworks and getting to the location early in order to get a good, unobstructed position is important. Think about what is in the foreground and background of your shots and make sure you won’t have people’s heads bobbing up into your shots (also consider what impact you’ll have on others around you also). Take note of where fireworks are being set up and what parts of the sky they are likely to be shot into – you might also want to try to ask some of those setting up the display for a little information on what they are planning. Also consider what focal lengths you might want to use and choose appropriate lenses at this time (rather than in the middle of the show).
• Watch your Horizons - One thing that you should always consider when lining up fireworks shots is whether your camera is even or straight in it’s framing. This is especially important if you’re going to shooting with a wide focal length and will get other background elements in your shots (ie a cityscape). Keeping horizons straight is something we covered previously on this site and is important in fireworks shots also. As you get your camera on your tripod make sure it’s level right from the time you set up.
• Vertical or Horizontal? – There are two main ways of framing shots in all types of photography, vertically (portrait) or horizontally (landscape). Both can work in fireworks photography but I personally find a vertical perspective is better – particularly as there is a lot of vertical motion in fireworks. Horizontal shots can work if you’re going for more of a landscape shot with a wider focal length of if you’re wanting to capture multiple bursts of fireworks in the one shot – but I don’t tend to go there that often.
• Remember your framing – I find that when I photograph fireworks that I spend less time looking in my viewfinder and more looking at the sky directly. As a result it’s important to remember what framing you have and to watch that segment of the sky. Doing this will also help you to anticipate the right time for a shot as you’ll see the light trails of unexploded rockets shooting into the sky.

4. Focal Length?

Photo by asmundur

One of the hardest parts of photographing fireworks is having your camera trained on the right part of the sky at the right time. This is especially difficult if you’re shooting with a longer focal length and are trying to take more tightly cropped shots. I generally shoot at a wider focal length than a tight one but during a show will try a few tighter shots (I usually use a zoom lens to give me this option) to see if I can get lucky with them. Of course zoomed in shots like the one to the left can be quite effective also. They enable you to really fill the frame with great color. Keep in mind however that cropping of your wider angle fireworks shots can always be done later to get a similar impact in your photography

5. Aperture

A common question around photographing fireworks displays is what aperture to use. Many people think you need a fast lens to get them but in reality it’s quite the opposite as the light that the fireworks emit is quite bright. I find that apertures in the mid to small range tend to work reasonably well and would usually shoot somewhere between f/8 to f/16.

6. Shutter Speed

Photo by *vlad*

Probably more important to get right than aperture is shutter speed. Fireworks move and as a result the best photographs of them capture this movement meaning you need a nice long exposure. The technique that I developed when I first photographed fireworks was to shoot in ‘bulb’ mode. This is a mode that allows you to keep the shutter open for as long as you hold down the shutter (preferably using a remote shutter release of some type). Using this technique you hit the shutter as the firework is about to explode and hold it down until it’s finished exploding (generally a few seconds).

You can also experiment with set shutter speeds to see what impact it will have but I find that unless you’re holding the shutter open for very long exposures that the bulb technique works pretty well.

Don’t keep your shutter open too long. The temptation is to think that because it’s dark that you can leave it open as long as you like. The problem with this is that fireworks are bright and it doesn’t take too much to over expose them, especially if your shutter is open for multiple bursts in the one area of the sky. By all means experiment with multiple burst shots – but most people end up finding that the simpler one burst shots can be best.

7. ISO

Photo by Mr Magoo ICU

Shooting at a low ISO is preferable to ensure the cleanest shots possible. Stick to ISO 100 and you should be fine.

8. Switch off your Flash

Shooting with a flash will have no impact upon your shots except to trick your camera into thinking it needs a short exposure time. Keep in mind that your camera’s flash will only have a reach of a few meters and in the case of fireworks even if they were this close a flash wouldn’t really have anything to light except for some smoke which would distract from the real action (the flashing lights).Switch your flash off.

9. Shoot in Manual Mode

I find I get the best results when shooting in manual exposure and manual focus modes. Auto focusing in low light can be very difficult for many cameras and you’ll end up missing a lot of shots. Once your focusing is set you’ll find you don’t really need to change it during the fireworks display – especially if you’re using a small aperture which increases depth of field. Keep in mind that changing focal lengths will mean you need to need to adjust your focusing on most lenses.

10. Experiment and Track Results

Photo by y entonces

Throughout the fireworks display periodically check your results. I generally will take a few shots at the start and do a quick check to see that they are OK before shooting any more. Don’t check after every shot once you’ve got things set up OK (or you’ll miss the action) but do monitor yours shots occasionally to ensure you’re not taking a completely bad batch.

Also experiment with taking shots that include a wider perspective, silhouettes and people around you watching the display. Having your camera pointed at the sky can get you some wonderful shots but sometimes if you look for different perspectives you can get a few shots that are a little less cliche and just as spectacular. Most of the best shots that I’ve seen in the researching of this article have included some other element than the fireworks themselves – whether it be people, buildings, landmarks or wider cityscape perspectives.

More Tips from DPS Readers

• “Find Out the Direction of the Wind – You want to shoot up wind, so it goes Camera, Fireworks, Smoke. Otherwise they’ll come out REALLY hazy.”
• “Also, I find that if you shoot from a little further back and with a little more lens, you can set the lens to manual focus, focus it at infinity and not have to worry about it after that.”
• “Remember to take advantage of a zero processing costs and take as many pictures as possible (more than you’d normally think necessary). That way, you’ll up your chances of getting that “perfect” shot.”
• “Make sure you are ready to take pictures of the first fireworks. If there isn’t much wind, you are going to end up with a lot of smoke in your shot. The first explosions are usually the sharpest one.”
• “Get some black foam core and set your camera to bulb. Start the exposure when the fireworks start with the piece of foam core in front of the lens. Every time a burst happens move the foam core out of the way. You will get multiple firework bursts in one exposure”
• “Another tip I would add to this is pre-focus if possible (need to be able to manually focus or lock down focus for good) before the show starts so other elements in the frame are sharp They did mention that you only need to focus once but its a lot easier to take a few shots before the show starts and check them carefully rather than wait until the show has begun and you are fiddling with focus instead of watching fireworks!”

copy from :http://www.digital-photography-school.com/how-to-photograph-fireworks