Thursday, 6 February 2014

Review Digital Camera World 02-06-2014

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Digital Camera World
 
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Tamron unveils 16-300mm f/3.5-6.3, 28-300mm f/3.5-6.3 zoom lenses
Feb 6th 2014, 07:00, by jmeyer

Tamron has announced the 16-300mm F/3.5-6.3 Di II VC PZD MACRO, what it bills as a ‘next-generation’, all-in-one high-power zoom lens.

Tamron unveils 16-300mm f/3.5-6.3, 28-300mm f/3.5-6.3 zoom lenses

The new Tamron lens is designed for DSLR cameras with APS-C size sensors, and with expanded focal lengths at both wide-angle and telephoto ends of the zoom range it provides a zoom ratio of approximately 18.8x.

Tamron says the wider focal length (24.8-465mm equivalent) stems from requests from photographers who wanted a wider viewing angle.

A Tamron 16-300mm price tag wasn’t available at the time of writing, and it will be released in Canon, Nikon and Sony mounts.

The new Tamron 16-300mm lens of 16 elements in 12 groups, which includes three Molded-Glass Aspherical elements, one Hybrid Aspherical element, two LD (Low Dispersion) elements, one XR (Extra Refractive index) glass element, and one element of UXR (Ultra-Extra Refractive Index) glass, which has greater refractive index than XR.

Other key features of the new Tamron 16-300mm f/3.5-6.3 zoom lens include

Angle of View (diagonal): 82°12′ – 5°20′
Minimum Focus Distance: 0.39m
Maximum Magnification Ratio: 1:2.9 (at f=300mm: MFD 0.39m)
Filter Size: φ67mm
Maximum Diameter: φ75mm
Length: 99.5mm
Weight: 540g
Diaphragm Blade Number: 7 (circular diaphragm)
Minimum Aperture: f/22-40
Standard Accessories: Flower-shaped lens hood

DON’T MISS
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 Tamron 28-300mm f/3.5-6.3 Di VC PZD.

Tamron has also announced the development of another new all-in-one telephoto zoom lens, the Tamron 28-300mm f/3.5-6.3 Di VC PZD.

Designed for full-frame DSLR cameras, the new Tamron 28-300mm lens will also be released in Canon, NIkon and Sony mounts. A price has not yet been confirmed.

Other features of the new Tamron 28-300mm lens include

Angle of View (diagonal): 75°23' – 8°15' (for full-frame format); 52°58' – 5°20' (for APS-C format)
Lens Construction: 19 elements in 15 groups
Minimum Focus Distance: 0.49m (19.3 in)
Max. Magnification Ratio: 1:3.5 (at f=300mm: MFD 0.49m)
Filter Size: Φ67mm
Maximum Diameter: Φ74.4mm
Length: 96mm (3.8 in)*
Weight: 540g (19 oz)*
Diaphragm Blade Number: 7 (circular diaphragm)
Minimum Aperture: f/22-40
Standard Accessory: Flower-shaped lens hood

READ MORE

11 common lens errors (and how to avoid them)
How to find your lens’ sweet spot
How to test your lens’ sharpness
DO or Di? Your lens markings explained
10 reasons your pictures aren’t sharp (and how to fix them)

Program Mode Explained: how to creatively shift aperture and shutter speed
Feb 6th 2014, 00:01, by jmeyer

In this guide to your camera’s Program Mode – or P Mode – we’ll answer many of the common questions about what it is and how it works, as well as show you how to get more creative results by shifting the aperture and shutter speed.

Program Mode Explained: how to shift aperture and shutter speed for more creative images

Image by Marcus Hawkins

What is Program Shift mode?

Program Shift, also known as Flexible Program, is an advanced semi-automatic exposure mode – although you won't find it listed as an option on your camera's mode dial.

What you will find is the letter P, which stands for Program mode. Select this, and the camera will adjust both the aperture and the shutter speed to produce what it judges to be the best exposure for the scene or subject you're photographing.

However, you can manually override the camera's choice, 'shifting' to a different combination of aperture and shutter speed. It's by doing this that you effectively enter Program Shift mode.

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

So Program Shift is a bit like dialling in exposure compensation?

Not really. Exposure compensation enables you to override the camera's meter to make a picture brighter or darker, but Program Shift doesn't have any effect on the brightness of an image.

The exposure suggested by the camera remains the same: it's just that you can use a different combination of aperture and shutter speed in order to achieve it.

SEE MORE: What is exposure compensation – free photography cheat sheet

Why would I want to change to a different combination of aperture and shutter speed?

When it comes to exposure, Program mode always plays it safe. The camera takes the focal length of the lens into account when it meters the scene and sets the exposure, and it assumes that you're shooting handheld.

As a result, it will attempt to set a fast enough shutter speed to produce sharp pictures, free from the effects of camera shake. This means that in low light, it will choose the largest available aperture on the lens to ensure the fastest shutter speed is used.

Only when light levels are bright enough will it select a smaller aperture to increase the depth of field and make more of a picture look sharp.

While this is good news for grab shots, the combination of aperture and shutter speed set by the camera is unlikely to produce creative results.

You might want to use a slower shutter speed than suggested in order to record any movement as a blur, for instance, or to be able to choose a smaller aperture in low-light conditions when the camera's firmly fixed to a tripod.

Program Shift gives you this creative control, but combines that with the ease of use you normally associate with a point-and-shoot.

SEE MORE: Beginner photography tips – the most common mistakes (and how to avoid them

Program Mode Explained: how to shift aperture and shutter speed for more creative images

Program and Program Shift are good for everyday photography, enabling you to grab shots in good light.

It sounds a bit automated – so why wouldn't I just use my camera's Automatic mode?

Program Shift is what's known as a semi-automatic mode: you can let the camera handle the whole picture-taking process, or you can roll your sleeves up and make some adjustments manually.

For example, you can select an ISO sensitivity, tweak the white balance and picture style, and dial in exposure compensation. Your camera's Automatic mode – the green icon on the mode dial – doesn't give you this level of freedom.

You may be able to choose a drive setting and decide whether to fire the flash or not, but that's about your lot.

SEE MORE: White balance explained: how cameras correct the colour of different types of lighting

How do Aperture Priority or Shutter Priority differ from Program Shift?

In both of those modes, you select one aspect of the exposure – the aperture (in Aperture Priority) or the shutter speed (in Shutter Priority) – and the camera automatically matches this with an appropriate shutter speed or aperture.

When you're working in a hurry, it can be easy to just focus on the part that you're manually selecting and neglect to check the setting that the camera has chosen.

Sometimes this can lead to disappointing results. Take Aperture Priority: as you change the aperture, the shutter speed may drop too low to give sharp handheld pictures.

Program Shift can be a better option for grab shots where there's little time to think. You can press the shutter release and be confident that the camera will always opt for a shutter speed that will give you sharp results.

Are there any drawbacks of using Program Shift?

If you know you want a particular effect, such as a shallow depth of field or a slow shutter speed, it can often be quicker to work in the appropriate mode mentioned above.

Having to scroll through a range of combinations in Program Shift until you come to the one that best matches the effect you're looking for takes a little longer.

On some cameras, any 'shifted' exposure combination in Program Shift will only be available while the camera's meter is active.

If you take your finger off the shutter release and the aperture and shutter speed disappear from the viewfinder or the LCD screen, the shifted exposure will be lost.

When you dab the shutter release to activate the meter again you'll be back in Program mode, with the initial combination of aperture and shutter speed that's been suggested by the camera.

PAGE 1: Program Mode Explained
PAGE 2: Working in Program Shift
PAGE 3: Using aperture and shutter speed in Program mode
PAGE 4: How to shift the exposure
PAGE 5: Program mode alternatives

READ MORE

First camera crash course: simple solutions for mastering your new DSLR
10 common camera mistakes every photographer makes
How to use a camera: exposure modes made simple
Expose to the right: the camera technique every landscape photographer must know
10 common exposure problems every photographer faces (and how to fix them)

Shooting in the dark: lose your fear of pushing up the ISO!
Feb 5th 2014, 11:45, by jmeyer

In this tutorial we’ll show you how to take the grain with the gain and lose your fear of shooting in the dark at high ISO settings!

Shooting in the dark: lose your fear of pushing up the ISO

Too many photographers have an irrational fear of pushing up ISO. Years ago, changing ISO meant changing your film, but nowadays you can tweak your camera’s's all-important sensitivity control for every shot. The fear today is of noise – digital grain that creeps in gradually as you turn up the ISO.

However, there are two good reasons whey you should learn to love the big-number ISO settings. The first is that boosting the camera's electronic gain is a very simple and effective way of beating unintentional blur created by camera shake or subject movement. Remember, it is always better to have a grainy shot than a blurry one.

Second, high ISO settings are liberating. They let you take pictures in situations where you simply wouldn't otherwise get a shot: in places where you just can't use a tripod, or even in places that are so dark you can't even see what is front of your eyes.

Go to extremes
Investigate the highest ISO settings your SLR offers (often labelled H). The grain and blotchy colour are an artistic effect in their own right, and enable you to take pictures in near total darkness.

Switch to automatic
If you struggle to switch the ISO early enough or at the right time, try setting your DSLR to Auto ISO. It is surprisingly good, and you can even set up the maximum ISO and minimum shutter speed you are prepared to put up with.

SEE MORE: What is ISO: when to increase sensitivity, types of noise and more

How to improve your white balance

How to improve your white balance: why you need white balance

Why you need white balance
On the parade ground we like our whites to look white! The Auto White Balance (AWB) system can usually do this for you, but in some situations, colours can look wrong…

 

How to improve your white balance: tweak the colours

Tweaking the colours
In artificial lighting images can look a touch orange or a tad green. To correct for this cast, you switch the White Balance to manual and play with the different preset options.

 

How to improve your white balance: neutralise the orange

Neutralise the orange
The Incandescent setting (represented with a light bulb) is the one to use tweak images that look too orange. To beat a green tinge, try the Fluorescent strip-light option.

SEE MORE: ISO settings in low light – when (and how) to increase your camera’s sensitivity

How to shoot handheld in low light

Image copyright Tom Mackie

How to shoot handheld in low light
Professional photographer Tom Mackie shot this picture at the Taj Mahal – just the sort of place where you wouldn't be able to use a tripod even if you had one.

His solution was to whack up the ISO to 3200 so he could come home with a sharp handheld interior shot.

SEE MORE: White balance – Photoshop fixes and in-camera solutions for any situation

Must-have items for shooting in the dark

Must-have items for shooting in the dark: tripod

Tripod
A tripod is a necessity, not a luxury. If you shoot a static subject, you should use one unless there is an operational reason not to! It frees you up to use low ISOs even in low light, and gives you a freer choice of aperture and speed.

Must-have items for shooting in the dark: superzoom

Superzoom
To travel light but leave as many photo opportunities open as possible, consider using an all-in-one superzoom lens with built-in optical stabilisation.

READ MORE

Photography Basics: the No. 1 cheat sheet for metering and exposure
10 things photographers can do to stop wasting pictures
44 essential digital camera tips and tricks
How to reduce noise at high ISO settings
What is exposure compensation: free photography cheat sheet

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