The Nikon D850 is Nikon’s latest high resolution full-frame DSLR, boasting a 46MP backside-illuminated CMOS sensor. But, in a fairly radical departure for the series, it is also one of the company’s fastest-shooting DSLRs. This combination of properties should significantly widen the camera’s appeal to high-end enthusiasts as well as a broad range of professional photographers.
- 45.7MP BSI CMOS sensor
- 7 fps continuous shooting with AE/AF (9 with battery grip and EN-EL18b battery)
- 153-point AF system linked to 180,000-pixel metering system
- UHD 4K video capture at up to 30p from full sensor width
- 1080 video at up to 120p, recorded as roughly 1/4 or 1/5th speed slow-mo
- 4:2:2 8-bit UHD uncompressed output while recording to card
- 1 XQD slot and 1 UHS II-compliant SD slot
- Battery life rated at 1840 shots
- 3.2″ tilting touchscreen with 2.36M-dot (1024×768 pixel) LCD
- Illuminated controls
- 19.4MP DX crop (or 8.6MP at 30fps for up to 3 sec)
- SnapBridge full-time Bluetooth LE connection system with Wi-Fi
- Advanced time-lapse options (including in-camera 4K video creation)
The use of a backside illuminated (BSI) sensor means that the light collecting elements of the sensor are closer to the surface of the chip. This should not only increase the efficiency of the sensor (improving low light performance) but should also be expected to make the pixels near the edges of the sensor better able to accept light approaching with high angles of incidence, improving peripheral image quality.
Like the D810 before it, the D850 continues to offer an ISO 64 mode, that allows it to tolerate more light in bright conditions.
The D850 has gained a more usable electronic first curtain shutter option, which can now be used quiet shutter mode, as well as live view and Mirror-Up mode. To get the full benefit, though, you need to turn on exposure delay (which has had two sub-second delay settings added). However, exposure delay persists across all shooting modes. Thankfully, and presumably thanks to a redesigned shutter and mirror mechanism, our quick check with a pre-production model suggests shutter shock may not be an issue, even without engaging it.
The D850 has no anti-aliasing filter, which should allow for slightly finer detail capture but with added risk of moiré, if any of your lenses are sharp enough to out-resolve a 45.7MP full-frame sensor. There’s still no sign of the clever design Nikon patented so, unlike the Pentax K-1 or Sony RX1R II, you can’t engage an anti-aliasing effect if you do find false color appearing in densely patterned areas.
In addition to the increased speed, the D850 also gains the full AF capabilities of the company’s flagship sports camera: the D5. This includes all the hardware: AF module, metering sensor and dedicated AF processor, as well as the full range of AF modes and configuration options, which should translate to comparable focus performance combined with high resolution.
Given the D5 possessed one of the best AF systems we’ve ever seen and could continue to offer that performance in a wide range of conditions and shooting scenarios with minimal need for configuration, this is an exciting prospect.
As part of this system, the D850 gains the automated system for setting an AF Fine Tune value. It only calibrates the lens based on the central AF point and for a single distance, but it’s a simple way to ensure you’re getting closer to your lenses’ full capabilities, which is handy given you’ll now be able to scrutinize their performance with 46MP of detail.
Impressively, the D850 can shoot at nine frames per second if you add the optional MB-D18 battery grip and buy an EN-EL18b battery, as used in the D5. As well as increasing the camera’s burst rate, this combination also ups the battery life to a staggering 5140 shots per charge. You don’t get this same boost in speed or endurance if you use a second EN-EL15a in the grip, though.
An MB-D18 plus an EN-EL18b is likely to set you back over $580 over and above the cost of the camera body ($399 for the grip, around $149 for the battery, $30 for the BL-6 battery chamber cover plus the cost of a charger).
The D850 also includes a sufficiently deep buffer to allow fifty-one 14-bit losslessly compressed Raw files, meaning the majority of photographers are unlikely to hit its limits.
In terms of video the D850 becomes the first Nikon DSLR to capture 4K video from the full width of its sensor. The camera can shoot at 30, 25 or 24p, at a bitrate of around 144 Mbps. It can simultaneously output uncompressed 4:2:2 8-bit UHD to an external recorder while recording to the card.
At 1080 resolution, the camera can shoot at up to 60p, with a slow-mo mode that can capture at 120 frames per second before outputting at either 25 or 24p. The 1080 mode also offers focus peaking and digital stabilization, neither of which are available for 4K shooting.
Body & Camera Features
The D850’s body is primarily made from magnesium alloy and fairly closely resembles the D810. The newer model gains a D750-style flip up/down cradle for its rear screen, which is not only much higher in resolution but also touch sensitive. Unlike the D5 and D500, this touch sensitivity can be used in live view mode and for navigating menus, as well as for in playback mode.
The camera’s grip has been reworked, making it more comfortable than the D810 when holding the camera for long periods or with heavy lens combinations.
The most obvious visual difference between the cameras is a different viewfinder hump, with the new camera having no built-in flash. Instead, strobe users will have to make do with the flash sync socket or purchase the WR- radio control trigger set (the WR-A10, WR-R10 and WR-T10 that allow remote triggering of the camera or remote control of radio compatible flashguns such as the Speedlight SB-5000).
Nikon says that the removal of the onboard flash allows the D850 to be better weather-sealed than the D810, since there are fewer seams on the top of the camera to protect against moisture ingress.
As with the Nikon D5, the D850 has a 153-point AF system featuring 99 cross-type points. The central AF point is rated as working in light as low as -4EV, with the rest still active at -3EV (and, since the metering sensor is meant to work down to this level too, it may still be possible to use the camera’s 3D tracking mode in these very low light conditions). Fifteen of the camera’s AF points clustered near the center of the frame will work with lens + teleconverter combinations with maximum apertures of just F8, which should make it useful for pursuits such as birding.
This Multi-Cam 20K AF system, like the D5’s, offers a good degree of frame coverage for a full frame camera: 30% wider than on the D810, the company says. The move from the D810’s 91,000-pixel metering sensor to the D5’s 180,000-pixel chip should improve subject recognition. This and the inclusion of a dedicated AF processor means the D850 should be a match for the D5, which can keep AF points on a moving subject even in continuous shooting, rather than subject tracking performance dropping noticeably during bursts, as the D810’s did.
So far as we understand, the only significant difference between the D850’s AF system and the D5’s is the viewfinder display. The D5 has an organic electro-luminescent display layer that allows it to light the active AF points as they change in 3D tracking mode, the D850 has an LCD layer on which the points only light up when they’re manually moved or when focus is initiated or acquired.
The removal of the camera’s built-in flash frees up room for a new viewfinder, so magnification is able to leap from 0.7x to 0.75x which is the largest optical viewfinder on any Nikon DSLR. The larger finder, which features a new condenser lens and an aspherical element in the design, retains a reasonable (17mm) eye point, as we understand, so the whole scene should be visible even for most glasses wearers.
As with previous Nikon cameras, the D850 has intervalometer functions built in, so that you can capture time lapses without any external accessories. This feature can be combined with the camera’s silent shutter live view mode, to avoid vibration or excessive wear on the mechanical shutter, though with the risk of rolling shutter.
The camera can either assemble the images together in a 4K video or retain the full resolution files, to allow you to create a full resolution time-lapse in third-party software. Nikon uses the camera’s high resolution to brand this second capability as “8K Timelapse,” since the images exceed the 7680 × 4320 dimension of that video format.
Like previous Nikons, the intervalometer lets you specify the number of shots and the delay between them but now adds the ability to create a new folder and reset the file numbering for each time lapse sequence, so that the files can easily be isolated and transferred to 3rd-party software.
The D850 can also use this ‘new folder and reset the counter’ approach for another of its features. The Focus Shift mode prompts the camera to shoot a series of photos at different focus distances. You can specify the number of images, the size of the distance steps and whether there’s a delay between each shot. Unlike the similar feature on Olympus and Panasonic cameras, the Nikon can’t combine the resultant images, but it can place them in a separate folder to make it easy to import them into 3rd-party focus stacking software.
We’re told the focus steps will be selected on a dimensionless 0-10 scale, presumably because the distance of the increments will vary depending on the type of lens you use.
The D850 includes Nikon’s SnapBridge connectivity system. This establishes a full-time Bluetooth LE connection between the camera and compatible smart devices. This is a step forward from the D810, which had no built-in wireless options, however, we have not found the SnapBridge system to be a good match for high-end systems in the past.
Existing implementations of SnapBridge lean very heavily towards using the Bluetooth connection to transfer images (unlike Samsung and Canon’s approaches, which use it just to keep lines of communication open, so that Wi-Fi communication can be established more rapidly). The camera can transfer every image it shoots automatically either at 2MP or in full resolution, but only over Bluetooth. Select the images on the camera and those will be sent (slowly) over Bluetooth, too. The only way of accessing Wi-Fi and its greater transfer speed is to use the app to browse your memory card and select from there.
Without a significant reworking of the SnapBridge app, we are concerned that the combination of a high-speed 46MP camera and a primarily Bluetooth-based connection with no ability to send Raw files will be inappropriate for the typical D850 user.
The Sony a99 II showed it was possible to offer high resolution images and fast shooting, but the D850 takes this a step further. There are some ‘ifs,’ of course, but if the sensor can offer the low ISO image quality of the D810 combined with the AF of the D5 at between seven and nine frames per second, then it could really be a camera for all disciplines, from high res studio work to street fashion, weddings, sports, landscapes…
Whether it lives up to this promise will come down to the implementation, and it’s what we’ve experienced of this, hands-on, that leaves us impressed. For a start, it seems that a revised shutter and mirror mechanism has resolved the shock issues the D810 exhibited with longer lenses. This is a critical improvement for such a high resolution camera and one that isn’t directly covered in the specs, but our quick shots suggest it’s done the job.
We weren’t able to examine the camera’s high ISO performance, but a quick check at base ISO suggests the ISO 64 mode does offer a DR advantage over ISO 100, which is what allowed the D810 to match the dynamic range performance of the GFX 50S and Pentax 645Z. We’ve also not had a chance to check the shadows, so this is a very preliminary impression, but ISO 64 does seem to be a ‘real’ sensitivity setting (i.e., not just ISO 100, but clipping earlier).
Create Magical Moments
Lightweight, fun and easy to use, the Canon EOS Rebel SL2 camera further proves that quality is key, helping you capture stunning photos and videos you’ll love to see and share. The 24.2 Megapixel CMOS (APS-C) sensor and DIGIC 7 Image Processor deliver brilliantly sharp results, with Dual Pixel CMOS AF keeping your videos and photos in clear focus. Whether you’re taking selfies or vlogging, the Vari-angle Touch Screen LCD helps capture shots at a variety of angles and situations. A Feature Assistant function is available to help guide you through a shot if needed, and when you’re done you can share your creations on the spot thanks to built-in Wi-Fi®*, NFC** and Bluetooth®*** connectivity. Easy to bring and simple to operate, the EOS Rebel SL2 puts creative power in your hands.
The Canon EOS Rebel SL2 camera has a powerful 24.2 Megapixel CMOS (APS-C) sensor that can capture high-resolution images of immense quality in a wide variety of lighting situations. Take photos and videos with fine details and dynamic, rich colors from the deepest reds to emerald greens to lush blues and purples. Simply turn the camera on and feel confident that the results will be stunning whether they are being shared with your friends on social media or blown up into poster-sized prints.
Line up the shot you want in Live View with virtually no wait for the EOS Rebel SL2 camera to focus thanks to Dual Pixel CMOS AF which helps deliver the world’s fastest autofocusing speed at 0.03 sec.^ Equipped with phase-detection, it can quickly and accurately determine how far away a subject is and where the lens should focus, and offers fast, smooth and precise autofocus that stays locked onto your subject, even if they are in motion, for both photos and videos. Dual Pixel CMOS AF helps ensure your results are sharp, keeps the time it takes to lock focus onto your subject to a minimum and smoothly maintains focus where you want it.
The EOS Rebel SL2 camera features a Vari-angle Touch Screen LCD that can be ideal for composing and reviewing your photos. Tap the screen during Live View while taking photos or videos and thanks to Dual Pixel CMOS AF, the EOS Rebel SL2 will quickly lock focus to that location in the image. Touch gestures can be used for zooming in or swiping through images after you’ve taken them, and menu and quick control settings can be accessed quickly and easily. In addition, the Vari-angle Touch Screen LCD lets users utilize Selfie Mode with a touch of a button so you can capture high-quality selfie shots with ease.
Built-in Wi-Fi®* Capability
The EOS Rebel SL2 camera is designed to make connecting to Wi-Fi®* fast and easy. It can exchange data with other Wi-Fi® compatible Canon cameras, and transfer files directly to a compatible smart device using the Camera Connect app. Just press the Wi-Fi® button and the camera will connect to Wi-Fi® allowing you to share and upload directly to various web services like CANON iMAGE GATEWAY#, Facebook® and YouTube® as well as print directly to compatible wireless Canon printers.
Built-in NFC** Capability
With its built-in NFC (Near Field Communication) capability**, the EOS Rebel SL2 camera connects directly to compatible Android devices as well as Canon’s Connect Station CS100 device by simply touching the NFC icon located on the camera to the device.
Built-in Bluetooth®*** Capability
Bluetooth®*** pairing helps you connect the camera to compatible smart devices using the free Canon Camera Connect app*. The Bluetooth® capability uses a low-energy connection that can be set to connect automatically upon discovery of the two devices and helps preserve battery life while maintaining a wireless connection. You can also establish a direct Wi-Fi® connection to use your phone as a viewfinder, as well as check and download previously captured photos and videos. In addition, Bluetooth® lets you connect to the optional Wireless Remote Control BR-E1 for remote shooting as well as pick up GPS shooting location data from the user’s compatible smartphone.
The Canon EOS Rebel SL2 camera supports Full HD quality movies at 60p and can produce incredibly smooth moving images for playback, or for sharing videos on social media. Vloggers will appreciate the ease with which it can record quality audio that’s immediately ready for uploading. For even more sophisticated sound recording, the EOS Rebel SL2 has an external microphone input to complement its internal microphone.
The DIGIC 7 Image Processor powers the Canon EOS Rebel SL2 camera to produce high image quality and fast operation, even in in low light. When using high ISO settings, the image processing helps keep results sharp and detailed in virtually any lighting situation. Powerful all around, the DIGIC 7 Image Processor helps ensure your photos and videos look sharp and lifelike with minimal noise or grain.
Especially useful when shooting in bright light, the Canon EOS Rebel SL2 camera incorporates a fully featured optical viewfinder with a wide-area, 9-point AF system designed to achieve sharp focus in an instant. This sophisticated AF system makes it easy to capture the action, no matter where the subject moves. 63-zone evaluative metering helps the EOS Rebel SL2 achieve optimal exposure with a diverse array of subjects and lighting conditions.
With its Feature Assistant function, the EOS Rebel SL2 camera helps users take advantage of its advanced features and create impressive photos with ease. By explaining and illustrating the camera’s shooting modes and their effects with sample photos of each mode, Feature Assistant encourages experimentation and provides guidance for creating amazing photographs.
The smallest and lightest EOS DSLR camera to feature both an APS-C sensor and a Vari-angle LCD, the EOS Rebel SL2 is easy to bring with you. With improvements in design and construction, the EOS Rebel SL2 is portable and lightweight with no compromise in performance. Its compact construction is accompanied by excellent usability, including a rounded grip that can sit comfortably in your hand. Conveniently sized for everyday use, the EOS Rebel SL2 means less missed opportunities and more memories preserved and shared in high image quality.
So get ready to buy this most awaited DSLR from Canon from www.thirdidigital.in
For superb performance on the go, the Canon EOS 6D Mark II camera puts full-frame performance into a compact, fully featured DSLR. Its 26.2 Megapixel CMOS sensor and DIGIC 7 Image Processor help deliver amazing results even at expanded ISO settings, making it great for challenging low-light situations as well as landscape, portrait and event photography. The EOS 6D Mark II also features an impressive optical viewfinder with 45 all cross-type AF points*, fast and accurate Dual Pixel CMOS AF and a Vari-angle Touch Screen LCD for Live View operation which helps create unique angles. With the EOS 6D Mark II’s speed to capture action and the versatility to create phenomenal photographs and Full HD 60p videos in numerous environments and lighting situations, the camera offers creative content makers a winning combination of advanced features in a portable package that’s as fun as it is powerful.
The Canon EOS 6D Mark II features a 26.2 Megapixel full-frame CMOS sensor (approx. 35.9mm x 24.0mm) designed to create high-resolution and detailed images. Capable of sensitivities ranging from ISO 100 to ISO 40000 (expandable to L: 50 and H2: 102400), the EOS 6D Mark II’s sensor captures images of 6240 x 4160 pixels with a pixel size of 5.67 µm square for outstanding detail and a superb signal-to-noise ratio, resulting in great images. Combined with the EOS 6D Mark II’s compact and lightweight design, it helps make high-resolution photography easy and accessible.
For next-level AF operation, the Canon EOS 6D Mark II camera has a wide-area, 45-point all cross-type AF system* which allows you to track fast subjects accurately throughout the frame and has low luminance performance to EV -3 which makes it excellent in dim light. Canon’s high-precision AF system, high-quality bright prism and Intelligent Viewfinder II let you see exactly what the lens sees. These features help provide instant information such as camera settings, with a limited chance of glare so you can easily see and quickly change settings on the spot no matter the shooting situation. The EOS 6D Mark II also features 5 types of AF area selection modes useful for a number of different AF situations.
The Canon EOS 6D Mark II camera features Canon’s brilliant Dual Pixel CMOS AF for crisp Live View shooting. With two photodiodes per pixel capable of phase-difference detection autofocus, Dual Pixel CMOS AF delivers fast and accurate AF throughout the image plane. Able to detect shifts in movement at the pixel level, Dual Pixel CMOS AF enables continuous automatic AF and AF tracking that enhances overall camera operation for sharp still images and smooth, accurate focus transitions in movies, even at Full HD 60p.
The DIGIC 7 Image Processor powers the Canon EOS 6D Mark II camera to produce high image quality and fast operation, even in in low light. The camera features a wide range of ISO 100–40000 for still and videos and it can help keep results sharp and detailed in virtually any lighting situation. Powerful all around, the EOS 6D Mark II can produce beautiful images even where light is limited.
The Canon EOS 6D Mark II is the first full-frame Canon EOS DSLR camera to have a Vari-angle Touch Screen 3.0-inch ClearView LCD II monitor for composing and reviewing photos and movies with ease. Its touch sensitive controls make it easy to select and adjust focus, menu and quick control settings with a touch of a finger. Two-finger touch gestures can be used for zooming or changing images. The 1.04 million dot LCD monitor is constructed to help minimize reflections and treated with a smudge-resistant coating for a bright, clear and easily viewable display.
Built-in Wi-Fi®** Connectivity
For a useful and quick workflow in a variety of locations, the Canon EOS 6D Mark II camera’s built-in Wi-Fi®** feature can help streamline camera operations across the board. Using the free Canon Camera Connect app** on a compatible iOS® or Android™ device, the EOS 6D Mark II can easily be set up to shoot remotely from a distance, even in Live View mode, with complete control of settings such as aperture, shutter speed, ISO, focus and shutter release. Image review and transfer are similarly fast and easy without having to take the camera out of its bag. Still images can even be transferred between two wireless-enabled Canon cameras over a Local Area Network (LAN). Images and video can also be uploaded instantly to CANON iMAGE GATEWAY# for easy sharing on social networking sites, and photos can even be printed on a wireless PictBridge-certified printer without the need for a PC.
Built-in NFC*** Capability
Built-in NFC*** (Near Field Communication) technology helps provide the Canon EOS 6D Mark II camera with a virtually seamless connection to compatible Android™ devices***. Simply tap to connect and transfer images and videos. It’s also compatible with the Canon Connect Station CS100 device, which makes it simple for photographers and moviemakers to view and organize all their photos and videos on one connected device.
Built-in Bluetooth®^ Capability
Bluetooth®^ pairing helps you connect the camera to compatible smart devices using the free Canon Camera Connect app. The Bluetooth® capability uses a low-energy connection that can be set to connect automatically upon pairing of the two devices and helps preserve battery life while maintaining a wireless connection. Bluetooth® lets you quickly and easily connect the EOS 6D Mark II camera to the optional Wireless Remote Control BR-E1 for remote shooting.
Built-in GPS^^ Capability
When you’re capturing images while traveling on vacation or if you’re on the job, GPS has become an important and valuable tool. The EOS 6D Mark II camera’s built-in GPS helps content creators both tag their images with critical location data, and also adjust the time and timestamp on the camera automatically. Since it’s compatible with American GPS satellites, Russian GLONASS satellites and Japanese quasi-zenith satellites Michibiki, the GPS information can stay consistent and accurate.
The EOS 6D Mark II camera is designed to keep up with the action. Its remarkable shutter, advanced AF and exposure and image processing systems help ensure virtually instantaneous response and performance at up to 6.5 fps^^^, even at full resolution. Whether searching for candid moments at a wedding or capturing an athlete’s explosive motion, the EOS 6D Mark II doesn’t let file size compromise the speed of capture even when bracketing exposures of a complex lighting situation, helping photographers and moviemakers consistently attain high-quality and sharp images.
The EOS 6D Mark II camera is built for uninterrupted performance, even when conditions get messy. The battery compartment cover, card slot cover, lens mount, terminal covers and buttons are weather-sealed to help keep water and dust out. The EOS 6D Mark II’s high precision aluminum alloy and polycarbonate resin construction ensures a lightweight and durable camera that gives you the confidence to use in various situations.
Now where to buy just wait it is being sold soon on www.thirdidigital.in
Tamron has unveiled a new all-in-one zoom lens called Tamron 18-400mm F/3.5-6.3 Di II VC HLD. The lens is designed for Canon and Nikon DSLR cameras with APS-c sized image sensor.
Weighing in at 705 grams, the 18-400mm F/3.5-6.3 Di II VC HLD is remarkably compact and lightweight for a lens covering such an extremely wide zoom range. The focal length is equivalent to 29-640mm for Canon and 27-600mm for Nikon.
The optical construction of the lens comprises 16 lens elements in 11 groups. The use of specialised glass elements such as LD (Low Dispersion) and aspherical lens elements effectively minimises chromatic aberrations and geometric distortion. The AF drive system uses Tamron’s exclusive HLD (High/Low torque modulated Drive) motor. The power-saving HLD motor produces outstanding driving torque, and adjusts motor rotation from low to high speed to enable accurate and quiet focusing.
Tamron 18-400mm F/3.5-6.3 Di II VC HLD Lens Features
- The world’s first ultra-telephoto all-in-one zoom lens to achieve 400mm telephoto
The new Model B028 is the world’s first lens for APS-C DSLR cameras that covers a focal length range of 18-400mm and achieves a zoom ratio of 22.2x. The focal length of 400mm on the telephoto end enables the capturing of ultra-telephoto pictures with the 35mm equivalent of 620mm angle of view. Now, with just this one lens, a photographer can readily enjoy the power of ultra-telephoto to bring distant subjects closer as well as the perspective-flattening effects that only extreme telephoto settings can achieve. This all-in-one zoom lens is ideal for travel and everyday shooting. It allows a photographer to switch from wide-angle to ultra-telephoto without changing lenses, making it faster and easier to capture a much wider range of subjects including travel scenes, wildlife, action sports, landscapes, cityscapes, portraits and food. Among interchangeable lenses for DSLR cameras (As of May 2017; Tamron)
- Excellent image quality across the entire zoom range, from wide-angle to ultra-telephoto and macro
The optical construction of the B028 consists of 16 lens elements in 11 groups. The use of specialized glass elements such as LD (Low Dispersion) and aspherical lens elements effectively minimizes wide-ranging aberrations, including chromatic aberrations and distortion, thereby assuring outstanding image quality. Optimum power distribution among the individual lens element groups achieves both the optical performance and the compact size necessary for an ultra-telephoto all-in-one zoom lens that boasts 400mm focal length. Also, it enables tele-macro photography with a maximum magnification ratio of 1:2.9.
- Lightweight and compact design exhibits Tamron’s basic philosophy for all-in-one zoom lenses
Despite being an all-in-one zoom lens that achieves 400mm ultra-telephoto, Model B028 is light and compact with a total length of 4.8in. and a weight of 24.9oz.4 A new lens barrel design utilizing three-step extensions was developed to enable the necessary elongation to produce a 22.2x zoom ratio. Compared to the conventional approach, the division into a larger number of cams ensures comfortable operation and stability while zooming. Tamron’s philosophy for all-in-one zoom lenses is to allow each photographer to casually capture everyday photos with a lens of a practical size, and Model B028 fulfills this philosophy.
- HLD motor provides high-precision AF and enables compact lens construction
The AF drive system for Model B028 uses Tamron’s exclusive HLD (High/Low torque modulated Drive) motor. The power-saving HLD motor produces outstanding driving torque, and adjusts motor rotation from low to high speed to enable accurate and quiet focusing. The HLD motor takes up less space thanks to its small size and circular arc shape that allows the size of the lens to be reduced.
- Equipped with the Vibration Compensation system necessary for ultra-telephotography at 400mm
Despite its compact size, Model B028 is equipped with Tamron’s proprietary VC (Vibration Compensation) system, which effectively curbs camera shake under low light conditions (such as a dimly lit room or at dusk) and while taking ultra-telephoto pictures. This greatly expands opportunities for casual handheld shooting. The jitter-free stability of the viewfinder image allows for easier framing and enables the photographer to compose the subject quickly and comfortably.
- Electromagnetic diaphragm system now used also for Nikon-mount lenses
The electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals. Available only with cameras compatible with the electromagnetic diaphragm (D3100, D3200, D3300, D3400, D5000, D5100, D5200, D5300, D5500, D5600, D7000, D7100, D7200, D300S, D500) (As of May, 2017; Tamron)
- User-friendly features for everyday comfortable use
With an eye toward active outdoor photography, Model B028 features Moisture-Resistant Construction to ensure worry-free shooting as well as confidence while shooting under adverse weather conditions. Also, the Zoom Lock mechanism prevents undesired movement of the lens barrel under its own weight when the camera is angled downward while walking.
- Compatible with TAP-in ConsoleTM, an optional accessory product
The optional TAP-in Console provides a USB connection to a personal computer, enabling the user to easily update the lens’s firmware as well as to customize features, including fine adjustments to the AF and VC.
- External design placing importance on functionality and ease of use
While inheriting the design that makes use of many organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model B028 comes with a highly sophisticated design that also places a lot of importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring and the switch shape design.
The Tamron 18-400mm F/3.5-6.3 Di II VC HLD will be available from July Onwards.
Long Exposure Photography
There are essentially two basic ways of capturing these shots; with or without a polarizing or neutral density (ND) filter. Either method requires a tripod, as these shots involve too much open shutter time to attempt holding by hand. The object is to increase your exposure time for the shot without overexposing the image.
Longer exposure times allow you to capture clouds, water, or other moving objects in a smooth, flowing manner, while maintaining sharpness and clarity on still objects. A neutral density filter essentially allows for this extended amount of exposure time, without altering the hue or color of the image. Adding the filter is equivalent to stopping down one or more f-stops, and allows you to avoid making the photo too hot due to the amount of time the shutter will be open.
If you don’t have a ND or polarizing filter available, you’ll need to attempt these captures in lower light, such as in the early morning or late evening (it could be said that if possible, you shouldn’t be shooting at any other time anyway). Many photographers use long exposures to capture shots at night.
Begin experimenting with very small apertures during the golden hour (the hour before sunset or after sunrise) such as f/22 or higher, and bump the aperture up to f/8 or larger after night falls. You’ll end up with several attempts, since nailing a great exposure is largely trial and error. You’ll also need to play around with exposure times, and this depends on what moving object you are capturing.
Clouds need much longer times to properly capture their trek across the frame of the shot; 5 minutes is a good place to start. Rolling or crashing waves at a beach require much less, sometimes 15 to 30 seconds is enough to create the necessary motion in the image.
Light painting is probably the fastest growing technique seen these days, and for good reason; the creative possibilities are endless, and can make for some stunningly beautiful art when done correctly. At its core, light painting is another long-exposure technique that utilises in-frame or out-of-frame light sources to create patterns within the photo or illuminate an object in specific locations.
It is possible for the artist to actually perform the painting in front of the camera without appearing in the final shot, due to the ratio of time the photographer is painting to the actual exposure duration.
How to do:
Any number of light sources can be used, although generally flashlights are the most common. Light pens, candles, and various fiber optics can be used as well. The sky is the limit, use your imagination! Like with other long-exposure photography methods, a tripod must be used. Set your camera for a long exposure (30 seconds or more), and use a remote shutter release if available (or the timer function available on almost all cameras will work as well).
The actual location you shoot in should be as dark as possible, obviously working at night is best. We want the object you’re drawing or highlighting to stand out as much as possible against the dark background. Since we’re shooting a long exposure, we can set our aperture to a smaller setting; start with f/8 to f/16 and experiment from there. This will ensure crisper shots with a full field of depth.
If you are not painting a stationary object within the frame, you can stand facing the camera, and draw a figure with the light source on. Try to physically stay in frame for as little time as possible, this will help ensure you don’t show up in the final shot. If painting an object, you can highlight various parts with your light source, turning the light off and on as you go to target specific areas.
Although not quite as popular today as it was a few years ago, HDR photography is still a relevant artform. HDR shots are finished through your post-processing workflow, but start with your photography itself. HDR stands for High Dynamic Range, and refers to the range of dark and light levels we see in a photograph.
Modern cameras, even the most expensive models, lack the dynamic range we have in our own eyes. We humans are able to see a much broader range of colors and light levels. This is partially why scenes in photographs never quite appear as they did when we saw them for ourselves.
High dynamic range imaging is a technique that can help extend the range of levels beyond what our camera can normally capture. This is done by taking multiple shots of the same scene, at varying exposure levels, and combining them in our post-processing later. By doing this, we ensure that we’ll see the darker levels and colors as they should appear, as well as the lighter levels without the blown-out colors. Although many software suites (including Adobe Photoshop) offer a “one-shot” HDR tool that does not require multiple exposures, the results are usually not as accurate and dynamic as a true HDR photo.
How to do:
Dynamic range in a photo is measured in EV, or exposure value, and is equivalent to one f stop; each increase of one EV doubles the amount of light captured, while each decrease of EV cuts it in half. Originally, a minimum of three images were shot, one being very underexposed, one properly exposed, and another overexposed, or blown out. However, most modern DSLR’s now have an AEB, or auto-bracketing setting. This allows you to set up a number of shots with a predefined EV range.
After being set, the photographer can press the shutter release once for each exposure, completing the range of shots in one instance. Whichever method you prefer, you’ll need to capture each image with a set EV difference between them for best results. Smaller EV values (such as 1) will result in less dynamic and drastic images than using 2 or 3 EV’s between each exposure.
After the images have been captured, the process will need to be completed using software. Adobe Photoshop does offer an HDR assembly action that layers the exposures together, but I’ve found the results tend to be poor, and pale in comparison to a proper HDR-specific software package, such as HDRSoft Photomatix. Available for Windows and Mac systems, Photomatix has become an extremely popular standard for processing HDR shots.
Panoramic photography is another example of a method that has vastly increased in ease of use over time. What was once a long, tedious process in a darkroom, hunkering over photo paper, making cuts and separations to multiple photos, is now as simple as a click of a button on your camera.
Panoramic photos are simply multiple shots of a single scene that have been stitched together to form a continuous image. Even with a wide-angle lens, we can only capture so much of a particular scene. By taking multiple shots, we can combine those later and create a photo with a much wider field of view than previously possible.
How to do:
There are many cameras nowadays that have a panorama feature; this basically gives you guides and grids on your viewfinder or screen that make it easy to line up your shots. A horizontal photo can be taken by shooting, moving the camera to the left or right (while keeping it level), and taking another shot when the panorama assist shows that you are only minimally overlapping the previous shot. This overlap is necessary to prevent missing a slice of the scene in the final image. The assist usually shows your last shot, and what your current frame looks like next to it; this helps you create a set of accurate images to start with.
Some cameras, especially older DSLR’s, don’t have this feature, and the individual photos will have to be taken manually. This involves alot of guesswork and trial and error. Thankfully, some tools exist to help, specifically panoramic heads, or pano-heads. This is an attachment that sits on top of your tripod head and allows the camera to be rotated around a single axis (instead of the camera itself rotating on a single plane), and eliminates parallax. Parallax is a anomaly that occurs due to differing angles of viewing in a line of sight, and is not something we want in our final photo. Having a panoramic head allows smooth transitions to the next photo, and usually feature stops in regular increments to properly measure the angle of the next shot.
Macro photography isn’t just popular now; it’s been popular for many years. There’s something intriguing about seeing everyday objects in a way that you never get to see, extremely up close and personal. The beautiful thing about shooting macro is the variety; you can shoot almost anything close up and come away with something totally different.
Macro photography is a bit more equipment-centric than most other methods, meaning for the most part you can’t just go out with whatever you have as your default lens and take great close-up shots. The best results come with having the proper equipment, whether it be lenses, tubes, or reversing rings. That’s not to say you have to spend a small fortune to get the shot you want; many methods of macro shooting can be accomplished using inexpensive equipment. There are generally four categories of equipment that will help you capture those itty bitty details you’re looking for.
If you’re serious about macro, the best way to go is by purchasing a dedicated macro lens. This is, of course, the most expensive option. These lenses are available in various focal lengths, generally from 50mm to 200mm. Macro lenses are specifically made for this type of photography, featuring a long barrel that accommodates extremely close focusing.
As a general rule, the longer the focal length of the lens, the more distance between yourself and the subject you’ll have available. To capture the details of a butterfly, for example, a 50mm lens would require you to move in much too close. For close-ups of a flower, however, a 50mm would work perfectly. As with any lens, varying degrees of build quality are available.
Reversing rings do just that; they simply allow you to screw your existing lens on your camera body backwards. A camera lens fitted properly is intended to take what it sees and size it down to be recorded on the camera’s sensor; reversing the lens does the opposite, working much like a microscope.
One major caveat to note here, since you’ll no longer have the electronic pins aligned, you’ll lose any automatic or electronic features such as aperture control or automatic focusing. On the upside, you’ll have a dirt-cheap method of getting extremely close and capturing ridiculous depth of field;
Extension tubes are another inexpensive way of getting up close. These are hollow pieces that increase the space between your camera body and your lens, which allows the lens to focus closer. These tubes usually come in sets of three different lengths, so you can choose which lengths to use or combine them for some fairly extreme results. You’ll probably struggle a bit with the razor-thin depth of field.
Close Up Filters.
Technically, these are filters, not lenses. Just like a neutral density or polarizing filter, these inexpensive pieces screw onto your existing lens. They are cheap, but since they are technically filters, the quality is usually not the best; any screw-on type filter degrades image quality by some degree.
So now enjoy this new techniques in the rainy season.
One of the first qualities of a photo that catches and captures a viewer’s eye is the composition. Great composition is something that immediately separates the amateurs from the pros and enthusiasts. How you place various objects in the photographic frame determines the composition and works tremendously toward creating a feeling greater than what the object would convey in the real world. Composition is one of the most important elements of the craft of photography, and it is a skill that can be taught and honed through extensive exercise and persistent practice.
Fill The Frame / Cropping
If your shot is in danger of losing impact due to a busy background/surroundings, crop in tight around your main point of focus, eliminating the background so all attention falls on your main subject. This works particularly well with portraits when you’re trying to capture something more intimate and focused or are shooting in a busy location where what’s around them would just cause a distraction. Filling the frame could involve you capturing them from the waist up or for more impact, fill the frame with just their face. Patterns are another subject that when capturing, you should fill the frame with, aligning it up carefully to ensure it’s straight.
To raise the quality of your photos you must make sure that the main subject is of heightened interest and is effectively positioned in the frame to draw the viewer’s eye exactly to where you want it, and emphasize that subject. This can be done in a variety of creative, artistic and symbolic ways. Size, color, shape and how the object contrasts with the rest of the elements in the image (foreground, middle ground and background) are ways to isolate and direct attention to the subject.
Balanced Layout including the Subject with other Elements
The layout of your images influences how visually effective or stimulating your photos will be. When composing your photo, seek a balance in the color, the lighting, and object placement within the frame’s constricting rectangle. When we talk about “balance” in a photograph, we mean a composition that has arranged the visual elements in such a way as to be pleasing to the eye. We’ve all seen group photos (of friends and family) in which the subjects are stuck in the center of the frame with no apparent design other than to fit everyone in the frame, and without regard to effectively filling the frame either. This typical shot lacks interesting composition in the layout, and there’s probably way too much empty space above their heads as well. You seek to achieve interesting composition and perspective by being creative with where and how you physically position the camera, such that the composition has a unique perspective, or view of the world. For example, if you put the camera at the level of the floor when your pet or baby approaches the camera, that photo has a much more interesting composition and perspective than if the camera were held at full height while looking down at the pet or baby. Like many art concepts, perspective and composition is either instinctual, or it can be developed through practice and study.
Keep an eye on the edges of your frame to make sure the person/animal you’re photographing hasn’t had any of their body parts chopped off by it. Cutting off your cat’s tail, your dog’s ears or even part of your model’s head, will not only spoil your shot, the unintentional limb chopping can pull attention away from what the viewer should really be looking at.
What is all about Rule of Third
Understand The Rule Of Thirds
The most basic of all photography rules is all about dividing your shot into nine equal sections by a set of vertical and horizontal lines. With the imaginary frame in place, you should place the most important element(s) in your shot on one of the lines or where the lines meet. It’s a technique that works well for landscapes as you can position the horizon on one of the horizontal lines that sit in the lower and upper part of the photograph while you’re vertical subjects (trees etc.) can be placed on one of the two vertical lines.
This is an artistic concept that photographers lifted from painters, which one uses a frame (like a water, the boatman, & Sky ) within the overall frame to further isolate an object/subject. The key to using a frame within a frame is to make sure that the frame is distinct in shape and lines, and is in sharp focus. Your viewer’s attention will immediately be taken to exactly what you want them to see by using this technique.
Keep your depth of Field view
Make The Most Of Lead In Lines / ShapesOur eyes are unconsciously drawn along lines in images so by thinking about how, where and why you place lines in your images will change the way your audience view it. A road, for example, starting at one end of the shot and winding its way to the far end will pull the eye through the scene. You can position various focal points along your line or just have one main area focus at the end of your line that the eye will settle on. Shapes can be used in a similar way, for example imagine a triangle and position three points of focus at the end of each point where the lines of the shape meet. By doing so you create balance in your shot as well as subtly guiding the eye.
A photograph can have a blurry foreground or background, so this special optical property can enhance the composition of your photos by further isolating the main subject from everything else around it. You can blur the background or foreground by having command over the depth of field, which is controlled by the lens’ aperture, focal length and object’s distance from the lens. Mastering this skill is critical for more interesting images. The wider apertures (f/1.4 to f/2.8) effectively reduce DOF, as do longer focal length lenses
Create the effect of The Background Magic
Unsightly objects, overexposed or particularly bright areas and blocks/dots of bright colour will all pull the eye from what it’s meant to be focusing on so take a good look at your background before you take your shot and if possible, find a background that’s not so obtrusive. If you’re working on portraits make sure there’s no unwanted items sticking out of your subject’s head and unless it adds to the shot, throw the background out of focus. To do this, select a wider aperture if working with a DSLR or select the Portrait Mode on a compact camera to tell it you want to work with a wider aperture.
Perspective is how the photographer views the objects in the camera frame via the placement of the camera. For example, the same subject will have different perspectives when photographed at eye level, from above or from ground level. By varying the perspective you change the placement of the horizon line and you influence your audience’s perception of the scene. For example, if you placed the camera on the ground level to take a full-body photo of someone, and angled the camera up to fill the frame with your subject, he or she will appear much more menacing, powerful and larger than if the camera was held at eye-level. Another way to look at differing perspective is to utilize camera positions that are atypical to what the human eye sees. Bird’s eye views or extremely high angles change the dynamics of your composition.
So let us conclude with 1 Mantra , Keep it Simple
The concept of less is more lends itself effectively to just about everything, and photography is no exception. Overly complicated or complex photographic composition has the same problem as compound complicated sentences in writing, which make it difficult for the audience to understand and appreciate the idea that is trying to be conveyed. Simple in this context doesn’t mean simplistic, but rather lacking unnecessary elements that confuse or are redundant. In photography creating uncluttered, but distinct compositions simplify yet enhance the delivery of the idea. The mind’s eye of the viewer can do all the heavy lifting.
Telangana Photo Video Enthusiast this is the time when you can walk into IIIrdi The Best photography Stores in Twin Cities of Hyderabad Secunderabad your Dream Camera DSLR or Compact or maybe the Great High Zoom Range, want to add a new Lens to your DSLR or buy a BackPack , Tripods, Filters, Flash ,LED Lights,Extension tube or just a Memory Card, there is no better time than June 2017 the entire store products are on Grand Sale, If I can tell in simple word it means LOOT LO sale of the decade.
Do not wait for a good time it is now the Good Time , offer open till June 30, 2017 only subject to stock available , note no fresh stock will be added no bookings will be accepted so still waiting for what, this offer is only for walk in customers at the Stores not on website.