Saturday, December 26, 2009
Sunday, October 25, 2009
I took these pics at Curug Cilember, Puncak, Bogor, West Java, Indonesia. Curug is Indonesian word for waterfall. There are 7 waterfalls in this location. Please enjoy these pics.
Tuesday, October 13, 2009
11. What's the difference between evaluative, centerweighted, and spotmetering?
All camera meters try to make some part of the frame appear as a midtone - right between very light and very dark. Evaluative metering divides the frame up into segments, compares the the readings in each sections, and decides on an approriate pattern for determining exposure. Centerweighted takes into account all the light, but puts a heavy emphasis on the middle of the frame. Spotmetering uses a small percentage of the frame - often less then 5 percent and typically in the center, though some cameras let you link it to the actove AF point. While evaluative is best for most situations, centerweighted works well for subjects such as group portraits. For the most control, use spotmetering to choose the midtone.
12. Why use a handheld when I have all those choices in the camera?
Because most handheld meters let you set your exposure based on the light falling on your subject, called "incident" light. They're great when your subject is unusually dark (nonreflective) or light (highly reflective), which camera meters (also called "reflective" meters tend to over- or underexpose. They also help get consistent exposures in scenes with a wide range of tones. For an incident reading, hold the meter at the point on your subject where exposure is most critical, such as the face, and point it at the camera position. Many handheld meters can be set to read reflected light and flash intensity, too.
13. How do I tell how far my flash will reach?
By it's Guide Number, assigned to almost all built-in and shoe-mount flashes and listed - in feet, meters, or both - in the back of your camera or flash manual. The GN tells you how far your flash will carry at a given aperture or what aperture to set for a given distance. Just divide the GN by either distance or f-number. For example, if a flash a GN of 80 in feet (at ISO 100), it can reach up to 20 feet with a lens set to f/4 (80:4=20). If you want toi shoot at 40 feet at the same ISO, you'd have to open your lens to f/2.
14. My flash TTL and Auto settings. What's the difference?
The TTL setting controls flash output by measuring how much flash reflects back through the lens (TTL) to the camera's built-in lightmeter. It's usually the most accurate means of determining flash exposure, and it let's you aim your flash in any direction to bounce the light. Auto Flash controls output by measuring how much flash reflects back to a sensor built into the flash itself. It's accurate enough for most scenes and usually will function on many different cameras, while flash units that offer just TTL control work only with compatible camera.
15. I love my old Vivitar 283 flash. Can I use it with my new Canon EOS 40D?
It depends on when your 283 was made. If it's one of the originals made in Japan from 1972 to 1987, it's not safe. Their trigger voltages vary up to a reported 600 volts - enough to fry your 40D's circuitry. More recent models (marked "Made in China" or "Made in Korea") generally use a 9-volt trigger charge, so they're safer on new cameras. Still, we'd attach a Wein Safe-Sync adapter ($50, street) to it's foot - or just buy a current TTL flash. It costs much less than replacing your DSLR, and you can still use the 283 as an off-camera background or fill light.
16. Can my camera keep pace with the latest high speed memory cards?
The newest models can, and manufacturers are always working on improving image transfer speeds and reducing the time it takes for ever-larger image files to clear the camera's buffer, say Jeff Cable, director of marketing for memory-card maker Lexar. But another benefit of high-speed cards is their ability to transfer images to your computer quickly. To make them run at top velocity, always use a compatible card reader.
17. Does it harm flash cards to reformat them frequently?
Nope. In fact, the experts encourage it. Reformatting scrubs images, file names and other image-related data from the card, freeing up memory so you can keep shooting. It's best to reformat the card in the camera, rather than on your computer, to ensure they work together properly.
18. Is it true that JPEGs lose detail each time they're opened? Should I work only with TIFFs or PSDs?
Not anymore. If you simply open your JPEG, do nothing but view it, and then close the file, you will not lose detail. If you use the Save As command in Photoshop and choose to save as a lower-quality JPEG, the extra compression is more likely to cause ugly artifacts that diminish detail. Frequently re-saving JPEGs at the same quality level may introduce some artifacts, but you won't see them unless you zoom way into the image.
19. Why would I need a monitor calibrator?
Every monitor is different, and if yours is, say very bright and high contrast, you'll be dissapointed when your prints come out dark and dull. So before you edit your pictures on youe computer, calibrate your monitor. Once it's set to the prescribed standard, you can count on your screen to display your pictures as they really are. Then you can tweak them with confidence and enjoy prints that match what you saw on the screen.
20. I love shooting sunsets, but when I expose for the sky, the foreground is too dark. What can I do?
Use a split neutral-density filter. The color, a neutral gray that won't affect the colors in your photo, goes from dark to clear either abruptly (hard-edge) or little-by-little (graduated filters). A split ND is the perfect solution for situations where the foreground and background are under vastly different light. The filter allows you to expose properly for the dark foreground without blowing out the highlights of the lighter sky.
Saturday, September 19, 2009
I get this article from a photography magazine that i bought few months ago. The magazine is Popular Photography December 2008 edition. I found this article very interesting, so i want to share with you all. The article is about your most burning photography queries and the Popular Photography answer them once and for all.
1. Sensor size or number of megapixels - which matters more?
Neither. The most important variable is the size of the individual pixels. A pixel is like a light sponge - the bigger it is, the more light it absorbs. Greater sensitivity let's you shoot at higher ISOs with less noise, better detail, and finer color gradation. Of course, bigger pixels require a bigger sensor to hold the same number.
2. So that's the reason you get better pictures from a DSLR than a compact that has the same number of megapixels?
That's just one reason. DSLRs also tend to do better at image processing. They give you more control and, of course, a range of lenses. Other pluses: speedier startup time, lack of shutter lag, faster and more sensitive autofocus, clear and accurate viewfinder, faster burst rates, more powerful flash, many accessories, longer battery life, and typically greater ruggedness.
3. What's bertter, digital or optical image stabilization?
Digital stabilization is basically bogus - it simply boosts the ISO and shutter speed, and sometimes uses software to sharpen blurry areas of the image. Optical image stabilization is the real deal: Either the imaging sensor or an element in the lens moves to counteract your motion when handholding at slower shutter speeds.
4. What's the difference between Automatic and Program mode?
Automatic is pure point-and-shoot - the camera sets aperture, shutter speed, ISO, white balance, autofocusing mode, flash. We much prefer Program, which sets the aperture and shutter, but leaves the rest up to you. You can set some or all of other parameters, apply exposure compensation, and decide when you want flash.
5. What does Program Shift do?
It let's you change the aperture/shutter speed combination while maintaining the exposure. Say that in Program mode your camera chooses 1/250 second at f/8, but you're shooting a portrait and want to use a large aperture to blur out the background. With Program Shift, you set the aperture to f/2.8, and the shutter speed will automatically change to 1/2000 second, which gets the same amount of light to the sensor or film.
6. What's with "equivalent" focal lengths? Why do you sometimes call a 50mm lens a 75mm equvalent?
It refers to the corresponding focal length on a traditional 35mm film camera or full-frame DSLR. Because most DSLR sensors are much smaller than a 35mm frame of film, they record only the center of the image circle cast by the full-frame 50mm lens, producing images with the same field of view as those a 75mm lens would capture on a 35mm or full-frame SLR. (The difference in area is called the crop or lens factor.)
7. What makes one lens "faster" than another?
A fast (or bright) lens admits lots of light through a big maximum aperture. This allows you to use a faster shutter speed than you can with a small-aperture (slow or dim) lens. The f-number designation on a lens tells you the biggest aperture you can set, with lower numbers signifying wider apertures: An f/1.4 lens is very fast, f/2.8 is pretty fast, and f/5.6 is slow.
8. So is it better to use a full-frame lens on a DSLR that has a smaller sensor?
No. Since the smaller sensor records only the central "sweet spot" of the image circle, full-frame lenses theoretically should give you images that are sharper around the edges than digital-only lenses do - but there's scant evidence of that in the real world. Full-framers have some benefits: Retaining their utility if you upgrade to a full-frame DSLR with the same mount, for instance. But the crop factor means they can't give you an ultrawide angle of view - that 17mm lens becomes a 25mm equivalent on a camera with an APS-C-size sensor.
9. So, what does a range such as f/3.5-5.6 on a lens mean?
On less-expensive zooms, the lens get slower as you move to longer focal lengths. On an 18-55mm f/3.5-5.6 lens, for instance, you can set an aperture as big as f/3.5 at 18mm, but at 55mm the widest you can set is f/5.6. At an intermediate focal length - say 35mm - the maximum aperture will be around f/4.5.
10. Why should I buy a telephoto lens when I can just put a teleconverter on my kit zoom?
That will make your already-slow lens even slower. A 2x converter will make an f/3.5-5.6 lens, for example, effectively f/7-11, dim enough to prevent autofocus. And the teleconverters available for kit lenses tend to be of so-so optical quality. Better to put the money toward an inexpensive kit telezoom.
Friday, September 4, 2009
Thursday, September 3, 2009
Friday, August 21, 2009
Wednesday, August 19, 2009
Canon is developing a Hybrid Image Stabiliser (IS). This compensates for both angular camera shake and shift camera shake. The technology will be incorporated in an interchangeable SLR camera lens planned for commercial release before the end of 2009.
Several different preventative methods and corrective procedures have been introduced to compensate for errors caused by camera shake. Canon began their research in the 1980s. In 1995 Canon launched the EF 75-300mm f/4-5.6 IS USM, the world’s first interchangeable SLR camera lens to feature a mechanism that compensates for optical camera shake. Since then, the company has continued to produce a variety of interchangeable lenses with image stabilisation capabilities. There are 21 such lenses in its current product line-up, including the EF 200mm f/2L IS USM which features up to 5-stops of blur correction.
Canon’s newly developed Hybrid IS technology optimally compensates for angular camera shake (rotational) and shift camera shake (linear). Sudden changes in camera angle can cause significant blur in images taken during standard shooting. Blur caused by shift-based shaking, when a camera moves parallel to the subject, is more pronounced in macro and other close-up photography.
The new Hybrid IS technology incorporates an angular velocity sensor that detects the extent of angular camera shake which is found in all previous optical Image Stabiliser mechanisms, as well as a new acceleration sensor that determines the amount of shift-based camera shake. Hybrid IS employs a newly developed algorithm that combines the output of the two sensors and moves the lens elements to compensate for both types of movement. Hybrid IS dramatically enhances the effects of image stabilisation, especially during macro shooting.
Canon is actively engaged in ongoing research and development of interchangeable SLR camera lenses incorporating Hybrid IS technology. It is aiming for the early commercialisation and inclusion of the technology in a wide range of products.
Source: EOS Magazine (Robert Scott : firstname.lastname@example.org)
Related Posts:Read More...
Saturday, August 8, 2009
Friday, July 24, 2009
Golden Dome Mosque or in Indonesia means Mesjid Kubah Emas, is one of the most beautiful mosque in Indonesia. It is the new landmark of Depok City. The mosque building has 5 domes, the biggest one is the main dome. The main dome diameter is 2o metre. And the other 4 domes diameter are 7 metre.
If you intersted to know more about this mosque, follow this link.Read More...
Sunday, July 12, 2009
Review based on a production Canon EOS 500D
Only fourteen months after the launch of the EOS Rebel XSi (450D), Canon has unveiled its newest model, the Rebel T1i (500D). It is the 5th generation of Rebel and enters the market at a difficult time - in the middle of a global economical downturn and against the roughest competition we have ever seen in the entry-level DSLR sector.
The 500D/T1i doesn't quite have to be the everyman camera that its predecessors were. The introduction of the Rebel XS (1000D) in June 2008 means the T1i no longer has to appeal to everybody who doesn't want to stretch to buying into the 50D class. As a result, the 450D was able to bulk up its feature set to include a selection of features that price-conscious shoppers don't necessarily realize they want, such as a larger viewfinder and spot metering. The result was probably the most complete Rebel we'd seen.
There's a full explanation of the differences between the 500D/T1i and it predecessor on the coming pages but, in general terms, it's a gentle re-working of the 450D. So you get the 15MP sensor much like the one that appears in the 50D, helping this to become the first entry-level DSLR to feature video (and 1080p HD video at that). You also get the lovely 920,000 dot VGA monitor that has been slowly working its way down most manufacturer's DSLR line-ups. There are a handful of other specification tweaks that come from the use of the latest Digic 4 processor but essentially this is most of a 50D stuffed into the familiar 450D body.
And, if the loss of the letter 'X' from the US name seems a bit disconcerting, you can comfort yourself with the knowledge that the Japanese market will still know it by the odd-to-European-ears 'Kiss X3 Digital.' For simplicity's sake, we'll refer to the 500D/T1i/Kiss X3 by the name 500D throughout the rest of the review.
A brief history; Canon entry level digital SLR series
· 20/08/03 : Canon EOS 300D / Digital Rebel (6 mp)
· 17/02/05 : Canon EOS 350D / Digital Rebel XT (8 mp)
· 24/08/06 : Canon EOS 400D / Digital Rebel XTi (10 mp)
· 24/01/08 : Canon EOS 450D / Digital Rebel XSi (12 mp)
· 10/06/08 : Canon EOS 1000D / Digital Rebel XS (10 mp)*
· 25/03/09 : Canon EOS 500D / Digital Rebel T1i (15.1 mp)
* The Canon EOS 1000D represents a sub-class of the Rebel series and hence should be considered a parallel series
Compared to predecessor - key differences
Although for the time being the EOS 500D will sit alongside the 450D in the Canon DSLR line-up there is no doubt that sooner or later it will replace the older model and occupy the spot between the 1000D as and the EOS 50D on its own. The most noticeable new features on the EOS 500D are the higher resolution sensor, the new high-res LCD and the HD video mode but the camera also comes with the latest generation DIGIC imaging processor which brings a few more low-key improvements such as fine-tunable noise reduction and Highlight Tone Priority or a fresher, animated menu design with it. See the list and table below for all the spec and feature changes..
· Higher resolution sensor (15.1 vs 12.2 effective megapixels)
· Extended ISO range up to ISO 12800
· HD video capability
· New 3.0 inch 920K pixels screen
· Adjustable noise reduction and highlight tone priority
· Face Detection in Live View
· Peripheral Illumination Correction
· HDMI output
· Larger buffer in continuous shooting
· Digic 4 style menu design
Canon EOS 500D vs. EOS 450D feature and specification differences
Canon EOS 500D
Canon EOS 450D
15.1 million effective pixels
12.2 million effective pixels
· 4752 x 3168
· 3456 x 2304
· 2353 x 1568
· 4272 x 2848
· 3088 x 2056
· 2256 x 1504
ISO 100 to 3200, extendable to(6400) and H (12800)
ISO 100 to 1600
ISO 100 to 1600
ISO 100 to 800
Auto lighting optimizer
Now includes Highlight Tone Priority icon
· 3.0 " TFT LCD
· 920,000 dots
· 3.0 " TFT LCD
· 230,000 dots
· 1080p @ 20fps
· 720p @ 30fps
· VGA @ 30fps
· MOV (Video: H.264, Sound: Linear PCM)
No video capability
Live view AF
· Quick mode (Phase detect)
· Live view mode (Contrast detect)
· Face detect (Contrast detect)
· Quick mode (Phase detect)
· Live view mode (Contrast detect)
Profiles of 25 lenses includes
· 3.4 fps
· 170 JPEG/Fine frames
· 9 RAW frames
· 3.5 fps
· 53 JPEG/Fine frames
· 6 RAW frames
Digic 4 interface
Digic III interface
· USB 2.0 Hi-Speed
· Video output (PAL/ NTSC) (integrated with USB terminal)
· HDMI Type C
· USB 2.0 Hi-Speed
· Video output (PAL/ NTSC) (integrated with USB terminal)
Conclusion – Pros
· Good resolution and detailed output (but only very marginally better than 450D)
· Decent (but not 'best in class') high ISO JPEG performance
· Extended ISO speed up to 12800 (not great quality but it's there for emergencies)
· Good quality HD video (but sound output does not match the image quality)
· Currently the cheapest 1080P video capable DSLR (albeit only at 20fps)
· Overall snappy and responsive performance
· Very clear, high resolution 3.0 inch screen with anti-reflection coating (but still hardly usable in sunny conditions)
· Brightest and largest viewfinder in class
· Good number of external controls provide quick access to all important shooting parameters and the interactive quick control panel is a good alternative for those who prefer the compact camera style of controls
· Intuitive menu system and customizable 'My Menu'
· Good control over High ISO NR
· Fairly efficient Highlight Tone Priority features preserves some additional highlight detail
· Reliable flash exposure
· Peripheral illumination correction
· Optional battery grip
· HDMI output
· Comprehensive software package included
· Good battery life
Conclusion - Cons
· Visibly more noise in RAW files than some of the competition
· Slightly less highlight range in JPGs than the competition
· Relatively limited RAW headroom, channel clipping means color accuracy can often not be maintained when recovering clipped areas in RAW conversion
· Metering has occasional tendencies to overexpose in very bright, contrasty conditions
· Unreliable auto white balance and presets under artificial light
· Still slightly plasticy appearance and surfaces
· Grip is a little small for larger hands
· Flash has to be raised for AF assist (although AF is good even in low light)
· Limited exposure compensation range (+/- 2.0 EV)
· Contrast detect AF so slow it's useless for most types of photography (it's the same for most of the competition though)
· Slightly more expensive than the competition
The EOS 500D is the latest incarnation of a highly successful line of cameras and although the 'entry level' market segment is these days much more crowded than it used to be, we would be very surprised if the new model would not sell like hotcakes.
All the major manufacturers cram more and more new features into their 'budget' offerings but the EOS 500D is arguably the currently best specced camera in the segment, which lifts it some distance above pure 'entry level' territory. It comes with the highest resolution sensor (15.1 effective megapixels) in its class, an excellent 3.0 inch high resolution screen, extended sensitivity up to ISO 12800 and the arguably for many users most attractive new feature, a movie mode that records 1080P/20fps or 720P/30fps High Definition video footage.
It combines all this with decent image quality and while its appearance might be a little plasticy and the handling can be difficult with larger hands the 500D's main problem could be that it's a little pricier than most of its direct competitors which, in these times of economic turmoil, might render it less attractive to some potential buyers.
At base ISO the 500D produces clean and detailed output with natural colors but to make the most of the camera's 15 megapixels for big enlargements or cropping you should invest in good lenses. At least towards the edges of the frame the kit-lenses struggle to resolve all the detail in a scene.
The Canon does a decent job at higher sensitivities and up to ISO 1600 produces perfectly usable output that shows good detail but also visibly more chroma noise than the Nikon D5000 (if you're willing to sacrifice some image detail you get rid of it almost entirely by setting noise reduction to 'Strong' though). ISO 3200 gets visibly softer and the two highest settings produce a very intrusive type of color noise. They should therefore be firmly reserved for emergency situations.
When shooting in RAW the picture changes slightly to the negative. The 'extra quality' you can usually get out of RAW files compared to shooting in JPEG is relatively limited on the 500D. One reason for that is the quality of the camera's JPEG engine. It is doing a pretty good job at 'optimizing' the JPEG output when converting the RAW data. However, the 500D's RAW images are also slightly lagging behind some of the competition and surprisingly even the 450D in terms of high ISO noise and to a smaller degree in terms of pixel level detail. It's not going to be an issue when checking images at screen size but it's certainly visible up-close.
Metering is generally reliable but, like the 450D, in bright conditions the EOS 500D has a tendency to overexpose resulting in clipping of highlights. And although the JPEG dynamic range in the highlights is slightly smaller than on the predecessor there's enough headroom in raw files to pull back highlight detail in most of those shots. It's therefore recommendable, especially in bright and contrasty conditions, to always shoot JPEG + RAW. Otherwise you'd better check your exposures carefully and apply some negative exposure compensation where necessary.
We have in the past been slightly critical about the handling of the 500D's predecessors and we're still not too keen on the camera's ergonomics. The grip is comparatively small and, especially for photographers with larger hands, the camera doesn't sit as comfortably in the hand as, for example, the Nikon D5000 or Olympus E-620. The external controls give you good access to the most frequently changed shooting parameters but we'd love to see a 50D style second control wheel. Having said that we are looking at a budget camera here and the manufacturers have to draw the line somewhere.
The menu design is very intuitive and for everybody stepping up from a digital compact camera the Quick Control Screen will be a welcome alternative to changing settings via the hard buttons. All in all the EOS 500D is a camera that, after some initial adaption time, you will find easy to use. Just make sure you hold one before you buy and check if its smallish grip is suitable for you.
Like most current SLRs the live view feature is, mainly due to the very slow AF, of limited use outside the studio and while the video mode delivers excellent quality footage it offers very little manual control. None of these points are deal breakers though and Canon might even, like it did in the case of the 5D Mark II, at some point offer a new firmware to allow for more manual interference.
The final word
If you currently own an EOS 450D or another fairly recent entry-level DSLR from an image quality point of view there is not necessarily a need to upgrade to the EOS 500D. However, the HD video mode, new high-resolution screen or extended ISO range make it easier to justify the expense if you're likely to use these features. For anybody buying their first DSLR the 500D is an easy recommendation but you might want to have a look at the Nikon D5000 as well. It comes with a similar feature set to the 500D ('only' 720P video though) and performs slightly better in low light.
Rating (out of 10)
Ergonomics & handling
Tuesday, June 30, 2009
As a matter of fact, we can use MLM to get as many backlink as you can in blogging world. So, to all blogger in the whole world, if you want to get backlink to increase your blog popularity, why don’t you join us in this ‘game’. By having many backlinks, your pagerank will be raised. Of course, this is good for you all who depend on your blog to earn money from it.
In this ‘game’ what you have to do is very simple. You only copy paste the article below and post it on your blog.
Don’t underestimate the power of multiplication factor created by MLM system. By applying MLM to get backlinks, very soon you’ll see the enormous result. Your backlinks will grow fast and multiply in number, and you still can’t believe that it is really happening.
The method is very easy. You just put these links on your blog or on your article/posting:
But remember, you must erase the link on the toppest of the list. And then you have to put your link on the lowest of the list (on position no. 10).
Imagine, if one gamer manage to invite 5 people to join the game, than you’ll see the simulation here:
When you still on no. 10, your backlink = 1
On position 9, your backlink = 5
On position 8, your backlink = 25
On position 7, your backlink = 125
On position 6, your backlink = 625
On position 5, your backlink = 3,125
On position 4, your backlink = 15,625
On position 3, your backlink = 78,125
On position 2, your backlink = 390,625
On position 1, your backlink = 1,953,125
Using theory of SEO, by getting 1,953,125 backlinks you have built a vey high popularity blog, not mention the risen of your pagerank.
Wednesday, June 24, 2009
Monday, June 22, 2009
I started taking pictures when i was 22. So, i am a little bit late to start photography as my hobby. My first camera was Fuji xxx (i don’t remember the type), it was an analog camera and a very cheap one. But, it built my interest in photography. My second camera is Fuji Finepix S-306, my first digital camera with 3,1 megapixel. I was very satisfied with the photos taken with S-306. I still have it and still in good condition. Later, i bought a bridge camera – actually i wanted a D-SLR but i still hesitated wether i can use it or not – Fuji Finepix S9500 9.0 megapixels with a superzoom lens covering 28-300 mm (10.7 x optical zoom). I am very happy using this camera, the features almost like a beginner’s D-SLR camera.
After using S9500 almost a year, i bought Canon EOS 450 D. My first D-SLR and i’m very happy to have this camera. And i bought accessories one by one, such as Tamron lens, flash light, filters, and i’m planning to buy Tokina 11-16 mm f/2.8. It’s my dream.
Photography is my hobby, it helps me relieving my stress from my daily activity.
So, please enjoy my photos, eventhough they aren’t very nice. So, please give your comment so i can improve my skill. Thanks.Read More...