NATURE PHOTOGRAPHY

Lebaran Holiday 2010 Part II

2010-12-03T13:34:00.001+07:00

All pictures were taken with Canon EOS 7D + 24 – 105 mm f4.

Lebaran Holiday 2010

2010-12-03T13:16:00.001+07:00

This year Lebaran Holiday, we went to Bali. We visited Tanah Lot, Kuta Beach, Bali Safari and Marine Park, Pura Uluwatu, Garuda Wishnu Kencana. These are some of pictures taken while we were at Bali. Most of the pictures were taken by Canon EOS 7D + 24 – 105 mm f4. Only the last picture was taken by Fuji HS 10.

Top 10 New Camera Rumours For 2010

2010-10-06T19:37:00.000+07:00

I got this article from PhotoRadar.Com, I think it was an interesting to read. You can read the original through this link http://www.photoradar.com/news/story/top-10-new-camera-rumours-for-2010.
New and updated: we name the DSLRs, digital compacts and hybrid cameras that could be released before Christmas 2010
Here at PhotoRadar, we like to deal with fact rather than rumour. But we hope you'll indulge us as we get stuck into a spot of crystal ball gazing. What does 2010 hold in the way of new camera launches? You're about to hear our predictions...

1) 24-megapixel Nikon D700X
Rumours of a higher resolution version of the Nikon D700 were circulating as early as February 2009, and Nikon certainly needs to act quickly to keep up with the Canon EOS 5D MkII. The D700’s 12-megapixel sensor may be great at high ISOs, but the difference in resolution compared to the 21-megapixel EOS 5D MkII is painful. At the top end of the range, Nikon’s split its original D3 into a high-resolution model (D3X) and high-speed version (D3S). Logic suggests the venerable D700 is now ripe for the same treatment. Some sources suggest the D700 won’t get the same 24-megapixel sensor as the D3X in case it undermines its sales, guessing at 18MP or so instead, but Nikon didn’t worry about that when it launched the D700 alongside the D3, so why would it worry now?

Nikon D700X rumour update May 2010: Still no news from Nikon on this one, but there’s increased promotional activity in the UK, which is the usual precursor to a new model. Anyone buying a Nikon D700 between May 1st and June 30th 2010 can claim a free MB-D10 battery grip with a list price of £340. But what if we don’t get a Nikon D700X after all? What if we just get a Nikon D700S with a bit more speed and a higher ISO? Ho hum.

2) APS-C format Canon PowerShot G12
Canon showed with the PowerShot G11 that it wasn’t afraid to step back from the brink in the megapixel war, and the G11’s improved high ISO performance and excellent definition prove what everyone’s been saying all along – that you can’t increase megapixels without increasing the sensor size. And it could be that the G11 is only an interim measure for Canon and a stepping stone towards a much more radical camera, and that an APS-C format PowerShot is on the way. That’s not such a wild idea. Olympus and Panasonic have shown the level of interest which exists in larger-format compacts, and Samsung’s been bouncing around the NX concept camera for a while now. We think it’s not a question of if, but when.

Canon PowerShot G12 rumour update May 2010: There’s no sign of a big-sensor PowerShot G11 replacement just yet, and both Samsung and Sony are now shipping APS-C compacts. But an April Fool’s prank re-posted on a number of well-known websites put forward a barmy but actually rather tantalising alternative. Why not releaes a Canon full-frame compact hybrid? Everyone else is using APS-C sensors, so this might be a chance for Canon to seize the high ground again. Shame it’s not true...

3) Canon EOS 1Ds Mk IV
Once, the position of Canon’s EOS 1Ds was unassailable. Now it’s under threat both from rivals (Nikon D3X, Sony Alpha a900) and its own stablemate the EOS 5D MkII which, let’s not forget, has the same resolution as the 1Ds and an HD movie mode. A new version of the 1Ds is long overdue and some sources are suggesting it may have a radical new square 36 x 36mm sensor. This would retain compatibility with Canon’s EF lenses but offer a larger image area and the advantages of classic square medium format cameras (flexibility in cropping, no need to rotate the camera for different orientations). If Canon took this bold step it would be a showstopper, but at the very least we should expect an increase in resolution and a full HD movie mode.

EOS 1Ds Mk IV rumour update May 2010: Nothing to report here, alas, despite all the talk of square sensors (thanks to keithgg for the point about sensor sizes in the comments below, by the way, and the more likely 30mm maximum). It’s all guesswork right now, revolving around DIGIC V processing, huge resolution hikes and whopping frame rates. One thing’s for sure – Canon needs to do something.

4) Nikon D7000
Nikon’s been refreshing its non-professional DSLR range and the D90 is the last of the old guard left. Technically, there’s little wrong with it, but the model name and some of the features are out of step with the camera below it. The D5000 is cheaper, for example, but has the same sensor and an articulating LCD. We’re not expecting any increase in resolution because Nikon’s only just launched the 12-megapixel D300S, so we predict a cosmetic redesign and a few routine updates. The logical name for the new model is the D7000 and we expect a larger body than the D5000 but an articulating 3-inch 920,000 pixel LCD and some carefully-judged performance advantages. Nikon will be aiming for the D90’s existing market – advanced amateurs who want professional levels of quality and features but in a lighter and less expensive form than the D300S.

Nikon D7000 rumour update May 2010: Nikon has introduced a £60 cashback offer for any Nikon D90 bought between May 1st and June 30th 2010, which does hint that it’s nearing the end of its commercial life, though no further details have solidified about any replacement. The suggestion that Nikon might drop the integral AF motor has, however, caused howls of protests from Nikon fans with ‘legacy’ lenses.

5) Fujifilm S7 Pro
Fujifilm launched its high dynamic range SuperCCD SR sensor in 2003 but chose its compact cameras as a test bed before incorporating it into a digital SLR, the FinePix S3 Pro. This was a great camera and the subsequent S5 Pro (which shared the same sensor) was even better. Now Fujifilm has moved on, developing its new high-resolution, high-sensitivity, high dynamic range EXR sensor. This has successfully debuted in a range of compact cameras (F70EXR, S200EXR) and if history’s any guide we can expect an EXR SLR in 2010. Is Fujifilm still interested in the DSLR market? If so, what are the odds of a brand new 24/12-megapixel S7 Pro?

Fuji S7 Pro rumour update May 2010: For a while there was some talk of a Four Thirds format EXR sensor, but this seems to have been discredited. In fact there’s been nothing from Fujifilm to suggest it’s still interested in DSLRs. It’s been so long since the launch of the S5 Pro that this is now looking like the end of the line rather than a big build-up. But people feel strongly. You can even sign an online petition...

6) New rumour! Panasonic LX4
May 2010: The much-loved Panasonic LX3 compact is surely due for replacement, and the arrival of the Micro Four Thirds G-series cameras doesn’t really dent its appeal because it’s not only a whole lot cheaper but a fraction of the size (try fitting a GF1 with a 14-45mm zoom in your trouser pocket). The 1/6.3-inch sensor delivers better quality than the average compact, the 24-72mm equivalent zoom is perfect for candid and street photography, you get the full PASM exposure modes of a DSLR and RAW files too. So why do we think there’s a new LX compact coming? Panasonic has released a ‘sensor roadmap’ that shows plans for a new ‘high sensitivity’ 1/1.8-inch sensor for development later in 2010, and a ‘version II’ in 2011. Now where would that go except in an LX3 replacement?

7) New rumour! Sigma DP3
May 2010: Sigma is rumoured to be developing a mirrorless compact camera system based around its own Foveon sensor. We’ve already got the Sigma DP1 and DP2, of course, but these have non-interchangeable, fixed focal length lenses, which restricts their appeal. Technically, there seems no reason why Sigma should not be able to do this quite easily. The company has long experience in both camera and lens manufacture and there’s nothing in the design of the DP1 and DP2 to suggest a removable lens would be a major technical hurdle. The only problem is the timescale. Compared to other makers, Sigma’s camera development cycles are positively geological. We’re still waiting for the SD15, after all, which must be some kind of record given that it was announced in September 2008.

8) Olympus E-5
It looks as if we can expect a new Olympus DSLR body in 2010, but will it be a replacement for the ageing Olympus E-3 pro DSLR or yet another mid-range/enthusiasts body? Most of the Olympus news has concerned its mid-range cameras and Micro Four Thirds, but the company has also invested heavily over the years in its professional lens range, so it would be a suprise if it gave up on this sector of the market just yet. And yet the current E-3 relies on Olympus’s old 10-megapixel MOS sensor, which is nowhere near as good as the 12-megapixel sensor in the newer models, so it badly needs a refresh. So will we get a new pro Olympus body? And, even more interestingly, will it be a Four Thirds SLR or a mirrorless Micro Four Thirds ‘SLR’ instead?

Olympus E-5 rumour update May 2010: Still no news on this one, but as Olympus beefs up its range of Micro Four Thirds cameras, which are aimed at beginners and mid-range users, it seems likely that any DSLR development will happen at the top end of the range. Interestingly, Olympus has pointed out publicly that a ‘mirrorless’ design and digital SLRs are not incompatible. We could see a mirrorless 12-megapixel Olympus E-5 DSLR which takes regular Four Thirds lenses.

9) Nikon APS-C compact
We’ve heard rumours of a Canon APS-C compact but there’s also talk of a 12-megapixel Nikon APS-C model too, though none of it’s coming from Nikon. The rumours appear to originate from comments made by a Leica representative discussing the sensor in the Leica X1 and have been seized upon and extrapolated by digital camera forums around the world. But is it such a wild guess? In fact, isn’t it a little surprising that Nikon hasn’t made a 12-megapixel APS-C compact already? If Canon does come up with an APS-C sized PowerShot next year, then all eyes will quickly turn to Nikon. Let’s not forget that Nikon was once just as famous for rangefinder cameras as SLRs. Olympus isn’t the only camera maker with an illustrious non-SLR heritage ripe for exploiting.

Nikon APS-C rumour update May 2010: The silence is deafening, though keen patent-watchers have noted designs filed by Nikon which include a diagram of what appears to be a mirrorless body and a series of lens specifications which suggest a format slightly smaller than Micro Four Thirds. But patents aren’t products, and if Nikon’s highly conservative approach to its DSLRs carries through into its R&D, we could be waiting for a while.

10) Sony Cyber-shot R2
Sony’s short-lived Cyber-shot R1 was launched in 2005 and disappeared off the radar not long after that as mainstream digital SLRs captured the public’s imagination instead. But it was a remarkable camera with a 10-megapixel APS-C sized CMOS sensor and 5x 24-120mm Carl Zeiss zoom with no mirror but an articulating LCD and full time live view. It was ahead of its time, and we wonder if Sony knows it. What if Sony is planning a new version? Let’s call it the Sony Cyber-shot R2. Let’s say it has a 12x fixed (non-interchangeable) 12x super-wideangle zoom, articulating 3-inch 920,000 pixel LCD, 1.4-megapixel EVF, full HD movies and the 10fps continuous shooting and sweep panorama modes of the Cyber-shot HX1. Interesting, eh?

Sony Cyber-shot R2 rumour update May 2010: Well, we didn’t get the Cyber-shot R2 (hey, there’s still time!), but we did get the Sony NEX-3 and NEX-5, which have blasted through the whole announcement/launch/shipping process in record time. But what are Sony’s APS-C compacts going to do to the low-end Alpha D-SLRs? We predict a slow and low-key decline littered with price cuts and twin-lens kits.

Rumoured cameras – now released!
Digital cameras that were previously rumoured on our list, but which are now a reality:
Panasonic G2/GH2
We said: Panasonic’s proved the worth of the Micro Four Thirds sensor with the G1, the GH1 and the GF1, but is that 12-megapixel sensor enough? In 2010 we think we’re going to see Panasonic (and Olympus) upping the stakes. So what’s it to be – 14 megapixels, 15, 16? There’s nowhere to go with the sensor size, after all, but there is scope for improvement in resolution, build, continuous shooting speed and features for pros. We could see G-series cameras diversifty into different sectors of the market in the same way as Olympus has developed a whole range of Four Thirds digital SLRs. Panasonic has to move quickly because there’s no reason why APS-C sensors can’t be used in compacts too.

Update May 2010: There are no signs yet of a higher-resolution Micro Four Thirds sensor, but that doesn’t mean it’s not going to happen some time during 2010. In the meantime, Panasonic has stuck with the existing 12-megapixel sensor and split its original G1 into the Panasonic G10 (cheaper and aimed at beginners) and the Panasonic G2 (much more advanced, with touch-screen autofocus/shooting controls). If a higher-resolution sensor doesn’t happen this year, Panasonic will be able to keep its Micro Four Thirds range fresh by launched the GH2, a revised version of its full-HD stills/movie hybrid and perhaps a GF2 version of its Micro Four Thirds compact. This could be a year for consolidation and enhancement rather than big strides forward.
Samsung NX10
We said: The problem for Samsung is that it announced the NX series so long ago, and so little has happened since, that the press and the public alike have rather gone off the boil. In the meantime, Olympus and Panasonic have debuted their rather good Micro Four Thirds cameras and kickstarted this new hybrid market on their own, so that by the time the NX10 does arrive in early 2010 its newsworthiness may be limited. The main features are known already: an APS-C format 14.6MP sensor in a mirrorless body with an electronic viewfinder and interchangeable lens system. Other highlights include 720p HD movies, 3-inch AMOLED screen and two colours, Noble Black and Titan Silver.
Update May 2010: The Samsung NX10 has arrived pretty much as expected and with no surprises in the specifications, though the small size of the body and its design, finish and handling have proved impressive. A lot has happened since the NX concept was announced, though, and Samsung will have to move quickly. We predict consolidation of the lens range during 2010 but new models as early as Xmas 2011. The NX10 is already good enough to hold its own against the Micro Four Thirds cameras from Olympus and Panasonic, but Sony’s NEX-3 and NEX-5 pose a stiffer challenger – the NX10 is outnumbered 2-1 already. Samsung may follow Panasonic’s lead and split the NX10 into a cheaper, more basic model (NX1?) and a more advanced mid-range version (NX20?).

Source : PhotoRadar.com

My Fuji Finepix HS 10

2010-05-31T13:14:00.001+07:00

Few weeks ago I bought Fuji HS 10, the one that’s been talking alot around the internet. After reading an in-depth review at PhotographyBlog, I decided to buy this camera. I’m still happy with it, I’m still exploring the features – lots of them, compared to my old S 9500. I like the sweep panorama, but not yet have time to take panorama in the real world! The optical zoom is awesome, 30 x from 24 to 720 mm (35 mm equivalent). The LCD monitor makes the S9500 looks so bad, HS 10 has 3” tilting LCD while S 9500 only 1.8” also tilting. The monitor resolution is 230K dots, it’s nice, but I preferred 920K dots like other new cameras. I still find very difficult to take pics with blurred background – although I used the longest zoom, I have to use macro or supermacro and take the camera close to the object in order to blur the background. Also, when I try to shoot my puppy inside her cage, I couldn’t blurred the cage’s mesh. Not with my EOS 450D, It’s very easy to blur the mesh as in my eagle photos. I read the DPReview forum – Fuji Talk – it’s caused by the small sensor size. Overall, I’m satisfied with my new camera. Below, I show you my pics taken with HS 10.

The last pic was taken in RAW and converted to JPEG using Silkypix – the in-box software.

FYI, you can read the HS 10 in-depth review from PhotographyBlog here.

1st Indonesian Hot Air Balloon Adventure

2010-04-06T23:41:00.001+07:00

This event was held on 26 - 28 March 2010, at Sentul City, Bogor, Indonesia. And I got these pics from the event. Please enjoy.

Practical HDR

2010-03-06T23:01:00.001+07:00

What to do when the light is too extreme for one shot?
HDR, or high dynamic range, is a digital imaging technology that allows us to go beyond the limitations of our cameras and their sensors. With this technique, we can make pictures that are closer to what we actually saw with our eyes - photographs that represent the world in more realistic renditions that simply weren't possible in the past, even with film.

How HDR Works
With HDR, start by taking multiple exposures of the same scene - exposures that vary from underexposed to overexposed - then use software to combine the tonal information from that range of exposures into a single final image. This allows you to capture detail, color and tones and merge them into one image that couldn't be captured by a single exposure. By using HDR technique and software, you can bring out more detail in the shadows, midtones and highlights. First Steps
To get started with HDR, you'll need several exposures of the same scene. Each of these exposures must be framed identically or you'll have problems assembling the final image.
Here are some ideas that work well for HDR shoots:
1. Shoot at least 3 photos, each with a difference of one or more f-stops in exposure.
2. Use a sturdy tripod and lock down your camera on the scene.
3. Avoid shooting anything with movement, including wind blowing your subject around.
4. Try using the auto-exposure bracketing function (AEB) on your camera. AEB allows you to shoot at least 3 exposures in a row with a variation in exposure for each.

How Many and How Much?
In general, you can try for a minimum of a one-stop difference between exposures, then use three to five exposures for the scene. Sometimes, the result are great using 3 frames with a 1.5- to 2-stop difference in exposure, other scenes work better using 5 frames with 1-stop difference in exposure.
I wish I could give you specific information on what exposures would work in every situation, but "every situation" is different and will require you to modify your approach. However, with experience, you'll start to know what seems to work best for the specific subjects that you like to photograph.

Into The Computer
Once you've captured your scene with multiple exposures, you need to upload them onto the computer and work on them with software that allows you to combine the pictures into a final HDR image. You don't actually have to do a lot, other than open your series of exposures into the program. The software then automatically examines your exposures and puts them together into a final HDR shot.
Most of the programs also allow some adjustments as to how the exposures come together. Sometimes these adjusments can be done before you do the HDR conversion and almost always can be done afterward. A number of software programs allow you to do this.
Adobe Photoshop CS versions have an HDR capability. And the picture below show you what I did with Photoshop to create an HDR image from 3 bracketed images.

And this is the result: Other softwares you can use to create HDR images are Essential HDR, LR/Enfuse (it's a Lightroom plug-in), and Photomatix.

HDR Processing On Other Images
Another way of using many HDR programs is to double-process RAW files. Take a single RAW image and process it twice, first to optimize the highlights (while ignoring what happens to the shadows) and again to optimize the dark areas (whike ignoring what happens to the highlights). You can even triple-process an image, creating a third version that optimizes midtones only.
Then put those processed RAW files together into a single file by using one of the HDR programs.
HDR is changing the way we photograph, giving us new opportunities for capturing the world. We now can create images that more closely render our world and more truthfully communicate what we see.
Written by Rob Sheppard, as appeared on Digital Photo Mag. June/July/August 2009. You can see more of his works at his website, http://www.robsheppardphoto.com.

How To Use Flash Effectively?

2010-03-06T20:55:00.001+07:00

Light is basic to photography, obviously. When the light isn't at it's best, it's a serious challenge. Poor light consistently makes potentially good photos go bad. One strategy for success is to use flash. Yet, using flash can be challenging, as well. It can be bold and beautiful, but also harsh and unappealing.
There are some things you can do to make your flash work more in your favor, so you get pictures more often on the bold and beautiful side than the other. This article will explore some tips that can point you in the right direction to do exactly that.

Turn On Your Built-In Flash During The Day
When the sun is out, and the shadows are harsh, turn on that flash! When the light is dull from heavy clouds (and even rain), turn on that flash!
With harsh sunlight, that daylight fill-flash brightens shadows and makes dark shadows, such as those under hat brims, come to life. If the flash is too strong, try using flash exposure compensation to reduce the flash output.
When the light is dull, use the flash to brighten colors and make your subject stand out from the background. A quick way to get drama is to go to manual exposure, set the camera to slightly underexpose based on your meter reading, then use the flash normally. This will give properly exposed flash light on your subject while the surrounding are darker.

Use The Ceiling For More Natural Flash
One of the challenges that flash has is that it can look harsh indoors. This is because the light is small in size (which makes for contrasty shadows) and is close to the camera lens when the flash is on the camera (which can make the light less than flattering).
With an accessory flash that allows tje flash head to tilt to the ceiling, you can bounce light indirectly to your subject. That way the light that hits your subject comes from a big light "source" - the light bounced from the ceiling. This immediately softens the look of the flash. In addition, the light will come from a natural direction above your subject.
You need a white ceiling for this to work, and lower ceilings work better than high ones. If you're very close to your subject, you may run into a problem of the light from above causing unwanted shadows under the subject (dark eye sockets can be a problem). In this case, place a white card at the back side of your upward-pointing flash so that a little light is kicked forward toward your subject, even though most of the light heads to the ceiling.

Get Your Flash Off The Camera
Get your flash off the camera to get more control. You'll immediately see a change in the light - it will become more multidimensional and far more attractive. You can buy a dedicated flash cable to tether your flash to the camera for complete automatic control (and control that works in all conditions). Or using wireless triggers for cameras with wireless flash capabilities.
An easy way to handle this flash is to hold it in your left hand with your "pointing finger" on top of the flash. Now just point that finger at your subject and you're also pointing your flash. Experiment with flash coming from all sorts of angles just to see what the possibilities are.

Bounce The Light From A Reflector Or Through A Diffuser
Two things consistently help you get better flash results: changing the angle of the light to your subject and increasing the size of the light.
You increase the size of the light by bouncing it onto a large surface (such as the ceiling mentioned earlier) or shooting through a large diffuser (a small diffuser has little effect). You need to have the light that's hitting your subject come from a large surface area.
An easy way to get started is to get a piece of foam board about 2x3 feet in size. Have someone hold it, or clamp or tape it to something on one side of your subject. Then use your off-camera flash and point it at the foam board from a distance of a couple of feet. You need to have it far enough from the reflector that it spreads out the light, but not so far that it spills over the edges. Move the reflecting board up and down, as well as side to side for different effects.
If you get serious about this, you can then buy a folding reflector or diffuser. Use it in the same way described for the foam board. The diffuser requires a little different technique. You must position it in between your flash and subject. Keep the flash far enough back to fill up the diffuser with light without spilling over. If you're too close to the diffuser, the light won't spread out much, so the effect will be greatly reduced.

Use Flash For Sharper Close-Ups
Close-up and macro photography always challenge our abilities to get a sharp photo. First, up-close depth of field is vey narrow, often severely limiting sharpness. Second, at close distances, the effect of camera movement or shake during exposure is exaggerated, so sharp photos become more difficult. Third, if you use a small apperture or f-stop for more depth of field, you'll be saddled with a slower shutter speed, making camera movement worse. Finally, gear such as macro lenses and extension tubes will reduce light, so even slower shutter speeds are required.
Flash can help. Flash gives such a brief burst of light that it's usually like using shutter speed of 1/1000 second and even faster. This effectively limits the effects of camera movement. In addition, when flash is used up close, there's a lot of light to work with, allowing you to use small f-stop such as f/16 or f/22, resulting in more depth of field.
A key to gettimg better flash photos up close is to get the flash off the camera as described above. When your subject is close to your camera, even a slight change in flash position can give you noticeably different results. You can even try putting the flash somewhat behind the subject for dramatic effect. You can aim the flash right at the subject; you can aim it so the flash hits both the subject and the background; or you can aim the flash so it just hits the subject and not the background.
The key to learning all these techniques is to try them. Test them out with a willing subject, even if that's just a statue that can't complain. Check your results in your LCD and experiment. Don't worry if every shot isn't a winner. As you explore using flash, however, you'll find flash becomes a potent tool for making more winners!
Source : Digital Photo Mag. June/July/Auust 2009.
Written and photography by Rob Sheppard.

Merry Christmas & Happy New Year

2009-12-26T13:48:00.001+07:00

Curug Cilember (Cilember Waterfall)

2009-10-25T20:47:00.001+07:00

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.

20 (Not So) Stupid Questions You Were Afraid To Ask Part II

2009-10-13T13:28:00.001+07:00

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.

20 (Not So) Stupid Questions You Were Afraid To Ask Part I

2009-09-19T00:40:00.001+07:00

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.

Roses

2009-09-09T18:48:00.001+07:00

Colorful Castle

2009-09-04T01:04:00.001+07:00

Flower at Cibodas

2009-09-03T23:59:00.001+07:00

Marhaban Ya Ramadhan

2009-08-21T02:05:00.001+07:00

NEW CANON HYBRID IS

2009-08-19T18:53:00.001+07:00

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 : robert.scott@eos-magazine.com)

Golden Dome Mosque In Color

2009-08-08T23:35:00.001+07:00

Golden Dome Mosque : Dian Al-Mahri

2009-07-24T13:31:00.000+07:00

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.

Canon EOS 500D (Digital Rebel T1i / Kiss X3 Digital) Review

2009-07-12T21:36:00.001+07:00

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
Sensor	15.1 million effective pixels	12.2 million effective pixels
Image sizes	· 4752 x 3168 · 3456 x 2304 · 2353 x 1568	· 4272 x 2848 · 3088 x 2056 · 2256 x 1504
Image processor	DIGIC 4	DIGIC III
Sensitivity	ISO 100 to 3200, extendable to(6400) and H (12800)	ISO 100 to 1600
Auto ISO	ISO 100 to 1600	ISO 100 to 800
Noise reduction	Four levels	On/Off
Auto lighting optimizer	Four levels	On/Off
Viewfinder info	Now includes Highlight Tone Priority icon
LCD monitor	· 3.0 " TFT LCD · 920,000 dots	· 3.0 " TFT LCD · 230,000 dots
Video mode	· 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)
Peripheral illumination correction	Profiles of 25 lenses includes
High-speed continuous	· 3.4 fps · 170 JPEG/Fine frames · 9 RAW frames	· 3.5 fps · 53 JPEG/Fine frames · 6 RAW frames
Menu UI	Digic 4 interface	Digic III interface
Connectors	· 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)
Menu languages	25	20

_____________________________________________

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

_____________________________________________

Overall conclusion

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.

_____________________________________________

Image Quality

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.

_____________________________________________

Handling

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.

Detail (D-SLR)	Rating (out of 10)
Build quality	8.0
Ergonomics & handling	8.0
Features	9.0
Image quality	8.5
Performance (speed)	8.0
Value	8.0

Highly Recommended

Source: www.dpreview.com (for complete review click here)

Firework

2009-06-30T19:02:00.001+07:00

Ciputra Hotel, Jakarta

2009-06-30T18:59:00.001+07:00

Millions of Backlink With MLM

2009-06-30T18:55:00.001+07:00

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.

Best regards.

Solitaire

2009-06-24T01:27:00.001+07:00

ATV On The Beach

2009-06-24T01:00:00.001+07:00

Me and My Camera

2009-06-22T15:47:00.001+07:00

This is me and my camera, Canon EOS 450D. Nice and small-sized camera with good result. Most of my photos on this blog was taken by 450D.

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.

Night View

2009-06-17T22:37:00.000+07:00

Rainbow

2009-06-17T22:36:00.000+07:00

Bali Island

2009-06-13T11:23:00.000+07:00

Tanah Lot

2009-06-13T11:22:00.002+07:00

Nusa Lembongan 2

2009-06-13T11:22:00.001+07:00

Flower 3

2009-06-13T11:21:00.001+07:00

Parasailing at Tanjung Benoa

2009-06-13T11:20:00.000+07:00

Sail Sensation

2009-06-13T11:19:00.000+07:00

Nusa Lembongan

2009-06-13T11:18:00.000+07:00

A Boat at Nusa Lembongan

2009-06-13T11:16:00.000+07:00

Sunrise at Lovina Beach 4

2009-06-12T00:17:00.000+07:00

Flower 2

2009-06-12T00:16:00.000+07:00

Sunrise at Lovina Beach 3

2009-06-12T00:15:00.000+07:00

Sunrise at Lovina Beach 2

2009-06-12T00:14:00.000+07:00

Sunrise at Lovina Beach

2009-06-12T00:13:00.000+07:00

Eagle 3

2009-06-11T19:43:00.000+07:00

Flamingo

2009-06-11T19:42:00.000+07:00

Flower 1

2009-06-11T19:41:00.000+07:00

Komodo

2009-06-11T19:38:00.000+07:00

Eagle 2

2009-06-11T19:35:00.000+07:00

Eagle 1

2009-06-11T19:34:00.000+07:00