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canon-nikon killer
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the year

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 CONTENTS
Find out what’s inside this issue
F E AT U R E
F E AT U R E
creative home
photo projects
Keep your camera busy
through the winter!

PH O T O S
gallery
The very best reader images
from around the world

I N S P I RA T I O N
It’s cool, that...
Be amazed by this aerial
footage of Pripyat

gallery I N s p i r a tion OPINION

Viewpoint
How do you feel about Adobe’s
Photography Plan subscription?

S K I LL S
Crash Course
Turn your portraits into iconic
pop art images

PH O T O S H O P
Lightroom
How to modify metadata and
assign copyright to images

S K I LL S Li g h t r oo m
ge t your
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G E AR issues free!
Fujifilm Tap here to learn
X100T more about our
We put Fujifilm’s risk-free trial
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through its paces
 f e a t u R e

Take creative
shots at home
Don’ t hibernat e your c amer a in t he
har sh w in t er we at her . From funk y
flower shot s to s t unning l igh t t r a il s,
here are some fun cre at i ve photo
projec t s to t ry at home…
ack in the day of film SLRs, creative home shoot four classic home photo projects in a fresh
B photo projects, such as shooting water
splashes and light trails, tended to be
and original way. We’ll demonstrate with the help of
step-by-step guides and expert insights how to get
more miss than hit. It used to involve hours of trial fantastic flower images, how to backlight fruit and
and error, plus days of waiting for your shots to be vegetables to create a striking abstract, how to take
processed to see if all your hard work had paid off. great shots of splashing water, and how to create
It all took time, effort and money, and there was no stunning light spirals.
guarantee of getting decent images at the end of it. None of these projects requires anything more
Thanks to the immediacy of digital SLRs, complicated than an SLR, a flash, and a macro or
however, you can now fine-tune timing, lighting wide-angle lens, and the results are guaranteed to
and composition on a frame-by-frame basis to be be good enough to frame. And best of all, not one
sure of getting professional-looking shots. In this of them takes more than an hour to complete, from
feature, we’re going to show you how to set up and setup to capture.
 f e
Say i t wi th flower
Take stunning flower photographs using nothing more
than a tripod, a window and a sheet of colored cardboard
Set up a table-top studio
Position a table near a window, but not
one that’s in direct sunlight, because
this will result in harsh shadows and
blown-out highlights in your finished
shot. Place a box at the back of the
table and tape a thin sheet of colored
cardboard in place so that it curves
down onto the table (see above).
Use a long-stemmed vase or a
home-made clamp to secure the flower
in place, so that it’s bathed in the soft
natural light from the window.
Decide on the depth of field
With your camera on a tripod, compose
your image roughly, then move the
flower rather than the camera to
fine-tune the shot. If you’re using a
dedicated macro lens (see the What
you need box to the right), don’t just set
it to its widest aperture; instead, use
the aperture more creatively in order
to decide how much of the flower you
want in focus.
When your lens is just inches from
the subject, even at narrow apertures,
a t u R
s
most of the flower and the background
will be out of focus.
Vary your composition
Soft lighting and a shallow depth of
field are important, but the key to close-
up flower photography is composition.
Get in close to fill the frame, and
experiment with different shapes
and angles. Take plenty of test shots
too, because it’s often hard to tell if a
composition works simply by looking
through the viewfinder. Don’t feel you
have to include the entire flower either.
Cropping in on interesting detail is often
the better option.
Just add water
As a finishing touch, try adding a few
water droplets to the petals. Not only
will they reflect the light from the
window, resulting in a striking catch
light, but they will also contrast nicely
with the soft petals, and provide an
additional focal point. To focus on a
droplet (or anywhere else), set the lens to
manual mode and focus by eye.
e
What you need
1 An interesting, flawless
flower When you’re buying
flowers for a still-life shoot, look
for an arrangement with a variety of
textures, shapes and colors, so you
can experiment. Warmer colors such
as reds and purples work well in
winter, while yellows and blues are
more summery. Be choosy too – try
to find the bouquet with the most
pristine flowers, without any bent
petals or crushed stems.
2 A Thin sheet of colored
cardboard Placing colored
cardboard behind your subject is
an ideal way to provide a clean,
uncluttered background and
introduce color to your image. It’s
worth buying a few different hues
so that you can use a shade that
complements, or clashes with, your
chosen flower. A4 sheets are okay,
but A3 offers more scope in terms of
the size and position of your flower.
3 Single-stem vase or stand
A single-stem vase is fine
for supporting your flower in front
of the background, but to position
it precisely where you want it you
need some way of holding it at very
precise angles. A good option is the
Helping Hands (£9.99 from www.
maplin.co.uk), which features a pair
of crocodile clips on a sturdy stand.
4 Dedicated macro lens
The only way to get close
enough to a flower as small as, say,
a gerbera, is to use a macro lens.
They enable you to fill the frame
with objects that are an inch or two
across, and because they are prime
lenses, they are staggeringly sharp.
If you don’t own one, you can rent
one from www.lensesforhire.com for
around £40 a week.
 f e a t u R e

Ge t cre at i ve
wi th frui t and
vege tables
Turn your dinner ingredients into art
using a light box and a sharp knife

Set up your tripod
Remove the central column of your
tripod and reattach it the wrong way
around with the head hanging below
the center. This will enable you to take
pictures of the flat surface of the light
box more easily. Place the tripod over
the light box and attach your camera.
If you’re working on a small table top,
make sure the tripod is secure by
applying some gaffer tape around the
feet, fixing it in place.
Prepare the food
Use a clean, sharp knife to slice the fruit
and vegetables as thinly and evenly as
possible, then place them on the light
box. Any unevenness will affect the
tonality of your image. If you’re using
multiple slices, arrange each slice
carefully so that together they create a
balanced and harmonious composition.
Moving each slice just a millimeter or
two can have a big impact on the final
shot. Now close the curtains to darken
the room and prepare your exposure.
Choose the exposure settings
Like most close-up work, it’s best to
switch your focus from autofocus to
manual to ensure pin-sharp results and
avoid the frustration of the AF searching
for a focus lock. The bright light of the
light box will deceive your camera’s
light meter. It’s a little like shooting in
the snow, so for the best results dial in
an exposure compensation of between
plus one and two stops, or switch to
manual mode. Ideally, you’ll want to be
at about f/8 for enough depth of field.
To avoid camera shake, lock the mirror
in the up position and avoid touching
your camera by using a cable release or
the camera’s self-timer.
Check the histogram
Assess your exposure using your
camera’s histogram. Don’t be alarmed
if it looks like there’s some radical
clipping on the highlights on the right of
the graph. It doesn’t matter if they burn
out – this will be down to the parts of
the image that should be totally white.
However, it’s important that there’s
detail in the subject, so check this
carefully. If you’re in any doubt, take the
time to download a test shot to your
computer to review before proceeding.
Now try this
To make a striking and innovative piece
of fruit and vegetable art we created
a simple grid, bringing four specimens
together. Shoot each slice individually,
then in Photoshop or Elements, use
the Free Transform tool to alter the
diameter of each slice.

What you need

1 Light box A light box

is essential for this
kind of photography. If you
don’t have one, they can
be picked up second hand
through the well-known
online auction sites relatively
cheaply, or if you’re more
adventurous, try making your
own. All you need is a sheet
of glass, some tracing paper
and an angle-poise lamp.
2 Right-angle
viewfinder A right-
angle viewfinder isn’t
essential for this project, but
it will make composing your
shots a lot easier. With the
camera suspended between
the legs of your tripod it can
be quite awkward to frame
your shot. If you don’t have a
right-angle viewfinder, Live
View is a good alternative.
3 Macro lens You’re
working fairly close to
the subject and you’re limited
by the height of your tripod
– particularly because your
camera is suspended beneath
its legs – so use a macro lens
with a relatively short focal
length. The Nikon 60mm f/2.8
(mounted on a full-frame
Nikon D700) we used here
was perfect.
4 Fruit and
vegetables You don’t
need exotic fruit and veg
for this project – you can
try anything you like. For a
few quid you should be able
to get more than enough to
get started. Visualize how a
specimen might look when
sliced and placed on a light
box. The red onion used here
worked a treat.
 f e a t u R e

C ap ture
ama zing
spl a sh shot s
Essential techniques for really making
a splash with your photography

Set up the props
The kitchen is the ideal room for
this project. Working with water and
expensive camera equipment has
the potential for disaster, so being
organized and methodical is the best
way to avoid a catastrophe.
A glass container with flat sides is
essential, just like the flat-sided vase
used here. For a backdrop, a thin sheet
of colored cardboard is perfect – it’s
cheap and more than adequate.
As with most home projects,
some gaffer tape is vital for keeping
backdrops and off-camera flashes in
place and secure.
Set up your gear
A solid tripod is crucial, along with a
lens that will enable you to work in close
proximity to your subject – the Nikon
60mm macro used here was perfect.
The trick to this technique is getting
the lighting right with off-camera
flash. Position the flash to the side, and
slightly behind the vase, with a diffuser
attached to soften the light. You’ll need
to watch out for lens flare. To light the
other side, use a simple home-made
reflector – a piece of card covered in tin
foil is perfect. This should be positioned
in such a way as to bounce light from
the flash back onto the subject.
Take test shots
For the best results you want total
control, so switch everything to manual.
Focus is critical, so work out where your
point of focus will be and use a pen to
pre-focus on that point.
Keep your shutter speed as fast as
possible without going out of sync – in
most cases this will be 1/250 sec.
Select an aperture of about f/8,
which will give enough depth of field
to keep everything sharp, then set your
flashgun to one quarter power. Take
some test shots, assess your exposure
using your SLR’s histogram, and tweak
the flash power as required.
Drop and shoot
There’s an element of trial and error in
capturing the perfect splash. So ensure
you’ve got plenty of space on your
memory card just in case. Switch your
drive mode to continuous shooting and
take three or four shots as you release
the object – in this case a lime. After a
few attempts you should soon find your
groove. Take the time to zoom into your
shots on your SLR’s LCD to check that
the focus is correct.
Now try this
While you’ve got your water studio set up,
why not try a few liquid drop shots too? The
basic principles are the same – you’ll just
need to rig up a container that will allow
liquid to slowly drip onto the surface of the
water. Also, try experimenting with different
liquids such as emulsion paint or milk.

What you need

1 Glass container
A flat-sided glass
container such as a small fish
tank or vase is ideal. Make
sure it’s big enough to drop
your object into. If the glass
is curved, you’ll get unwanted
distortion effects.
2 Colored backdrop
A piece of colored
cardboard is perfect
as a backdrop. Try to choose
a shade that complements
the color of the object
you’re dropping for added
creative impact.
3 Off-camera flash
This technique relies on
off-camera flash. Use a cable,
such as the Nikon SC-17 used
here, to connect your flash
to your camera. There are
a variety of other tools that
can do this too.
4 Flash diffuser
To diffuse the
harshness of the flash light,
use a diffuser. At a pinch
you could even try a piece of
tracing paper or the end of
a plastic milk bottle stuck to
the end of your flashgun.
 f e
C ap ture ama zing
l ight tr a il s
Got a flash light and a piece of string? You’re
half way there to creating stunning light spirals
Hang up the flash light
Start by finding an open area of ceiling.
If you don’t want to put a pin in your
ceiling, suspend it from a light fitting.
This will affect how smoothly the
flash light rotates, but it will be very
secure, which is important considering
that you’ll be placing your camera
underneath. Higher ceilings are better
because they enable you to use a
longer piece of string, which means the
flash light will rotate for longer. Tie your
flash light to a length of string, then tack
the other end to the ceiling.
Shoot straight up
Fit the widest lens you have on your
camera and mount it on a tripod. Point
it straight up, ensuring that when the
flash light is hanging still, it’s right in
the middle of the frame. With the light
turned on, autofocus on the end of the
flash light, then set manual focus to
lock it. Set the aperture to f/11 to ensure
adequate depth of field as the flash
light swings, and select bulb mode (B)
to enable you to open the shutter for
anything up to a minute or more.
Send it spinning
To avoid ambient light affecting the
exposure, it’s best to wait until night to
a t u R
take your shots. With the room lights off
and the flash light switched on, pull it
back as far as the string will allow, and
send it spinning as smoothly as possible
in a circular motion.
Using a remote shutter release,
start exposing your shot, and keep the
shutter open for about a minute.
Add a tail fin
Once you’ve checked the whole spiral
is in the frame, you can experiment with
how you send the flash light spinning,
and how long you keep the shutter
open. A smooth circular spin will result
in a symmetrical pattern, while a more
erratic one will produce more complex
patterns. To make the movement of
the flash light smoother, attach a small
piece of tape to the string. This will act
like a tail-fin on an aeroplane, reducing
wobble and resulting in smoother loops.
Now try this
To introduce some color into your
spirograms, try placing colored gels
over the flash light. If you’re proficient
in Photoshop, you could try applying
a Gradient Map adjustment layer
(Layer>New Adjustment Layer>Gradient
Map) and selecting one of the colored
presets, such as Violet/Orange.
e
What you need
1 Small flash light A pen-
shaped flash light, such as a
Mini Maglite or LED Lenser (available
from most good DIY and outdoor
shops) is perfect for this project.
If possible, try to find a light that
enables you to take the rotating cap
off, so that the light isn’t confined to
a very narrow beam. A narrow beam
is fine when the torch is pointing
straight at the camera, but won’t
look as bright on the sensor when
it’s pointing off to the side.
2 Length of string Use a
length of string or thread
to hang your flash light from the
ceiling, and a drawing pin to fix it
in place. To get smooth, even light
trails, the flash light needs to be
suspended so that the string lines
up with its main axis. If the flash
light doesn’t have an integral fitting
point in the middle of its base, tape
a small loop of string to the bottom,
and suspend the torch from that.
3 Remote shutter release
Using a remote shutter release
is essential for this technique,
because it’s the only way you can
lock the shutter open for as long
as required without jogging the
camera. It also enables you to
time the start and end of your
exposures precisely.
4 Insulating tape A roll of
insulating or gaffer tape isn’t
crucial, but it enables you to fine-
tune the flight of the torch, and to
alter the way it moves through the
air (and therefore the patterns you
end up with). Try attaching longer
or shorter tails to the flash light or
string, and varying the shapes and
distances from the flash light to see
what works best.
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 G A l L E R y

XPOSURE
The week’s most inspiring reader photos

TA P T O SEE
G A L L ERY

GOLDEN FALL
Paolo Lazzarotti
Stunning colors and
exposure. There’s so
much to look at in
this image
 G A l L E R y
The week’s most inspiring reader photos

Into The Tunnel

Luca Guido Foto
We love the effect of diminishing
perspective achieved here

The Crib
António Laranjeira
Antonio wows us again
with another stunning,
low-light image!
 G A l L E R y
The week’s most inspiring reader photos

still life
Filadelfio
Miraglia
This is proof that
photographers
should play with
their food! Such a
creative composition

ultimo raggio di vita

Giovanni Cassarà
The lighting is perfect, and the
colors vibrant, yet natural.
This is landscape photography
as it should be!
 G A l L E R y
The week’s most inspiring reader photos

Sulle Dolomiti
Marco Santilli
What a beautiful scene
and a clever piece of
foreground interest!

star trails
Steven Hirsch
These images are
never easy to achieve,
and Steven’s star
trail shows technical
precision and a
creative eye
 G A l L E R y
The week’s most inspiring reader photos

INVITATION
Eduardo Marques
Eduardo’s clever use of a
leading line draws the viewer
into the scene

and then the

growth started
Rafn Sig Photography
This is a very well-seen,
abstract image that
shows you can always
find a creative image if
you know how to look
for it
 G A l L E R y
The week’s most inspiring reader photos

Beauty
Jovana Rikalo
This is a stunning
portrait! We love the
soft light, the pose,
the background
and the subject’s
engagement with
the camera

Photography Week wants your photos!

Taken a portrait you’re particularly proud of? Shot a sensational sunset you’d like to
show off? Then join the Photography Week Facebook community and share your best
photos today! You’ll get feedback from fellow readers and the Photography Week
team, plus the chance to appear in Xposure, or even on our cover!
 i N s p i r a t i o N

I T ’ S C O O L , T H AT
The best thing we’ ve seen this week

Pos tc ards from Pr ipyat

Danny Cooke’s drone photos capture eerie scenes of the wild,
abandoned town of Pripyat inside Ukraine’s Chernobyl Exclusion Zone
arge deserted towns that have new perspective of Pripyat, showing the
L been taken over by nature are
not a common sight in our
scale of the town and the impact of the
Chernobyl explosion in an oddly beautiful
modern, overcrowded world, but it’s just way that hasn’t been captured before.
that that makes the Ukrainian town of Pripyat – once home to 50,000 people
Pripyat such a unique and desirable – was evacuated after its nuclear power
location for photographers to visit. station exploded on 26 April 1986. TAP TO
While working on a segment for CBS “There was something serene, yet
News about the Chernobyl Exclusion highly disturbing about this place,” Cooke
W ATCH T HE
Zone, filmmaker Danny Cooke flew says. “Time has stood still, and there are V IDEO
a DJI Phantom 2 drone over the memories of past happenings floating
abandoned town, giving viewers a around us.”
 o p I n i o N

v i e w poi n t
have your say on the issues that mat ter
offered both options. Or maybe
WE ASKED @ http://tiny.cc/ikqwqx a rent-to-own option.

“how do you feel Danie Knipe

I don’t get this idea of renting

about Adobe’s
software. I’d much rather buy
it outright and use it. Why should I
keep on paying for something? Do

subscription plan you pay per month for a camera?

Or a lens? It’s just a scam to keep

for Photoshop CC
milking people for money.

Scott Hadley

and Lightroom?” How many of these rental

programs can people really
afford? $10 for CC, $10 for storage,
$10 for Microsoft Office, $10 for

Here are your replies movies on demand, music, internet

radio, navigation, and the list goes

from Facebook... on. In the past I only bought PS

Howard Allman
One big point in favour of this
subscription model: PS and
LS will work on a Mac and PC. This
suits me as I use both platforms.
And amateurs, sorry, but this is
professional software, which we
use to make a living. You have to
pay for the best.
Trevor Taylor
Pay per month as I need it,
automatic updates … who
wouldn’t do this! I have had it for
nearly a year now, and it is very
good value for money. Think of it in
terms of cameras and lenses: if
you paid £10 a month and got a
new camera every time an update
was released, it makes sense!
Melissa Keeney
I have mixed feelings about
it. In a way, it’s good because
people can afford it up front. But
you continue paying for it even
after you’ve paid its worth. I can’t
be sure, but I’ve heard you have to
commit to a whole year. So you
don’t just pay on a monthly basis,
more like an annual basis. I’d prefer
to just pay the whole amount and
know that I can keep the program
indefinitely. It would be nice if they
when I had to upgrade. The
upgrade was $200 and I usually
used that for three or more years.
The tweaks are hardly ever worth
an upgrade. Elements would be
my next buy if that program only
had the tools I use most.
António Laranjeira
It costs less than the price of
a cup of coffee per day.
I think it’s worth the little sacrifice.
I prefer renting excellent software
that’s regularly updated and totally
legal to work with. It’s not cheap
for a Portuguese purse, but
Adobe has to pay its employees
and invest in development of
the technology.

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 S K I L L S

crash course
ESSENTIAL PHOTO SKILLS MADE EASY

Make a Pop Art portr a i t

Turn your portraits into iconic Andy Warhol-inspired pop
art composites with our quick step-by-step guide

In the 1960s a new scene He made his first pictures of Marilyn

30
min
emerged that sought to
undermine the hierarchy of
the art establishment. At its
head was Andy Warhol.
In his pictures of soup cans and
film stars, Warhol used themes of
consumerism and celebrity to create
iconic paintings that challenged the
perceived snobbishness of the art world.
With his fondness for bright colors,
graphic shapes and composite images,
Warhol’s style provides perfect
inspiration for a Photoshop project.
Monroe shortly after her death in 1962,
turning a photograph of her into a
silkscreen before duplicating the image
to emphasize how the film star had
become less of a person and more like
a commodity for the mass market.
It’s a look that’s easy to replicate in
the digital darkroom, encompassing
key skills with adjustment layers and
layer masks. And best of all, it works
with any portrait image, so you can give
any friend or family member the pop art
Marilyn Monroe treatment.
 S K I L L S

Step by step: Create your own pop idol

1
Crop and desaturate
Open a portrait image.
Grab the Crop tool. In the
Options Bar set H: 5in, W:
5in, Resolution: 300 pixels/
inch. Drag to form a square
crop and hit Enter. Bring
up the Layers panel and
hit Cmd/Ctrl+J to duplicate
the background layer. Go to
Enhance>Adjust Color>
Remove Color.

2
Apply extreme contrast
Click the Create adjustment
layer icon in the Layers
panel. Select Levels. Drag the
white and black point sliders
inwards. Click the black-and-
white layer and grab the
Dodge tool. Set it to Range:
Midtones and Exposure 20%,
and lighten the hair. Use the
Burn tool on the face.

3
Add a color
Pick the top layer. Click the
Create adjustment layer
icon and select Solid Color.
Choose a skin tone and hit
OK. Press Cmd/Ctrl+I to invert
the layer mask to black. Click
the blending mode menu
and select Multiply. Grab the
Brush and paint with white to
unmask the skin color.
 S K I L L S
Step by step: Create your own pop idol

4
Add more color layers
Repeat step 3 to add more
Solid Color layers in the same
way, each one set to the
Multiply blending mode. If you
need to hide part of a color,
press X to flip your color to
black, and paint on the mask.
Add separate Solid Color layers
for the hair, eye make-up, lips
and background.

5
Save color variations
Go to File>Save As, name
the file 01 and save it as a
JPEG. Double click each of
the Solid Color adjustment
layer thumbnails and choose
different colors, then save the
next one as 02.jpg. Continue
mixing colors and saving until
you have enough variations
for your grid.

6
Design a grid
Go to File>New>Blank File.
Set H: 17in, W: 28in, Resolution
300 pixels/inch, Background
Contents White and hit OK.
Go to View>Grid to help with
alignment. Go to File>Place
and find 01.jpg, then hit OK.
Position the layer and press
Enter. Add the other images in
the same way.
 ne
E d I T i N g

w!
lightroom
LEARN ESSENTIAL EDITING SKILLS FAST!

TAP TO
W ATCH T HE
V IDEO

HOW TO...
assign copyr ight to images
Use Lightroom to edit a photograph’s metadata and stamp your ownership on it
It’s common practice to share your
digital shots as electronic copies.
You might do so my emailing them to
clients, popping them on your social
network site or presenting them in your
online gallery. Once you’ve shared a
photo you can’t control where it ends
up, because it’s easy for others to make
an electronic copy. This can lead to
scenarios where your work is shared
or even published without you being
credited or paid for it. As the creator of
the image you own the copyright to it,
so others must seek your permission
to use it. To help them do so you can
assign your copyright details to the
shot’s metadata.
When your camera processes an
image to describe its colors and tones,
it also includes information about
the camera settings used to capture
the shot, such as shutter speed and
aperture values. This metadata is
stored with the image file, so where the
image goes, the metadata goes too. By
inserting your copyright and contact
details into the metadata, your photo is
less likely to be used without your being
credited. Lightroom 5’s Metadata panel
is designed to let you add important
information such as whether the shot is
copyrighted and who created it. We’ll
show you how to edit a shot’s metadata
and then turn that information into a
metadata preset so you can apply your
copyright details to multiple photos.

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If you don’t want to wait a whole year to learn Teach yourself Lightroom you can download our whole course
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tap here for more
 t h e b i g re v iew
Expert opinion on the l atest kit

Fujifilm X100T
Fujifilm updates its retro-styled big-sensor compact with
some intelligent new features. But how does it perform?
Body only: £999 / $1,299.99 www.fujifilm.com
ompact cameras with large
C sensors are very popular at the
moment, while those such as
the X100 series with its fixed length lens
have a smaller, more niche, audience,
but are still very much admired.
Fujifilm cameras in particular have
proven desirable because of their retro
styling and controls, impressive hybrid
w atch T HE V IDEO
TAP TO
h t t p : // t i n y. c c / w 9 43q x
W ATCH T HE
V IDEO
viewfinder and high image quality same 16Mp CMOS sensor and Fujinon
courtesy of the APS-C sized sensor. 23mm (35mm equivalent) f/2 lens. It
The light and (relatively) small size of also features the same EXR Processor II,
the camera also make them appealing which at the time of the X100S’s release
to street and wedding photographers
who wish to take off-the-cuff shots
was claimed to produce less noisy images.
Watch the video to see how it fares…
without attracting too much attention.
There’s also a large sensor with no “the fujifilm x100T’s
antialiasing filter, which ensures lots size should appeal to
of detail. The latest incarnation in the
series is the Fujifilm X100T, which is street and wedding
very similar to the X100S. It has the photographers”

sensor 16.3-megapixel APS-C size X-Trans CMOS II sensor Viewfinder Hybrid OVF/EVF with
electronic rangefinder Video Full HD (60fps, 50fps, 30fps, 25fps and 24fps) ISO range 200-6400
(expands to 100-51,200) Lens 23mm f/2 Focal length conversion 35mm max shutter speed 1/32,000 sec Autofocus 49
points Burst rate 6fps Screen three-inch LCD (1.04M-dot) Image Processor High-speed EXR II with phase detection memory
SD/SDHC/SDXC Weight 550g (body only) Dimensions 127 x 74 x 54mm
 A P p s
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