Monday, 20 January 2014

Review Digital Camera World 01-20-2014

Digital Camera World
 
Many wonderful memories are captured in black and white.

With digital photographs, the art is now in creating black and white images. This course will teach you how to use Photoshop techniques to create beautiful images.
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10 camera techniques to master in 2014: get white balance accurate every time
Jan 20th 2014, 00:01, by jmeyer

As our Shoot Like A Pro series on mastering some of the basic camera techniques continues, we look at your camera’s white balance settings and how you can get the most accurate colours possible.

10 camera techniques to master in 2014: master white balance settings for accurate colours

You might forget all about setting the right white balance – especially if you shoot in raw, as then you can change it when you process your images later.

However, you'll need to get the right white balance in-camera to be able to assess the exposure and colours of your shots and achieve the best results.

Strong colours
Your camera's Automatic White Balance setting generally does a pretty good job of capturing colours correctly in most lighting conditions, but it's not infallible.

The main situation in which you'll get better results by using one of the manual preset values is when your subject is dominated by a single colour or tone, such as a blue sky, orange sunset or even a large expanse of green grass.

In these situations Automatic White Balance can set a value to counteract this strong colour, so you will get better results by selecting a white balance setting that suits the lighting conditions, such as Sunlight or Shade.

The actual white balance of the light at sunrise or sunset is close to the Tungsten or Artificial Light setting (3,200K). But if you set this preset you will lose much of the warmth that you want to capture in your shot.

Instead, try setting the white balance to Daylight, or even Cloudy, to capture the orange glow in all its beauty.

SEE MORE: How to set up a camera for the first time – 11 things you need to do first

Set a custom white balance… in-camera or on the computer

For precise colours, you'll need to take control and create a 'custom' white balance setting for the light you're shooting in. There are a number of white balance aids available to help you do this – such as the JJC White Balance Lens Cap (£11) – but all you really need is a piece of white or grey card or a sheet white paper!

Once you've got that, try these two simple techniques for creating custom settings either in-camera, or when you process your pictures in software.

SEE MORE: What camera should I buy? Pros and cons of each camera type

In software…

Shoot Raw files, and you can adjust the white balance at your leisure in Raw processing software, such as the Adobe Camera Raw plug-in that comes with Photoshop Elements – the options are similar to those on your camera.

You can use sliders to refine the colour balance, and there's also a White Balance tool; click on a neutral tone in an image with this to set the white balance.

But what if a scene doesn't contain any neutral tones? The answer is to place a piece of white or grey card in the scene at the shooting stage. It only needs to be in place for one frame, as you can use this to adjust the white balance across all images taken in the same light.

1. Set up a reference card

Place the white or grey card in the same light as the focal point of your picture. Choose a white balance preset on your camera, such as Daylight, and make sure you're shooting Raw quality files.

2. Open the reference shot

Take a shot with the card in the frame, then remove it and carry on shooting. Later, in Elements, open the card image and click on the card with the White Balance tool. Note the values for Temperature and Tint, then manually enter these for your other Raw files taken under the same light.

3. Camera Raw in CS

The Photoshop CS version of Adobe Camera Raw features Select All and Synchronise buttons. These enable you to set the white balance for a series of images.

4. Select and synchronise

Select all the shots taken in the same light as the 'card' shot, then click on the white card and watch the magic happen! Alternatively, you can click Synchronise to synchronise WB and other selected settings.

SEE MORE: Alternative whites – 5 ways to get accurate colours when you don’t have a grey card

How to set a custom white balance in camera…

Setting a custom white balance in-camera will save you time at the processing stage. Again, start with a white or grey card in the same light as your scene or main subject. We used a Canon camera for the purposes of this tutorial, but the process is similar with other cameras.

1.    Take a shot of the card – it needs to fill the central area of the frame. Use any WB setting.

2. Select the Custom WB option in your camera's shooting menu, and press SET.

3. Scroll through your images until you find the shot of the white card. Press SET, then OK.

4. Open the white balance menu and choose the Custom symbol to use the new white balance setting.

READ MORE

White balance: Photoshop fixes and in-camera solutions for any situation
Get correct white balance every time: a simple technique for amazingly accurate colour
What is color temperature: free photography cheat sheet
Color theory: the best color combinations for photography and how to take it further

Tokina AT-X 16-28mm f/2.8 Pro lens review
Jan 19th 2014, 12:00, by jmeyer

Tokina AT-X 16-28mm f/2.8 Pro review: designed to be a fast lens in every possible way, this new wide-angle Tokina lens has a high-quality look and feel.

Tokina AT-X 16-28mm f/2.8 Pro lens review

Recently we gave a favourable review to the ASPC-format Tokina 12-28mm f/4. Despite not being massively more expensive, the 16-28mm is a more pro-minded lens.

It has a faster (and still constant) f/2.8 aperture and, as an full-frame wide-angle zoom, is considerably bigger and heavier at 90x133mm and 950g.

What’s more, the design includes a built-in lens hood that precludes the use of screw-in filters, a nine-blade diaphragm to give a rounded aperture, and rugged build quality suited to a pro lifestyle.

The Tokina gives viewing angles of 77-107 degrees. The maximum angle of view is noticeably less, and even more so in comparison with the Sigma 12-24mm f/4-5.6 DG HSM II, which gives up to 122 degrees. On the plus side, the Tokina gives more reach at the long end of the zoom range.

It's not just the aperture that's 'fast'. The lens features a new 'silent' DC motor that's coupled to a GMR (Giant MagnetoResistance) magnetic AF system to give quieter, faster autofocus.

It's not as near-silent as the ring-type ultrasonic systems in the competing Sigma lens, but it's a big improvement on Tokina's older designs. There's still no full-time manual focus override, but a push-pull focus ring enables quick switching between autofocus and manual focus.

Barrel distortion and vignetting are less noticeable than in the Sigma lens. The Tokina also does well to minimise ghosting and flare, which can be a problem in this class of lens. Overall, it's is a great buy in the US – but its price in the UK, compared with its competitors, is a little too close for comfort.

Lab Tests
We tested this new Tokina lens to its limits in three key areas of optical performance

Sharpness
There's plenty of sharpness, the Tokina closely matching the Nikon 14-24mm even in the extreme corners of the frame.

Sharpness at f/8, 16mm: 2709
Sharpness at f/8, 20mm: 2724
Sharpness at f/8, 28mm: 2385

Fringing
Colour fringing is minimal at all focal lengths, and there's very little variation through the aperture range as well.

Fringing at f/8, 16mm: 0.42
Fringing at f/8, 20mm: 0.39
Fringing at f/8, 28mm: 0.42

Distortion
These figures are flattering, based on a DX body, but distortions are very well controlled on FX bodies too.

Distortion at 16mm: -1.67
Distortion at 20mm: -0.94
Distortion at 28mm: -0.32

Image Quality Verdict
The Tokina produces great image quality throughout its zoom and aperture ranges, right from the centre to the extreme corners of the frame.

Price: £699, $699
Score: 4/5

READ MORE

11 common lens errors (and how you can avoid them)
How to avoid lens flare when shooting wide-angle scenes
DO or Di? Your lens markings explained
DSLR Lenses: 7 questions photographers must ask about their next piece of glass
Best 50mm lens for your camera: 8 nifty fifty lenses tested and rated

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