Thursday 18 April 2013

Review Digital Camera World 04-19-2013

Blogtrottr
Digital Camera World
Professional Photographer to the Rescue: horse photography without the long face
Apr 18th 2013, 23:01

In our latest Professional Photographer to the Rescue post our professional photographer, an experienced equine photographer, shares his best horse photography tips for taking equine pictures in a range of different styles.

Professional Photographer to the Rescue: horse photography without the long face

Meet our professional photographer

Equine specialist Craig Payne has been photographing horses since the age of 12. He turned professional in 2007 and has an extensive knowledge of the subject, capturing both action shots of horses at events and specialising in portraits of horses and riders together. To see Craig's full portfolio head to www.equinephotoshoots.co.uk.

Meet our apprentice

Ecologist and horse-lover Rebecca Hendry is from Yeovil, Somerset. She's had an interest in photography for the past 12 years, although it's only in the past few that she's taken it to the next level. Armed with her Canon EOS 7D, Rebecca was keen to improve her photography skills to understand how to best photograph horses and riders together.

Technique assessment

Craig showed Rebecca how to rein in her shooting skills and get back in the saddle

Horse photography technique assessment: what shooting mode to use

What mode?
"Rebecca had been using Aperture Priority (Av) mode, but the most important thing about horse photography is the shutter speed as there's lots of constant movement in the horse – even when it's standing still," explains Craig.

"For action shots you need a shutter speed above 1/640 sec and for portraits keep it above 1/250 sec, ideally, although this can be pushed if there's less light. If the light is flat I take a few readings and put my camera into the Manual (M) mode. If the light keeps changing I'll shoot in Shutter Priority (Tv) mode, although you need to keep an eye on the aperture setting and ISO value if you do this."

 

Horse photography technique assessment: raw or JPEG?

Raw or JPEG?
"Although you can recover a lot more detail in a raw format file, you don't have to shoot in Raw if you get the exposure right in-camera," Craig advises. "A large JPEG means you can spend less time editing your images as your camera processes the image and applies a few basic edits, such as increasing the colour saturation and sharpening.

“I shoot at a lot of events where it's important to get images to clients quickly, so I always shoot JPEGs, but if you're not confident in getting it right in-camera then by all means shoot raw – or you could use 
the Raw+JPEG option as a back-up until you're more confident."

PAGE 1: Meet our professional photographer and apprentice
PAGE 2: Horse photography tips for during the shoot
PAGE 3: Final tips from our professional photographer
PAGE 4: Shot of the Day

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Sigma 18-35mm f/1.8: first-ever zoom lens with f/1.8 constant aperture unveiled
Apr 18th 2013, 10:22

The Sigma 18-35mm f/1.8 DC HSM announced today is the first ever zoom lens to achieve a wide constant aperture of f/1.8 throughout the zoom range. Find out all the key specs of this new Sigma lens.

A Sigma 18-35mm f/1.8 price and release date were not available at the time of writing.

Sigma 18-35mm f/1.8: first-ever zoom lens with wide constant aperture unveiled

Sigma has revealed a new 18-35mm zoom lens with a constant aperture of f/1.8.

The new Sigma 18-35mm f/1.8 DC HSM is the first ever zoom lens to achieve a maximum aperture of f/1.8 throughout the zoom range, according to Sigma.

The previous widest aperture a zoom lens has been able to achieve throughout the zoom range has been f/2.8.

Designed for DSLRs with APS-C size sensors, the Sigma 18-35mm f/1.8 offers a focal range equivalent to 27-52.5mm in 35mm format.

Sigma says the new 18-35mm lens has been designed as a standard lens which is capable of shooting landscapes, portraits, still life photography, even studio photography.

The faster aperture throughout the zoom range will eliminate the need for photographers to keep fixed focal length lenses in their camera bags for brighter images, Sigma says.

The new Sigma 18-35mm lens also incorporates a wide glass-moulded aspheric lens and Special Low Dispersion glass, the latter which compensates for various aberrations as well as field curvature at the widest angle.

The Sigma 18-35mm f/1.8 also features Super Multi-Layer Coating to reduce flare and ghosting, and boost contrast, while a supplied petal type hood provides extra protection.

A Hyper Sonic Motor provides a silent AF function, Sigma says, while the 18-35mm f/1.8 offers a minimum focusing distance of 28cm and a maximum magnification ratio of 1:4.3.

Other features include a 9-blade rounded diaphragm, brass bayonet mount and a newly developed USB Dock that plugs into your computer and attaches to your lens, allowing you to update the lens firmware and adjust parameters such as focus.

Sigma 18-35mm f/1.8 Key Specifications

Lens Construction: 17 elements in 12 groups | Minimum aperture: F16 | Filter size: ø72mm | Angle of view (SD1): 76.5°-44.2° | Minimum focusing distance: 28cm/11.0in. | Dimensions (Diameter x Length): ø78mm x 121.0mm/3.1in. x 4.8in. | Number of diaphragm blades: 9 (Rounded diaphragm) | Maximum magnification ratio: 1:4.3 | Weight: 810g/28.6oz

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Hands-on Ricoh GR review
Apr 18th 2013, 09:48

Hands-on Ricoh GR review: the latest addition to the Ricoh GR range brings a new, large APS-C sensor to a smaller body and embraces some of the qualities that Ricoh’s 35mm film compact cameras so popular. Find out our first impressions in this hands-on Ricoh GR review video.

Hands-on Ricoh GR review

The Ricoh GR is the latest update to the GR range and features a 28mm (35mm equivalent) f/2.8 lens, 16.2 million pixel APS-C sensor and light weight magnesium alloy body.

The Ricoh GR’s new sensor is nine times larger than the 1/1.7-inch sensor found in the Ricoh GR IV. And with the Ricoh GR price tag starting around £599 (approximately US$920 / AU$882), it could perhaps give the Nikon COOLPIX A a run for its money.

Here Ali Jennings of our testing team takes a look at what the Ricoh GR premium compact camera has to offer in his hands-on Ricoh GR review video.

Hands-on Ricoh GR Review Video Transcript

This is the Ricoh GR, the update to the company's premium line of compact cameras. It's quite a significant upgrade however as has an APS-C sized sensor, which is around 9x larger than the 1/1.7 inch device in the GR IV.

The pixel count of the sensor has also been boosted from 10 million to 16.2 million.

To accompany that sensor is an 18.3mm f/2.8 lens, which is equivalent to around 28mm in 35mm terms. Although it's a fixed focal length lens there's an optional adapter available to transform it into a wider, 21mm optic. At the other end of the scale, a 35mm crop mode is also available.

One of the trade offs Ricoh has made as a result of the larger sensor is that the lens can't focus quite as close as its predecessor. However, Macro mode can be activated via this dedicated button to get as close as 10cm to the subject.

Built from a sturdy magnesium alloy, the GR is billed as the world's smallest and lightest APS-C format camera. Despite the much larger sensor, as you can see it's actually only marginally larger overall than the GR IV.

This slightly pronounced grip, which has a useful rubberised texture, helps when shooting one-handed. The layout of the buttons on the back of the camera also makes changing settings with a thumb quick and easy.

Here at the top we've got a mode dial for speedily changing between automatic, semi-automatic and fully manual modes. There's also space for up to three customisable groups of settings here and this lock button prevents accidental dial changes while the camera's in a pocket or bag.

This small dial on the grip is used for altering aperture or shutter speed, depending on the mode you're shooting in. When shooting in fully manual mode, this dial is used for aperture, while this switch at the back of the camera controls shutter speed.

One of the best things about the GR is that several of the buttons on the back, and side, of the camera are customisable. These dedicated function buttons here and here can be changed to suit your needs, while this effects button and this switch are also customisable.

Exposure compensation is changed quickly by this plus and minus switch which doubles up as the zooming buttons during playback.

Changing autofocus point by default is done by tapping this Function button //Fn 1// and using the arrow keys to scroll around the scene to the point you want to use. After pressing this button, you can use the zoom //+// to check critical focus.

On the back of the camera is a high resolution, 1.2 million-dot 3 inch LCD screen. It's not articulating, or touch sensitive, but it appears cope reasonably well with direct light, not suffering too badly from glare or reflections.

Making an appearance just weeks after the Nikon Coolpix A, the Ricoh GR will go on sale with an asking price of around £599 (that's about 920 US dollars)– making it significantly cheaper than the Nikon camera.

It will be interesting to see if this camera manages to capture the imagination of the experienced user looking for a backup compact that is capable of delivering excellent images. Look out for our full review of the Ricoh GR in the near future.

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