Smart Photography 2013-01

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JANUARY 2013
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IMS SUPPLEMENT WITH
THIS ISSUE
MASTERCRAFTSMAN
M.N.Jayakumar
On a Photographic Mission
LEARNINGS
BASICS OF PHOTOGRAPHY
WEEKEND PROJECT:
HIGH KEY AND LOW KEY
PHOTOGRAPHY
PHOTOSHOP:
SURREAL ESCHER DROSTE
EFFECT AND FRACTAL ART
SUBJECT-FACE
AND CHARACTERS
IS ACCURATE COLOUR
ALWAYS NECESSARY?
DNG CONVERTER
ALSO REVIEWED
CANON EF24-70MM F/2.8L II USM
Welcome
EDITOR
Hoshang S. Billimoria
TECHNICAL EDITOR
Rohinton Mehta
SENIOR CORRESPONDENT
Sujith Gopinath
COPY EDITOR
Aswathi Nair
Surabhi Rawat
PHOTOGRAPHY
Mahesh Reddy
CREATIVE DIRECTOR
Atul D. Bandekar
DESIGN
Ajit Manjrekar, Sanjay Awad, Ajay Paradkar
PRODUCTION
M
Dinesh Bhajnik, Deepak Narkar, Ravi Parmar ost imaging companies will be happy to
PRODUCT MANAGER
Perseus Master forget 2012. The sudden contraction in
PUBLISHER the digital compact market worldwide
Girish Mallya
CIRCULATION AND SUBSCRIPTION
has taken the industry by surprise. No doubt,
Sanjeev Roy (Asst. Operations Manager) the industry has had a challenging year. Closer
Sachin Kelkar (Subscription Supervisor)
HEAD OFFICE - MUMBAI
home, the robust expansion of the past has taken
2nd Floor, C Wing, Trade World, Kamala Mills Compound, a breather. The D-SLR market, however, still
Senapati Bapat Marg, Lower Parel (W), Mumbai 400013
Tel: + 91 22 43525252 Fax: + 91 22 24955394 continues to grow at a respectable rate. Clearly,
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2013 cannot but be better.
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Views and opinions expressed in the magazine are not necessarily those of
MAKES US
Next Gen Publishing Ltd. Next Gen Publishing does not take the responsi- WE ARE GLUED TO THE GLOBAL OUR TESTS ARE CONDUCTED BY EXPERTS
bility for returning unsolicited material sent without adequate postal stamps
for return postage. No part of the magazine may be reproduced in part or IMAGING INDUSTRY All equipment go through a series of tests at the
full without the prior express written permission of the publisher. Printed by
Girish Mallya, Next Gen Publishing Ltd., Trade World, 2nd Floor, C Wing, Our team is updated with all the benchmarks hands of our experts. Our reviewers are experts in
Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (W), Mumbai and road blocks that the field of photography the field of photography across the country and
400013. Published by Girish Mallya on behalf of Next Gen Publishing Ltd.,
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ing Ltd., Trade World, 2nd Floor, C Wing, Kamala Mills Compound, Senapati perspective, thus making us the first to predict and a big change in the field of photography and
Bapat Marg, Lower Parel (W), Mumbai 400013. Copyright 2006 SMART which products will be a rage in the Indian imaging. And finally, our reviews are not extended
PHOTOGRAPHY
All readers are recommended to make their own independent enquiries
markets. to just fill up the pages!
before sending money, incurring expenses or entering into commitments in
relation to any advertisement appearing in the publication. Smart Photogra- WE’RE IMPARTIAL WE ARE HERE TO HELP YOU
phy does not vouch for any claims made by advertisers for their products Loyalty towards our readers is a given, and There is no debate on why we are here. Our
and services. The editor, publisher, printer and employees of the publication
shall not be held liable for any consequence in the events of such claims not their best interests are always on our mind. sole goal is to provide you options and better
being honoured by the advertisers. All disputes are subject to the exclusive Every verdict is honest and not influenced by your judgement in product purchase while,
jurisdiction of competent courts and forums in Mumbai only.
Editor – Hoshang S Billimoria
advertisers or personal favorites. So when we sharing tips and tricks to improve your images.
say a product is a ‘BEST BUY’, then, it is just Our biggest joy is in building a bridge between
that! you and your perfect picture!
January 2013 Smart Photography 5

Contents
JANUARY 2013
REVIEWED: FUJIFILM X-E 1 ● OLYMPUS E-PL5 (PEN LITE) ● HEAD-TO-HEAD BRIDGE CAMERAS ● EPSON R2000
ISSUE 10 RS.125
VOLUME 08
JANUARY 2013
SUBSCRIBER’S COPY
INDIA’S NUMBER 1 IMAGING MAGAZINE! FREE 16-PAGE

IMS SUPPLEMENT WITH
THIS ISSUE
MASTERCRAFTSMAN
M.N.Jayakumar
On a Photographic Mission
LEARNINGS
REGULARS
WEEKEND PROJECT:
HIGH KEY AND LOW KEY
PHOTOGRAPHY
PHOTOSHOP:
SURREAL ESCHER DROSTE
EFFECT AND FRACTAL ART
SUBJECT-FACE
AND CHARACTERS
IS ACCURATE COLOUR
ALWAYS NECESSARY?
DNG CONVERTER
10 Mail Bag
14 News Watch
ALSO REVIEWED
36 Kaleidoscope
CANON EF24-70MM F/2.8L II USM
Cover Photograph : M.N.Jayakumar
40 Picture of the Month

Just a moment! 42 Showcase - Amlan Sanyal
Readers can find the updated Buyer’s
Guide, log on http://smartphotography.in/
news/monthly-special 46 If I Were You
Smart Photography thanks the readers who
participate in the Picture of the Month contest.
We would like to bring to your attention a
50 Ask Uncle Ronnie
few changes in the rules for submission. From
now on, you may send in your images with the 54 Special Feature - Don Franz
longer side measuring atleast 17 inches. Please
note that the images have to be horizontal. This
permits readers to submit panoramic shots, 56 MasterCraftsman - M.N.Jayakumar
which was not possible with the current size of
17 x 11 inches.
170 Tidbits
6 Smart Photography January 2013
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Compatible mounts: Canon, Nikon, Sony*
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Contents
JANUARY 2013
LEARNINGS
64 Basics of Photography:
Weekend Project: High key and Low key Photography
69 Photoshop: Surreal Escher Droste Effect and Fractal Art
74 Subject-Face and Characters
78 Is Accurate Colour Always Necessary?
82 DNG Converter
REVIEWS
86 Fujifilm X-E 1
90 Olympus E-PL5 (PEN Lite)
96 Head-to-Head Bridge Cameras
104 Canon EF24-70mm f/2.8L II USM
106 Epson R2000
BUYERS’ GUIDE
110 Digital SLRs
112 ILCCs
114 Lenses
Photographed by : Sanchit Verma, New Delhi Tokina 11-16mm f/2.8
8OWUD:LGH8OWUD6SHHG
AF11-16mm f/2.8 $7;352';,,

TO FIT CANON NIKON-D APS-C Sized Sensor Model Only
The New Tokina AT-X 116 PRO DX-II is an update to the widely popular and award winning AT-X 116
PRO DX, 11-16 F/2.8 lens.
The main update to this lens is in the Nikon mount, the AT-X 116 PRO DX-II has an internal silent
focusing motor to allow the lens to AF on Nikon bodies that do not have an AF drive gear and motor.
There have also been some adjustments made to the coating for slightly improved optical
performance.
This compact ultra wide-angle zoom has a bright constant F/2.8 aperture make viewing and auto
focus possible in lower light situations but still maintaining a reasonable size and weight.
Two Super-Low Dispersion glass elements and two aspheric glass allow the proprietary optical design
to achieve excellent contrast and sharpness as well as controlling chromatic aberration.
Tokina’s exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF 13 Elements in 11 Groups
and MF simply by snapping the focus ring forward for AF and back toward the lens mount for manual
Minimum Focus Distance: 0.3m
focusing. The lens is also designed to stand up to the rigors of daily use by photographers in a wide
variety of shooting conditions and environments.
Angle of view: 104°~82°
Other than the optical coating change there are no changes to the Canon mount. The AT-X 116 PRO Filter size: ø77mm
DX-II for Canon uses the same AF motor and AF drive system as the the previous model.
The lens is designed for Digital cameras with APS-C sized CMOS and CCD sensors, not designed for cameras with Full Frame sensors.
Be sure to note that the Tokina AT-X 116 PRO DX II lens itself is not waterproof or water resistant.
Kenko Tokina Co., Ltd. TOKYO JAPAN

India office : Kenko Tokina Imaging India Pvt. Ltd.
IBC, M-38/1, Middle Circle, Connaught Place, New Delhi-110001 URL:www.tokinalens.com E-mail:kenkoindia@tokina.co.jp
TEL : 011-4157-1155
Mailbag
REVIEWED: PANASONIC LUMIX GH3 ● PANASONIC LUMIX FZ200 ● NIKON COOLPIX S800C ● SONY CYBER-SHOT DSC-S5000
ISSUE 9
VOLUME 08 RS.100
Wildlife and I
DECEMBER 2012
SUBSCRIBER’S COPY
INDIA’S NUMBER 1 IMAGING MAGAZINE! I have been

extremely
MASTERCRAFTSMAN
Shibu Arakkal
ART & SOUL
fascinated with
birds and animals
LEARNINGS
for a very long
time now. I am
WEEKEND PROJECT:TABLE TOP PHOTOGRAPHY IN
YOUR OFFICE
SILVER EFEX PRO 2
PHOTOSHOP’S HIDDEN GEM - PIXEL BENDER
BLACK & WHITE CONVERSION
GIVE YOUR PHOTOGRAPHY A TILT!
a professional
ALSO REVIEWED
OLYMPUS M.ZUIKO DIGITAL ED 60MM F/2.8 MACRO
PORTRAIT PROFESSIONAL STUDIO
wildlife
photographer and
Write to us at: regularly work in
Mail Bag the Gir forest.
Smart Photography,
Trade World, C-Wing, Wildlife
2nd Floor, Kamala Mills
photography is
Compound, Senapati Bapat
Marg, Lower Parel(W), regarded as one of
Mumbai 400013. the most challenging forms of photography. Along with sound technical skills, you require
E-mail: good field skills as well. For example, some animals are difficult to approach and thus a
sp@nextgenpublishing.net knowledge of the animal’s behavior will help predict their actions.
I have won many state and national awards in photography and my photos have been
featured in the National Geography magazine. It would be a great honour to see my
photos featured in Smart Photography too. Kudos to the SP team for the hard work
they put in, and Happy New Year!
Thanks and Regards,

Mihir Ranva, Gujarat
Honoured with Associateship

I’m happy to share with the readers of SP that The
Image Colleague Society International - USA has
honoured me with its Associateship. It is because
of the good wishes of my friends that I realised
my potential to do something in the field of
photography. I’m specially thankful to my friend,
Dr. Bhupesh C Little of Lucknow for his
encouragement. Thank you for your consistent
support and encouragement.
Thanks and Regards,

Dr. Pankaj Sharma, Bareilly

Mailbag
Letter of the Month WIN A UNIROSS

1H LCD CHARGER
WORTH Rs.1,095/-
EVERY MONTH FOR THE
Predator becomes Prey reiterates the primal rule LETTER OF THE MONTH
I have shot a sequential photo documentation of a of our ecosystem, “Eat, or

vine snake consuming a lizard. This event was recorded be eaten”. Hope it will be
at Phansad Wildlife Sanctuary while on a foot trail. featured in SP.
The lizard, a ferocious predator in its own right, was
captured by this vine snake. This event demonstrates Thanks and Regards,
how the food chain of our ecosystem functions. It also Tanmay Haldar, New Delhi

News Watch
International
SNIPPETS
HOYA to buy Seiko Epson’s Canon to track carbon
eye glass business
HOYA and Seiko Epson have come
to an agreement that the former
footprint of all mass products
Canon Inc. plans to calculate, in three years, the complete carbon footprints of
would buy Seiko Epson’s eye glass all its mass-produced consumer and commercial products over their entire life
business with three production and
cycles. The company has worked out carbon dioxide emissions from its nine
R&D bases. The transaction will
mainstay multifunction printers by employing the carbon footprint of products
come through on February 1st, 2013.
(CFP) system. This method computes CO2 emissions along each step of the
HOYA will also purchase 50% stocks
of Seiko Optical Products, by the end product’s life cycle -- from production of materials and parts to the eventual
of March 2014. disposal of the product after use. Cutting CO2 emissions during use means that
the customers will spend less on electricity.
Sharp Electronics in talks with
Intel Corporation
Sharp Electronics is in final talks with
Intel Corporation, the world’s largest
chip-maker from the USA, to get an Nikkor lens production reaches
investment of 30 to 40 billion yen
($450 million) to become Sharp’s
top shareholder. A capital alliance
75 million
Nikon Corp. has announced that the total production of NIKKOR lenses for
with a prominent US company may Nikon interchangeable lens cameras has reached 75 million this year.
help in Sharp’s negotiation with Nikon (then Nippon Kogaku K.K.) released its first NIKKOR lens for Nikon SLR
Foxconn Technology Group over
cameras, the NIKKOR-S Auto 5cm f/2, in 1959 along with its first SLR camera, the
share sales.
Nikon F. At the end of May 2012, total production of NIKKOR lenses for Nikon
SLR cameras reached 70 million. Since then, Nikon has continued to actively
Nikon, Fujifilm receive
release new NIKKOR lenses.
Germany’s iF Product Design
Award 2013 The lineup currently consists of more than 80 types of lenses, including
Nikon’s D4 and Nikon 1 lens
zoom lenses, ultra wide-angle to super telephoto lenses, and speciality fish-
interchangeable cameras have been
eye, Micro, and PC-E lenses for SLR cameras, as well as 1 NIKKOR lenses for
awarded the iF product design
award, along with Fujifilm’s FX1 and NIKON 1 cameras.
X10. This year the awards were
presented to 1,410 products.
Kaga Hitech to market palm-

size Wi-Fi card reader
Leica announces the Oskar
Kaga Hitech has started marketing
its new Wi-Fi card reader, the ‘Taxan
Barnack Award 2013
Leica has announced the Oskar Barnack Award 2013, an international photo
MeoBank SD’, which is compatible
competition. Photographers have to submit a portfolio of up to 12 images expressing
with SD cards and USB memories,
‘the interaction between man and environment’. The 2013 winner will receive a
from November 2012. The
Leica M digital rangefinder and lens along with a cash prize of €5000 ($6500) . In
MeoBank SD is mounted with a
addition, the Newcomer award which is open to photographers under 25 years of
polymer Li-ion battery. Expected
age, offers a Leica rangefinder camera and lens as the prize. Entries will be accepted
street price is 5,980 yen (US$75).
from January 15th till March 1st, 2013. The terms and conditions of entry can be
downloaded from www.leica-oskar-barnack-award.com

News Watch
International
Hasselblad Masters Awards Sony in

Programme 2014 adds two new talks to sell
categories its battery
The Masters Awards Programme 2014 has declared two new categories in their
business
competition– Project//21 and Underwater. Also, it is for the first time that Hasselblad
has allowed entries from photographers who have been active professionals for more
than three years and who use cameras of 16MP and above, regardless of the brand or Sony Corp. is in preliminary
format. The Hasselblad jury has already begun the process of short-listing 120 finalists talks with Taiwan’s Hon
- ten photographers in each category. The finalists will be announced in January Hai Precision Industry Co.
2013 and the public has the chance to vote for their favourite image. Applicants as well as the Japanese
are invited to submit three images in one or more of the following categories: Fine and foreign investors,
Art, Landscapes/Nature, Wedding/Social, Portrait, Fashion/Beauty, Editorial, Products, with regard to its battery
Architecture, General, Wildlife, Project//21 and Underwater. business. The sale is
intended to pull the
Winners of the 2014 awards will have to use Hasselblad equipment for a period company out of tough
of approximately four months to create a new set of images for the fourth special competition from Korean
Masters Commemorative Book and will receive a trophy at Photokina 2014. All firms and to focus on its
winning images will also be published on the Hasselblad global website and then core operation. Apart
presented at exhibitions around the world. For full details on the competition visit from selling its battery
www.hasselblad.com/masters business, Sony is also said
to be studying the idea of
retaining some stake in it.
Sony develops types of light reflected against the Sony became the first
skin are captured by a CMOS sensor company in the world to
technology for
and converted to image data to be commercialise the lithium
evaluated by software. The software ion battery in 1991 which
assesses skin conditions by examining is widely used to power
analysing skin
texture and pore size and by checking cell phones, personal
for subsurface blemishes and other computers and other
anomalies that are difficult to spot. Sony mobile devices. Sony’s
conditions
says the new technology will make it battery business generated
possible to develop a compact, high- roughly 142.5 billion yen
Sony Corp. has developed a technology performance skin analyser. The company (US$1.783 billion) in sales
that is expected to pave the way for aims to expand the market for the sensor in the year ended March
a compact, high-performance skin by working with beauty equipment 2012. The company did
analyser based on an image-capturing manufacturers and cosmetics firms to not disclose the sector’s
sensor used in digital cameras. Two commercialise the new technology. profits or losses.

News Watch
International
DxO Optics Pro v8.1.1
Optics Pro 8 to support the Sony SLT-A99, the Pentax
K-5 II and K-5 IIs, and the Canon EOS M. DxO Optics
Pro v8.1.1 also benefits from the continuous addition
supports four new

of DxO Optics Modules. Nearly 300 new camera/
lens combinations have been added to the library,
thus providing support for additional Canon, Konica
cameras
Minolta, Panasonic, Pentax, Samyang, Sigma, Tamron,
Tokina and Zeiss lenses for Canon, Fuji, Nikon,
Olympus, Panasonic, Samsung, Pentax and
DxO Labs announced Sony cameras.
the immediate
availability of the Developed in the laboratory using an exclusive
DxO Optics Pro v8.1.1 for Mac and Windows, the calibration process, DxO Optics Modules contain
latest version of its image processing software for thousands of data points about the characteristics and
all serious photographers. This upgrade allows DxO flaws of each camera and lens.
Inventor of Fujifilm to launch high

the Bayer capacity, highly durable
Filter magnetic tape product LTO Ultrium 6 Data Cartridge
passes away
Fujifilm Corp. announced the ‘LTO Ultrium 6 Data Cartridge’, a magnetic tape media certified
by the Linear Tape Open (LTO) Technology Provider Companies. Fujifilm achieves the super
high compressed capacity of 6.25 TB with a transfer rate up to 400MB/second by applying
Bryce Bayer, an Eastman Fujifilm’s original Barium Ferrite magnetic particles to the advanced Nanocubic technology.
Kodak’s research scientist The Fujifilm LTO Ultrium 6 Data Cartridge comes in two models. WORM (Write Once Read
who invented the Bayer Filter, Many) is a cartridge that can only be written once but can be read many times. This cartridge
a key technology now found supports applications which requires data to be stored in non-rewritable format.
in almost every digital camera
Adorama unveils Flashpoint DG600

and camera phone including
current digital cameras used
in film and television, died
300w/s AC/DC
on November 13th, 2012 in
Maine. He was 83 years old.
Adorama recently launched its new Flashpoint DG600 300 w/s monolight that uses LEDs for
Bayer retired from Kodak its built-in modelling light. The LED modelling light ensures a cool operation, as opposed to the
in the 1990s after spending tungsten modelling lamps. Flash durations range from 1/1500s to 1/800s, and it has a step-less
his career at the company. control from full down to 1/32 power and a digital readout in 1/10 stop increments. The Flashpoint
He was awarded the Royal DG600 comes with an eight-inch reflector and is compatible with the full Flashpoint line of speed
Photographic Society’s ring adapters and soft boxes. Optionally, the DG600 is available with a DC power pack for portable
Progress Medal in 2009. use, which provides up to 180 pops at full power. The DG600 w/ DC power pack kit sells for $300.

The best of nature
with the best in business
Guided Photography tours by the Masters of Wildlife Photography

FEB 2013 MAR 2013 MAR 2013
BHARATPUR TADOBA PANGOT

MAR 2013 MAR 2013 MAY 2013
TANZANIA EAGLENEST KENYA

News Watch
International
CP+2013 to be held from January 31st 2013

The Camera & Imaging Products Association (CIPA) will hold the CP+2013 Camera & Imaging Show from
January 31st to February 3rd, 2013, at the Pacifico Yokohama, Japan. CP+ traces its origins to the first Japan
Camera Show held 50 years ago. This year marks the fourth year since the venue moved to Yokohama, one
of the largest cities in Japan. CP+ has grown into one of the largest comprehensive camera and imaging
shows in Asia. The 2012 event was attended by 65,000 people and enabled a world premiere of 55
cameras. Such announcements are expected this year as well. At CP+2013, there will be a slew of video-
related events, including the “Video Area for Professionals”, a new addition where a full range of video
solutions will be presented.
The Japan Camera Industry Institute and JCII Camera Museum will conduct an exhibition commemorating
30 Years of the Camera Grand Prix. At this exhibition, the Grand Prix-winning work will be displayed
along with a journey through 30 years of technological innovation that brought dramatic changes to the
camera. Through a variety of events such as photo exhibitions and product exhibits, visitors will be able to
experience the fun of communicating and connecting through photographs.
The event will be a 4-day opportunity for the photography and video industry to come together.
Fernando Moleres
celebrate Hetherington’s legacy as a photographer and
filmmaker. The grant is provided to help photographers
complete an existing project with a human rights theme.
bags the Tim Moleres was one of 176 journalists from 53 countries
to apply for the grant last year. His project focusses
Hetherington Grant
on the hardship and injustice that incarcerated youth
are subjected to at an adult prison in Pademba, Sierra
Leone. In this region, people wait for trial under harsh
Spanish photographer, conditions without access to legal assistance. They are
Image by Fernando Moleres
Fernando Moleres won the often rejected by their families, and struggle to re-adjust
2012 Tim Hetherington to prison life after their release.
Grant, World Press Photo
and Human Rights Watch Judges for this year’s Tim Hetherington Grant included
announced recently. photographer Marcus Bleasdale; journalist and
Moleres was awarded documentary filmmaker James Barbazon; Whitney C.
the grant to complete his Johnson, Director of Photography, The New Yorker;
project called “Waiting for Michiel Munneke, Managing Director, World Press
an Opportunity.” Photo; and Carroll Bogert, Deputy Executive Director for
external relations for Human Rights Watch.
The 20,000 euro grant
(about $26,000), was The winner of the first Tim Hetherington Grant, awarded
established in 2011 to a year ago, was Stephen Ferry.

News Watch
Business
Camera majors slash sales Canon to
forecast for 2012; Sony suffers cut $854
biggest drop million next
The top Japanese manufacturers of digital cameras have been sharply affected by the
worldwide recession and the dramatic rise of smartphones with capable built-in cameras.
year
Boycott of Japanese products in China have also taken their toll. The worst hit has been Canon Inc. plans to reduce
Sony which has taken a 24% drop in overall sales. D-SLR makers have had a relatively its costs to achieve 70-80
better year. billion yen (US$854 - 975
Million) for the fiscal year
The revised projections for 2012 are as follows: ending December 2013.
This would be about 20%
COMPACTS D-SLRs more than the savings
expected for 2012, and
CANON 27.8 million 8.8 million would be achieved by
NIKON 24.1 million 7.1 million stepping up factory
SONY 16 million - automation, trimming
FUJIFILM 11 million - production costs and
PANASONIC 8 million 0.8 million whittling down inventories
OLYMPUS 7.3 million - to generate savings
equivalent to one-fifth of its
Nikon is one company that has swum against the tide and according to some, is now well operating profit.
poised to take over Canon’s number one position by 2014.
Sales volumes have
remained below targets
Carl Zeiss year. What is particularly notable is that

our strong portfolio has enabled us to
due to the strong yen and
slowing global economy.
successfully offset the cyclical downturn Cost-cutting for this
continues to in the revenue of the Semiconductor
Manufacturing Technology business
fiscal year is projected at
60 billion yen (US$732
track growth group,” said Dr. Michael Kaschke,
President and CEO of Carl Zeiss.
million), undershooting the
100 billion yen (US$1,220
The Carl Zeiss Group ended fiscal year million) initially targeted.
2011/12 with a two percent increase in In 2011/12 Carl Zeiss hired 900 new For digital cameras, it will
revenue to a total of EUR 4.163 billion recruits worldwide and increased its adopt a hybrid production
to the previous year’s EUR 4.084 billion. investments in research and development method that relies on both
EBIT totalled EUR 420 million. “2011/12 by 14 percent. Investments in property, robots and human labour,
was a very successful fiscal year for Carl plant and equipment totaled EUR to lowers fixed costs and
Zeiss. We have surpassed the figure 289 million, allowing the company speed up the production
we forecast last year; revenue is slightly to modernise and expand its global without compromising on
above the equivalent total in the prior infrastructure. the quality.

News Watch
Business
Fujifilm to raise $1.585 million
Apple and in straight bonds
Google to Fujifilm Holdings Corp. will seek to raise 130 billion yen (US$1.585 billion) in
January 2013 through the first issuance of straight bonds in a bid to secure
purchase long-term funds at low interest rates. The company issued 60 billion yen
(US$732 million) in five-year bonds, 30 billion yen (US$366 million) in seven-
Kodak’s
year bonds and 40 billion yen (US$488 million) in 10-year bonds in December
2012. Due to the AA rating from Rating and Investment Information Inc., the
firm will be able to procure funds at a low coupon rate of 0.33% for the five-
imaging year bonds, and 0.515% and 0.882% for the seven- and 10-year tranches.
The proceeds will be used mainly to redeem about 100 billion yen (US$1.22
patents billion) in convertible bonds maturing at the end of March 2013.
Apple and Google are said

to be working together to
purchase some of Kodak’s Panasonic in the Panasonic group and the rest
may be transferred to Advantage.
imaging patents, according
to reports by Bloomberg.
The story states that the two
may sell Panasonic will concentrate on its
brand D-cam business.
companies, along with groups
of smaller companies, will
offer more than $500m for the
Sanyo’s digicam A final decision on the sale will be
made by the end of the year, said
patents. Such a figure would
give Kodak access to $830M of
business a source. Panasonic declined to
comment on this stating that the plan
external funding dependent on According to a media report, is not announced. The company
the value of the patent deal. But Panasonic is negotiating with expects an annual net loss of close to
even if this extra line of credit Advantage Partners in selling $10 billion as it writes off billions in
does allow Kodak to emerge the digital camera business of its deferred tax assets and goodwill.
from the bankruptcy protection
subsidiary Sanyo DI; which makes
process, the company will
digital camera on an OEM basis Sanyo once manufactured 17 million
no longer include any of its
consumer-facing operations, to supply to some D-cam makers, units of compact digicams for OEM
as it has sold and closed them including Olympus. About 700 customers, which has now fallen to
over the past few months. employees of Sanyo DI may remain about 5 million.
Canon to cut inventories by $1.22 billion

Canon Inc. plans to cut its consolidated inventory assets by about 100 billion yen (US$1.22 billion) over the next three
months, through factory automation and other efficiency-boosting steps. These cuts are aimed at generating funds to partly
finance the imaging product manufacturer’s planned dividend hike for this fiscal year.

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News Watch
Business
Sharp, Qualcomm to
Konica
bring out next-gen LCD Panel
Sharp Corp. and Qualcomm Inc. have agreed to jointly develop
Minolta to
an energy efficient LCD panel for smartphones, using the Japanese
firm’s proprietary technology. Sharp will provide its IGZO (indium- acquire German
gallium zinc oxide) semiconductor technology, which greatly
reduces the panel’s power use. In exchange for the technology,
Sharp will receive a 5 billion yen (US$61 million) investment from
optics firm
the U.S. firm through a private placement of new shares by the end Konica Minolta Holdings Inc. is in
of this fiscal year. talks to purchase all outstanding
shares of Instrument Systems
Qualcomm will put in an additional 5 billion yen (US$61 million) Optische Mesetechnik GmbH, for
into Sharp once sufficient progress has been made. The 10 more than 6 billion yen (US$73.8
billion yen (US$122 million) investment will give Qualcomm an million) while retaining the company's
approximate 5% stake in Sharp. name and brand. The development,
production and marketing functions
Sharp had announced last March that Taiwan’s Hon Hai Precision will remain in Germany as well.
Industry Co. was supposed to be an investor, but their negotiations
have since bogged down as their stocks nose-dived. By teaming up with Konica Minolta products account for
Qualcomm and racing ahead in the development of next-generation roughly 30% of the world’s light-
panels, Sharp aims to further bolster its LCD panel business. It ranked measuring devices, including more
second globally for small and mid-sized LCD panels used in smartphones than half the equipment for analysing
and tablet devices, with a market share of roughly 16%. display colours.
Olympus to push Adobe acquires

Endoscope training in Behance
China, India Adobe acquires Behance, a portfolio-sharing service used
by many photographers to showcase their work. The
financial terms of the deal haven’t been disclosed, but
Olympus Corp. is moving to expand its endoscope business in Adobe states that the purchase is an endeavour to make
Asia by promoting training for doctors and offering lower-priced the Creative Cloud more social.
models. Through these steps, the company hopes to triple Asian
sales to around 120 billion yen (US$1.46 B) by fiscal 2017. In China, In addition to the main Behance website, the company
Olympus plans to operate a fourth training center in addition to the also operates a number of ‘Served’ sites that display
three in Beijing and Shanghai. The new facility will open in the south content from specific categories of Behance. One of these
by the year ending March 2017. In India, where Olympus set up is Photography Served, which is a curated photography
a subsidiary in 2010, it will collaborate with medical departments gallery of work shared by photographers on the Behance
of universities and hospitals to broaden an existing training network. Adobe also stated that Behance CEO Scott
program. Olympus boasts a 70% share of the global market for Belsky and the company’s 32 employees will remain at
gastroenterological endoscopes, and it believes the key to their current office space as Adobe employees, and will
greater sales is by increasing the number of trained doctors. stay their course.

News Watch
National
Kingston reveals high capacity 128GB Wi-Drive
for more sharing and storage
Kingston announced a new 128GB capacity addition to the the App Store, for Android OS devices
Wi-Drive product line. With integrated Wi-Fi and four-hours in the Google Play App Store and for
of battery life, the 128GB Kingston Wi-Drive offers easy file Kindle Fire in the Amazon App Store. The
sharing and pocket-sized portable storage for Wi-Fi enabled device allows simultaneous data access
devices such as Apple iPad, iPhone, iPod touch, Android and file sharing for up to three users on
devices, Kindle Fire and more. their preferred mobile device. Users can
also access and share their files via web
The free Wi-Drive App is available for Apple devices in browser or the Wi-Drive App.
Sony launches D-link introduces apps for

new USB portable iOS and Android-based
chargers devices
Sony launched its latest series of On-the-go D-Link has announced the release of the
power solutions- CP-F1L and CP-F2L USB D-ViewCam Mobile App for iOS and Android-
chargers that can charge a multitude of devices based devices. This free app is a powerful yet
such as smartphones, tablets and portable easy-to-use tool for managing a D-ViewCam Server
devices. installation or D-Link network video recorder
The CP-F1L is 9.4mm and IP surveillance cameras from iPhone, iPad, or Sanjay Sehgal, VP-Enterprise
thin, weighs 125 g, and Android device. It works over 3G, LTE, and Wi-Fi and Project Business
has a battery capacity connections. “Surveillance is increasingly important
of 3,500 mAh. This in settings such as retail stores, offices, hotels, restaurants, and more. In
sleek powerful charger today’s mobile, connected world, D-ViewCam Mobile App helps small
allows users to charge or medium business owners and power users to get the most from their
CP-F1L
their smartphones 1.5 D-Link IP surveillance system”, said Sanjay Sehgal, VP- Enterprise and Project
CP-F2L
times. Weighing 198g, the CP-F2L Business. The D-ViewCam mobile works with the Standard (DCS-210),
boasts a high charge of 7,000 mAh capable of Professional (DCS-220), and Enterprise (DCS-230) versions of D-ViewCam
charging smartphones upto three times. It also Server software, or with the D-Link DNR-322L and DNR-326 network
possesses dual USB output power ports, giving video recorders.
consumers flexibility in recharging.
The free D-ViewCam Mobile app for iOS devices and Android is available
The CP-F1L and CP-F2L is priced at Rs. 3000/- now on the App Store and Google Play. It is compatible with the Standard,
and Rs. 5500/- respectively and are available Professional, and Enterprise editions of D-ViewCam Server, and with the
across all Sony Centers and other major electronic DNR-322L and DNR-326 NVRs. For a complete list of all supported IP
outlets in India. surveillance cameras, visit www.d-link.com

News Watch
National
ADATA products pick up iF Design Awards
2013
ADATA Technology has been recognised by Germany’s The DashDrive Elite HE720 external hard drive is the world’s
International Forum Design Awards (iF) for excellence thinnest of its kind. The Elite HE720 also features a “One
in design for three products in the company’s popular touch backup” function which automatically backs up and
DashDrive family. The evaluation criteria for iF German synchronises data.
includes design quality, choice of material functionality, and
degree of innovation. Three of ADATA products –DashDrive The DashDrive Elite UE700 USB Flash drive (yet to
Durable HD710, DashDrive Elite HE720, and Elite HE720– be introduced in India), combines sophistication with
stood out among this year’s entrants. technology. Embodying a striking appearance, an
ergonomic sliding USB connector eliminates the need for
The DashDrive Durable HD710 external hard drive provides a cap, and the sleek carrying strap ensures the immediate
mobile, rapid, and dependable data access in a rugged accessibility of crucial data.
and sporty package. The drive incorporates military-grade
shockproof and waterproof (IPX7) construction with an ultra-
fast USB 3.0 interface.
iF Design Award winners
Indian Entry wins Wiki EPSON enters CAD

Loves Monuments segment with new
Photo Contest. T-series range
Wiki Loves Monuments (WLM), a global photo contest, Epson has launched three new
was conducted in September 2012. In November 2012, printer models under the Epson
the top ten entries from India were announced at a SureColor T series. This new series
Wikipedia Workshop for Women, in Mumbai. These is the company’s first printer series
entries were sent to the international jury and an image designed for technical / Computer
of the Tomb of Safarjung in New Delhi by photographer Aided Design (CAD) printing.
Pranav Singh was rated first internationally, and ninth in T7070 The printers in the series have
the national competition. identical features that have been optimised for technical
printing needs. They come in a 24-inch, 36-inch or 44-inch
India stood first in the number of participants in the wide format, allowing users to choose the ideal size for their
contest. Participants from India represented 15 percent requirements and budget.
of the 15,000 total contributors from around the world.
The contest ran throughout the month of September These new printers harness the power of Epson’s leading ‘Micro
2012. Karthik Nadar, a passionate Wikimedian and Piezo’ electric print head technology to give customers high quality
current Secretary of Wikimedia India Chapter and printing capabilities. Most importantly, the low heat involved in the
Naveen Francis former Secretary of Wikimedia India operation allows a wider range of ink types and substrates to be
Chapter coordinated the event in India. used compared to competing ink-based technologies. The price of
T3070 is Rs.155,099; T5070 is Rs.233,599; and T7070 is Rs.271,299.

News Watch
National
Shekhar Kapur and A.R Rahman launch
Qyuki.com
Shekhar Kapur and A.R. Rahman launched www.qyuki.com
through a tele-conference held at multiple cities across India
on December 5th, 2012. Qyuki.com, which is co-founded by
Kapur and Rahman and built on Cisco’s cloud infrastructure,
is specially targeted at the Indian audience. At Qyuki, the
Indian youth come together to create their creative work and
experience the creative content created by masters in those
fields. If their work gets noticed on the website then they get
an opportunity to interact, learn and co-create content with
the experts. The creative experts on board include Imtiaz Ali
for films and videos, Chetan Bhagat for short stories, Ranjit
Barot for music and Suresh Natrajan for photography.
2QQPCEJC/CEJCKCJ%'13[WMKDTKGſPIVJGOGFKC
For more information on Qyuki, log on to http://www.qyuki.com
Epson asserts leadership in 3D Raghu Rai

projector performance with inaugurates his
new models photography
Epson recently introduced its next
school
generation of 3D projectors in India. The EH
TW 6100 and the EH TW 8100 are the Magnum photographer, Raghu Rai recently
two newly launched 3D projectors. These EH TW 6100 inaugurated the Raghu Rai Center For
new models are engineered to fulfil the needs of the home user. Photography, along with his son Nitin Rai in
New Delhi. The inauguration was attended
The Epson EH-TW6100 and EH-TW8100 are full HD 1080P capable, and deliver by people from the photographic industry.
the brightest 3D images with their unique Epson 480Hz frame refresh rate that
is twice as fast other 3D projectors, and which minimises the “blackout time” Various photography courses, from a
between 3D image frames. 3-month basic course; 4-month advance
course; a one year diploma to a 3 year
These Epson projectors are designed for users’ convenience and are in compliance degree programme will be available to
with industry standards. The 3D models will support all 3D formats without the the students. The Center will conduct
need for additional hardware. Epson’s new active 3D models also use radio workshops and photography clubs too.
frequency based 3D glasses that comply with the new “Full HD 3D Glasses” industry It will hold photography exhibitions of
standard to boot. master photographers, as well as young
professionals doing exceptional work in
The MRP of the EH-TW6100 is Rs. 1,30,099 and EH-TW8100 is Rs. 1,70,099. the field of photography.

U M ™
I N E S ent:
S FOR
S
Pres
A L B U
AT I O N
nd I N T E R N A
INDgIin Digital Photo S er v ices
2 ar
ing Ne w H igh-M
lop
Deve
I.B.F. India 2013 - The 2nd (Indian) Edition REGISTRATION

Industry conference focused on conveying Full conference registration (1 day program,
practical perspectives on how modern breakfast, lunch, 2 coffee breaks and evening
day consumer and professional photo closure)
Full Conference Registration: Rs. 5,000/ person
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The presentation topics include
Photofinishing as an industry, Role of Photography Association Discount Rs. 3,500/
Print in this Age, Developing New Revenue person (30% off every ticket - Subject to min. 5
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Streams, Digital Photo Services, Managing For special corporate group bookings please
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with Integration.
Who can attend: Print service providers,

Photobook retailers, independent CONTACTS
photographers,software suppliers, wedding For Participation enquiries: +91 22 43525252
photographers, freelance consultants, OEM Or mail to: a.dayal@nextgenpublishing.net
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(Open to all nationalities)
DATE & VENUE

5th January, 2013 (10am to 5:30pm)
Business Lounge B,
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Mathura Road, Delhi - 110001
Photos taken from 1st IBF (Jan. 2012)

Finally, a platform for all photographers to exhibit their talent and GET NOTICED!
Kaleidoscope
Shaping Passion into Career

“I
am a wildlife and Genetics. My passion lies in He adds, “Since an early age I have been
researcher conserving the eternal beauty of interested in nature, especially birds.
and nature. Combining my profession I used to attend bird watching classes
photographer, and passion, I am currently pursuing at the Vikram Sarabhai Community
with professional a Doctorate degree in the field of Science Centre, Ahmedabad, where
Aditya Roy, training in wildlife genetics,” says Ahmedabad- my mother used to work. My love for
Ahmedabad
Biochemistry based conservationist, Aditya Roy. birds encouraged me to keep birds and
Greater Flemingo
Camera: Canon EOS 60D
Aperture : f/5.6
Shutter speed: 1/1600 sec.
ISO: 250

breed them at home. Gradually, this Canon EF-S 18-135mm and a Manfrotto bird photographer I assumed the role of a
affection for birds transcended to the 680B monopod.” researcher and started using photography as
wilderness. I started photography with a tool to study their behaviour and ecology.
a simple digital point and shoot camera Talking about his journey as an amateur Now my photographs are primarily used
six years ago. My next buy was an entry photographer, Aditya says, “When I started to highlight some aspect of their life cycle,
level D-SLR. Today I use the Canon 60D, out, I used to capture close portraits of their habitat or issues related to conservation
Canon 500D, Canon EF 400mm f5.6 birds with good sharpness. But soon my rather than just close ups shots. Photography
L USM, Canon EF 100mm f2.8 macro, view about them changed. From a simple is a medium through which I understand the
complexities and beauty of Nature in detail.”
His work mainly concentrates on conserving

and studying the critically endangered
vulture species in India. In the last three
years, Aditya has worked closely with the
Wildlife Institute of India (Dehradun), WWF
and Bombay Natural History Society as a
researcher in various projects related to
vultures, flamingos, cranes and the Asiatic
wild ass. This gave him an opportunity to
travel extensively in Gujarat, Rajasthan and
Madhya Pradesh where he was taken by the
beauty of the deserts, ocean, ravines and
mountains. Presently, he is closely associated
with Jivdaya Charitable Trust, an Ahmedabad
based NGO, where bird rescue activities with
state-of-the-art veterinary facilities take place
throughout the year.
“I am really grateful to those who

encouraged and moulded my raw love
for nature, helping me make a career
in wildlife conservation. My family and
friends have always supported me; I was
never forced by my parents to become
an Engineer or a Doctor. My mentors have
also played a huge role in shaping my
interests and giving me the opportunities
I have had so far. Without them I would
not have become a professional Wildlife
Researcher today,” he states.

Baya Weaver (male)
Camera: Nikon D40
Aperture : f/5.6
ISO: 800
Brahmini Starling
Aperture : f/8
ISO: 200

Get featured & win an
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Great Egrets
Aperture : f/10
ISO: 200
Common Lora (male)

Camera: Nikon D40
Aperture : f/10
Indian Roller
ISO: 400
Aperture : f/5.6
ISO: 200
CALLING ALL PHOTOGRAPHERS! Kaleidoscope is the perfect way to jump-start your career... So simply send us a selection of your images along with full
details of your vision and the technical information at sp@nextgenpublishing.net. We accept both film and digital images.
All pictures that are forwarded to Kaleidoscope should be 8x10 inches in size (or larger) and at 300 ppi. However, we will re-size them according to the layout considerations.
Photograph by
Raman Barwal
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Picture of the Month

We are sure that all of you have a few c. The picture should not have been
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Showcase
Souvenirs of a Different Sort
A
mlan Sanyal is a holds a Masters in Comput- first D-SLR camera in 2009,
passionate street ers. His interest in photogra- and started taking pictures
photographer from phy developed in 2008 while of strangers on the street.
Amlan Sanyal, Siliguri, West Bengal. A toying around with a compact Unaware of the concept
Nature’s treasure chest
West Bengal teacher by profession, Amlan digital camera. He bought his of ‘street photography’, he

Showcase
Amlan worked on his skills shoot a moment you have been strong pillars of support,
through images of famous recognised, people rarely especially my spouse; without
When time stands still photographers in the street notice you with the camera. her I would never have
photography genre. I prefer to shoot in black realised my passion.”
and white as it has a quality
Amlan strongly believes of its own. When colour Amlan started photography
that an image is a success has no role to play in my with the Canon S5 IS and
when the viewer can image, I convert them to later on upgraded to
connect with the subject black and white.” D-SLRs-- the Canon EOS
in the photograph. He 1000D and the Canon EOS
likes capturing people in Photography holds a lot of 20D. Currently he is using
their natural behaviour meaning in Amlan’s life. He the Canon EOS 40D with
and surroundings and adds, “When I am shooting I various lenses covering
thinks that every face has am transported to a different focal lengths from 11mm to
a story to tell. Says Amlan, world; a world where only my 90mm. Personally he prefers
“I aim to show reality in subject and I exist, oblivious the wide-angle lens as it
my images. I spend time of other things. Henri Cartier gives him the freedom to
observing before I shoot Bresson and Raghu Rai’s work venture close to the subject.
something. When you have inspired me greatly. My Aswathi Nair and
blend in with the crowds to friends and family have always Surabhi Rawat
Nature and I
began noticing the different

activities happening around
him. This is how his passion
for street photography grew.
A self taught photographer,

Showcase
You and me in this

beautiful world
Mother

Showcase
Double the innocence
Absolute Hlee

E-mail your images at sp@nextgenpublishing.net
If I Were You
Our Imaging Expert
No one can take a picture that everyone likes. But, almost every picture can have a scope of
improvement. Many-a-times, we are not our best critic, while others can immediately point
Rohinton Mehta,
out the faults. In If I were you, our expert comments on how your pictures could be taken to Technical Editor,
another level. Smart Photography
Standing Alone to). Hence using the Lasso Tool in foreground square in the toolbox and
This picture comes to us from SP reader conjunction with the Alt key on the using the eyedropper, clicked on the
Mohan Krishnan. Mohan obviously keyboard, I deleted that area. The final colour/tone within the picture that I
loves nature and this beautiful tree is selection was then saved (it is a good needed for the ground. Then, again
the proof of his love. idea to save any selection; you may using the Gradient Tool, I dragged the
sometimes need it again). mouse, this time from the lower end
Has Mohan purposely metered from of the picture to a little more than the
the darkest area to open up every Next, I made a copy of the ground area.
shadow? I am not sure. Even if he has Background Layer by dragging the
done that on purpose, to me at least, Background to ‘Create a new layer’ icon Since my selection of the colour for the
the effect is not justifiable. I would like at the bottom of the Layers palette. ground was a bit pale, I made a copy of
to see better tonality rather than a I then clicked the foreground colour Layer 1, which doubled the strength of
washed out appearance. Secondly, a square on the toolbox and from the the colour to my liking.
bald, toneless sky never does any good. resulting pop-up menu, I selected a
suitable blue colour for the sky. Then Note to beginners: Photoshop
So now that we cannot go back in using the Gradient Tool, I created a may seem daunting at first, but if you
time, what can we do to improve the gradient by dragging the computer practice using it daily (at least two
picture? Here are the steps that I mouse from the top towards the hours a day), your skills will improve
have used: beginning of the ground area. Since tremendously.
only the sky was selected (and not the
I first selected the sky with the intention tree), the gradient blue was applied
of toning it down. Using the Magic only to the sky.
Wand Tool, I clicked on a white area Picture Info
Camera: Nikon D3100
of the sky and then chose Select > I now wanted to provide a natural- ISO: 200
Similar. But this also selected much of looking tone to the ground area. Shutter speed: 1/80 sec
Aperture: f/8
the ground area (which I did not wish For that, I once again clicked on the
Original Image Edited Image

If I Were You
Dhuandhar
Dr. Avinash Kumar Srivastav is an I find the people in the top left corner 3. I then tried some jugglery: I cropped
amateur photographer from Bangalore. of this picture rather disturbing (they the image from the top and extended the
The picture that you see here is of the seem to draw my attention away), but canvas size at the bottom by 4-inches
30-meter high Dhuandhar water falls strangely, those at the top right corner (see Edited Image 2). Then, using the Free
at Bhedaghat near Jabalpur, Madhya do not disturb. Transform Tool, I extended the waterfall.
Pradesh. Some editing to it been done by By doing this, the water gained prominence.
the author. So what would have I done if I were you? But by extending the canvas size, the aspect
ratio changed too (something that I did not
This is a delightful picture. I like the fact 1. When taking the shot, if there was no want). Hence, I stretched the image to make
that the waterfall has been shot from the way to get rid of the people in the top it look wider (as seen in Edited Image 3).
side and not head-on. The jagged rocks, left corner, I would eliminate them in
carved by the constant flow of gushing post-processing using Photoshop. I did With digital imaging, the possibilities are
water, balances the white water. The that using the Patch Tool. endless. If you can imagine it, you can do it!
exposure is reasonably okay (but you’ll
see the difference in the edited image). 2. I toned down the slightly Picture Info
overexposed water. This was done using Camera: Canon EOS 650D
ISO: 100
Capturing a waterfall is a photography-lesson the Highlights section of the Shadows/ Shutter speed: 1/500
Aperture: f/7.1
in itself. There can be many camera angles to Highlights Tool.
choose from – an extreme top view (as from
an air balloon or an aircraft), a slightly top
view (as you see here), a view from ground-
level (which would show the majestic height
of a waterfall), or a mid-level view.
Exposures can always pose a problem –

unless you are careful, the white water can
be overexposed (lose details, especially
if the sun is shining bright), and/or the
shadows could block up. It’s a good idea
to shoot waterfalls when the light is softer.
The shutter speed that you use has a lot of
say in the final effect. Slow shutter speeds,
generally between 1/8 sec to 1/30 sec give
a soft ‘flowing water’ look, but you may try
Original Image
some other speeds too if you like.
Edited Image 1 Edited Image 2 Edited Image 3

Note: If I Were You is meant to encourage and guide readers,
and help them improve their photography. Please ensure that the
required camera/exposure details are sent to us (or are available
If I Were You in the EXIF data). We shall not accept images for this section if the
required data is not available. Readers are requested to send their
images at 300ppi for 8 x 10-inch size. If they are too small, it gets
difficult to work on them, and hence may be rejected.
Picture Info
Camera: Sony SLT-A37
ISO: 100
Shutter speed: 1/200 sec
Aperture: f/5.6
Original Image
Late Evening
Jishnu Sanyal from Bokaro
Steel City, Jharkhand, has sent
us this late evening photo
of birds enjoying the last
glimpses of the day before
returning to their nests. He
wants to know if and how this
picture could be improved.
Jishnu, first and foremost,

you must switch off the date
feature on your camera; it
makes the picture appear too
amateurish (even if you are
an amateur photographer)
Edited Image
by distracting the viewer’s
gaze from the main element.
I would have also preferred
seeing a bit more of the trees
at the lower end.
In this case, I merely

deepened the colour of the
sky using the middle slider in
‘Levels’ in Photoshop.
A small edit in an image

editing program can often
make a great difference
to a picture.

AND
AWARDS
2013
Ask Uncle Ronnie
Sharpening an image Did you know... Ronnie has over 35 years of experience
in photography?
My question pertains to sharpening In fact, he has taught several thousand photo-
in Photoshop. It is difficult to enthusiasts in various institutions and through
workshops, as well as judged many national and
ascertain whether the applied international photo contests, including the prestigious
sharpening is adequate or not. International Photo Contest held at Colombo, Sri
Lanka. So, if you have any photo-queries, whether
Is there a definitive way to know conventional or digital, don’t hesitate. Just go ahead
whether I have applied the right and Ask Uncle Ronnie at sp@nextgenpublishing.net,
‘cause he knows it all!
amount of sharpening? What
should be the viewing percentage?
P. R. Swamy, Chennai
There is some disagreement between the
various Photoshop authors when it comes LED/studio flash lights? can be fitted onto the camera’s
to ‘sharpening’. Some say that the picture What are the advantages and accessory shoe.
should be viewed at 50%, while others disadvantages of using LED lights (7) It is possible to have LEDs that
say 100%. I too have often wondered for indoors photography, as have the same colour temperature
which is correct. Having tried both, I think compared to studio flash? as daylight.
it is best to set the print size to 50% when Arun Bhagat, Indore (8) Cool, almost heat-less operation.
sharpening. At least to me, it offers a more (9) Easily portable.
realistic view of what the sharpening will
look like on the actual print. There is no Disadvantages of LED lighting:
harm in setting the picture size to 100% if (1) Not as powerful as studio flash,
you think it works better for you. hence generally not suitable for
covering large areas.
The percentage of sharpening one needs
to apply to any print depends on various Advantages of studio flash:
factors like: LED lights have some advantages (1) Very powerful.
z The print size as well as disadvantages when (2) Usually, daylight balanced.
z The viewing distance compared to studio flash for (3) Modelling lamp helps to see
z The paper surface indoor photography. where shadows and highlights will be.
z The subject matter Advantages of LED lighting: (4) Variety of ‘light-shapers’
z Aesthetic considerations (1) Continuous source of light which are available.
z Personal likes/dislikes. helps you to see where the highlights (5) Good for action-stopping.
z To some extent, the lighting conditions and shadows would fall.
at the display gallery. (2) ‘Softer’ quality of light. Light from Disadvantages of studio flash:
Also note that the images from high studio flash can also be ‘softened’ but (1) Expensive.
megapixel cameras allow greater this requires additional gear. (2) Not as easy to lug around as
sharpening compared to lower (3) Can work on electrical supply as LED lights.
megapixel models. well as batteries. (3) Heat from modelling lamp can
(4) Cheaper. disturb some subjects.
When you sharpen an image for printing, (5) Low power consumption. (4) Requires electrical supply (but some
sharpen it so that it looks a bit over-sharp (6) Some such light assemblies can be used with special batteries).
on the computer monitor (just a wee-bit).
There is some loss of sharpness during the on-screen image. After a bit of trial that should be applied to the on-screen
printing (more so in ink-jet printing). With and error you will be able to judge for image so that the actual print comes out
the final print in your hands, compare it to yourself the degree of over-sharpening the way you want it.

Ask Uncle Ronnie
I wonder... to hit the market, if at all it comes? camera via a special cable and then
1. Why is it that photographers Rumi Balsara, via E-mail pointed down towards the subject. This
prefer to use an external flash ensures better modelling of the light and
gun rather than the on-board 1. A flash gun, whether built-in or external, at the same time, the shadows fall behind
flash of a digital camera? I hear is a point source of light. As such the light is the subject in a way that is less distracting.
from them that an external flash harsh unless it is modified (diffused). (c) External flash guns usually have more
gun helps to diffuse and soften (a) Light from a built-in flash hits a subject power as compared to the in-built ones.
the light. But the same can be head-on (frontal light), and is considered ‘flat’ Yes, you can somewhat soften the light
achieved by placing a translucent (lacking in contrast/tonality). from a built-in flash but that would further
material or an ice cream cup lined (b) Light from (most) external flash guns reduce the output power.
with an aluminium foil. It’s easier can be bounced off any suitable surface (d) Boosting the ISO sensitivity can help
and cheaper! I hardly use flash; to provide ‘softer’ lighting with better but it also increases digital noise.
instead I just boost up the ISO modelling. External flash guns need not So, for better modelling and extra power,
and if at all I have to use flash, I always be attached to the accessory shoe it is worthwhile having an external flash.
use the built-in flash with bare (hot-shoe). They can be connected to the Please buy a flash that is dedicated to
minimum flash compensation. your camera, and I strongly suggest a
Could you please suggest if I dedicated TTL cord to go with it.
should buy an external flash
gun for night photography, for 2. The Tamron 18-200mm lens that you
shooting events, etc. to achieve are using is not really a true ‘macro’ lens;
better results? Is it really worth it? it is a close-focussing lens. For a lens to
be designated as ‘macro’ it should offer
2. I love macro photography and life-size magnification (1:1), or at least, half
I normally use a macro lens with life-size (1:2). Using a set of high-quality
macro settings. Should I buy dioptres (+1, +2, and +4) would be a
either a macro filter available in cheaper alternative to buying extension
+1, +2, +3 dioptre or should I go rings. It is possible to achieve sharpness as
in for extension tubes? I have read good or almost as good as that achieved
your earlier article on extension with extension rings.
tubes in Smart Photography,
November 2011 issue, and on 3. Even if a tele-converter is available
close-up macro filters in the for this lens (I am not sure if it is
October 2012 issue and found available), I would not advice it.
them rather interesting. Please A tele-converter, while increasing
guide me regarding this. I the focal length, decreases the lens
normally use Tamron 18-200mm speed (depending on the increase in
macro, for majority of my shoots, focal length that it offers). The lens in
and the Sony SLT A55. question is already f/5.6 at its longer
end; adding a tele-converter (even
3. I use a 70-300mm Tamron lens if possible) would further reduce its
which is also a macro lens. I would speed and autofocussing may no
like to know if a tele-converter longer be possible, or if possible, may
would fit on this lens and would be sluggish. Instead, you could
it be really effective? Or should I consider the Tamron SP AF200-500mm
wait for a higher-end 500mm lens f/5-6.3 Di if you need a longer reach.

Ask Uncle Ronnie
Grabbing attention certainly see/smell the goodie and D7000. MRP Rs.16,850)
I like to photograph my dog look towards you. Tamron SP AF90mm f/2.8 Di
but he often does not look Good luck. (Equivalent to 135mm on your
towards me when I take his D7000. MRP Rs.27,500)
pictures. Any suggestions for Lens suggestions Note that a new version of the
making him look at me during I am new to D-SLR above 90mm Tamron lens,
that time? photography. I have which incorporates Vibration
Emily, via E-mail purchased a Nikon D7000. I Compensation, will be available
Maybe your dog doesn’t love you am particularly interested in shortly. Since it is a newer model,
(just kidding!) photographing small insects and also has VC, it will cost more.
Here are two ways to achieve and flying birds. I want to
your objective: buy two different lenses for Lens for capturing birds in flight:
1. Get yourself a squeaky rubber the situations. I am confused Suggesting this is not as easy as
toy – the kind that squeaks when by the suggestions by geeks, suggesting a macro lens because of
you press it. Ask someone to stand forums, and online resources. your limited budget and the fact
behind you with the toy and press Please suggest low-to-medium that even a very long focal length
it to get the dog’s attention. Click budget lenses for macro and lens is often not adequate for bird
when he does so. bird photography. photography (especially small birds).
Kishan Kumar, via E-mail
2. By using a small piece of double- Macro lens suggestions: Nikon’s AF-S Zoom Nikkor 70-
sided tape, stick a biscuit on to your AF-S DX Micro Nikkor 40mm f/2.8G 300mm f/4.5-5.6G IF ED comes to
lens or lens hood. The dog will (Equivalent to 60mm on your mind (equivalent to 105-450mm
on your D7000. MRP Rs.32,450),
but this would be okay only for very
large birds or those that you can
approach closely.
Another suggestion, more

appropriate for your needs and
if you can stretch your budget,
would be a Sigma 150-500mm
(equivalent to 225-750mm on
your D7000). However, note that
in spite of what someone says,
you will need a firm support (a
tripod) if you want sharp images
at longer focal lengths. As the
image magnification increases, so
does the effect of hand-shake!
But at the same time, do keep
in mind that a tripod can restrict
your bird photography!

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Special Feature
Opportunities in India for

Print Service Providers
Don Franz, Editor, Photo Imaging News
O
n January 5th, 2013, Smart
Photography and Photo
Imaging News (www.photo-
news.com) will present the 2nd annual
International Business Forum – India (IBF)
during the Photofair at Delhi. Conceived
as a “photo” educational program for
print service providers, the first IBF was
praised by both sponsors and delegates
alike for the information provided
and the chance to network with
other industry mentors. For a nominal
registration fee, participants get a chance
to listen to and talk with executives from Figure 1
both Indian and International photo imaging companies, as double-sided silver halide minilabs which print both sides
well as to network and share information with other print of a standard-thickness sheet, but that has slowed noticeably
service providers. during 2012. There are more than 50 double-sided minilabs
from Prismlab operating in India, and hundreds in China. The
In some ways, the photo imaging market in India is unique. double-sided colour paper is only available from Lucky Film,
It is one of the few markets in the world where sales of and the latest generation of both this PVC paper, combined
traditional film are still strong. Sales of traditional “wet” with improvements in the latest generation of Prismlab
minilab sales are also relatively strong, but declining slightly, minilabs, now produces very good prints.
although a significant number are reconditioned “wet”
models. The lack of air conditioning in many shops presents At the same time, the number of photo kiosks operating in
problems for other technologies in a high temperature and India continues to grow. This is a trend occurring throughout
humidity environment. The population of minilab shops the world, as illustrated in Figure 1. Besides serving as input
in India is declining slowly, in contrast to the overall world on site order stations for minilabs and other digital printers,
situation shown in Figure 1. the latest generation of photo imaging kiosks download
images from smartphones, have software to create various
A comparison of the number of minilabs operating in India, personalised photo products onsite and transmit digital
China and the USA is shown in Figure 2. From this same figure, versions back to smartphones, are connected to the Internet
we can see that the decline in minilab population in China is to receive/send images from/to home computers as well as
slowing although in 2013 we forecast that it will only be 28% to create products and take orders for production at off site
as large as it was in 2004 – a drop of 72% in only ten years. locations. In July 2011, Fujifilm added a cable connection for
The minilab community in China was getting a boost from the iPhones to its kiosks operating in Japan and began promoting

Special Feature
this service. The number of orders taken at kiosks not been able to develop appropriate marketing
from smartphones rose to 0.8% of the total. In strategies to drive these new products and services
May 2012 it also added a cable for Android to consumers. A couple of presentations at the IBF
smartphones, and the number of orders taken address this concern and offer marketing ideas.
from smartphones had risen to 13.0% of the total. In addition, there are three basic challenges that
DNP has added the capability of connecting to print service providers face as they implement new
iPhones wirelessly and has watched the orders from digital production systems: growing both revenue
smartphones on its kiosks in Japan skyrocket. and margins; mitigating risk as imaging choices
converge; and managing costs along with the total
Speakers at the IBF will talk about approaches to cost of operations for continuous innovation.
generating greater sales with kiosks and minilabs.
To help understand
what Indian
photographers want,
Smart Photography
and Photo Imaging
News are planning to
conduct a consumer
survey during 2013.
If you are interested
in participating,
please send an
E-mail to: a.dayal@
nextgenpublishing.net
Figure 2
As the consumer demand for prints has dropped
over the past few years, prices have become very
competitive. To generate the profits needed
to allow print service providers to continue to
invest in their businesses, these companies have
been promoting high-margin personalised photo
products. The growth in sales of these products
throughout the greater Asia-Pacific region, which
stretches from Korea to India, but does not include
Japan, are shown in Figure 3. Photo Imaging News
is just developing statistics and forecasts for canvas
prints, so they are not included.
Some print service providers have been very

successful in implementing business plans for
these digital products. Unfortunately, many have
not. One of the primary reasons is that they have
Figure 3

M.N.Jayakumar
Mastercraftsman
© M.N.Jayakumar
On a
Photographic
Mission
Most of us are not fortunate enough when it comes to following our passions while
keeping a full time job. This is true especially if you are a government servant.
Meet M.N.Jayakumar, IFS,FRPS,MFIAP, Additional Principal Chief Conservator of
Forests (Retd.) and Member Secretary, Zoo Authority of Karnataka, and you would
have met one such person who has been there, done that. To give you a brief idea,
Jayakumar is the only Forest Officer from India to be awarded the prestigious FRPS
and MFIAP, thus becoming the 4 th Indian to have received these twin distinctions
M.N.Jayakumar, for Nature photography. Unfortunately, we cannot reproduce the entire interview
Karnataka here; the full version would be uploaded on Smart Photograph y‘s website.

Mastercraftsman

M.N.Jayakumar
Mastercraftsman
Could you share some after this, my father passed away involved in management of
information about yourself? in a road accident leaving me to captive wildlife.
I was born in Mysore. After my take care of the family. When I was
schooling and Pre-University, I pursuing my Masters, one of my How did you discover
pursued Agricultural Sciences at uncles persuaded me to attempt your passion for wildlife
Bangalore. I graduated with 2 nd the Forest Service examination. I photography?
Rank and 2 Gold Medals. topped the batch with honours and I loved photography right from my
5 awards. college days and got more involved
My first and most memorable in it during my forestry training at
experience in the wild dates back My first posting as a probationary Dehradun. I did not own a camera
to 1971 when my father took me Assistant Conservator of Forests then and so I had to borrow from
to Kakanakote in Mysore, to witness allowed me to be on-site and friends. It was only after starting my
the last ever Khedda Operation — a develop a greater understanding professional career that I bought my
spectacle where wild elephants are of the flora and fauna. A stint first point and shoot camera which
driven into stockades, roped in and at the Mysore Zoo also helped was my constant companion during
eventually domesticated. Shortly me understand the challenges those days. My first SLR camera was
© M.N.Jayakumar

M.N.Jayakumar
© M.N.Jayakumar
a Canon AE1 that my friend brought Could you please tell hour and half and seeing virtually
for me from the USA in the mid 80s. our readers about your nothing,
experiences as a wildlife we decided to wait at a spot
I took up nature and wildlife photographer while on called Bakola.
photography as a serious hobby the field?
in 1993. I was working as the In nearly two decades of my A sambar herd was grazing nearby.
Deputy Conservator of Forests, photographic journey, there have We waited for over 15 minutes, in
Mysore, between 1991 and 1995 been a number of experiences the heat. Suddenly we heard the
and during this period a number which will remain etched in my alarm call from a sambar. All of us
of eminent photographers like memory for quite a long time. I became alert and were looking
T.N.A.Perumal, E.Hanumantha will share one of them. around in all directions. Suddenly,
Rao, and Late B.N.S.Deo ( a there was some movement in the tall
former Maharaja of Madhya Once I had this once-in-a-lifetime grass in front of our jeep and after
Pradesh) visited me. On one such opportunity to photograph the a few seconds, a tigress emerged
occasion a colleague of mine entire series of a tiger hunting its from the grass, trying to stalk its prey.
jocularly commented that when prey. I was visiting Ranthambhore While I was waiting for the animal
the whole world is coming to Tiger Reserve in the year 2000 to come out in the open, it leapt
the forests of Mysore for wildlife with my family. It was very hot suddenly. I was fortunate to release
photography I, being the head and we were told that the noon the shutter at the right time to
of the forests, is wasting the temperature was 47 degrees capture the leaping tigress. She leapt
opportunity. This was the spark Celcius. After settling down in across, crossed our jeep and headed
that ignited my hidden talent the Rest House, we set out in the uphill following a sambar fawn. She
and I have pursued the hobby jeep at around 4 in the evening. dashed across like a bolt of lightning
relentlessly for 20 years now. After driving around for over an and grabbed the fawn by its neck.

M.N.Jayakumar
Mastercraftsman
© M.N.Jayakumar
The tigress started dragging extensively across
the struggling fawn downhill the world. So which
and into the other side. My are your most
children helped me by sitting favourite places for
quietly and also assisted me in wildlife photography?
changing the lens to capture And why?
the next image of the tigress As a Nature and Wildlife
pulling down the struggling enthusiast, I have visited all
sambar, killing it, dragging it the major National Parks,
down and carrying it to the Wildlife Sanctuaries and
den where her cubs were forests of India, Yala NP
waiting. Seeing a wild tiger is of Sri Lanka and a number
very thrilling, especially after of National Parks and
a long wait. Getting to see a game reserves of East and
tigress in action in low light and South Africa.
being able to photograph the
entire series of the hunt is one Our country being so vast
thrilling experience I will never and hosting such diverse
forget all my life. wildlife, we have to select
the areas depending on
We were still in the film era the species. However,
in 2000 and I had to wait my favourite area is
for a couple of weeks to Nagarahole NP and that
return to Bangalore and get too the forests adjoining
my negatives processed to the Kabini reservoir. This
see and admire what was I call as a real paradise
captured on film on that for the Asiatic elephants,
eventful day. I was later told leopards and the tiger.
by my photography peers The wildlife biomass of
that this could possibly be this area is stated to be
the first record in the world second only to Serengetti
of an entire sequence of a of Tanzania and no one
tiger’s hunt, captured on a would be disappointed
still camera. with this forest for its sheer
beauty of vegetation, bird-
You have travelled life and backwaters. Yala

M.N.Jayakumar

M.N.Jayakumar
Mastercraftsman
© M.N.Jayakumar
is good for leopards, and
Masai Mara and Serengetti
in East Africa are the best
places for African Savannah
animals.
My favourite place
for birds has been
Ranganathittu Bird
Sanctuary which offers
many opportunities for
bird photography.
You have a job any

wildlife enthusiast
would die for. What
is your advice to
youngsters who want to
follow your footsteps?
My only advice to all the
youngsters is to see that
the biotic pressure on our
natural resources is kept at
the barest minimum. And for
achieving this, whatever the
youngsters can do by way
of protecting the resource,
creating awareness and
educating everyone would
be welcome. Our country
is home to 50 percent of
the global tiger population,
60 percent of Asiatic
elephants, 80 percent of
one-horned rhinoceros, the
entire remaining population
of Asiatic lions, and more
than 1200 birds and 13000
moths and butterflies. We all
have a great responsibility to
save them for posterity.
Sujith Gopinath

Learnings
64
Basics of Photography:
Weekend Project:
High key and Low key Photography
69
S
Surreal Escher Droste Effect
and Fractal Art
a
74
Subject-Face and Characters
78
Is Accurate Colour Always
Necessary?
Nec cessa y?
82 Dng Converter
ter
Learning
Basics of Photography
Smart Photography has been continually receiving requests to start a basic course for beginners. With this in mind, we have asked
a very knowledgeable photographer from Hyderabad, Andhra Pradesh, to take over writing these articles. We have also requested
him to be as jargon-free as it is possible, so that newcomers to photography feel comfortable to pursue the hobby.
The author, Ashok Kandimalla has been in the photographic field for over three decades and has extensive experience in both film
and digital photography. Being an electronics engineer by profession and a photographer, he possesses a unique and deep insight
into the technical aspects of digital photography and equipment. He has published several articles on photography and some of his
writings have also been published in the well-known international magazine Popular Photography.
An avid collector of photographic books and vintage cameras, Ashok has a keen interest in the history of photography and a passion
for sharing his knowledge on photography through teaching and writing. He is presently working as a Management and Engineering
consultant. You can see his work at http://www.flickr.com/photos/ashok_kandimalla. He can be reached at kashokk@gmail.com
Weekend Project:
High key and Low key Photography
T
his is the second project for into practice. This article will show 7. Use RAW format since you will
you in this series and it involves you how to setup an appropriate be operating near the edges of the
creating high key and low key lighting to create high key and low key dynamic range of your camera. If
photographs. Before we go further, let photographs. But first make sure of the you do not want to use RAW, for
us briefly see what these terms mean. following things: whatever reason, use JPEG with highest
Photographs with predominantly pixel count (large setting) and least
light tones are termed as ‘High Key’ 1. Mount your camera on a sturdy compression (fine setting).
photographs. Such images will have tripod.
light tones with no shadows or dark 8. If you are using JPEG format then set
areas. On the contrary, photographs 2. Use a lens with a focal length the saturation, contrast and sharpness
which have large areas of dark tones are between 50mm and 100mm to minimum levels. It is easy to add any
called ‘Low Key’ photographs. These (equivalent 35mm focal length). of these but difficult to reduce them in
pictures have few or no highlights; and If you are using an APS cropped a JPEG.
both high key and low key photographs sensor D-SLR, use a focal length of at
tend to be monochromatic (for more least 55mm. Creating a high key photograph:
details refer to Basics of Photography, Assume that you are going to use
Smart Photography, Oct. 2012). 3. Set your camera to Manual continuous lights. So first, set up a
Exposure mode. background that is light; it should
High key and low key photography preferably be very close to being pure
presents unique challenges. These are: 4. Switch on the Spot Meter of your white. You can directly illuminate the
z Determining the right exposure. camera. background through front lighting or use
z Choosing a suitable background a translucent material and set the light
and subject. 5. Set the aperture to around f/8. at the back. The latter is easier to set up
z Maintaining an approximate ½ stop since, the light source will be behind
tonal differentiation between the 6. Set your camera to the lowest base and will not interfere with the subject’s
background and the subject to get a ISO to get the best picture quality. This placement. You also need to set the
proper demarcation between the two. may lead to a slow shutter speed but tonality of the background first, even
you need not worry about this as you before you keep the subject. For this,
Now, it’s time to put all that theory will be using a tripod. take a Spot Meter reading a little above

the area where you will be placing the in the air and will look unnatural. So, you
subject. This meter reading should be need to create a shadow in such a case.
such that it would render the background For this, remove the model
as medium tone– the tone at which the and keep it back at the same
meter has been calibrated. However, place but with a white paper
that is not what you want. To obtain an underneath the model this
extremely light tone (just enough to time. Hold a separate light (any
have some texture), you need to give an light, even a torch light will do)
exposure compensation of +2.0 EV. For by hand and position it so that
this, set the exposure such that the +2 EV you get a shadow of a desired
marker on the exposure scale lights up shape. Ask a friend to trace this
(Picture HK1); making the background shadow’s outline on a paper
white with some texture. Take a picture with a pencil while you hold the
now and see how the histogram looks. light. Now remove the light you
Adjust the exposure such that the are holding. Cut the paper as
histogram is bunched towards the right per the pencil trace. Stick the
and is very close to, but not touching, the paper (6) under the Perspex
right axis. Remember that if the histogram sheet using a cello tape at the
Picture HK2: Lighting diagram, top view.
touches the right axis, it means that the 1. Subject. place where the shadow was
2. Perspex sheet arranged in a sweep on a light table.
highlights have blown out! These blown 3. Light illuminating from behind.
present. This paper cutout will
highlights can be checked by turning on 4. Light illuminating from beneath (hence shown with a dotted line) reduce the light from below,
the Perspex sheet.
the Highlight Warning tool. 5. Overhead light to give the subject more light. causing a shadow of the same
6. Paper cut out kept under the Perspex sheet (hence shown with a
dotted line) to create a shadow. shape as the paper cutout.
Now, here is an important point for you 7. Camera on a tripod. Thus, you have now created a
to remember! Choose an appropriately A real world example: The challenge ‘pseudo’ shadow!
toned subject which is white, light cream here is to create a high key photograph
or grey in colour. Keep the subject in of a light coloured car model (1) against Well, you are almost there but a few
front of the background. Do not change a white background. See the lighting things still remain. If you take a spot
the exposure that you have set. Place diagram (Picture HK2). Here a translucent meter reading from the body of
the spot meter on a part of the subject matt Perspex sheet (2) was used as the the car, near the boundary with the
that borders the background; and light background. The sheet was bent to make it background, it will almost be a stop
the subject separately such that the 1.5 sit on the light table in a continuous sweep darker than the background. This is
EV marker lights up. This means that and was clamped to the table. The model because with the setup being so far,
relative to the background, the subject was kept on this sheet. The lighting was there is not enough light illuminating
is now ½ EV darker giving the necessary done by three CFL i.e. compact florescent the car. While this one stop differential
demarcation of the subject against the household lamps. One light (3) was behind gives a better separation, it makes the
background, through the tonal difference the bend of the Perspex sheet, directly subject rather dark thus spoiling the
itself. This is all there is to lighting! behind the model. The second light (4) high key effect. So to make the car look
was placed beneath the model lighter in shade, you need to provide
to give an even illumination more light on top of the car with
throughout. The problem that another light (5). Place this light directly
PPicture HK1: The exposure scale in the viewfinder you’ll encounter here would overhead the subject while making sure
with marker set at +2.0 EV. This is same as giving
an exposure compensation of +2.0 EV. With this be due to the lighting from the bottom, that the light from this source does not
you will get a tone that is extremely light while
maintaining some texture. This is the tone at which
leading to no shadow at all. A product spill over the background, making it still
the background has been set. without a shadow will look as if it is floating lighter. With this, the setup is complete.

Picture HK3: The result of the lighting shown in Picture HK2. The shadow you see under the car has been created by a paper cut to give the shape of the
shadow! Read the article for more details.
Now, keep your camera (7) on a sturdy Creating a low key photograph: marker lights up. This is same as giving
tripod and release the shutter. You Lighting for a low key photograph is a compensation of -2.0 EV. If you want
should get a high key image similar to simpler compared to a high key one. it absolutely black, then set the marker
what is shown in Picture HK3. Assume that you are using continuous at -2.5 EV. Verify the exposure by
lights again. First, set up a background looking at the histogram. The histogram
Tip: If the lights (3) and (4) are causing that is very dark or black. Next, you need should be bunched towards the left
“hot spots” (bright circular patches), move to make sure that no light falls on it. axis and would even touch it, if you
them away from the light table and/or use have set the marker at -2.5 EV. You can
some tracing paper for diffusing. Don’t keep the subject right now. Take increase the exposure (by around 0.5
a spot meter reading little above the EV) if you want to retain some texture
Note: In case you cannot get a Perspex area where you will be placing the in the background.
sheet, you can use a 2mm thick acrylic subject. You will get a meter reading
sheet as a substitute. An acrylic sheet that will render the background as Now, keep a dark coloured subject
is shiny and will cause unwanted medium tone. You need to give a in front of the background. Keep the
reflections. To avoid these, keep a negative exposure compensation exposure unchanged. Place the spot
tracing paper on top of the acrylic to make it darker. If you want an meter on a section of the subject that
sheet. The matt surface of the tracing extremely dark background ( just borders the background, and light the
sheet will eliminate reflections while enough to have some texture) then subject separately such that the -1.5
preserving translucency. set the exposure such that the -2 EV EV marker (Picture LK1) lights up. If

provide some sparkle, keep

a reflector (8) in the front
and make sure that it reflects
some light on to the front
element of the lens. The
you had set the background at -2.5 EV, colour you see on the lens
then see that the -2 EV marker lights (Picture LK3) is due to the
up instead. This means that in either lens coatings. No coloured
case, relative to the background, the gels were used. It should
subject is now ½ EV lighter giving the be noted that you need to
necessary demarcation of the subject exercise considerable care
against the background. while positioning these
reflectors as they should
A real world example: This time not reflect any light on the
we will photograph a dark subject, background. If you are not
a black bodied camera (1), against a Picture LK2: Lighting diagram, top view. getting the effect you want,
dark background to create a low key 1. Subject (shown in dotted lines since it is underneath the reflector, you can rotate the light (3)
item number 7).
photograph. See the lighting diagram 2. Black backdrop. a little up and away from
3. Light illuminating from side.
(Picture LK2). The camera (the subject 4. Gobo to prevent spill on the black backdrop. the background. This may
here) was mounted on a suitable stand. 5. Diffuser.
6. Reflector to provide fill on the right side.
help you to get the desired
7. Reflector on the top of the subject. results.
8. Reflector in front.
The dark background can be a black 9. Camera on a tripod.
paper or cloth (2). The lighting was by a You can also use secondary
single CFL light (3). This light was placed A set up like this will light the left light sources instead of reflectors. These
to the left of the subject. A low key side of the subject properly but this have to be considerably less bright than
picture will be ruined if any light falls on is not enough as there will be three the main light (3). As is the case when
the background. Hence, it is important problems. First, the right side of subject using reflectors, pay careful attention to
that there is absolutely no light spill. To will be in shadows. To brighten this side the positioning of light so that no light
achieve this, keep a gobo (4), which you can use a reflector (6). Second, the falls on the background. Also, the front
is a dark cardboard, next to the light top of the subject will not have enough light used to illuminate the lens element
as shown in the diagram. Also try and light falling on it. Due to this, the top of should throw light in a very tight narrow
keep a large distance, around 2 feet or the dark subject will have a tendency angle, illuminating only the lens. For
more, between the background and to merge with the black background. this, you can make a small paper tube
the subject. This will ease the placement To separate them, keep a reflector (7) (a snoot) and fit it in front of the light to
of lights. You should also use a diffuser on top of the subject. You can adjust prevent spilling.
(5) to soften the light. this reflector till you get at least a ½
EV separation between the subject The light levels for a low key image
and background as already will be very low necessitating the
mentioned. The third problem use of slow shutter speeds. So, keep
Picture LK1: The exposure scale in the viewfinder would be that, there will be no your camera (8) on a tripod. Release
with marker set at -1.5 EV. This is same as giving an
exposure compensation of -1.5 EV. This is the tone
light falling on the lens elements. This the shutter now and admire the
at which the subject has been set. The result is a will cause the lens to look like a hollow masterpiece you have created! Picture
tone that will be very dark but will still be lighter
than the background! black tube and hence lifeless. To LK3 shows the end result.

Picture LK3: Result of the lighting shown in Picture LK2
Important: Always remember this - if will clearly show how each extra device
you are using multiple light sources, is affecting your photograph.
make sure that all of them are of the
same type. If you mix light sources, CONC
CO
CONCLUSION
CONCLUSION
LUS
LU
USIO
ION
N
for example a tungsten with CFL, you As you have seen here, high
All photographs and diagrams ©
will get colour casts which will be very key and low key photography
difficult to remove. needs a good understanding
of the tones of the subject and
Tip: If you want to learn about lighting, the control of light. So choose
do this exercise described step by step. the right subjects. Follow these
by the Author
First, use one light and then add more instructions and try your hand in
lights or reflector/diffuser one at a time. creating some high and low key
Take a photograph at each step and photographs. Good luck!
then see them on your computer. This

Learning
Photoshop
The author, Rajendra Prasad, an Associate of Royal Photographic Society of London, and a banker by profession, has been in
the photographic field for over two decades and has extensive experience in both film and digital photography. At present he
is the Chairman of Digital Imaging Division, India International Photographic Council, Delhi. Rajendra has a passion for sharing his
knowledge on photography through teaching and writing. He has published several articles on photography in photographic
magazines and journals of IIPC & FIP. He has also published an e-book An Introduction to Digital Photography which was released
at Indore IIPC workshop by Sri Jaipal Reddy, Minister-Information & Broadcasting. He has also given talks on photography
at Doordarshan. He has taught several photo-enthusiasts through workshops on photography in several Indian cities. His
photographs have also won many accolades in different photographic salons. He has also served as a judge in various contests. His
other hobbies are electronics and painting. He maintains a photoblog digicreation.blogspot.com and can be reached
at rajdigi25@gmail.com
Surreal Escher Droste Effect

and Fractal Art
P
hotoshop is an excellent tool for Pixel Blender Plug-in is loaded with many inside of each other in pictures having
manipulating photographs but it can filters but the pixel blender community Droste Effect. An example of the Droste
also be used for creating stunning is busy in developing and sharing many Effect can be easily created by placing
works of art. According to Wikipedia, filters which are available for free and two mirrors in front of each other or by
‘Digital Art’ is a general term used for a can be used inside Pixel Blender Plug-in filming one’s own television with a video
range of artistic works and practices that to create a variety of effects. Currently camera, while displaying the output of
have digital technology as an essential part you can freely download about 29 filters the video camera on the same television.
of the creative process. The techniques that can be used inside Pixel Blender for Also, by using the Droste Effect filter
of digital art are used by film-makers and creating different effects. In this tutorial you can create many surreal and artistic
graphic designers; it is also used extensively you are going to learn how to create designs from an image.
in advertisements. Digital art can be purely digital art such as droste and fractals
computer-generated, such as fractals, or in Photoshop. For this we shall use the NOTE- Droste Effect is named after the
taken from other sources. In the latter Droste filter which is free and can be image on the tins and boxes of Droste
case either a scanned photograph is used in Pixel Blender Plug–in. cocoa powder, one of the main Dutch
used or an image is drawn using vector brands, which displayed a nurse carrying
graphics software by a mouse or graphics What is the Droste Effect? a serving tray with a cup of hot chocolate
tablet, which is then manipulated on The ‘Droste Effect’ is a type of recursive and a box with the same image. This
the computer. Digital art can help an picture where the image recursively image was introduced in 1904 and
accomplished artist create more paintings repeats itself as a spiral. An image maintained for decades with a slight
and drawings to easily translate his/her exhibiting this effect depicts a smaller variation. Reportedly, poet and columnist
inspiration into reality. It can also help a version of itself in a place where a similar Nico Scheepmaker introduced a wider
person with shaky drawing; bringing their picture would be expected to appear. usage of this term in the late 1970. In
artistic dreams to life. This smaller version then depicts an the year 1956, Dutch graphic artist M.C.
even smaller version of itself in the same Escher made an unusual lithograph titled
If you have never tried to create any place, and so on. In theory, this could go ‘Print Gallery’. It shows a young man
digital art don’t be afraid. With the on forever. But in practice, it continues viewing a print in an exhibition gallery.
help of this tutorial you can enter the only as long as the resolution of the Amongst the buildings depicted on
fascinating world of digital artists. In the picture- which is relatively short, since the print, he sees paradoxically the very
previous month’s tutorial, you learned each repetition exponentially reduces same gallery that he is standing on. And
how to load and use the freely available the picture’s size- allows it to. Thus, you hence Droste effect is also known as
Pixel Blender Plug-in in Photoshop. The can see just a set of repeating images Escher Droste effect.

Learning
Photoshop
What is Fractal Art?

In the realm of digital art, many wonderful and playful
genres exist that stimulate the imagination, but only
1 Downloading and installing Droste Filter
Droste
filter was
few do it with the intricate style of fractal art. The word developed by
fractal art was coined by French mathematician Benoît Tom Beddard.
Mandelbrot in 1975. Wikipedia defines fractals as “a It can be
rough or fragmented geometric shape that can be downloaded
split into parts, each of which is (at least approximately) for free
a reduced-size copy of the whole”. Self-similarity like from Adobe
fractals are also seen in nature; examples include the Pixel Bender
contours of coastlines, the branching of trees and rivers, Exchange
cloud formations, and the shape of galaxies. There are http://www.
many ways of creating fractals, the most common being adobe.com/cfusion/exchange/index.cfm?loc=en%5Fus&exc=26
complex mathematical formulas or fractal software &event=product Home&from=3 After downloading unzip the
programs like Apohpysis; but with the help of Droste folder and copy the .pbk file to your Program Files\Adobe\
filter you can easily simulate the fractals. Adobe Photoshop CS5\Pixel Bender Files folder. Restart
Photoshop and the Droste filter will be in place.
Some people don’t consider fractals as an art. Kerry
Mitchell in The Fractal Art Manifesto states that fractal
art is a subclass of two-dimensional visual art, and is
in many respects similar to photography—another
art form that was greeted by skepticism upon its
2 Starting the Droste Filter
Open a picture on which
you want to apply the Droste
arrival. Fractal images typically are manifested as prints, effect in Photoshop. Start
bringing fractal artists into the company of painters, with something simple so that
photographers and print makers. Generating fractals you may learn how the filter
can be an artistic endeavor or a mathematical pursuit. works, then plan to use a more
According to Mitchell, Fractal Art is not computerised complicated image later on. I
art- in the sense that the computer does all the work. chose a flower against a neutral
The work is executed on a computer, but only at the background as shown
direction of the artist. Turn a computer on and leave here. There is a physical
it alone for an hour, when you come back, no art will limit to the maximum size
have been generated. It’s like anyone can pick up a of the images (which is
camera and take a snapshot, however, not just anyone 4096 x 4096 pixels) you
can be an Ansel Adams! can use with Pixel Bender
so make sure your image
Applying Droste effect using Pixel Blender is smaller than it. I suggest
Plug-in: you start with smaller
The basic requirement here is an Adobe Photoshop images as they render
CS5 or CS4 loaded with Pixel Blender Plug-in, faster. To run the filter,
because the plug-in is compatible only with them. In choose Filter > Pixel Bender > Pixel Bender Gallery and
the previous month’s tutorial I have already described select Droste from the dropdown list. If you have used the
how to download and install the free Pixel Blender filter previously, hold Alt (option on Mac) and click on the Reset
Plug-in. To use the Droste filter, it must be added button to reset the filter settings.
afterwards in Pixel Blender.

Learning
Photoshop
3 Using the Droste Filter

After clicking the Droste filter a
new window will open and you will
resulting image. Adjust them until
your image composition is right.
get a number of sliders which control z To adjust the placement of the

the filter effect. Adjust the values of final image, use the Center Shift
the sliders provided to make your [0] and [1] sliders, each of these
picture look good. You can make operates in a different dimension.
many type of designs, spirals, Fractals Adjust the center of the image until
or image within images from these the spiral looks correct.
filters; just play with the sliders. As you
can see a live preview of the effect of z By default, you see a typical Droste
sliders, you can easily manipulate it. I file image with straight edges. To turn
have given the function details of the the straight edges into a curved spiral,
sliders below: deselect the Transparent Inside
check box.
z With the help of size sliders [0]
[1] you can change the placement of z Use Rotate Spin and Rotate
the image. Adjust them until the spiral Polar with Fractal Points and Hyper
looks correct. Droste to fine tune the effect.
z If you do not have an image z By adjusting the Fractal Points

spiral that completely fills the value, you will create a fractal from
image area you will see some black to get small number of loops or your image. Just move the slider
background colour outside the set it to around 50 to get one with slowly and you will see different
spiral. You can control the colour lots of loops. The default setting is type of fractal designs being
used for this background by setting 25. Decreasing the Outside Radius created from your image. Have fun,
the Background RGBA values. The twists the spiral more tightly. The play with this slider, while you will
[0] setting controls the Red value, default value of 100 makes the be able to create some interesting
[1] controls Green, [2] controls Blue spiral looser. fractals. In the final image you can
and [3] controls the opacity of the see six different Droste effects and
background. The default is that all z Periodicity is the number of times fractals made from the same flower
sliders are set to 0 and the Opacity the image repeats in each loop of the image which I had taken at the
slider to 1 which gives the black spiral. If you set this to 2, the image beginning of the tutorial. From these
colour. You can view the current will be repeated twice per spiral. The images you will have an idea about
background by setting Levels to 2 default value is 1. the creative potential of the filter.
and the Levels Start value to 1. Then Fractals images look best when you
create your own background colour z The Strands value sets the number enlarge them because only then you
and when you’re done, increase the of loops in the spiral. If you set this can view their interesting patterns
Levels value again to around 7. to 2 you will have two interlocking and appreciate them; that’s why I
spirals; if you set it to 3 you’ll get three have provided another image in full
z To make the spiral tighter or strands/spirals, and so on and so forth. page. This other fractal is also made
looser, adjust the Radius Inside from a flower image. Look closely
and Radius outside value. Set the z The Zoom and Rotate sliders and from the petals you may be
Radius Inside to a very small value allow you to zoom and rotate the able to identify the flower easily.

Learning
Photoshop
4 When you finalise your preview, you can click the OK button to apply the Droste Effect to your picture. Once you
know how the controls in the Droste filter work you can apply this filter on a more complex image.
Closing comments
Seeing the images

in this article you
may have noticed
that, Droste filter
can produce some
really cool and
interesting digital
art images. The
images appear
as if there’s a lot
of hard work
behind them, but
it is actually not
true. The most
difficult part in
achieving Droste
and Fractal effect
is the selection of
an image; rest all
the things are very
easy. Apply this
effect and amaze
your friends, and
make them ask
how you did it.
Also don’t forget
to share your
experiences about
this effect and
images with Smart
Photography.
Good luck!

Learning
Photoshop

Learning
Subject-Face and Characters

T
he next time when you shoot (in terms of their features). So in your
someone’s portrait, don’t just case, think like a casting director, and
stop after documenting his face ask yourself what role can this person
in some standardised lighting; instead play well? When you meet the person,
go a step further. Study the face! request him/her to wear different
Remember, every face has multiple clothes, western as well as ethnic.
characters hidden under it; hence try Request the lady to open her hair, turn
and dig out those characters which may them to one side, give it a messy look,
go hand-in-hand with the moods of etc. Every man wants to be portrayed
that individual. as a good-looking gentleman. So always
start a session this way and pump the
All of us have a habit of forming an confidence in your subject. Get your
opinion about others when we meet subject into a good mood and then ask
them. We tend to say that a person them wittily ‘given a chance what role
seems to be ‘a strict fellow, a shrewd would you like to play in a Bollywood
businessman, a cunning man, a happy movie?’At this point the person may
go lucky individual, a lone ranger, a start showing a few more characteristic
sad person or a jolly good fellow’. We of his personality, which perhaps you
tend to ‘stamp’ them. So, ask and try may not have not noticed earlier.
to analyse why he/she looks a certain
way. Characteristics-- like a large As an example I would like to show you
forehead, clean-shaven face, a French the pictures of a gentleman, who faced
beard, thick side-locks, bony features, the camera for the first time. He was
defined jaw lines, deep-set eyes or very possessive about his beard and
a one sided smile-- may talk about did not want to trim it or even shave
the individual qualities of a person. it a bit. Hence, it was a big challenge
Good observations in life always help to click his different personalities. We
in creating a good picture. Hence, use first made him comfortable in front
this habit of forming an opinion to first of the camera and then captured the
analyse the face you are going to shoot. ‘vintage character’ in him by portraying
him like an old-time ‘Professor’ and
You must have heard of the term adding an old telephone and books
‘Casting Director’ associated with the in the background as props; later a
cinema or theater. A casting director folded Russian newspaper turned him
knows the story of the movie; he knows into a member of the ‘Bolshevik’ party.
that he requires someone to play Changing spectacles also re-changed
the role of say, an intelligent lawyer his identity. Thus, styling played a major
or a pious man, etc. He then, with his role in this case. The secretive Russian
experience, short-lists the actors whom was transformed to a jolly-good man.
he feels would do justice to that role Similarly a pair of round spectacles,
74 Smart Photography January 2013 January 2013 Smart Photography 74

Learning
a shawl, a Bengali newspaper and by adding other props.

appropriate expressions made him
look like a hot-headed Bengali babu. The moral of the story:
The model in the

pictures is Sunil
Pradhan.
We kept talking to him on different Don’t just view the face as a single focal length and appropriate lighting
subjects and froze the right expressions. flat colour but, see the shades in are the ‘craft’ of the subject but,
Later, the make-up man just brushed it. Don’t call the red as flat red, try aesthetics and making the subject
his beard and mustache a bit, and a to find out the ‘romantic scarlet’, comfortable are the ‘art’ of creating
clever gesture of his hands and fingers the ‘lively young vermillion’, the great portrait images. It is never the
made him look like a North Indian chivalrous ‘blood red’, well groomed camera that takes the picture, it
truck driver! We further elaborated his ‘poster red’ or a matured ‘crimson’ is you who takes it!
personality from a Pandit to an Afghan in every red you see. Appropriate Dilip Yande

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Learning
I
regularly get telephone calls from assembly and the algorithms (set is called the ‘Bayer Pattern’.
readers saying that colours from of instructions) provided to the
brand X are better than those ‘chip’ in calculating colours of the So then how are the myriads of
from brand Y. Strangely, there are surrounding pixels. other colours formed? That’s the
those that suggest that colours from job done by the image processor
the brand Y are better than those The silicon chip in the sensor in the camera which ‘guesses’
from the brand X! Whom should assembly has millions of photo the colours that should be in
I believe? Wouldn’t it be better if receptors (the numbers depend the surrounding areas based on
we were to instead spend that time on the pixel rating of the camera). certain algorithms.
Is Accurate Colour
Let me try to further
simplify things. The word
here is “guesses”, because
that’s exactly what it does!
Always Necessary?
Just think about it. There
can be millions of colours
( JPEG images can have a
maximum of 16.7 million
colours; Raw have much
in learning how to fine-tune the The function of these photo more!) and hence it’s just short
colours to our liking? receptors is to collect light. These of a miracle that the sensor is
Yes, I know. I could get a lot of receptors do not ‘see’ colour able to record those colours as
flack for asking “is accurate colour (they are monochromatic). Hence truly as possible. I hope you can
always necessary?” After all, there is an array of red, green and understand the complexity of the
we spend a lot of time in blue colour filters on top of the whole process. The final colours
researching and asking about receptors – one per receptor. This depend on numerous variables
the ‘best camera for the price’ means that each photo receptor and since different manufacturers
and spend a small fortune on can record only one colour- either use different qualities of dyes
purchasing the camera that we red or green or blue. Generally for the RGB filters (and also have
believe, besides other things, will they are arranged so that there their own reasons about how
give us ‘accurate’ colours. are two green receptors for every certain colours should look and
one red and blue receptors. This have their own manufacturing
Doesn’t the question about processes); you should not
accurate colours sound odd expect every digital camera to
to you? Isn’t it expected that offer exactly the same colours
colours should be accurate? under identical lighting
And, in reality, are they? To conditions. Moreover, the
understand the last question, colours will also vary widely,
we need to know about based on the Picture Control/
the designing of the digital Picture Style parameters that
imaging sensor, or more you may have set. There will
accurately, the colour filter be variations in the colours
array in the imaging sensor of different manufacturers;
The Bayer Pattern

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Learning
infact, you can expect colour power), we should not surrounding colours (that’s
variation in different camera complain about the minor why it is often suggested not
models from the same variations in colours. We need to view your colour images
manufacturer too! to remember that we are on a black background on
not living in Utopia. Minor your computer screen). When
So is that a problem? Yes, if variations in colour can very you are upset or angry, your
you are bent on only being easily be corrected in the colour vision could vary; when
argumentative; and no, if you image editing software of you have had a ‘drink’ the
are being practical! your choice. last evening, your colour
vision could be affected the
Let’s take an example of a Now, someone might say next morning!
landscape. After seeing the (and you wouldn’t be wrong
picture on the computer in saying that) “why should So now are you still looking for
screen (I am assuming that I not get accurate White ‘accurate’ colours? In my opinion,
you have a colour calibrated Balance when I pay so much what we need are ‘pleasing’
screen), how often have you of money?” In principle, colours rather than ‘accurate
said, “oh, that’s the exact I completely agree with colours’! Many a times, we add
colour of the sky that I saw” you. But till technology certain colours to our images
or “the colour of the green overcomes this handicap, (as an example, we use colour
lawn is not exactly as I saw it”. I’m afraid, there can be no filters during the picture-taking
The point is, can you really real answer to it. Let me take stage, or add colour filters later
remember the exact colour you back in time when we on during post-processing). This
you saw? You can’t, and were using films (some of is a creative process; it is akin to
neither can I. We assume that us still do). Did we not, for an artist adding fine nuances of
we can exactly remember example, use a ‘Kodachrome’ colours to his/her landscapes.
certain ‘memory colours’ but or a ‘Velvia’ to pop the When the picture is a painting
in reality, we can’t. colours or a ‘A gfachrome’ (as created by an artist), we tend
to get somewhat muted to accept the colours as the
So then, if we cannot colours? Were those colours painter’s creativity but when we
remember the exact colours absolutely ‘accurate’? Did the see a similar photograph, we
that we saw, is it necessary to colours/tones exactly match tend to consider it as an error on
fight over accurate colours? the original then? The answer, the photographer’s part. Why is
Don’t get me wrong. I am not if you are honest to yourself, this so?
saying that we should accept, is ‘No’.
for example, a sky going cyan Remember, ‘accurate’ colour
(blue-green) when it is blue; Also talking of colours, the may be a definite requirement
or accept a red rose turning colours that you see may for the photographer
magenta (red-blue). What I not be exactly the same documenting scientific
am saying, (and in the context as what someone else processes or the like, but
of the enormous difficulties sees. Colour vision differs for most of us, it is ‘pleasing’
involved in producing high- (slightly) from person to colour that is more important
quality imaging sensors that person. The colours we than ‘accurate’ colours.
are also within our buying see also depend on the Rohinton Mehta

Learning
DNG Converter
A
lot of photographers, secret formula so to say). DNG files are about
who are not very Hence some people might 20% smaller in size. They
conversant with Raw think that a manufacturer preserve all the data from
format and Raw Converters, may stop the support for this your original Raw captures.
often complain that they format in the years to come. If you wish, you can also
cannot open their Raw files Further, Raw files cannot be embed the original Raw
inspite of having a recent opened in a computer that file data into the DNG file
version of Photoshop. Some does not have Photoshop; but that will substantially
photographers even worry on the other hand, JPEGs can increase the file size. The
if the camera manufacturers be opened in any computer, advantage of embedding
will continue the support for whether it has Photoshop the Raw file into DNG is
their Raw files after or not. To overcome this that, later on, if you need
some years. possible problem of lack of you can extract the Raw file
support in future, Adobe out of the DNG. Whether
Let’s say you have Photoshop provides a free solution in to embed the original Raw
CS6 (the latest version of the form of a DNG (Digital files or delete them or not,
Photoshop as on date), Negative) Converter, which is up to you.
but have a digital camera is not a proprietary format.
that was introduced after You can convert your Raw You can convert your
Photoshop CS6 was files to DNG, using the DNG Raw files to DNG (when
released. In this case, you Converter. DNG files have downloading the images
will not be able to open and a .dng added to their file to your computer) by
edit your Raw files in the names and such files can be using the built-in Photo
Raw Converter provided opened in any computer Downloader in Bridge
with your CS6, unless you that has Photoshop. (which, as you know, is
download an upgrade to Adobe updates their DNG bundled with Photoshop).
the Raw Converter from Converters from time to You can also convert them
Adobe’s website. time and it is necessary to to DNG at a later stage.
use a DNG converter that is Here is the procedure for
Raw format from every capable of converting the converting your Raw files
camera manufacturer is their Raw files of your recently to DNG using the Photo
own proprietary format (a purchased camera. Downloader in Bridge:

Learning
1. Open Bridge. 4. Select your device (your camera) as seen in

Printscreen 3.
2. Go to File > Get Photos from Camera (see
Printscreen 1). The Photo Downloader dialog box 5. Click on Browse and select the folder to which
will open. the DNG images should go. In case the folder does
not exist, create a new folder (see Printscreen 4) .
3. If ‘Standard Dialog’ button is seen at the lower Click ‘Get Media’. Photoshop will start the DNG
left hand corner, click on it and a new dialog conversion (see Printscreen 5) and will place them
box showing ‘Advanced Dialog’ will open (see in the folder you have selected/created.
Printscreen 2). Rohinton Mehta
Printscreen_1 Printscreen_2 Printscreen_3
Printscreen_4
Printscreen_5

http://pocketmags.com/nextgen
Reviews ILCC Review
ILCC Review
Olympus E-PL5 (PEN Lite)
Fujifilm X-E1
Lens Review
Head-to-Head Canon EF24-70mm f/2.8L II USM
Canon PowerShot SX50 HS Vs.
Panasonic LUMIX DMC-FZ200 Vs.
Sony Cyber-shot DSC-HX200V
Printer Review
Epson R2000
Change in Rating System D-SLR CAMERAS LENSES COMPACT CAMERAS

Smart Photography’ s new rating Design & Build Quality .................... (out of 20) Design & Build Quality .................... (out of 20) Design & Build Quality .................... (out of 20)
system exercises stricter evaluation
in view of improvements in the Key Features........................................... (out of 20) Key Features........................................... (out of 20) Key Features........................................... (out of 20)
overall performance of photographic
equipment. Marks will be awarded for Ergonomics ............................................. (out of 20) Ergonomics ............................................. (out of 20) Ergonomics ............................................. (out of 20)
the following parameters... Performance Performance Performance
Autofocus ....................................................(out of 5) Autofocus ....................................................(out of 5) Autofocus ....................................................(out of 5)
Metering ......................................................(out of 5) Sharpness.....................................................(out of 5) Metering ......................................................(out of 5)
Noise control ...........................................(out of 5) Distortion control .................................(out of 5) Noise control ...........................................(out of 5)
Distortion/Sharpness..........................(out of 5) Aberrations ................................................(out of 5) Distortion/Sharpness..........................(out of 5)
LCD/Viewfinder.....................................(out of 5) Darkening of corners.........................(out of 5) LCD/Viewfinder.....................................(out of 5)
Auto White Balance...........................(out of 5) Extra Features............................................(out of 5) Auto White Balance...........................(out of 5)
Final Rankings
Recommended ......................................... 75-80% Value for Money ....................... (out of 10) Value for Money ................................. (out of 10) Value for Money ....................... (out of 10)
Best Buy .........................................81% and above Grand Total ............................... (out of 100) Grand Total ......................................... (out of 100) Grand Total ............................... (out of 100)
ILCC Review
Fujifilm X-E1
A Pricey Affair!
79
A
s the only film company to Design and Build Quality
survive the demise of film The X-E1 is a slimmed down version
successfully, Fujifilm knew that of the X-Pro 1 and sports the same
it had to do something really different. retro look. Build quality is good with
Accordingly, designer Masasumi Imai magnesium alloy used in the top and
was given the task of producing an front plates; the back plate is made of
%
extraordinary visual design. Imai san plastic. The top plate dials are metal
and his team decided to produce a and have a reassuring feel. The body is
traditional, retro-like camera and the available either in full black or
Fujifilm X100 was the end result. It was black/ chrome. At 350g, the X-E1 is
followed by the X Pro 1 which was considerably lighter than the X-Pro 1
Rs.90,000 Fujifilm’s first mirrorless camera. The
X Pro came in for critical acclaim and
which weighs 450g. The dimensions of
129 x 75 x 38mm make the X-E1 slightly
the resemblance to old Leica models bigger than the Olympus E-M 5.
Inside the Box gained the X Pro 1 a number of
zCamera brownie points. The X Pro 1, however, Key Features
zLi-ion battery NP-W126 was too expensive. Fujifilm has now At the heart of the X-E1 is the same 16.3
zBattery charger BC-W126
launched the X-E1, which is priced MP CMOS sensor as that on the X-Pro
zShoulder strap
zUSB cable
considerably cheaper than the X Pro 1. The sensor at 23.6 x 15.6mm is APS-C
zBody cap 1 and lacks an optical viewfinder. We size. Fuji’s EXR Pro processor complements
zMetal strap clip
received the X-E1 along with a Fujinon the sensor. Autofocus is achieved by a
zProtective cover
18-55mm f2.8/4 aspherical lens. Both contrast detection sensor and is aided by
zClip attaching tool
zCD-ROM
the camera and the lens are made an AF assist lamp. Multi area and single
zOwner’s manual in Japan. area autofocus is available along with single

Mahesh Reddy
ILCC Review
Fujifilm X-E1
and Manual exposure. Metering
ness & Detail Noise
options include Multi area,
Sharp
Average and Spot. Both, exposure
compensation (±2EV) and auto
exposure bracketing (1/3, 2/3, 1
EV steps) are available. A built in
flash (unique to the X-E1) syncs up
to 1/180 sec and features Red-
eye Reduction, Slow Sync and
Rear Curtain Sync.
13sec. ISO:200 ISO speeds range from ISO 200

utter Speed: 1/
Aperture: f/8 Sh ISO:100 ISO:25600 to 6400 plus ‘boost’ speeds.
White Balance can be preset or
customised. Shooting in RAW is
Colour Accu also possible.
ression racy
JPEG Comp
The rear LCD screen of the
X-E1 is fixed, is 2.8” in size and
features 460,000 dots. There
is no touchscreen mode. The
OLED electronic viewfinder
provides 100% coverage and
has an impressive resolution of
2,360,000 dots.
ty,
, Standard Quali Colour checker
e Quality, JPEG shot using Auto
JPEG, Super Fin
) 10 0% (3.44 MB) in sunlight. Auto
Levels applied.
White Balance Video features include resolution
100% (5.49 MB
of 1920 x 1080 (24 fps) along with
provision for a stereo microphone
and a mono speaker.
The camera accepts all SD/SDHC/

SDXC cards. According to Fujifilm,
battery life is up to 350 shots. The
shutter release is threaded.
On the negative side, there is no

image stabilisation. The camera is
also not sealed environmentally.
Some readers may also miss the
optical viewfinder of the X-Pro 1.
frame as well as continuous autofocus. The Ergonomics

option of focussing manually is also there. Even though the X-E1 is not particularly
small, the 18-55mm lens looks a little too
Shutter speeds range from 30 sec to big for the body. This is the problem
1/4000 sec and exposure modes include faced by all mirrorless APS-C size sensor
Program, Shutter Priority, Aperture Priority cameras. The quality finish aids handling

ILCC Review
Fujifilm X-E1
and the right-hand side grip is a plus point. SPECIFICATIONS Red-eye Reduction & Rear-curtain
The tripod socket is too close to the Effective pixels : 16.3 million Synchro, Commander
Sensor : 23.6mmx15.6mm (APS-C) X-Trans Accessory shoe : Yes (dedicated TTL Flash compatible)
base compartment; with the camera on a Viewfinder : 0.5-in., approx.2,360,000-dot
CMOS
tripod, you cannot change the battery or Sensor Cleaning : Ultra Sonic Vibration OLED colour
the card. Storage media : SD/SDHC/SDXC memory card Diopter adjustment : -4m-1 to +2m-1
File format : Still image : JPEG (Exif Ver 2.3)*2, Monitor : 2.8-in, approx. 460,000-dot, TFT
colour LCD
Performance RAW (RAF format), RAW+JPEG
Best Movie Quality : 1920 x 1080 pixels, 24 frames/sec.
Movie : H.264 (MOV) with Stereo
The X-E1 acquitted itself well on our with stereo sound
sound
test bench. Max. recorded pixels :Still 4896 x 3264 Digital interface : USB 2.0 High-Speed
Lens mount : FUJIFILM X mount HDMI output : HDMI mini connector
Autofocus was reasonably fast with the 18- Sensitivity : Equivalent to ISO 200-6400 Microphone/ : ø2.5mm, stereo mini connector
Extended ISO: ISO 100, 12800, shutter release input
55mm f/2.8-4 OIS lens attached. Even in Power supply : NP-W126 Li-ion battery (included)
25600
low light, autofocus locking was of a high Exposure control : TTL 256-zone metering, Multi, Spot, Dimensions (WxHxD): 129 mm x 74.9 mm x 38.3 mm
order. Focussing, however, was audible. Average Weight : Approx. 350g (with battery and card)
Exposure modes : Programmed, Shutter priority,
Aperture priority, Manual + Excellent Raw image quality
The Fujinon lens controlled flare well and
Exp. compensation : -2.0 EV to +2.0 EV, 1/3 EV step
did not reveal any chromatic aberration. + Excellent video quality
Image Stabiliser : Lens shift (when OIS type lens is set)
Slight barrel distortion was observed Face detection : Yes + Very good noise control
at 18mm, but this can be corrected in Shutter control : Focal Plane Shutter + Excellent Intelligent Auto mode
Photoshop. The lens, however, showed Shutter speed : 30 to 1/4000 sec,
Bulb (Max. 60 minutes)
prominent darkening at the corners. - Expensive
Flash Sync : 1/180 sec or slower
Continuous shooting : Max 6 / 3 fps selectable - No optical viewfinder
The camera’s metering modes worked Auto bracketing : AE Bracketing - Video is basic
well and all the pre-set White Balance also (±1/3 EV, ±2/3 EV, ±1 EV)
worked accurately. Auto White Balance, Dynamic Range : 100%, 200%, 400%
FINAL SCORE
Bracketing
however, produced a distinct cast under ISO sensitivity : ±1/3 EV, ±2/3 EV, ±1 EV Design and Build Quality 18/20
all lighting situations except daylight. Bracketing
Focus mode : Single AF / Continuous AF / MF Key Features 16/20
The X-E1 also demonstrated good noise Distance Indicator : TTL contrast detect AF Ergonomics 17/20
AF frame selection : Area, Multi
control and at 100% screen size, noise was Performance
White balance : Auto, Custom, Kelvin, Fine, Shade,
well controlled up to ISO 800. At 25% Fluorescent light (Daylight), Autofocus 3.5/5
screen size, images were noise free up to Fluorescent light (Warm White), Metering 4/5
a remarkable ISO 12800. Fluorescent light (Cool White),
Incandescent light, underwater Noise Control 4/5
Film Simulation mode : PROVIA/STANDARD, Sharpness 4/5
The X-E1’s viewfinder is a purely electronic Velvia/VIVID, ASTIA/SOFT,
one and produces rich tones and contrast. PRO Neg Hi, PRO Neg Std, LCD/EVF 4/5
It also features dioptre adjustment. MONOCHROME, Auto White Balance 2.5/5
MONOCHROME+Ye
FILTER, MONOCHROME+R FILTER, Sub-Total 22/30
All in all, an above average performance.
MONOCHROME+G FILTER, SEPIA)
Value for Money 6/10
Self-timer : Approx. 10 sec. / 2 sec. Delay
Value for Money Flash : Manual pop-up flash (Auto flash) Grand Total 79/100
The predecessor to the X-E1, the X Pro 1 Guide number: approx 7 m (ISO200)
was priced beyond the reach of almost all Flash modes : Red-eye removal OFF: Auto, Forced
VERDICT
Flash, Suppressed Flash, Slow Synchro.
photographers. The X-E1 retails in India for Rear-curtain Synchro, Commander If you are a retro fan and in
approximately Rs. 90,000 along with the Red-eye removal ON: Red-eye addition a Leica fan, the X-E1 will
18-55mm kit lens. In the Indian context, this Reduction Auto, Red-eye Reduction fit your requirements. However, it
& Forced Flash, Suppressed Flash, is over priced.
price is still a little too high. Obviously, you
Red-eye Reduction & Slow Synchro. H S Billimoria
are paying for the X-E1’s retro look.

ILCC Review
A New Winner from Olympus
82
T
he Olympus E-PL5, successor mirrorless, Interchangeable Lens
to the E-PL3, was introduced Compact Camera (ILCC) powered
at Photokina 2012 in Cologne, by a TurePIC VI image processor. This
Germany. It is smaller than Olympus’ is the same image processor that is
flagship camera– the OM-D E-M5– but found in the top-of-the-line Olympus
offers identical image quality, low noise, E-M5. The imaging sensor is Live MOS
%
wider dynamic range and fine details. and the format is Micro Four Thirds
It is sold in India either as a single lens (13 x 17.3mm).
kit (with 14-42mm f/3.5-5.6 IIR MSC
lens) or two-lens kit that includes the The body is sleek in design. Image
40-150mm lens. The body is available in stabilisation is built into the body, hence
Rs.44,990 silver, black or white colours. every lens becomes an image stabilised
lens. If you attach a lens that has image
Inside the Box Design and Build Quality stabilisation, you can opt between
zCamera, with accessory terminal cover and The all-black E-PL5 body is tiny and the using either the in-built stabilisation
body cap outer shell is mostly made-up of metal. or the lens stabilisation. On the right
zBattery BLS-5
The build quality is excellent. The body hand side of the top plate, we find the
zBattery charger BCS-5
zCamera strap
does not incorporate a built-in flash but On/Off button (flushed with the top-
zUSB cable
a small dedicated flash gun (FL-LM1) is plate to avoid accidental operations),
zAV cable bundled with the camera. The tripod the Shutter Release button and the
zCamera grip MCG-4
socket is made of metal. Shooting Mode Dial that offers iAuto,
zFlash FL-LM1 (with pouch)
zCD-ROM software
Program (with Program Shift), Aperture
zInstruction manual
Key Features Priority, Shutter Priority, Manual, Movie,
zWarranty card The Olympus E-PL5 is a 16-megapixel Scene and Art Filter modes. Exposures

Sujith Gopinath
ILCC Review
can be bracketed for 2, 3, or 5

Detail
Sharpness & Noise frames in 0.3, 0.7 or 1 EV or for
7 frames in 0.3 and 0.7 EV. The
accessory shoe (hot-shoe) is
covered by a terminal cover that
can be removed to attach the
dedicated FL-LM1 flash
gun supplied with the camera.
A tiny speaker is seen on the
left side of the top-plate while a
microphone is found on
20sec. ISO:200 either side of the accessory
utter Speed: 1/
Aperture: f/8 Sh ISO:200 ISO:25600
shoe (one each for the left
and right channel).
Colour Accu
ression racy
JPEG Comp The front plate of the camera
body offers a detachable hand
grip, which in combination
with a small thumb-rest at
the back aids in holding the
camera securely (though we
wouldn’t recommend a one-
handed operation as shown in
some ads!). At the lower right
of the back plate, besides the
e Quality, JPEG
, Standard Quali
ty, Colour checker
shot using Auto Information Display button
JPEG, Super Fin 100% (3 8.5 MB ) in sunlight. Auto White Balance
100% (40 MB)
Levels applied. and the Menu button, is the
Control Dial, within which is
the 4-directional arrow pad:
top controls the Exposure
Compensation, bottom controls
the Firing Mode, left controls
the AF target, while the right
controls the various Flash Modes.
The major portion of the camera
back is taken up by the 3-inch
Vari-angle Touch Screen. The
screen can be tilted to various
angles to facilitate low-angle/
high-angle photography, but
cannot be swivelled sideways.
Shutter speeds on the E-PL5

range from 60 seconds to
1/4000 sec, plus Bulb and Time.

ILCC Review
Olympus E-PL5 (Pen Lite)

When using Bulb, you press the shutter Documents, Panorama, Fireworks, Beach FL-300R and FL-600R) can be used.
release button to start the exposure and Snow, Fisheye effect*, Wide-angle*, Also, using a macro flash controller (FC-
but the moment you release pressure Macro* and 3D Photo** (* for use with 1), you can use a ring flash (SRF-11) or
over the button, the exposure ends. optional converter lenses; **can be a twin-flash set (STF-22). The supplied
When using Time, you press the shutter used only with 3D lens). flash unit and other flash units offering a
release button to start the exposure remote control mode (and designated
and again press it to end the exposure. The iAUTO mode has an additional for use with this camera) can be used
The user manual does not mention feature, called Live Guide. Using for wireless flash photography.
the available ‘time-frame’ for Time this feature, you can change the
exposures but this could possibly be a colour and saturation, colour of an The E-PL5 can be used to create High
boon for those wanting to photograph image, brightness, blur the background, Definition movies at 1920 x 1080,
star trails, for example. express motions and see some 30p (29.97fps). Using a commercially
shooting tips. available FlashAir card, you can view
ISO sensitivity on the E-PL5 range from images directly on a Smartphone or PC
200-25,600 in 1/3 or 1EV step. The ISO The E-PL5 uses Contrast-Detect that has Wi-Fi connectivity or transfer
sensitivity can be bracketed for 3 frames autofocus rather than Phase-Difference images between the camera and a
in 0.3, 0.7 or 1 EV step. White Balance AF as used in D-SLRs. The AF can track Smartphone or PC that has
can be set to Auto or any of the seven moving objects during continuous Wi-Fi connectivity.
Presets. Custom and One-touch WB is shooting (Olympus calls it sequential
also available. WB too can be bracketed shooting) at 3.5 frames per second. The Images can be recorded in Raw, JPEG
for 3 frames in 2, 4, or 6 steps. Five camera lets you choose which of the 35 Large/Fine, JPEG Large/Normal, JPEG
exposure meterings are available AF targets will be used for autofocus. Medium/Normal, JPEG Small/Normal,
on the E-PL5 namely Digital ESP You can select between All Targets, Raw+JPEG Large/Fine and Raw+ JPEG
metering, Centre-weighted Average, Single Target - Standard-size, Single Large/Normal. The camera uses SD/
Spot, ‘Spot metering – Highlight’, Target – Small-size, and Group Target. SDHC/SDXC memory card for storage
and ‘Spot metering-Shadows’. When Pictures can be shot using Single-frame, and weighs approximately 325 g with
‘Spot metering – Highlight’ is used, Sequential H (approx. 8fps), Sequential the battery and card.
the camera automatically increases the L (approx. 3.5fps), 12-second self-timer,
exposure to ensure that the highlights 2-second self-timer, and Custom self- Ergonomics
remain bright. When ‘Spot metering- timer. You can also zoom onto a portion The E-PL5 is perfect for people
Shadow’ is used, the E-PL5 automatically of the frame when adjusting the focus. with small hands, but could be a bit
lowers the exposure to ensure that the This allows you to position the focus uncomfortable to hold for those having
dark subjects appear dark. target more precisely. Autofocussing large-sized hands. It is a feature-filled
and shutter release can be done via the model and as such, getting familiar with
As with some Olympus cameras, the touch-screen monitor. Three icons are all its features is important if you wish
E-PL5 too has Art Filters that offer a available for this purpose: Touch to use the camera to its full potential.
certain amount of creative freedom to this icon to autofocus; Touch The Panorama mode offered by the
the user. They are: Pop Art, Soft Focus, this icon to autofocus and release the E-PL5 is actually a panorama-assist
Pale and Light Colour, Light Tone, Grainy shutter automatically; Touch this mode which allows you to shoot many
Film, Pin Hole, Diorama, Cross Process, icon to disable touch-screen operations. overlapping pictures and later join them
Gentle Sepia, Dramatic Tone, Key Line, in a computer.
Watercolour, and Art Bracketing. In As mentioned in the beginning, the
addition, a variety of Scene Modes are on E-PL5 does not have a built-in flash but Performance
offer like Portrait, e-Portrait, Landscape, a small dedicated flash gun (FL-LM1) is Our tests were conducted with the
Landscape+Portrait, Sport, Night Scene, bundled with the camera. Flash output 14-42mm lens. Once the power
Night+Portrait, Children, High Key, Low can be bracketed for 3 frames in 0.3, was put ‘on’, the camera was ready
Key, DIS (Digital Image Stabilizer) Mode, 0.7 or 1 EV step. Optional dedicated to fire away almost instantly. The
Macro, Nature Macro, Candle, Sunset, flash from Olympus (FL-50R, FL-36R, Olympus E-PL5 acquitted itself very

ILCC Review
well in terms of image sharpness and the lens wide open, and this continued
digital noise. Sharpness was very throughout the aperture range
good throughout the focal range. (though this is not likely to pose a
Corner sharpness, with the lens wide serious problem in real-life situations).
open, was a bit less but completely Slight barrel distortion was seen at
acceptable. The three meterings – 14mm setting.
Digital ESP, Centre-weighted average,
and Spot – worked well most of the Value for Money
times, though some highlight burnout The Olympus E-PL5 is available at an
was noticed in strong light conditions. MRP of Rs.44,990 as a one-lens kit
Some flare could be seen when (with M. Zuiko Digital 14-42mm f/3.5-
shooting into strong light but we did 5.6 IIR MSC lens), and Rs.54,990 for a
+ Excellent image quality not notice any chromatic aberration two-lens kit (M. Zuiko Digital
+ Feature-filled (which is a good thing). 14-42mm + the M. Zuiko Digital ED
+
40-150mm f/4-5.6R ). At this price, the
Touch-screen AF and Shutter release
Noise control was very good. At 25% E-PL5 constitutes fair value for money.
-
HDR shots have to be merged in screen size, only the highest ISO setting
Photoshop of 25,600 showed fine traces of noise SPECIFICATIONS
but otherwise was perfectly usable. At Camera type : ILCC
-
User interface can be confusing to
Format : Micro Four Thirds
new comers 50% screen size noise control was very Equivalent focal : Twice that of the lens used
FINAL SCORE
good, up to ISO 3200 and ISO 6400 length
wasn’t too bad either; ISO 12,800 did Image sensor : Four Thirds Live MOS (13 x 17.3mm)
Design and Build Quality 16/20 show noise but I wouldn’t hesitate to Effective pixels : 16 million
Aspect ratio : 4:3
Key Features 17/20 use it if need be. At 100% screen size,
Monitor : 3” TFT LCD, Vari-angle, 460,000 dots
Ergonomics 17/20 though noise was visible even at the Shutter : Focal plane, 60 sec – 1/4000 sec, Bulb,
lowest ISO sensitivity, I would use it up Time photography
Performance
Autofocus 5/5
to ISO 1600; in dire consequences, up Autofocus : Contrast Detection
to ISO 3200. Focussing points : 35
Metering 4/5 Focus point selection : Auto, Optional
Metering : TTL, Digital ESP, Centre-weighted
Noise Control 4/5 Auto White Balance was slightly off average, Spot
Sharpness 4/5 under our testing conditions, but Shooting modes : Intelligent Auto, P (with Program Shift),
could be easily corrected in post A, S, M, Art Filter, Scene, Movie
LCD/EVF 3.5/5 ISO sensitivity : 200-25,600 in 1/3 or 1EV step
processing. The Preset White Balance
Auto White Balance 3.5/5 Exposure comp. : +/- 3EV in 1/3, 1/2, or 1EV step
was okay under Sunlight and Shade. White Balance : Auto, 7 Presets, Custom,
Sub-Total 24/30 In Incandescent and Fluorescent One-touch WB
Value for Money 8/10 lights, most cameras have a tough time Memory card : SD/SDHC, SDXC, Eye-Fi
(supports UHS 1)
producing accurate colours, and the
Grand Total 82/100 Movie : MPEG-4 AVC/H.264, Motion JPEG
E-PL5 was no exception. But then, this Drive mode : Single frame, Sequential (up to 8 fps
is not always a camera problem; the when set to High), self-timer
VERDICT problem often is a mix of light bulbs of Flash control : TTL pre-flash, Manual
different wattages and fluorescent lights Sync speed : Up to 1/250sec
The Olympus E-PL5 is compact,
Battery : Li-ion (BLS-5), 1150 mAh
lightweight and affordable. Image of varying Kelvin temperatures. Dimensions : 110.5 (W) x 63.7 (H) x 38.2 (D)
quality as well as build quality
excluding projections
passes our tests. Best Buy!
Some darkening of corners at the Weight : Approx. 325g including battery
Rohinton Mehta
widest focal length was noticeable with and memory card

Head-to-Head
Bridge Cameras Compared
Canon PowerShot SX50 HS Vs. Panasonic LUMIX DMC-FZ200

Vs. Sony Cyber-shot DSC-HX200V
B
ridge cameras, or Super-zooms as their lenses. Most of these come with be very cumbersome to carry those
they are called, are very popular 20 to 50x zoom ranges starting from huge lenses around. This time, we are
among amateur photographers for wide-angle up to super telephoto, pitching three popular bridge cameras
their versatility. These cameras bridge covering everything that a person is against each other in a head-to-head
the gap between compact cameras likely to shoot. Matching this range on an comparison to see which one would
and interchangeable lens systems. But interchangeable lens camera, such as a be more sensible to buy. The cameras
why are they so popular? Without D-SLR, would be a very expensive affair. featured here are Canon PowerShot
any doubt, it is the zoom range of Even if you have the budget, it would SX50 HS, Panasonic LUMIX DMC-FZ200,

Head-to-Head
and Sony Cyber-shot DSC HX200V. SX50 HS and the Panasonic FZ200 dots and Canon with 461,000 dots.
There are few other cameras competing are 12.2 megapixel models while the Both the Canon and Panasonic have the
in the same space, but unfortunately, we Sony HX200V is 18.2 megapixels. This advantage of having accessory shoes
were unable to get our hands on them is definitely an advantage for the Sony (hot-shoe) for triggering an external flash
in time for the review. as it allows you to make larger prints. or a studio strobe, but the Sony does
SX50 provides a whopping 50x optical not have this advantage. Both the SX50
Bridge cameras are very sophisticated, zoom (24-1200mm equivalent), which is and the FZ200 can record images in
and so, comparing them head-to-head is unmatched in this category. The HX200V Raw format, whereas the HX200 does
no mean task. These are feature-filled and offers 30x optical zoom (29-870mm) not offer any uncompressed format.
there is no way to judge which of these while the FZ200 offers the lowest, 20x Both the Sony HX100 and the Panasonic
would be important to a particular group optical zoom (25-600mm). But when it FZ200 have more powerful built-in-
of people. However, this comparison will comes to the utility of the zoom range, flashes, which is certainly advantageous
give you a fair idea as to what features we think the Sony should have started for these two cameras in comparison
each camera is good at. Please note that from a wider range, around 24mm. The with the Canon SX50 HS.
all focal lengths are expressed in 35mm- Sony offers the maximum sensitivity
equivalent, unless specified. range of ISO 100 to 12,800, followed Ergonomics
by the Canon with ISO 80 to 6400 and All the three cameras are similar in size,
Design and Build Quality then the Panasonic with ISO 100 to though the Panasonic FZ200 appears
All the three cameras are well-built with 3200. The Panasonic FZ200 offers an slightly larger than the rest. The Sony
rugged engineering plastic outer body. aperture range of f/2.8-8 throughout Cybershot HX200V provides the best
We could not see any major difference the zoom range; the maximum aperture grip amongst the three. It is really deep
in the construction of the cameras. of f/2.8 throughout the zoom range is and lined with rough rubber so that the
All the three feature metal tripod rare and difficult to achieve at this price camera sits firmly in your hand. Next
receptacles. All the three cameras have point. The Sony offers f/2.8 to 8 at the comes the Panasonic FZ200, which too
single-barrel lens construction. The only wide-angle end and f/5.6 to 8 at the has a rubber lined grip, but it is not as
major difference we could find was telephoto end, while the Canon offers deep as the Cybershot. After ruling
the LCD. Both the Canon SX50 and the f/3.4 to 8 and f/6.5 to 8 at the wide- for almost seven years, the Powershot’s
Panasonic FZ200 have fully articulated angle and telephoto ends respectively. familiar ergonomic design is crying for
LCDs that can be folded inward to In the Shutter Speed range also, the improvement. Compared to the two
protect the screen when not in use, but Panasonic offers one stop more than others, the grip of the SX50 HS is small
the Sony HX200V’s LCD has only tilt the Sony, which in turn offers two stops and does not have a rubber lining,
motion and cannot be folded. So in the more than the Canon. Though the making it slippery. You will realise this
case of Sony, the LCD is exposed all the Sony HX200V appears to offer more if you hold either the HX200 or the
time, which is not a very good idea. shooting modes because of the fact FZ200 and then suddenly pick up the
that it accommodates more of these on SX50. The Sony LCD displayed rich
Key Features the mode dial, the other two cameras colours, while the Canon introduced
Manufacturers have their own way of offer most of these shooting modes a slight yellow cast. The Panasonic was
making a feature look completely new through the Scene mode. The Sony somewhat pale. But the Panasonic
by calling it by a name different from and Panasonic have 3-inch LCD screens FZ200 produced the least pixel jitter
their competitors. For example, one while the Canon has a 2.8-inch display. followed by the Sony HX200 and the
camera might specify 50 different scene This will not make a huge difference in Canon SX50. Both the Canon and the
modes, while another one might specify the user experience. Both the SX50 and Panasonic have quick menu buttons
only 15. But in reality, you may be able the FZ200 have fully articulated LCDs to enable setting up the camera fast,
to achieve the same result by combining while the HX200’s display is capable while the Sony does not feature any
5 of the basic modes. So in a comparison only of tilt motion. Here clearly, the Sony such button. Also, the Canon SX50 and
like this, it is very important that we take is at a disadvantage. Panasonic has the Panasonic FZ200’s built-in flash does not
into account only the ‘key’ features, highest screen resolution of 1,312,000 pop-up on its own. The Panasonic has a
ignoring the trivial ones. Both the Canon dots followed by Sony with 921,600 dedicated button, whereas the Canon’s

Head-to-Head
Key Features
Features Canon Powershot SX50HS Sony Cyber-shot DSC HX200V Panasonic LUMIX
DMC-FZ200
Sensor Size 6.17 x 4.55 mm 6.16 x 4.62 mm 6.16 x 4.62 mm

Sensor Type BSI-CMOS Exmor R CMOS High Sensitivity MOS
No. of Pixels 12.1 million 18.2 million 12.1
Focal Length 24 - 1200 mm 29-870 mm 25 - 600 mm
Minimum focussing distance 0 cm 1 cm 1 cm
VR/IS OIS OIS Power OIS
ISO 80 – 6400 100 – 12800 100 – 3200
Shutter Speed 15 – 1/2000 30 – 1/4000 60 – 1/4000 sec
Aperture range W f/3.4 – f/8.0 F/2.8-8.0 F/2.8-8.0
Aperture range T f/6.5 - f/8.0 F/5.6-8.0 F/2.8-8.0
Shooting Modes C1, C2, M, Av, Tv, P, Auto, Superior Auto, Intelligent Auto, Intelligent Auto, P, A, S, M,
Movie Digest, Sports, SCN, Easy Shooting, P, S, A, M, Movie, C1 , C2 , Creative Video,
Creative Filters, Movie Panorama, Scene Selection, Creative Control, Scene
Picture Effect, 3D, Background
Defocus, Intelligent Sweep
Panorama
LCD Size 2.8 inch 3.0 inch 3.0 inch
LCD Type Fully Articulated Tilt Fully Articulated
(Full articulated/Tilt)
LCD dots 461,000 921,600 460,000
EVF Approx 202,000 dots Approx 201,600 dots 1,312,000 dots
Accessory Shoe Available No Available
Flash Modes Auto, On, Slow Synchro, Off Auto, On, Off, Slow Synchro, Auto, Red-eye Reduction,
Rear Slow Synchro Forced On, Slow Sync., 2nd
Forced Off, 1st Curtain Sync,
Curtain Slow Sync
Flash Range (ISO Auto) 50cm - 5.5m (W), 30cm - 12.4m (W), 30cm – 13.5m (W),
1.4 - 3.0m (T) 0.3 - 12.4m (W) 1.0-13.5m (Tele)
Max.Burst Speed Approx 13 fps. Approx. 10 fps Approx. 12 fps
Max.Still image Size 4000 x 3000 4896 x 3672 4000 x 3000
Max. Video Size 1920 x 1080 1920 x 1,080 1920 x 1080
Max. Movie Recording Time Approx. 75 min Data Not Available Approx. 30 min
Raw Format Yes No Yes
Battery Type Li-ion Battery pack Li-ion Battery pack Li-ion Battery pack
Weight Approx. 595g Approx 583g Approx.588g

Head-to-Head
The following images have been shot at f/5.6, while keeping the angle of coverage as identical
as possible. Do note that different lenses produce different sharpness levels
at the same aperture.
Canon Powershot SX50HS
ISO: 250 Shutter speed: 1/2sec Aperture: f/5.6

Head-to-Head
Panasonic LUMIX DMC-FZ200

Head-to-Head
Sony Cyber-shot DSC HX200V

Head-to-Head
This is a very good feature because it is In the test for sharpness, we considered other settings produced distinct cast.
very easy to disable flash if it is left on the widest focal length and the common Please note, however, that these can
accidentally. The Sony HX200V’s flash maximum focal length of 600mm. Images be corrected easily using Photoshop.
has to be enabled or disabled from the from the Canon SX50 was found to Noise was compared side-by-side for
menu, which is tedious when on the field. be the sharpest, while Panasonic and each ISO sensitivity. The Canon SX50
Sony followed in the same order. We produced noise-free images up to
Performance also found that all the three cameras ISO 3200 and the Panasonic FZ200
All the three cameras focussed fast, and produced the best results close to the produced noise-free images up to ISO
the speeds were so close that we could widest aperture. In the case of distortion, 1600, while the Sony HX200 produced
not determine which one is best in the Sony emerged champion. We did noise even at ISO 200, which was rather
this. The Canon SX50 produced flare, not observe any perceptible distortion surprising since we thought Sony ‘s
but we did not observe any chromatic in the HX200 throughout the zoom BSI CMOS sensors were excellent in
aberration. Both the Panasonic and the range. The Canon SX50 produced slight handling noise.
Sony produced prominent flare and barrel distortion up to 80mm, while
chromatic aberration. The Panasonic the Panasonic produced slight barrel Value for Money
FX200 produced darkening of corners distortion up to 100mm. The Sony HX200V is least priced with an
at the extreme corners, but overall, MRP of Rs.24,990, while the Canon SX50
the illumination remained even. The In the White Balance front, the Canon HS retails at an MRP of Rs.29,995. The
Canon SX50 produced a soft gradation SX50 HS was accurate under daylight Panasonic FZ200 is the most expensive
from centre to the periphery, but the (both on auto and pre-set mode), with an MRP of Rs.34,990. But the value
darkening was not very disturbing. while Auto White Balance (AWB) for money is determined by taking the
The Sony HX200 produced heavy under cloudy lighting was acceptable. price in relation to the overall points. So
darkening throughout the image. Panasonic FZ200 produced desirable at the price point, Sony HX200 is ahead
Please note that darkening of corners results in AWB under cloudy and of Panasonic FZ200, but the superior
and flare tests were conducted at acceptable under daylight. The Sony performance of Canon SX50 HS still
the wide-angle end with the lens HX200V produced excellent result in keeps it in the number one position in
wide-open. AWB under cloudy lighting, while all value for money.
OUR VERDICT
Choosing a bridge camera is very tricky since there is an exhaustive list of parameters to compare. For some, the
megapixels are more important than the zoom range, while some others require better wide-angle capabilities.
Yet some others crave for a supertelephoto range. While it is not possible to satisfy everyone with a single
review, we have done our part in bringing out a fair comparison between the three cameras. While the Canon
SX50 HS emerged the best performer, the Sony offers a very competitive price. The Panasonic, on the other
hand, comes with the lure of a fast f/2.8 aperture throughout. However, in overall comparison, the Canon
PowerShot SX50 HS edges past others with the highest overall performance. The Panasonic Lumix FZ200 comes
second and the Sony Cyber-shot DSC HX200V third.
Sujith Gopinath
ner
Ruunp
Wi n n e r
Parameter Canon Powershot
Powers SX50HS Panasonic
Pa
P Lumix FZ200
nasonic Lum Sony Cyber-shot DSC-HX200V
Build Quality ********** ********** **********
Key Features ********** ********** **********
Ergonomics ********** ********** **********
Performance ********** ********** **********
Value For Money ********** ********** **********
Overall 37 34 26

Lens Review
Canon EF24-70mm f/2.8L II USM
Classy but Heavy!

T
his lens is the new improved scale, in meters and feet, is covered under
version of the earlier 24-70mm a plastic window. Focal lengths of 24, 28,
f/2.8 lens from Canon (hence 35, 50 and 70mm are marked very legibly
marked II). It is slightly shorter in length, and in white. A zoom-lock switch is provided
a wee-bit fatter. to lock the lens at the 24mm setting to
prevent chances of lens creep during
Design and Build Quality travelling, which could possibly damage
The Canon EF24-70mm f/2.8L II USM is the lens. An AF-MF switch is provided on
an L-series lens designed for full-frame the left of the lens. The lens measures 88.5
cameras. It offers professional build quality. (D) x 113 mm (L). The length is measured
The lens is quite heavy (805 g) and from the mount surface to the front end
extends by approximately 30mm when of the lens, excluding the lens caps, and
zoomed to the 70mm position. The filter weighs approximately 805 g. There is no
size is 82mm. built-in image stabiliser.
Key Features Ergonomics

The Canon EF24-70mm f/2.8L II USM is We tested the lens using a Canon 5D
a 2-section zoom lens constructed from Mark II body. The lens was comfortable
81
18 elements in 13 groups which includes to use and balanced well even when fully
three aspherical, a super UD, and two UD extended. The manual focussing ring was
lens elements for superior image quality. very smooth but the zoom ring was a bit
The foremost and the rearmost lens stiff, possibly because the lens was new.
surfaces are coated with a special fluorine
coating which allows adhered dust/dirt to Performance
be removed much easily than before. The Autofocussing was very quick, accurate,
autofocus drive system uses a ring USM and absolutely silent. At 24 mm, centre
(ultrasonic motor) for speedy and quiet sharpness was good even with the lens
%
autofocus. The autofocus can be manually wide open; corners/sides were softer. By
fine-tuned when the camera is set to Single f/8 it was difficult to notice the difference
AF. The diaphragm is 9-bladed for smooth between centre sharpness and corner
‘bokeh’. The lens is water and dust resistant, sharpness (lens wide open). By 35mm,
Rs.1,49,995 and the lens mount is made of metal. corner/side sharpness had improved (with
the lens wide open). We felt that f/11 was
Inside the Box The lens sports the usual red-band the sharpest at any zoom setting; while
towards the filter end to denote it as an f/22 definitely showed some softening
z Lens
z Front and rear lens caps
L-series lens. The manual focus ring as well due to diffraction of light. Barrel distortion
z Lens case LP1219 as the zoom ring are rubberised and offer was evident at 24, 27, and 35mm settings.
z Lens hood EW-88C a very nice slip-proof grip. The distance Corner darkening was noticed at all
z Instruction manual

Lens Review
Canon EF24-70mm f/2.8L II USM
Mahesh Reddy
Image taken with the Canon EF24-70mm
f/2.8L II USM.
Technical data: Aperture f/3.5, Shutter speed
1/800 sec. ISO 250.
Min. Aperture : F/22

apertures at 24, 27 and 35mm settings; Angle of view : 84 – 34” diagonal
negligible corner darkening at 50 and Min. Focussing distance : 0.38m/1.25ft
70mm. It should be noted that this Max. magnification : 0.21x (at 70mm)
Filter diameter : 82mm
particular section of our test was done
Max. dia x length : 88.5 (D) x 113 mm (L)
in the studio and at reasonably close (Length is measured from the
distances. In actual day-to-day shooting, mount surface to the front
the corner/side darkening may not pose end of the lens, excluding + Very good build quality
lens caps)
any serious problem. Some flare was Weight : 805 g + Good sharpness
observed in strong, against-the-light shots + Quick and accurate AF
with the lens wide open but chromatic
aberration was well controlled. FINAL SCORE - Distance scale (in feet) difficult to read
Design and Build Quality 18/20 - No Image Stabiliser
The performance is okay but considering Key Features 16/20 - Odd size (82mm) filter
its high price, we expected a better - Filter thread made of plastic
Ergonomics 17/20
overall performance. - Expensive
Performance
Autofocus 4/5
Value for Money VERDICT
Sharpness 4/5 The zoom range of the lens, though
The Canon EF24-70mm f/2.8L II USM
Distortion Control 3.5/5 limited, covers most of the shooting
is available at an MRP of Rs.1,49,995. situations from landscapes to
Compared to its closest competitor- Aberrations 4/5 weddings and its fast f/2.8 speed
AF-S NIKKOR 24-70mm f/2.8G ED- this Darkening of Corners 3/5 throughout is a big advantage when
it comes to low-light shooting. An
lens is definitely expensive. Extra Features 4/5 Image Stabiliser would definitely have
Sub-Total 22.5/30 been an advantage; but unfortunately
SPECIFICATIONS it doesn’t have one. The lens is
Focal length : 24-70mm Value for Money 7.5/10 expensive but it meets our standards
Lens construction : 18 elements in 13 groups for ‘Best Buy’ by a slight margin.
Max. Aperture : F/2.8 throughout Grand Total 81/100 Rohinton Mehta

Printer Review
Epson R2000
Another Ace from Epson
Key Features
The Epson Stylus Photo R2000 uses an
advanced MicroPiezo AMC (Advanced
Meniscus Control) print head. The AMC
controls the meniscus of each droplet
of ink before releasing it to improve the
precision of droplet size. This enables
the print head to deliver precise
variable-sized ink droplets as small as
1.5 picolitres on to the paper. The print
head uses an ink repelling coating to
prevent ink particles from sticking to
it and clogging the nozzles, thereby
reducing the need for maintenance. The
printer features automatic print head
alignment and automatic nozzle cleaning.
E
pson has been the leader in launch, the R3000, was priced beyond The control panel buttons are — Power,
professional printing sphere, and Rs.60,000, and this could be the reason Wi-Fi, Network Status Sheet, Paper, Ink,
their photo printers have won many for Epson to introduce the sub-40,000 and Roll Paper. The network status sheet
accolades both in India and abroad. We Stylus Photo R2000. button prints a network status sheet,
which will include the PIN to connect to
had to wait for about three years to lay
a WiFi network. The roll paper button
86
our hands on an A3+ photo printer after Design and Build Quality can be used to print a cut line on a roll
the Stylus Photo R1900. The last year’s The Stylus Photo R2000 is built sturdy paper and feed the paper to a position
as is the case with all Epson printers. where it can be easily cut.
Like all A3+ photo printers, the machine
occupies a large area on the desk. The printer uses an 8-colour Epson
When not in use, the trays can be UltraChrome Hi-Gloss 2 pigment ink
folded and locked so that there is no system. The system consists of Photo
projecting part. The control panel has Black, Matte Black, Cyan, Magenta, Yellow,
%
six buttons and four status LEDs. The Red, Orange, and Gloss Optimizer
printer comes with a CD/DVD tray, individual ink cartridges to ensure a
manual feed tray for thick paper, and a wide gamut and superior gloss finish.
roll paper holder for panoramic prints. Epson claim that the inks have instant-dry
Rs.34,999 Pictbridge port is at the front on the

lower left hand side. The back side
properties and are smudge, fade, and
water resistant. The printer automatically
switches between Photo Black and Matte
features the Ethernet and USB ports
Inside the Box and the power port. The device
Black inks depending on the media used.
z Printer The system uses Ink Density Optimization,
z Documentation has dimensions of 62.2 x 32.5 x 21.8 cm which ensures consistent colours by
z CD-ROM (W x D x H) and weighs approximately automatically mixing the pigments in
z USB Cable 12.5 kg. the ink. It also utilises AccuPhoto HG
z 8 Cartridges

Printer Review
Epson R2000
Performance test scans

1. Black and White reproduction
2. Skin tone test
3. Subtle colours and detail
4. Saturated colours
5. Five percent progressive black to white gradation
2 5

Printer Review
Epson R2000
imaging technology, which ensures and use. Epson includes a PDF manual
Value for Money
precision placement of ink droplets along with links to the HTML version of
The Epson Stylus Photo R2000 retails
resulting in smooth, grain-free images. network manual. Both are written in an
at an MRP of Rs.34,999. This price is
This technology helps to maximise colour easily understandable format. Print head
fair, considering the quality of prints it
gamut while providing smooth gradation. alignment and nozzle cleaning is as easy
delivers. Each individual ink cartridge
Epson has also increased the ink capacity as feeding paper and clicking a button.
costs Rs.1,100.
of their individual cartridges by 50 The software even provides access to
percent (compared to the Stylus Photo the technical support site. SPECIFICATIONS
R1900) which allows you to economically Printing Technology : Advanced Micro Piezo AMC
use the printer. Performance print head
The best way to check the quality of Nozzle Configuration : 180 nozzles x 8
The R2000 can accept a full range of Min. Ink Droplet Size : 1.5 picoliters
a printer is by comparing the prints
Max. Print Resolution : 5760 x 1440 optimized dpi
media from border free 4 x 6 inch to with the same image printed using Max. Printable Area : 13” x 44”
13 x 19 inch sizes. It can print on glossy, another printer on the same type of Photo Print Speed : 8” x 10”: Approx. 1 min 8 sec
lustre, matte, and fine-art media (including paper without any changes made. We Paper Capacity : Auto sheet feeder, Up to 13” x
canvas) in addition to plain paper. You tested the printer with A4 size Epson 19”, 120 sheets (plain paper), 30
can also print panoramic images up to 13 sheets (photo paper), Manual
Glossy Photo Paper (258 gsm) and
rear path, 1 sheet (fine art paper)
x 44 inches. It can print on a 1.3mm thick A3+ size Premium Glossy Photo Paper Front media path : Up to 13” x 19” 1 sheet manual
board and also on a CD/DVD. The printer provided by Epson. Understandably, feeder for media up to 1.3 mm
features advanced connectivity options the Epson R2000 reproduced a much thick 1 printable CD / DVD (using
that enable you to choose between USB wider gamut of colours compared to included tray)
2.0, 100Mb Ethernet, and Wi-Fi. Special Media Support : Roll paper 8.3” and 13” rolls Fine
the Epson L800, thanks to the 8-colour
art paper via manual rear path
system. It reproduced both shadows Inkjet printable CD / DVD using
Ergonomics and highlights very well with good included tray
The Epson R2000 is easy to set up colour separation and reproduced even Ink Type : Epson UltraChrome Hi-Gloss 2
2-point Times New Roman text with pigment ink
Ink Palette : Photo or Matte Black, Cyan,
+ Excellent Print Quality good contrast on white background.
Magenta, Yellow, Red, Orange
+
Though the red-yellow combination and Gloss Optimizer
Fast Printing
bled considerably, it was much better Ink Cartridge : 8 individual ink cartridges
+ Easy to set up than the L800’s prints. Subtle colours Configuration
+ Wide range of media were produced with great detail even Replacement Ink : Photo Black (T159120), Matte
Black
+ Fair Pricing in shadow areas, where many printers
Cartridges (T159820), Cyan (T159220),
fail. Even high-saturation images were Magenta (T159320), Yellow
FINAL SCORE reproduced without any perceptible (T159420), Red (T159720),
Design and Build Quality 16/20 colour bleeding. Skin tones were Orange (T159920), Gloss
reproduced very well without any cast Optimizer (T159020)
Key Features 18/20 and BW images were reproduced with Ink cartridge shelf life : 3 years from printed production
date or 6 months after opened
Ergonomics 17/20 good depth and fine gradation. Interface : Hi-Speed USB 2.0 (1 port)
Performance 18/20 100Base-T Ethernet (1 port)
We tested the printer for the print speed Wi-Fi CERTIFIED™ (802.11n only)
Value for Money 17/20 with both A4 and A3+ sizes. In the High PictBridge™ (1 port)
Operating Systems : Windows 7 (32-bit, 64-bit), Vista
Grand Total 86/100 Quality setting, the printer reproduced
(32-bit, 64-bit), XP, Mac OS® X
a borderless A4 print in 2 min and 50 10.5.x, 10.6.x, 10.7.x, 10.8.x
VERDICT sec, while in the High Speed setting, Temperature Operating
The Epson Stylus Photo R2000 is a top- it reproduced the same borderless 50° to 95° F (10° to 35° C)
of-the-line printer for professional and Dimensions : Printing
image in 1 minute and 30 sec. An A3+
semi-professional photographers. This 24.5” x 31.4” x 16.5” (W x D x H)
printer lives up to the expectations in borderless print was reproduced at
Storage
all departments. Certainly a Best Buy. the High Quality setting in just over 6 24.5” x 12.8” x 8.6” (W x D x H)
Sujith Gopinath minutes, which is remarkable. Weight : 27.5 lb

READERS CAN CHECK THE ENTIRE BUYER’S GUIDE,
THAT FEATURES SPECS AND PRICES OF
D-SLRS, ILCCS, DIGITAL COMPACTS AND LENSES VIDE LINK
http://smartphotography.in/news/monthly-special

Buyers’ Guide - Digital SLRs
CANON EOS-1D X CANON EOS 5D MARK III CANON EOS 6D
Sensor Type/size : Full Frame 36 x Sensor Type/size : CMOS, Full Sensor Type/size : CMOS, 35.8mm
24 mm CMOS frame 36 x 24 mm x 23.9mm
Effective Pixels : 18.1 million Effective Pixels : 22.3 million Effective pixels : Approx. 20.2
File Formats : RAW /JPEG Supported million
Metering Modes : Multi, Center- File Formats : JPEG (Exif 2.3 [Exif Supported File formats: JPEG, RAW (14-
weighted, Print] compliant) bit, Canon
Average, Spot RAW: RAW, original),
Exposure Modes : Program AE, sRAW1, sRAW2 RAW+JPEG
Shutter priority (14bit, Canon Metering Modes : Evaluative
AE, Aperture original RAW 2nd edition) metering (315
priority AE, Manual Metering Modes : Multi, Center-weighted, Spot, Partial zones), Partial,
ISO Equivalence : 100-51200 (50, 102400 and 204800 Exposure Modes : Auto+ Program AE, Shutter priority AE, Spot, Center-weighted
with boost) Aperture priority AE Manual (Stills and Exposure Modes : Program AE for movie shooting, Manual
Shutter Speed : 30 sec-1/8000 sec. Movie), Custom (x3) exposure
White Balance : Auto, Daylight, Shade, Cloudy, Tungsten, ISO Equivalence : 100-25600 (50-102400 in expanded mode) ISO equivalence : 100-25600 (expansion possible to ISO
White Fluorescent light, Flash, Custom Shutter Speed : 30 sec - 1/8000 sec 50, ISO 51200 and 102400)
(up to 5), Color Temperature (Kelvin) White Balance : Auto, Daylight, Shade, Cloudy, Tungsten Shutter Speeds : 1/4000 to 30 sec.
LCD Monitor : 3.2 inches/ 1040000 pixels SPNO[>OP[LÅ\VYLZJLU[SPNO[-SHZO*\Z[VT LCD Monitor/ Dots : 3.0-inches, 1,040,000 dots
Storage Type : Compact Flash (Type I or II), WB, Color temperature Storage Type : SD card, SDHC card, SDXC memory card
UDMA compatible LCD Monitor/Dots : 3.2-inch, 1,040,000 dots Weight : 680g (Body only)
Weight : not announced Storage Type : Compact Flash Type I (UDMA compatible),
SD/SDHC/SDXC
Weight : 950 gms
Price: TBA Price: Rs. 2,06,095 (body only) Price: TBA
CANON EOS 7D CANON EOS 60D CANON EOS 650D

Sensor Type/Size : 22.3 x 14.9 mm Sensor Type/size : CMOS, 22.3 x Effective Pixels : 18.0
Effective Pixels : 18.0 million 14.9 mm megapixels
Supported Effective Pixels : 18.0 million Sensor Type : 22.3 x 14.9 mm,
File Formats
: RAW, M-RAW, Supported CMOS
S-RAW,JPEG File Format : RAW, s-RAW, Effective Pixels : 18.0 megapixels
Metering Modes : 63 area Eval., File Formats : RAW/JPEG
Center weighted, JPEG, Metering Modes : Multi, Center-
Partial, Spot Metering Modes : Multi (63 area), weighted, Spot,
Exposure Modes : Auto, P, A, S, M Partial
ISO Equivalence : 100, 200, 400, Center, Partial, Spot
800, 1600, 3200,6400, 12800(H) Exposure Modes : Program AE, Shutter, Built in - Yes, Exposure Modes : Program AE, Shutter priority AE, Aperture
Shutter Speeds : 30 sec - 1/8000 sEC Gnat 100 13 M Shake - Yes priority AE, Manual, Scene Intelligent
LCD Monitor/Dots : 3.0-inch / 920000 dots LCD Monitor/Dots : 3.0-inch Approx. 1,040,000 / Auto, No Flash, Creative Auto, Portrait,
Storage Type : Compact Flash (Type I or 1,040,000 dots Landscape, Close-up, Sports, Night
II), UDMA, Microdrive cards ISO Equivalence : Auto, 100, 200, 400, 800, 1600, Portrait, Handheld Night Scene
Weight : 820gms (body only) 3200, 6400, (12800 with boost) ISO Equivalence : Auto, 100, 200, 400, 800, 1600, 3200,
Shutter Speed : 30 sec - 1/8000 sec, bulb 6400, 12800 (25600 with boost)
Storage Type : SD/SDHC/SDXC Shutter Speed : 30 sec -1/4000 sec
Weight : 755 gms. LCD Monitor : 3.0-inch, 1,040,000 dots
Storage Type : SD/SDHC/SDXC
Weight : 575 gms
Price: Rs. 87,995 (body only) Price: Rs. 56,295 (with 18-55mm lens Rs. 60,295) Price: Rs. 55,995/- (body only)
CANON EOS 1100D NIKON D4 NIKON D600

Effective Pixels
: Approx. 12 Sensor Type/size : CMOS, 36.0 x Sensor Type/size : CMOS, 35.9 x
megapixel 23.9 mm 24 mm
Sensor Type : 22.2 x 14.7mm Effective Pixels : 16.2 million Effective pixels : 24.3 million
CMOS Supported Supported File Formats: NEF (RAW):
Supported File Type : RAW/JPEG File Formats : RAW, TIFF, JPEG 12 or 14 bit,
Exposure Modes : Auto, No Flash, Metering Modes : Matrix or JPEG
Creative Auto, center-weighted Metering Modes: Multi, Center-
Scene Modes, metering: -1 to weighted,
Movie, Program 20 EV, Spot Average, Spot
AE, Shutter priority AE, Aperture priority metering: 2 to 20 EV Exposure Modes : P, S, A, M
AE, Manual, A-DEP ISO Equivalence : 100 - 6400 in 1, 1/2 or 1/3 EV steps
Metering Modes : TTL full aperture metering with 63-zone ,_WVZ\YL4VKLZ !7YVNYHTTLKH\[V^P[OÅL_PISLWYVNYHT (50 - 25600 with boost)
SPC, Evaluative metering, Partial (P); shutter-priority auto (S); aperture- Shutter Speeds : 1/4000 to 30 sec.
metering, Spot metering, Center weighted. priority auto (A); manual (M) LCD Monitor/ Dots : 3.2-inch, 921,000 dots
LCD Monitor/Dots : 2.7-Inch / 230,000 dot ISO Equivalence : ISO 100 to 12800 in steps of 1/3, 1/2 Storage Type : SD/SDHC/SDXC cards
ISO Equivalence : 100-6400 or 1 EV; can also be set to approx. 0.3, Weight : 760g (Body only)
Shutter Speed : 30-1/4000 sec (1/2 or 1/3 stop 0.5, 0.7 or 1 EV (ISO 50 equivalent)
increments), Bulb Shutter Speeds : 30 secs to 1/8,000 secs in steps of 1/3,
Storage Type : SD/SDHC/SDXC card 1/2 or 1 EV, bulb, X250
Weight : 495gm LCD Monitor/Dots : 3.2-inch, 921,000 dots
Storage Type : Compact Flash (Type I, XQD) x2
Weight : 1349 gms (including battery)
Price: Rs. 29,990 (with Kit EFS 18-55 IS II lens) Price: Rs. 3,39,950 Price: TBA

Buyers’ Guide - Digital SLRs
NIKON D800 NIKON D3200 NIKON D 5100
Sensor Size/Type : CMOS, 35.9 x Sensor Type : 23.2 x 15.4 mm , Effective Pixels : 16.2 million
24.0 mm CMOS Sensor Size/Type : 23.6 x 16.6mm,
Effective Pixels : 36.3 million Effective Pixels : 24.2 megapixels CMOS
Supported File Formats : RAW/JPEG File Formats : RAW, JPEG
File Formats : RAW, TIFF, JPEG Metering Modes : Matrix, Center- Metering Modes : 3D Matrix ,
Metering Modes : Multi, Center- weighted, Spot Center-weighted,
weighted, Exposure Modes : Programmed Spot
Average, Spot auto with Exposure Modes : P,A,S, M
,_WVZ\YL4VKLZ !7YVNYHTTLKH\[V^P[OÅL_PISL ÅL_PISLWYVNYHT ISO Equivalence : Auto, ISO 100 to
program (P); shutter-priority auto (S); (P), Shutterpriority 6400 in steps of 1/3 EV
aperture-priority auto (A); manual (M) (S), Aperture priority (A), Manual (M) Shutter Speeds : 1/4000 to 30 sec.
ISO Equivalence : 100 - 6400 in 1, 1/2 or 1/3 EV steps ISO Equivalence : Auto, 100, 200, 400, 800, 1600, 3200, LCD Monitor/ Dots : 3-inch, Vari angle, Approx. 921,000 dots
(50 - 25600 with boost) 6400 (12800 with boost) Built in Flash : Yes
Shutter Speeds : 30 secs to 1/8,000 secs in steps of 1/3, Shutter Speed : 30 sec -1/4000 sec in steps of 1/3 EV Storage Type : SD, SDHC, SDXC
1/2 or 1 EV, bulb, X250 LCD Monitor : 3.0-inch, 921,000 dots Weight : Approx. 510 gms
LCD Monitor/Dots : 3.2-inch, 921,000 dots Storage Type : SD/SDHC/SDXC UHS-I compliant
Storage Type : Compact Flash (Type I), SD/SDHC/SDXC Weight : 505 gms
UHS-I compliant
Weight : 900 gms
Price: Rs. 1,59,950 (body only) Price: Rs. 32,250 (body only) Price: Rs. 34,450/- (Body only)
NIKON D 5200 NIKON D7000 SONY SLT A37

Effective Pixels :- Sensor Type/Size : CMOS, 23.1 x Sensor Type : 23.5 x 15.6 mm,
Sensor Size/Type : 24.1 million 15.4 mm CMOS
Supported File Formats: - Effective Pixels : 16.2 million Effective Pixels : 16.1 megapixels
Metering Modes : TTL exposure Supported File Formats : RAW/JPEG
metering using File Formats : RAW/JPEG Metering Modes: Multi, Center-
2016-pixel Metering Modes : 3D color matrix weighted, Spot
RGB sensor metering II, Exposure Modes: iAuto, Superior Auto,
Exposure Modes : Auto modes, Center- Program, Aperture
P,S,A,M, scene weighted, Spot Priority, Shutter
modes (portrait, Exposure Mode : Auto, P,A,S, M Priority, Manual
landscape, child, sports, close up, night ISO Eqivalence : ISO 100 to 6400 in steps of ISO Equivalence : Auto, 100, 200, 400, 800, 1600, 3200,
portrait, night landscape, party/indoor, beach/ 1/3 or 1/2 EV 6400, 12800, 25600
snow, sunset, dusk/dawn, pet portrait, Shutter Speeds : 30 to 1/8000 sec, Shutter Speed : 30 sec -1/4000 sec
candlelight, blossom, autumn colors, food); Flash X-Sync, Bulb LCD Monitor : 2.6-inch, 230,400 dots
special effects modes (night vision, colour LCD Monitor/Dots : 3.0-inch / 921,000 dots Storage Type : SD/SDHC/SDXC UHS-I compliant
sketch, miniature effect. Storage Type : SD / SD HC / SDXC Weight : 505 gms
ISO Equivalence : ISO 100 to 6400 in steps of 1/3 EV; can Weight : 690 gms
also be set to approx. 0.3, 0.7, 1 or 2
EV (ISO 25600 equivalent) above ISO
6400; auto ISO sensitivity control available
Shutter Speeds : 1/4000 to 30 s
LCD Monitor/ Dots : 3 inch, 921,000 dots
Storage Type : SD and UHS-I compliant SDHC and
SDXC memory cards
Weight : 505 g (body only)
Price: TBA Price: Rs. 64,450 (Body only) Price: Rs. 35,990/-
SONY SLT A57 SONY ALPHA SLT A77 SONY ALPHA SLT A99
Sensor Type : Exmor APS HD Effective Pixels : 24.3 million pixels Effective Pixels : CMOS, 35.8 x 23.8 mm
CMOS sensor (23.5 X Sensor Type/Size : 23.5 x 15.6 mm Effective Pixels : 24.3 million
15.6mm) APS-C “Exmor” Supported File Formats : MPEG-4, AVCHD,
Effective Pixels : Approx. 16.1 million HD CMOS H.264
Metering Modes: Multi-segment, Shake Reduction : Sensor-Shift Metering Modes : Multi, Center-weighted,
Center-weighted, Spot File Formats : RAW, RAW + Spot
Exposure Settings : iAuto (AUTO), JPEG, JPEG – Exposure Modes : iAuto, Superior Auto,
Superior Auto (AUTO+), Standard, JPEG – Program, Aperture
Program Auto (P), Fine, JPEG Priority, Shutter Priority,
Aperture priority (A), Shutter-speed priority (S), Manual
Manual (M), Sweep Panorama (2D/3D), - Extra Fine ISO Equivalence : Auto, 100, 200, 400, 800, 1600, 3200, 6400,
Continuous Advance Priority AE, Movie, Exposure Modes : Program AE, Aperture priority AE, Shutter 12800, 25600
Scene Selection priority AE, Manual, Auto, Auto + High- Shutter Speeds : 1/8000 to 30 sec.
ISO : Still images: AUTO (ISO 100 - 3200)/ISO speed mode (10-fps), Sweep Panorama LCD Monitor/ Dots : 3 inch, 1,229,000 dots
100 - 16000 (1 EV step), Movies: AUTO 3D, Sweep Panorama Storage Type : Memory Stick PRO Duo/Pro-HG Duo;
(ISO 100 - 3200 equivalent)/ISO 100 - Metering Modes : 1200-zone multi-segment, SD, SDHC and SDXC
3200 equivalent (1 EV step) ; Multi Frame Center-Weighted, Spot Weight : 812g (Body only)
NR (up to ISO 25600) ISO Sensitivity : Auto, ISO 50 (Expanded setting), 100, 200,
Shutter Speed : Still:1/4000 to 30 seconds, bulb Movies: 1/4000 400, 800, 1600, 3200, 6400, 12800,
to 1/4 (1/3 step), up to 1/60 in AUTO mode 16000, 25600
LCD Monitor/ Pixels : 3.0 inch, 921,600 dots Shutter Speeds : 30 -1/8000 sec.
Storage Type : Memory Stick PRO Duo Pro-HG Duo media; LCD Monitor/Dots : 3.0-inch/ 921,600 dots
SD, SDHC and SDXC memory card Storage Type : SD/SDHC/SDXC/MemoryStick Pro Duo
Weight : 618g Weight : Approx. 653g
Price: TBA Price: Rs. 69,990/- Price: TBA

Buyers’ Guide - ILCCs (Mirrorless)
FUJIFILM X-PRO 1 NIKON 1 J 2 NIKON 1 V 2
Effective Pixels : 16.3 million Effective Pixels : 10.1 million Effective Pixels : 14.2 million
Sensor Size/Type : APS-C (23.6 x 15.6 mm) CMOS Sensor Size/ Type : 13.2 x 8.8 mm, CMOS Sensor Size/ Type : 13.2 x 8.8 mm, CMOS
Metering Modes : TTL 256-zones metering, Multi-pattern, Metering Modes : Multi, Center-weighted, Spot Metering Modes : Multi, Center-weighted, Spot
Center-Weighted Average, Spot Exposure Modes : P, S, A, M, Creative Mode Exposure Modes : P, S, A, M, Scene Auto Selector
Exposure Modes : Program AE, Aperture priority ISO equivalence : 100-6400 ISO equivalence : 160-6400
AE, Shutter priority AE, Manual Shutter Speed : 30-1/16000 sec. Shutter Speed : 30-1/16000 sec
ISO Equivalence : Equi. to ISO 200 - 6400 LCD Monitor/ Dots : 3-inch, 921,000 dots LCD Monitor/ Dots : 3-inch, 921,000 dots
(Standard Output Sensitivity) Storage Type : SD/SDHC/SDXC card Storage type : SD, SDHC, SDXC
AUTO mode : AUTO (400-3200) Weight : 238g Weight : 278g
Shutter Speeds : 1/4 - 1/4000 sec (P mode), 30-
1/4000 sec (all other modes)
Bulb (Max 60 min)
LCD Monitor/Dots : 3.0-inch, 1,230,000 dots
Storage Type : SD/SDHC/SDXC
Weight : 400 gms (excluding battery)
Price: Rs. 1,04,999/- Price: TBA Price: TBA
OLYMPUS OM-D E-M5 OLYMPUS PEN E-P3 OLYMPUS PEN E-PL5
Sensor Type/Size : Sensor Size/Type: 4/3 Live MOS Sensor Sensor Type/Size : Live MOS sensor, 17.3 x 13.0 mm Seensor Size/ Type: 17.3 x 13 mm, CMOS
Metering Modes : Multi Center-weighted, Spot Shake Reduction : Sensor Shift Metering Modes : Multi, Center-weighted, Spot
Exposure Modes : i Auto, P: Program AE (Program Exposure Modes : iAuto, Program AE (with shift), ISO : Auto (200 - 1600), 100, 200, 400,
shift can be performed) Aperture priority AE, Scene select 800, 1600, 3200, 6400, 12800
ISO Equivalence : UTO: ISO 200 - 25600 (customizable, Metering Modes : Digital ESP, Center-Weighted Exposure Modes : P, A, S, M , Bulb, Time, i-
Default 200-1600) / Manual ISO 200 - Average, Spot (1%) Highlight Auto, Scene Modes, Art Filter
25600, 1/3 or 1 EV steps selectable based spot, Shadow based spot ISO equivalence : Auto ISO 200 - 25600 (customis
Shutter Speeds : 11/4000 - 60 sec. (1/3, 1/2, or 1EV steps ISO Sensitivity : Auto : ISO 200 – 12800, able, default ISO 200 – 1600),
selectable.)Bulb: default setting 8min. Manual ISO 100 - 12800 Manual ISO 200 - 25600 in 1/3 or
(1/2/4/8/15/20/25/30 min. Shutter Speeds : 60-1/4000 sec. 1 EV ISO steps
LCD Monitor/Dots : 3.0-inch tilting OLED monitor LCD Monitor/Dots : 3.0-inch/ 614,000 dots Shutter Speeds : 60-1/4000 sec
Approx. 610,000 dots Built-in-Flash : No LCD Monitor/ Dots : 3-inch, 460,000 dots
Storage Type : SD/SDHC/SDXC Storage Card : SD, SDHC, SDXC Storage Type : SD/SDHC/SDXC
Weight : 425 gms (excluding battery) Weight : 321gms. Weight : 279g (body only)
Price: Rs. 66,990/- Price: Rs. 41,990/- (with 14-42mm 11R F3.5-5.6 lens Rs. 48,990/-) Price: TBA
OLYMPUS PEN E-PM2 PANASONIC DMC GF5 PANASONIC DMC G5
Effective Pixels : 16.1 million Effective Pixels : 12.10 Megapixels Effective Pixels : 16.05 million
Sensor Size/ Type : 17.3 x 13 mm, CMOS Sensor Type/Size : Live MOS Sensor Sensor Size/ Type :17.3 x 13.0 mm, Live MOS Sensor
Metering Modes : Multi, Center-weighted, Spot Metering Modes : Intelligent Multiple / Center Metering Modes : Intelligent Multiple / Center
ISO : Auto (200 - 1600), 100, 200, 400, Weighted / Spot Weighted / Spot
800, 1600, 3200, 6400, 12800 Exposure Modes : Program AE / Aperture Priority Exposure Modes : Program AE / Aperture Priority
Exposure Modes : Programme automatic, Aperture AE / Shutter Priority AE / Manual AE / Shutter Priority AE / Manual
priority, Shutter priority, Manual ISO Equivalence : Auto, 160, 200, 400, 800, ISO equivalence : Auto / Intelligent ISO / 160-
Bulb, Time, i-Auto, Scene Modes 1600, 3200, 6400, 12800 12800 / (Changeable to 1/3 EV step)
ISO equivalence : Auto ISO 200 - 25600 (customisable, Shutter Speed : 60 sec - 1/4000 sec Shutter speeds : Still Images: Bulb (Max.120),
default ISO 200 – 1600), Manual ISO LCD Monitor : 3-inch, 920,000 dots 1/4000 ~ 60 / Motion image:
200 - 25600 in 1/3 or 1 EV ISO steps Storage Type : SD/SDHC/SDXC 1/16000 ~ 1/30 (NTSC),
Shutter speeds : 60-1/4000 sec Weight :267 gms 1/16000 ~ 1/25 (PAL)
LCD Monitor/ Dots : 3-inch, 460,000 dots LCD monitor/ Dots : 3 inch, 920K dots
Storage type : SD/SDHC/SDXC Storage Type : SD/ SDHC/ SDXC
Weight : 69g Weight : 396 g
Price: TBA Price: Rs. 39,990/- Price: TBA

Buyers’ Guide - ILCCs (Mirrorless)
PANASONIC DMC-GH3 PANASONIC DMC GX-1 PENTAX Q10
Sensor Size/ Type : 17.3 x 13.0 mm, Live MOS Sensor Sensor Type/Size : Sensor Size/Type: 4/3 Live MOS Sensor Sensor Size/ Type : 1/2.3” Backlit CMOS w/ primary
Metering Modes : Intelligent Multiple / Spot Exposure Modes : Program AE / Aperture Priority AE / JVSVYÄS[LY
Exposure Modes : Program AE/Aperture Priority Shutter Priority AE / Manual / Auto Metering Modes : TTL image sensor metering, segment
AE/Shutter Priority AE / Manual Metering Modes : Intelligent Multiple / Center metering, center-weighted metering,
ISO equivalence : Auto / Intelligent ISO / 200 - 12800 Weighted / Spot spot metering
(Changeable to 1/3, 1 EV step) ISO Equivalence : Auto, Intelligent ISO 160 – ISO 12800 Exposure Modes : Programmed AE (P), Shutter Priority
(Extended ISO125 - less under 200, Shutter Speeds : 60 -1/4000 sec, Bulb (up to approx AE (Tv), Aperture Priority AE (Av),
ISO more over 12800 - 25600 2 mins) Flash X-sync 1/160 sec Metered Manual (M).
available) (Up to ISO3200 in Auto) LCD Monitor/Dots : 3.0-inch, 460,000 dots ISO equivalence : AUTO: ISO 100 to 6400 (1/3 EV
Shutter speeds : Still Images: 1/4,000 - 60 and Bulb and Storage Type : SD/ SDHC/ SDXC Memory Card steps), Bulb mode: up to ISO 1600
Motion Images: 1/16,000 - 1/30 (Compatible with UHS-I standard Shutter Speeds : 1/2000 - 30 seconds
LCD monitor/ Dots : 3 inch, 614K dots SDHC / SDXC Memory Cards) LCD Monitor/ Dots : 3.0-inch, 460,000 dots
Storage Type : SD/ SDHC/ SDXC Weight : 272 gms (body only) Storage Type : SD, SDHC, SDXC
Weight : 460 g Weight : 200g
Price: TBA Price: TBA Price: TBA
RICOH GXR MOUNT A 12 SAMSUNG NX 200 SAMSUNG NX1000
Effective Pixels : 12.9 Million Effective Pixels : 20.3 million Effective Pixels : 20.3 megapixels
Sensor Type/Size : CMOS, 23.6 mm × 15.7 mm Sensor Type/Size : APS-C type CMOS, 23.5 x 15.7mm Sensor Type/Size : APS-C type CMOS, 23.5 x 15.7 mm
Shake Reduction : No Image Stabilization Shake Reduction : Super sonic drive Metering Modes : Multi, Center-weighted, Spot
Exposure Modes : Auto, Program shift, Aperture Exposure Modes : Program AE, Aperture priority Exposure Modes : Program, Aperture Priority,
priority, Shutter priority, My AE, Shutter priority AE, Shutter Priority, Manual,
Settings (MY1, MY2, MY3) ManualSmart Auto, Movie Lens Priority, Magic, cene,
Metering Modes : TTL metering in multi (256- Metering Modes : Multi-segment, Center- Movie, Wi-Fi
segment), Center, Spot weighted, Spot ISO Equivalence : Auto, 100, 200, 400, 800,
ISO Sensitivity : Auto ISO 200-3200 ISO Sensitivity : Auto ISO 100/ 200/ 400/ 800/ 1600, 3200, 6400, 12800
Shutter Speeds : 30 - 1/2000 sec 1600/ 3200/ 6400/12800 (1 or 1/3EV step)
LCD Monitor/Dots : 3.0-inch/ 920,000 dots Shutter Speeds : 30 to 1/4000 sec Shutter Speed : 30 sec - 1/4000 sec
Built-in-Flash : Guide number: 9.6, ISO 200 LCD Monitor/Dots : 3.0-inch/ 614,000 dots LCD Monitor : 3-inch, 921,000 dots
Storage Card : SD, SDHC Built-in-Flash : Guide no. 8, ISO 100, m Storage Type : SD/SDHC/SDXC
Weight : 370 gms Storage Card : SD, SDHC, SDXC Weight : 222 gms
Weight : 220 gms
Price: TBA Price: TBA Price: TBA
SONY NEX - 5 SONY NEX-6 SONY NEX - 7
Effective pixels : Approx. 14.2 megapixels Effective pixels : 16.1 million approx. Effective pixels : Approx. 24.3 megapixels
Metering Modes : Multi/ Center/ Spot selectable Sensor size/ type : 23.5 X 15.6mm, CMOS sensor Sensor type : APS-C type (23.5x15.6mm),
Exposure Modes : Programmed AE (iAUTO, P), Metering modes : Multi-segment, Center-weighted, Spot “Exmor” APS HD CMOS sensor
Aperture priority (A), Shutter- Exposure modes : iAUTO, Superior Auto, Programmed Metering Modes : Multi / Center / Spot selectable
speed priority (S), Manual (M) AE (P), Manual (M), Sweep Panorama Exposure Modes : Programmed AE (iAUTO, P), Aperture
ISO equivalence : AUTO (ISO200-1600), ISO200 to ISO equivalence : Still images: Auto (ISO 100-3200), priority (A), Manual (M), 3D Sweep
12800 selectable (in 1EV steps, Selectable (ISO 100-25600) Panorama, Anti Motion Blur
Recommended Exposure Index) Movies: Auto (ISO 100-3200) ISO equivalence : AUTO (ISO100-1600), ISO100
Shutter Speed : 1/4000 to 30 sec, Bulb Shutter Speed : Still images: 1/4000 to 30s (Bulb). Movies: to 16000 selectable
LCD Monitor/ Dots : 7.6 cm (3.0-type) wide type TFT, 1/4000 to 1/4 (1/3 steps) up to 1/60 in Shutter Speed : 1/4000 to 30 sec, Bulb
Xtra Fine LCD with TruBlack AUTO mode (up to 1/30 in Auto slow shutter) LCD Monitor/ Dots : 7.6 cm (3.0-type) wide type TFT,
technology /921,600 dots LCD Monitor/ Dots : 3.0 inch, 921,600 dots 921,600 dots
Storage Type : Memory Stick PRO Duo / PRO-HG Storage Type : Memory Stick PRO Duo™, PRO-HG Storage Type : Memory Stick PRO Duo / PRO-HG
Duo and SD/SDHC/SDXC card Duo™, SD, SDHC, SDXC memory card Duo and SD/SDHC/SDXC card
Weight : Approx. 229g Weight : 287 g Weight : Approx. 291g
Price: Rs. 24,990/- Price: TBA Price: TBA

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WIDE ANGLE LENSES
Canon L 8-15mm F/4.0 F/22 14/11 540 NA 7 0.15 Rs. 99,995/-
Canon 15mm F/2.8 F/22 8/7 330 NA 5 0.2 Rs. 51,495/-
Canon 20mm F/2.8 F/22 9/11 405 72mm 5 0.25 Rs. 33,895/-
Canon 24mm IS F/2.8 F/22 11/9 270 58mm 6 0.25 Rs. 22,995/-
Canon 28mm F/1.8 F/22 10/9 310 58mm 7 0.25 Rs. 39,995/-
Canon 28mm F/1.8 F/22 9/11 310 58mm 7 0.25 Rs. 33,595/-
Canon 14mm F/2.8 F/22 10/14 560 NA - 0.2 Rs. 1,26,295/-
Canon 14mm F/2.8 F/22 10/14 560 80 5 0.2 Rs. 1,76,995/-
Canon L 24mm F/1.4 F/22 9/11 650 77mm 8 0.25 Rs. 1,32,995/-
Canon 28mm IS F/2.8 F/22 5/5 185 52mm 5 0.3 Rs. 14,895/-
Canon 28mm F/2.8 F/22 10/10 270 58mm 6 0.25 Rs. 25,795/-
Canon L 35mm F/1.4 F/22 9/11 580 72mm 8 0.3 Rs. 97,595/-
Canon 35mm F/2 F/22 5/7 210 52mm 5 0.25 Rs. 24,995/-
Nikkor 10mm F/2.8 F/11 6/5 77 - - 0.2 Rs. 8,450/-
Nikkor 10.5mm F/2.8 F/22 10/7 300 - 7 0.14 Rs. 45,950/-
Nikkor 14mm F/2.8 F/22 14/12 670 NA 7 0.2 Rs. 92,110/-
Nikkor 16mm F/2.8 F/22 8/5 290 NA 7 0.25 Rs. 47,450/-
Nikkor 20mm F/2.8 F/22 12/9 270 62 7 0.25 Rs. 34,950/-
Nikkor 24mm F/1.4 F/16 12/10 620 77 9 0.25 Rs. 1,59,950/-
Nikkor 24mm F/2.8 F/22 9/9 270 52 7 0.3 Rs. 23,950/-
Nikkor 28mm F/2.8 F/22 6/6 205 52 7 0.25 Rs. 15,450/-
Nikkor 28mm F/1.8 F/16 11/9 330 67 7 0.25 Rs. 44,950/-

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Nikkor 35mm F/1.4 F/16 10/7 600 67 9 0.3 Rs.1, 31,950/-
Nikkor 35mm F/2 F/22 6/5 206 52mm 7 0.25 Rs. 18,415/-
Sigma 4.5mm F/2.8 F/22 13/9 470 Rear 6 0.135 Rs. 64,500/-
Sigma 8mm F/3.5 F/22 11/6 400 - 6 0.135 -
Sigma 10mm F/2.8 F/22 12/7 475 - 7 0.135 -
Sigma 15mm F/2.8 F/22 7/6 370 - 7 0.15 Rs. 51,500/-
Sigma 20mm F/1.8 F/22 13/11 520 82mm 9 0.2 Rs. 41,600/-
Sigma 24mm F/1.8 F/22 10/9 485 77mm 9 0.18 NA
Sigma 28mm F/1.8 F/22 10/9 500 77mm 9 0.2 NA
Sigma 30mm F/1.4 F/16 7/7 430 62mm 8 0.4 Rs. 34,000/-
Sony 16mm F/2.8 F/22 11/8 400 - 7 0.20 NA
Sony 20mm F/2.8 F/22 10/9 285 72mm 7 0.25 Rs. 37,990/-
Sony 28mm F/2.8 F/22 5/5 185 49mm 7 0.30 NA
Tamron 14mm F/2.8 F/22 14/12 675 - 5 0.20 NA
Carl Zeiss 21mm F/2.8 F/22 16/13 600 87mm - 0.22 Rs. 1,09,950/-
Carl Zeiss 25mm F/2.8 F/22 10/8 480 - - 0.17 Rs. 59,950/-
Carl Zeiss 35mm F/2 F/22 9/7 530 64mm - 0.3 Rs. 66,950/-
WIDE ANGLE ZOOM LENSES

Canon 10-22mm F3.5-4.5 F/22 13/10 385 77mm 6 0.24 Rs. 43,595/-
Canon L 16-35mm F2.8 F/22 12/16 635 82mm 7 0.28 Rs. 73,395/-
Canon L 17-40mm F/4 F/22 13/10 475 77mm 7 0.42 Rs. 45,095/-
Canon 20-35mm F/3.5-4.5 F/22 12/11 340 77mm 5 0.34 NA
Canon 18-55mm F3.5-5.6 F/22 9/11 190 58mm 6 0.28 Rs. 13,000/-

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Nikkor 10-24mm F/3.5-4.5 F/22 14/9 460 77mm 7 0.24 Rs. 59,770/-
Nikkor 12-24mm F/4 F/22 11/7 485 77mm 7 0.3 Rs. 66,210/-
Nikkor 14-24mm F/2.8 F/22 14/11 1000 NA 9 0.28 Rs. 1,05,565/-
Nikkor 16-35mm F/4 VR F/22 17/12 680 77mm 9 0.28 Rs. 86,905/-
Nikkor 17-35mm F/2.8 F/22 13/10 745 77mm 9 0.28 Rs. 97,605/-
Nikkor 18-35mm F/3.5-4.5 F/22 11/8 370 77mm 7 0.33 Rs.31,270/-
Olympus 7-14mm F/4 F/22 18/12 780 NA 7 0.25 Rs. 1,43,395/-
Olympus 9-18mm F/4-5.6 F/22 13/9 275 72mm 7 0.25 NA
Olympus 11-22mm F/2.8-3.5 F/22 12/10 485 72mm 7 0.28 Rs.46,345/-
Olympus 12-60mm F/2.8-4 F/22 14/10 575 72mm 7 0.25 Rs.55,045/-
Olympus 14-35mm F/2. F/22 18/17 915 77mm 9 - Rs.1,24,145/-
Olympus 14-42mm F3.5-5.6 F/22 10/8 190 58mm 7 0.25 Rs.13,445/-
Sigma 8-16mm F/4.5-5.6 F/22 15/11 555 72mm 7 0.24 Rs. 51,900/-
Sigma 10-20mm F/3.5 F/22 13/10 - 82mm 7 0.24 NA
Sigma 10-20mm F/4-5.6 F/22 14/10 465 77mm 6 0.24 NA
Sigma 10-20mm F/4-5.6 F/22 14/10 495 77mm 6 0.24 NA
Sigma 12-24mm F/4.5-5.6 F/22 16/12 600 - 6 0.28 Rs. 61,500/-
Sony 11-18mm F/4.5-5.6 F/22-29 15/12 360 77mm 7 0.25 Rs. 44,990/-
Tamron 10-24mm F/3.5-4.5 - 12/9 406 77mm 7 0.24 NA
Tamron 11-18mm F/4.5-5.6 - 15/12 355 77mm 7 0.25 NA
Tamron 17-35mm F/2.8-4 - 14/11 440 77mm 7 0.3 NA
Tamron 17-50mm F/2.8 - 16/13 430 67mm 7 0.27 Rs. 37,700/-
Tokina 10-17mm F/3.5-4.5 F/22 10/8 350 NA 6 0.14 Rs.39,100/-

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Tokina 11-16mm F/2.8 F/22 13/11 560 84mm 9 0.3 Rs.39,100/-
Tokina 12-24mm F/4 F/22 13/11 540 77mm 9 0.3 Rs.36,800/-
Tokina 16-28mm F/2.8 F/22 15/13 950 - 9 0.26 NA
NORMAL LENSES
Canon 50mm F/1.8 F/22 6/5 130 52mm 5 0.45 Rs. 6,099/-
Canon L 50mm F/1.2 F/16 8/6 545 72mm - 0.45 Rs. 79,095/-
Canon 50mm F/1.4 F/22 7/6 290 58mm 8 0.45 Rs. 26,995/-
Carl Zeiss 50mm F/1.4 F/16 7/6 290 58mm 7 0.2 NA
Nikkor 35mm F/1.8 F/22 8/6 200 52mm - 0.3 Rs. 13,170/-
Nikkor 50mm F/1.8 F/22 6/5 155 52mm 7 0.45 Rs. 6,290/-
Nikkor 50mm F/1.4 F/16 8/7 280 58mm 9 0.45 Rs. 29,950/-
Nikkor 50mm F/1.4 F/16 7/6 250 52mm - 0.45 Rs. 36,950/-
Nikkor 50mm F/1.8 F/22 6/5 155 52mm 7 0.45 Rs 6,290/-
Olympus 25mm F/2.8 F/22 5/4 95 43mm 7 0.2 Rs. 13,445/-
Sigma 30mm F/1.4 F/16 7/7 430 62mm 8 0.4 NA
Sigma 50mm F/1.4 F/16 8/6 505 77mm 9 0.45 NA
Sigma 50mm F/1.4 F/16 8/6 530 77mm 9 - NA
Sony 30mm F/2.8 F/22 - 150 49mm 7 0.12 NA
Sony 35mm F/1.4 F/22 10/8 510 55mm 9 0.30 NA
Sony 35mm F/1.8 F/22 6/5 170 55mm 7 0.23 NA
STANDARD ZOOM LENSES

Canon 15-85mm F/3.5-5.6 F/22-38 17/12 575 72mm 7 0.35 Rs. 61,995/-
Canon 17-55mm F/2.8 IS F/22 19/12 645 77mm - 0.35 Rs. 65,995/-

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Canon 17-85mm F/4-5.6 F/22-32 17/12 475 67mm 6 0.4 Rs. 35,595/-
Canon 18-55mm F/3.5-5.6 F/22-38 11/9 200 58mm 6 0.25 Rs. 13,000/-
Canon 18-135mm F/3.5-5.6 F/22-38 16/12 455 67mm - 0.45 Rs. 38,995/-
Canon L 24-70mm F/2.8 F/22 16/13 950 77mm 6 0.4 Rs. 78,796/-
Canon 24-85mm F/3.5-4.5 F/22-32 15/12 380 67mm 6 0.5 Rs. 24,695/-
Canon L 24-105mm F/4 F/22 18/13 670 77mm 8 0.45 Rs. 88,995/-
Canon 17-55mm F/2.8 IS F/2.8 19/12 645 77mm 7 0.35 NA
Canon 17-85mm F/4-5.6 IS - 17/12 475 67mm 6 0.35m -1.15ft NA
Canon 18-135mm F/3.5-5.6 - 18/12 455 67mm 6 0.45 NA
Canon 18-200mm F/3.5-5.6 - 16/12 595 72mm 6 0.45 NA
Canon L 28-300mm F/3.5-5.6 IS F/22-38 23/16 1670 77mm 6 0.7 Rs. 1,76,995/-
Canon 18-200mm F/3.5-5.6 F/22-36 16/12 595 72mm - 0.5 Rs. 35,595/-
Nikkor 10-30mm F/3.5-5.6 F/16 12/9 115 - - 0.2 Rs. 7,950/-
Nikkor 10-100mm F/4.5-5.6 F/16 21/14 530 72mm - 0.3 Rs. 43,950/-
Nikkor 16-85mm F/3.5-5.6VR F/22 17/11 485 67mm - 0.38 Rs.37,000/-
Nikkor 17-55mm F/2.8 F/22 14/10 755 77mm 9 0.36 Rs.1,05,950/-
Nikkor 24-70mm F/2.8 F/22 15/11 500 77mm 9 0.38 Rs.1,26,950/-
Nikkor 18-55mm F/3.5-5.6VR F/22-38 7/5 205 52mm 7 0.28 Rs.6,150/-
Nikkor 18-55mm F/3.5-5.6 F/22-36 11/18 265 52mm 7 0.28 Rs.9,990/-
Nikkor 18-70mm F/3.5-4.5 F/22 15/13 390 67mm 7 0.38 Rs. 21,950/-
Nikkor 18-105mm F/3.5-5.6VR F/22-38 11/15 450 67mm 7 0.45 Rs. 19,550/-
Nikkor 18-200mm F/3.5-5.6VR F/22-36 16/12 565 72mm 7 0.5 Rs. 51,950/-
Nikkor 18-300mm F/3.5 F/22-32 19/14 830 77mm 9 0.45 Rs. 72,950/-

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Nikkor 24-85mm F/3.5 F/22-29 16/11 465 72mm 7 0.38 Rs. 33,950/-
Nikkor 24-85mm F/2.8-4 F/22 15/11 545 72mm 9 0.5 Rs. 35,815/-
Nikkor 24-120mm F/3.5-5.6 F/22 15/13 575 72mm 7 0.5 Rs. 37,750/-
Nikkor 24-120mm F/4VR F/22 16/11 710 77mm 9 0.45 Rs. 91,450/-
Nikkor 28-70mm F/2.8 F/22 15/11 935 77mm 9 0.7 Rs. 99,490
Nikkor 28-300mm F/3.5-5.6VR F/22-38 19/14 800 77mm - 0.5 Rs. 73,950/-
Olympus 12-60mm F/2.8-4 F/22 14/10 575 72mm 7 0.25 Rs. 59,495/-
Olympus 14-35mm F/2.0 F/22 18/17 900 77mm 9 0.35 Rs. 1,35,995/-
Olympus 14-54mm F/2.8-3.5 F/22 15/11 435 67mm 7 0.22 Rs. ,32,395/-
Olympus 14-54mm F/2.8-3.5 F/22 15/11 440 67mm 7 0.22 NA
Olympus 14-150mm F/3.5-5.6 F/22 15/11 280 58mm 7 0.50 Rs. ,23,095/-
Olympus 18-180mm F/3.5-6.3 F/22 15/13 435 62mm 7 0.45 Rs. 33,795/-
Sigma 17-50mm F/2.8 OS F/22 17/13 565 77mm 7 0.28 Rs.54,900/-
Sigma 17-70mm F/2.8-4 OS F/22 15/12 520 72mm 7 0.22 Rs.33,900/-
Sigma 17-70mm F/2.8-4.5 F/22 15/12 455 72mm 7 0.20 Rs.26,000/-
Sigma 18-50mm F/2.8 F/22 15/13 450 72mm 7 0.20 Rs.22,500/-
Sigma 18-50mm F/2.8-4.5 OS F22 - F36 16/12 395 67mm 7 0.30 Rs. 17,990/-
Sigma 18-50mm F/3.5-5.6 F/22 8/8 250 58mm 7 0.25 NA
Sigma 18-125mm F/3.8-5.6 OS F/22 16/12 490 67mm 7 0.35 Rs. 26,500/-
Sigma 18-125mm F/3.5-5.6 F/22 16/12 505 67mm 7 0.35 NA

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Sigma 18-200mm F/3.5-6.3 F/22 15/13 405 62mm 7 0.45 Rs.22,950/-
Sigma 18-200mm F/3.5-6.3 OS F/22-40 18/13 610 45mm - 0.45 NA
Sigma 18-250mm F/3.5-6.3 F/22 16/13 470 62mm 7 0.35 Rs.37,990/-
Sigma 18-250mm F/3.5-6.3 OS F/22 18/14 630 72mm 7 0.45 Rs. 41,500/-
Sigma 24-60mm F/2.8 F/22 16/15 550 77mm 9 0.38 NA
Sigma 24-70mm F/2.8 F/22 14/12 NA 82mm 9 0.38 NA
Sigma 28-70mm F/2.8-4 F/22 11/8 245 58mm 8 0.50 NA
Sigma 28-300mm F/3.5-6.3 F/32 14/13 715 82mm 9 0.40 NA
Sony 16-35mm F/2.8 F/22 17/13 9 77mm 9 0.28 NA
Sony 16-50mm F/2.8 F/22 16/13 577 72mm 7 1.00 NA
Sony 16-80mm F/3.5-4.5 F/3.5 14/10 445 62mm 7 0.35 Rs.49,990/-
Sony 16-105mm F/3.5-5.6 F/22 - 36 15/11 470 62mm 7 0.40 Rs.32,990/-
Sony 18-55mm F/3.5-5.6 F/22 -36 8/7 210 55mm 7 0.25 NA
Sony 18-200mm F/3.5-6.3 F/22 -40 15/13 405 62mm 7 0.45 NA
Sony 18-250mm F/3.5-6.3 F/22 -40 16/13 440 62mm 7 0.45 NA
Sony 24-70mm F/2.8 F/22 9/7 955 77mm 9 0.34 Rs.1,19,900/-
Sony 28-75mm F/2.8 F/32 16/14 565 67mm 7 0.38 Rs.49,990/-
Tamron 17-50mm F/2.8 F/32 16/13 430 67mm 7 0.27 NA
Tamron 17-50mm F/2.8 F/32 16/13 434 67mm 7 0.27 NA
Tamron 17-50mm F/2.8 VC F/32.0 19/14 570 72mm 7 0.29 NA
Tamron 18-200mm F/3.5-6.3 F/22 15/13 423 62mm 7 0.45 NA
Tamron 18-200mm F/3.5-6.3 - 15/13 460 62mm 7 0.50 NA
Tamron 18-270mm F/3.5-6.3 F/22-40 18/13 550 72mm 9 0.49 Rs. 42,995/-

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Tamron 18-270mm F/3.5-6.3 F/22~F40 18/13 550 72mm 7 0.49 NA
Tamron 18-270mm F/3.5-6.3 VC F/22~F40 18/13 450 62mm 7 0.49 NA
Tamron 24-70mm F/2.8 VC - - - - - - Rs.71,990/-
Tamron 28-75mm F/2.8 F/32 16/14 510 67mm 7 0.33 NA
Tamron 28-80mm F/3.5-5.6 F/22 7/7 237 58mm 6 0.7 NA
Tamron 28-200mm F/3.8-5.6 F/22 15/14 354 62mm 7 0.49 Rs. 26,000/-
Tamron 28-300mm F/3.5-6.3 F/22 15/13 420 62mm 9 0.49 NA
Tamron 28-300mm F/3.5-6.3 F/22-40 18/13 555 67mm 9 0.49 Rs.41,600/-
Tokina 16-50mm F/2.8 F/22 15/12 610 77mm 9 0.3 Rs.37,000/-
Tokina 16.5-135mm F/3.5-5.6 - 15/9 610 77mm 9 0.50 NA
TELEPHOTO LENSES
Canon L 85mm F/1.2 F/16 8/7 1025 72mm 8 0.95 Rs.1,18,995/-
Canon 85mm F/1.8 F/22 9/7 425 72mm - 0.85 Rs.26,995/-
Canon 100mm F/2 F/22 8/6 430 58mm 8 0.9 Rs.31,895/-
Canon 100mm F/2.5 F/22 8/6 460 58mm 8 0.9 Rs.31,895/-
Canon 100mm F/2.8 F/32 12/8 600 58mm 8 0.31 Rs.44,995/-
Canon L 135mm F/2 F/32 10/8 750 58mm 8 0.9 Rs. 62,895/-
Canon 135mm F/2.8 F/32 7/6 390 52mm 6 1.3 Rs.31,595/-
Canon L 200mm F/2.8 F/32 9/7 765 72mm 8 1.5 Rs.54,395/-
Canon L 200mm F/2 IS F/32 17/12 2520 52mm 8 1.9 Rs.4,99,995/-
Canon L 300mm F/2.8 IS F/32 17/13 2500 - - 1.5 Rs.4,91,995/-
Canon L 300mm F/4 IS F/32 15/13 1190 77mm - 1.5 Rs.97,795/-
Canon L 400mm F/2.8 IS F/32 17/13 5300 - - 1.5 Rs.7,49,995/-

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Canon L 400mm F/4 IS F/32 17/13 1940 - - 1.5 Rs.4,34,695/-
Canon L 400mm F/5.6 IS F/32 7/6 1250 - - 1.5 Rs.1,05,995/-
Canon L 500mm F/4 IS F/32 17/13 3870 - - 1.5 Rs.6,47,995/-
Canon L 600mm F/4 IS F/32 17/13 5360 - - 1.5 Rs.6,80,395/-
Canon L 800mm F/5.6 IS F/22 18/16 5915 52mm 9 . Rs.6,80,395/--
Carl Zeiss 85mm F/1.4 IS F/16 6/5 600 77mm - 1 Rs.76,950/-
Nikon 85mm F/3.5 VR F/32 14/10 355 52mm 9 0.28 Rs.37,950/-
Nikon 85mm F/1.4 F/16 9/8 550 77mm 9 0.85 Rs.64,180/-
Nikon 85mm F/1.4 F/16 10/9 595 77mm 9 0.85 Rs.1,23,450/-
Nikon 85mm F/1.8 F/16 9/9 350 67mm 9 0.80 Rs.31,950/-
Nikon 105mm F/2 F/16 6/6 640 72mm - 0.9 Rs.57,215/-
Nikon 135mm F/2 F/16 7/6 815 72mm - 1.1 Rs.67,165/-
Nikon 180mm F/2.8 F/22 8/6 760 72mm 9 1.5 Rs. 47,070/-
Nikon 200mm F/2 VR F/22 13/9 2930 52mm - 1.9 Rs.4,19,950/-
Nikon 200mm F/2 F/22 19/13 2900 52mm 9 1.9 Rs.3,41,960/-
Nikon 300mm F/4 VR F/32 10/6 1440 77mm 9 1.45 Rs.68,225/-
Nikon 300mm F/2.8 VR F/22 8/6 2700 39mm - 3 Rs.2,85,580/-
Nikon 400mm F/2.8 F/22 11/9 4440 52mm 9 4 Rs.6,16,950/-
Nikon 400mm F/2.8 VR F/22 14/11 4620 52mm 9 2.9 Rs. 5,62,860/-
Nikon 500mm F/4 F/22 11/9 3430 52mm 9 5 Rs.5,64,950/-
Nikon 500mm F/4 VR F/22 4/11 3880 52mm 9 4 Rs.5,28,915/-
Nikon 600mm F/4 F/22 10/7 4750 52mm - 5.6 Rs.6,60,950/-
Nikon 600mm F/4 VR F/22 12/15 5060 52mm 9 5 Rs.6,29,660/-

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Olympus 45mm F/1.8 F/22 9/8 116 37mm 7 0.5 Rs.17,695/-
Olympus 150mm F/2 F/22 11/9 1610 82mm 9 1.4 Rs.1,69,995/-
Olympus 300mm F/2.8 F/22 13/11 3290 43mm 9 2 Rs.4,71,795/-
Sigma 50mm F/1.4 F/16 6/5 530 77mm 9 0.45 NA
Sigma 85mm F/1.4 F/16 11/8 725 77mm 9 0.85 Rs.74,990/-
Sigma 180mm F/2.8 OS F/22 19/14 1640 86mm 9 0.47 NA
Sigma 300mm F/2.8 F/32 11/9 2400 46mm 9 2.5 NA
Sigma 500mm F/4.5 F/32 12/9 3150 - 9 4 NA
Sigma 800mm F5.6 F/32 13/10 4740 - 9 7 NA
Sony 50mm F/1.8 F/22 6/5 170 49mm 7 0.34 NA
Sony 50mm F/1.4 F/22 7/6 220 55mm 7 0.45 NA
Sony 85mm F/1.4 F/22 8/7 560 72mm 9 0.85 NA
Sony 85mm F/2.8 F/22 5/4 175 55mm 9 0.60 NA
Sony 100mm F/2.8 F/32 8/8 505 55mm 9 0.35 NA
Sony 135mm F/1.8 F/22 11/8 1004 77mm 9 0.72 NA
Sony 135mm F/2.8 - 8/6 730 80mm 9 0.87 NA
Sony 300mm F/2.8 F/31 6/8 2310 42mm 9 2.00 NA
Sony 500mm F/4 F/32 13/12 3460 42mm 9 4.00 NA
Tamron 300mm F/2.8 F/32 10/7 2800 - 9 2.5 NA
TELEPHOTO ZOOM LENSES

Canon 55-200mm F/4.5-5.6 F/22-27 13/13 310 52mm 6 1.2 NA
Canon 55-250mm F/4-5.6 IS F/22-32 12/10 390 58mm - 1.1/3.6 Rs. 17,995/-
Canon L 70-200mm F/2.8 F/32 15/18 1310 77mm 8 1.5 Rs. 89,195/-

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Canon L 70-200mm F/2.8 IS F/32 23/19 1490 77mm 8 1.2 Rs. 1,48,995/-
Canon L 70-200mm F/4 F/32 20/15 760 67mm 8 1.2 Rs. 64,995/-
Canon L 70-200mm F/4 IS F/32 16/13 749 67mm 8 1.2 Rs. 68,295/-
Canon 70-300mm F/4-5.6 IS F/32~45 15/10 1050 67mm 8 1.2 Rs. 42,995/-
Canon L 70-300mm F/4.5-5.6 IS F/32-38 18/12 720 58mm 6 1.4 Rs. 92,675/-
Canon 70-300mm F/4.5-5.6 IS F/32-38 15/10 630 58mm 8 1.5 Rs. 42,095/-
Canon 75-300mm F/4-5.6 F/32-45 9/13 480 58mm - 1.5 Rs. 13,495/-
Canon 100-300mm F/4.5-5.6 F/32-38 10/13 540 58mm 8 1.5 Rs. 22,898/-
Canon L 100-400mm F/4.5-5.6 IS F/32-40 14/17 1380 77mm 8 1.8 Rs. 1,09,995/-
Nikkor 30-110mm F/3.8-5.6 F/16 18/12 180 60mm - 1 Rs. 12,950/-
Nikkor 55-200mm F/4-5.6 VR F/22 13/9 255 52mm 9 0.95 Rs. 10,535/-
Nikkor 55-300mm F/4.5-5.6 VR F/22-29 17/11 530 58mm - 1.4 Rs. 20,155/-
Nikkor 70-200mm F/2.8 VR F/22 21/15 1570 77mm 9 1.4 Rs.1,59,185/-
Nikkor 70-300mm F/4-5.6 F/22 13/9 1300 77mm 9 2.3 Rs. 90,015/-
Nikkor 70-300mm F/4.5-5.6 VR F/32 13/9 505 74mm - 1.5 -
Nikkor 80-200mm F/2.8 F/22 16/11 1300 77mm 9 1.8 Rs. 67,450/-
Nikkor 80-400mm F/4.5-5.6 VR F/32 17/11 1360 77mm 9 2.3 Rs. 90,015/-
Nikkor 200-400mm F/4 VR F/32 24/17 3360 52mm 9 2 Rs. 5,00,570/-
Olympus 40-150mm F/4-5.6 F/22 12/9 220 58mm 7 0.9 Rs. 15,095/-

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Panasonic 45-200mm F/4-5.6 F/22 16/13 380 52mm 7 1 NA
Sigma 100-300mm F/4 F/32 16/14 1440 82mm 9 1.8 NA
Sigma 120-400mm F/4.5-5.6 OS F/22 21/15 1750 77mm 9 1.5 NA
Sigma 50-150mm F/2.8 OS F/22 21/15 1340 77mm 9 0.80 NA
Sigma 50-500mm F/4-6.3 F/22 20/16 1840 86mm 9 1.3 Rs. 98,000/-
Sigma 50-500mm F/4.5-6.3 F/22 22/16 1970 95mm 9 0.50-1.8 NA
Sigma 55-200mm F/4-5.6 F/22 12/9 310 55mm 8 1.1 NA
Sigma 70-200mm F/2.8 OS F/22 22/17 1430 77mm 9 1.4 NA
Sigma 70-300mm F/4-5.6 OS F/22 16/11 610 62mm 9 1.5 NA
Sigma 70-300mm F/4-5.6 F/22 -F32 14/10 545 58mm 9 0.95 NA
Sigma 70-300mm F/4-5.6 F/22 14/10 545 58mm 9 0.95 Rs. 9,900/-
Sigma 120-300mm F/2.8 F/32 18/16 2600 105mm 9 1.5-2.5 Rs. 1,89,750/-
Sigma 150-500mm F/5-6.3 OS F/22 21/15 1780 86mm 9 2.2 NA
Sigma 200-500mm F/2.8 F/22 17/13 15700 72mm 9 2-5 NA
Sigma 200-500mm F/2.8-5.6 F/22 17/13 15700 72mm 9 2.5 NA
Sigma 300-800mm F/5.6 F/32 18/16 5880 46mm 9 6 NA
Sony 55-200mm F/4-5.6 F/32-45 13/9 305 55mm 9 0.95 Rs. 12,990/-
Sony 70-200mm F/2.8 F/32 19/16 1340 77mm 9 1.2 Rs 1,29,900/-
Sony 70-300mm F/4.5-5.6 F/32 16/11 760 62mm 9 1.2 NA
Sony 70-400mm F/4-5.6 F/22-32 18/12 1490 77mm 9 1.5 NA
Sony 75-300mm F/4.5-5.6 F/28-32 13/10 460 55mm 7 1.5 Rs. 13,990/-
Tamron 55-200mm F/4-5.6 F/32 13/9 300 52mm 9 0.95 NA

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Tamron 70-200mm F/2.8 F/22 13/9 435 62mm 9 1.5 NA
Tamron 70-300mm F/4-5.6 F/32 13/9 435 62mm 9 0.95 NA
Tamron 70-300mm F/4-5.6 F/32 13/9 435 62mm 9 1.5 Rs. 12,350/-
Tamron 200-500mm F/5-6.3 F/32 13/10 1237 62mm 9 2.5 Rs. 55,000/-
Tokina 50-135mm F/2.8 F/32 18/14 845 67mm 9 1.0 Rs. 42,300/-
Tokina 80-400mm F/4.5-5.6 F/32 16/10 1024 72mm 8 2.5 Rs.35,100/-
MACRO LENSES
Canon 50mm F/2.5 F/32 8/9 280 52mm 6 0.2 Rs. 23,395/-
Canon 60mm F/2.8 F/32 12/8 335 52mm 8 2.8 Rs. 23,195/-
Canon 65mm F/2.8 F/16 8/10 730 58mm - - Rs. 68,595/-
Canon L 100mm F/2.8 IS F/32 15/12 625 67mm 9 0.3 Rs. 65,995/-
Canon L 180mm F/3.5 F/32 12/14 1090 72mm 8 0.48 Rs. 1,03,395/-
Carl Zeiss 100mm F/2 F/22 8/6 680 67mm - 0.44 Rs.1,09,950/-
Fujinon 60mm F/2.4 F/22 10/8 70.9 - 9 0.26 NA
Nikon 200mm F/4 F/32 13/8 1190 62mm 9 0.5 Rs. 84,080/-
Nikon 60mm F/2.8 F/32 8/7 440 62mm 7 0.219 Rs. 25,180/-
Nikon 60mm F/2.8 F/32 12/9 425 62mm 9 0.18 Rs. 36,450/-
Nikkor 40mm F/2.8 - 9/7 235 52mm - 0.16 NA
Nikon 105mm F/2.8 VR F/32 14/12 790 62mm 9 0.31 Rs. 50,510/-
Olympus 50mm F//2 F/22 11/10 300 52mm 7 0.24 Rs. 34,045/-
Sigma 105mm F/2.8 OS F/32 11/10 460 58mm 8 0.313 Rs. 32,500/-
Sigma 50mm F/2.8 F/32 10/9 320 55mm 7 0.189 Rs. 23,600/-

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Sigma 24mm F/1.8 F/22 10/9 485 77mm 9 - Rs. 35,600/-
Sigma 105mm F/2.8 OS F/22 11/10 450 58mm 8 0.132 Rs. 32,500/-
Sigma 70mm F/2.8 F/22 10/9 525 62mm 9 0.257 NA
Sigma 150mm F/2.8 OS F/22 16/12 895 72mm 9 0.38 NA
Sigma 180mm F/3.5 F/32 13/10 965 72mm 9 0.46 NA
Sony 50mm F/2.8 F/32 7/6 295 55mm 7 0.20 Rs. 29, 990/-
Tamron 180mm F/3.5 - 14/11 920 72mm 7 0.47 Rs. 49,400/-
Tamron 90mm F/2.8 - 10/9 405 55mm 9 0.29 Rs. 27,300/-
Tamron 60mm F/2 - - - - - - Rs. 29,900/-
Tokina 100mm F/2.8 F/22 9/8 540 55mm 9 0.3 Rs. 23,000/-
Tokina 35mm F/2.8 F/22 9/8 340 52mm 9 0.14 Rs. 24,200/-
COMPACT SYSTEM LENSES

Nikon 10mm F/2.8 F/11.0 6/5 77 40.5mm 7 0.20 Rs. 8,450/-
Nikon 10-30mm F/3.5-5.6 F/16 12/9 115 40.5mm 7 0.20 Rs. 7,950/-
Nikon 30-110mm F/3.8-5.6 F/16 18/12 180 40.5mm 7 1.00 Rs. 12,950/-
Nikon 10-100mm F/4.5-5.6 F/16 21/14 530 72mm 7 3.00 Rs. 43,950/-
Olympus 17mm F/2.8 - 6/4 71 37mm 5 0.20 Rs. 18,490/-
Olympus 14-42mm F/3.5-5.6 F/22 10/8 150 40.5mm 7 0.25 Rs. 17,990/-
Olympus 14-42mm F/3.5-5.6 F/22-22 8/7 112 37mm 7 0.25 Rs. 20,990/-
Olympus 14-150mm F/4.5-6 F/22 15/11 280 58mm 7 0.50 Rs. 39,490/-

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Olympus 40-150mm F/4-5.6 - 12/9 280 58mm 7 0.50 Rs. 20,990/-
Olympus 45mm F/1.8 F/22 9/8 116 37mm 7 0.50 Rs.20,990/-
Panasonic 7-14mm F/4 F/22 16/12 300 - 7 0.25 NA
Panasonic 8mm F/3.5 F/22 10/9 165 22mm 7 0.10 NA
Panasonic 12.5mm F/12 - 4/3X2 45 - - 0.60 NA
Panasonic 12-35mm F/2.8 F/22 14/9 305 58mm 7 0.25 NA
Panasonic 14-42mm F/3.5-5.6 F/22 12/9 165 52mm 7 0.30 NA
Panasonic 14 to 42mm F/3.5-5.6 F/22 12/9 95 37mm 7 0.20 NA
Panasonic 14 to 45mm F/3.5-5.6 F/22 12/9 195 52mm 7 0.30 NA
Panasonic 14 to 140mm F/4-5.8 F/22 17/13 460 62mm 7 0.50 NA
Panasonic 45-200mm F/4-5.6 F/22 16/13 380 52mm 7 1.00 NA
Sigma 19mm F/2.8 F/22 8/6 140 46mm 7 0.20 NA
Sigma 30mm F/2.8 F/22 7/5 130 46mm 7 0.30 NA

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Sony 16mm F/2.8 F/22 5/5 67 49mm 7 0.24 NA
Sony 18-55mm F/3.5-5.6 F/22-32 11/9 194 49mm 7 0.25 NA
Sony 18-200mm F/3.5-6.3 F/22-40 17/13 524 67mm 7 0.30-0.50 NA
Sony C.Z. 24mm F/1.8 F/22 8/7 225 49mm 7 0.16 NA
Sony 30mm F/3.5 F/22 7/6 138 49mm 7 0.09 NA
Sony 50mm F/1.8 - 9/8 202 49mm 7 0.39 NA
Sony 18-55mm F/3.5-5.6 F/22-32 11/9 194 49mm 7 0.25 NA
Sony 55-210mm F/4.5-6.3 F/22-32 13/9 345 49mm 7 1.00 NA
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The 3rd
International Filter Photo Contest
2012-2013
2011-12 Grand Prize : “Thunder night in Tibet” Mr. Simon Man Wai Wong, Hong Kong with ND filter
The photo is taken in Tibet , On that day which is cloudy and ready to rain . I use ND filtre to make the shutter time slow enough to capture thunder.
I took 1 hour and finally got one successful. Canon EOS 5Dmk2 24-105mm
This contest is sponsored by Kenko Tokina Co.,Ltd. and is open to photos that have been taken with
the aid of a filter with the aim of expanding creative possibilities. Kenko Tokina Co.,Ltd. looks
forward to receiving your entries that explore the full expanse of the unknown possibilities of filters.
Period during which applications are accepted:
October, 1, 2012 - November, 30, 2013
Theme:
Photos that make effective use of filters. 2011-12 Selected Works Prize: “Way to Prosperity"
The filters used may be from any manufacturer. Mr.Santanu Banik, Pune, India with ND Filter
Filters such as protectors, whose filter effects cannot be seen on works, are not permitted. Taken at Kingscote Old Jetty, Kangaroo Island, South Australia
CANON EOS 40D Canon 10-22mm
Application prerequisites:
Anyone who has a photo taken with a filter can enter the contest, regardless of age, gender or nationality.
Entries are restricted to unreleased and unpublished original photos for which the copyright is entirely owned by the applicant. Photos that have won
prizes in other contests or are being screened elsewhere are not eligible. (Photos that have been entered in another contest but have not been awarded
a prize are eligible.) Photos that have been published in non-commercial publications, such as club exhibitions for which the photography was not
remunerated, or websites operated by individuals.
Entries will be disqualified if the sponsor deems that the subject matter is in breach of the law, public order and morals, or the purpose of this contest.
Interested people who are under the age of 18 are requested to first obtain the approval of their parent or guardian before applying. If an applicant is
under the age of 18, we assume that they have the approval of their parent or guardian.
Special Prize by stages:
Top Prize is set every 3 months during the contest for encouragement.
Stages (Oct. to Dec. 2012, Jan. to Mar. 2013, Apr. 2011 to June 2013, July to Nov 2013) 1 winner for each stage, 4 winners in total
Application procedure:
On the homepage set particularly for the Photo Contest, please send the image data in the applying format.
Please visit: http://www.sg-g.jp/photocontest/filtercontest2013/english/entry/index.htm
http://www.sg-g.jp/oc/13/en/
Kenko Tokina Co., Ltd. TOKYO JAPAN

India office : Kenko Tokina Imaging India Pvt. Ltd.
IBC, M-38/1, Middle Circle, Connaught Place, New Delhi-110001 URL: www.kenko-tokina.co.in E-mail:kenkoindia@tokina.co.jp
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Tidbits
5 Classic SLRs that changed

the History of Photography
E
ver since the first SLR came out from format. It was a camera that was way ahead of its
Ihagee of Dresden, Germany in 1936, a time. The Kine Exakta exercised a big influence
number of innovations and inventions on the development of the 35mm SLR and
have worked their way into what we see therefore richly deserves its reputation as the
today as a modern D-SLR. Let us try and trace most important SLR in camera history.
from amongst hundreds of models, five SLRs
that influenced the course of camera history. A number of SLRs followed the lead of the Kine
Exakta but none created such an impression
The Kine Exakta was the first camera in the as the Nikon F in 1959. The F became an
world to be both an SLR and to use the 35mm iconic camera because of its excellent rugged
construction which quickly established Nikon
as a high quality premium brand. The F was
also the first camera to introduce a completely
integrated accessory system, including the
outstanding Nikkor lenses.
Most of our young readers would never

have heard of TOPCON which stood
for the Tokyo Optical Company. The
TOPCON RE Super launched in 1963
was the first SLR in the world to introduce
through the lens metering. This metering

Tidbits
system was developed by TOPCON In the 80s, several manufacturers made

in collaboration with Toshiba and later unsuccessful attempts at manufacturing
improved and refined by Pentax with autofocus SLRs. The first successful autofocus
its Spotmatic TTL metering system. SLR came from Minolta. However, the Minolta
TOPCON cameras ceased to exist in the had the autofocus mechanism in the body of
late 70s. the camera and the system was not as quiet
as the one that Canon introduced. In 1982,
No designer in camera history acquired with the EOS 650, the EOS family of cameras
as much fame as Olympus’ Yoshihisha quickly took a commanding lead in autofocus
Maitani. Maitani was not only responsible technology which took its competitors several
for the half-frame PEN camera but was years to bridge.
also the brain behind the launch of the
Olympus OM series. The OM-1 released We can see very clearly from above that each
in 1972 started the trend towards full of these five cameras introduced technology
featured compact SLRs. It is a little ironic that we use even today. Surely, they are both
that the industry is going back to the classic as well as path breaking cameras!
same trend more than 30 years later. H. S. Billimoria

RNI No. MAHENG/2005/14978
Free Supplement with
January 2013 issue
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16 RNI No. MAHENG/2005/14978 Postal Reg no. MH/MR/WEST/53/2012-2014 Licenced to post at Mumbai Patrika Channel sorting office
G. P. O. Mumbai 400 001 Published in between 26th to 31st of each month and posted on 26/27 of every previous month

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REVIEWED: FUJIFILM X-E 1 ● OLYMPUS E-PL5 (PEN LITE) ● HEAD-TO-HEAD BRIDGE CAMERAS ● EPSON R2000

INDIA’S NUMBER 1 IMAGING MAGAZINE! FREE 16-PAGE

January 2013 Smart Photography 5

INDIA’S NUMBER 1 IMAGING MAGAZINE! FREE 16-PAGE

Cover Photograph : M.N.Jayakumar

40 Picture of the Month

Tamron Helpline: +91-9650061715 Timings: Monday to Friday- 10:00am to 6:00 pm

AF11-16mm f/2.8 $7;352';,,

Kenko Tokina Co., Ltd. TOKYO JAPAN

INDIA’S NUMBER 1 IMAGING MAGAZINE! I have been

Thanks and Regards,

Honoured with Associateship

Thanks and Regards,

10 Smart Photography January 2013

Letter of the Month WIN A UNIROSS

I have shot a sequential photo documentation of a of our ecosystem, “Eat, or

12 Smart Photography January 2013

Kaga Hitech to market palm-

14 Smart Photography January 2013

Hasselblad Masters Awards Sony in

16 Smart Photography January 2013

supports four new

Inventor of Fujifilm to launch high

Adorama unveils Flashpoint DG600

18 Smart Photography January 2013

Guided Photography tours by the Masters of Wildlife Photography

BHARATPUR TADOBA PANGOT

TANZANIA EAGLENEST KENYA

CP+2013 to be held from January 31st 2013

22 Smart Photography January 2013

Carl Zeiss year. What is particularly notable is that

24 Smart Photography January 2013

patents billion) in convertible bonds maturing at the end of March 2013.

Apple and Google are said

Canon to cut inventories by $1.22 billion

26 Smart Photography January 2013

Soft boxes are used heavily in Portrait &

Available for For All type of 3.7 V Li-ion Introducing soon

Olympus to push Adobe acquires

28 Smart Photography January 2013

Sony launches D-link introduces apps for

30 Smart Photography January 2013

Indian Entry wins Wiki EPSON enters CAD

32 Smart Photography January 2013

Epson asserts leadership in 3D Raghu Rai

34 Smart Photography January 2013

I.B.F. India 2013 - The 2nd (Indian) Edition REGISTRATION

Who can attend: Print service providers,

DATE & VENUE

Photos taken from 1st IBF (Jan. 2012)

Shaping Passion into Career

36 Smart Photography January 2013

His work mainly concentrates on conserving

“I am really grateful to those who

January 2013 Smart Photography 37

38 Smart Photography January 2013

Common Lora (male)

Picture of the Month

A note to our readers

Souvenirs of a Different Sort

42 Smart Photography January 2013

began noticing the different

January 2013 Smart Photography 43

You and me in this

AF11-16mm f/2.8 $7;352';,,