The Voigtlander Ultra Wide-Heliar 12mm f/5.6 features 12mm at focal length with maximum aperture of f/5.6. The lens construction has 10 elements in 8 groups and has diagonal angle of view at 121 degrees. Closest focusing distance at 0.3 m and has a filter size of 39mm. The Voigtlander Ultra Wide-Heliar 12mm f/5.6 lens weighs [...]

By Haryono

The Voigtlander Color Skopar Classic 35mm f/2.5 features 35mm at focal length with maximum aperture of f/2.5. The lens construction has 7 elements in 5 groups and has diagonal angle of view at 63 degrees. Closest focusing distance at 0.7 m and has a filter size of 39mm. The Voigtlander Color Skopar Classic 35mm f/2.5 [...]

By Haryono

“lens or nut” captured by Gabriel Catalin (Click Image to See More From Gabriel Catalin)

So you bought yourself a SLR camera. What now? You obviously need more lenses.

To find out which lenses to suit your specific use is not always easy. There are several abbreviations and specifications you need to find out, and things are not better by the fact that different manufacturers use completely different abbreviations for exactly the same properties.

Below I take a review of the important features you can find on a lens, and how the different manufacturers label them.

Please note that some specs may be slightly simplified to make the article shorter and more readable. For example, the EC designation marked on Canon lenses indicates that it has an autofocus (Electronic Focus), but also indicates which frame the lens uses.

Aperture

Maximum aperture is something which is stated on all lenses. It tells you how much light the lens can get through to the sensor at its best. Much light means you can keep shooting in darker conditions without the image blurring due to camera shake. Aperture is provided as an aperture number, such as f2.8 (or sometimes 1:2.8). The smaller aperture number, the more light to the camera. Theoretically, the absolute best aperture you can get an objective equal to 1, but in practice the brightest lenses offer a maximum aperture of around 1.2. As usual, the consumer will be satisfied with an aperture number of between 2.4 and 3.2. The higher the aperture number, the cheaper is the lens. Telephoto Lenses often have larger aperture numbers.

On zoom lenses, there will usually be stated 2 aperture numbers (for example, f2.8 – f5.6). The smallest aperture number indicates that the amount of light you get the wide angle, while the largest say how much light you get through to the maximum telephoto.

Focal Length

The first thing to consider when choosing your new lens is the focal length you want. The focal length is given in millimeters, and specifies whether the lens is a wide angle or telephoto. Both have their advantages and disadvantages. With a telephoto you’ll naturally get closer to subjects far away. Telephoto lenses are also preferred for portraiture as it protects the facial proportions better than a wide angle, and it is much easier to get a blurred background since telephoto lenses have less depth of field than wide angle. Telephoto lenses have usually also lower brightness than the wide-angle, and are more vulnerable to blurriness during the shoot if there is some camera shake. Telephoto lenses are usually physically larger than the wide angle.

Wide-angle on the other hand is fine for nature photography when you can capture more of the landscape. They’re usually good both in brightness and depth of field, and are usually physically smaller and lighter than telephoto lenses. On the negative side the wide angle is not ideal for photographing people, at least not in a pure portrait context. A wide angle gives an impression of greater distance between what is close and what is distant, and it can thus quickly look like that model has a bigger nose and sunken eyes more than she / he really has. There are also more likely to get the so-called distortion with a wide angle, i.e., the straight lines begin to bend into the edges of the image.

The cross between a wide angle and a telephoto is called a normal lens. This is a lens that renders the environment as we see with our own eyes (in relation to distance and magnification). In the 135 format, a normal lens is 50 mm. Everything with a smaller focal length is called a wide angle, while larger focal lengths are called telephoto.

On regular compact cameras with 3x zoom, the focal length is usually extend from 35 mm to 105 mm (according to the 135 format). It is important to remember that the focal length is connected with the size of the image sensor to use it with, allowing the focal length of a lens to change depending on which camera it is used on. To avoid too much confusion, it is common to explain the focal length of that which is equivalent to the 135 format, or the so-called full-frame Digital SLR cameras.

Fixed or Zoom

For most, the most appropriate would be a zoom lens. Then you get several focal lengths in the same lens and therefore let you get away with fewer lenses to meet your needs. Zoom lenses have always two focal lengths specified, for example 18-55 mm, which shows how much zoom range the lens has. If you want this translated into compact camera language, you can just divider the largest number by the smallest, which in the 18-55 mm case gives a zoom of about 3x.

A fixed lens on the other hand, has some advantages. They are smaller and lighter, and usually have better brightness than zoom lenses. It is also easier to correct for various lens error on a fixed lens than a zoom, and thus it is more likely to improve image quality on a fixed lens than a zoom (although this will vary somewhat based on price and producer).

Some consider it more artistically correct to use a fixed lens, and that it is a bit like cheating to use the zoom, but strictly speaking we do not have to worry about it.

Crop Factor

The various camera manufacturers often use different sizes of image sensors in their SLR cameras. This can be confusing in relation to the size of tele or wide angle a lens actually has. The most common trick is to convert the focal length of what it would have been on the 135 format, or the full frame. To make the conversion you need the crop factor. For example, on Canon’s SLR cameras without a full frame sensor, the crop factor is 1.6. This means that you must multiply the focal length with 1.6 to determine what it would have been on the 135 format. 18-55 mm will be approximately equal to 29-88 mm.

• Nikon – 1,5
• Canon – 1,6
• Pentax – 1,5
• Sony – 1,5

Image Stabilization

Although you’ll find optical image stabilization in more and more SLR camera bodies, major manufacturers continue to swear to stabilization in the lens. This is done by moving the lens elements in the lens, which gets the projected image to move the image sensor and thus eliminating camera shake. Manufacturers such as Olympus, Pentax and Sony all use image stabilization in the camera body, so you will not find lenses with stabilization from these suppliers. Below you can see the abbreviations other manufacturers use to specify that their lenses have built-in image stabilization.

• Nikon – VR
• Canon – IS
• Pentax – Image stabilization in the cameras
• Sony – Image stabilization in the cameras
• Sigma – OS
• Tamron – VC

Color Refractive Correction

Photography focuses entirely on the light, and the headache for lens makers is that the light has some strange abilities. One of these is that the different colors of light does bend differently when they pass a lens. This can lead to color shifts, particularly towards the edges in an image. To counteract this, manufacturers are using what they call a low dispersion glass.

• Nikon – ED
• Pentax – ED
• Sigma – APO
• Tamron – LD

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Distortion

Distortion is a different lens error, where straight lines toward the edges of the image is bent either inward or outward. Most lens manufacturers take this into account during construction and correct it in the best possible way, but it can still occur that you come across specifications, indicating that the lens has correction for exactly this.

• Pentax – AL
• Sigma – ASP
• Tamron – AD

Perspective / Focus Shift

Some lenses for professional use, has the ability to correct perspective. For example, when shooting a high building you may fix the camera slightly upward, and the building will look thinner on top than the bottom. Lens perspective shift can thus rectify this. These lenses also have the option to change the focus plane so that you can improve or worsen the depth of field. As a common consumer it is very unlikely that you’ll need some of those lenses.

• Nikon – PC
• Canon – TS

For Non-Full-Size Image Sensors

After SLR cameras took the step into the digital world, something had to be done with the lenses. First and foremost, because the digital image sensor had a much smaller area than a traditional negative / dias. Since the image surface is smaller the lenses can be made smaller and lighter, but at the same time these lenses cannot be used with traditional film cameras or digital SLRs with a full frame image sensor.

• Nikon – DX
• Canon – EF-S
• Pentax – DA
• Sony – DT
• Sigma – DC
• Tamron – DI-II

For Full-Size Digital Image Sensors

The manufacturers also make lenses for full frame image sensors, of course. These can also be used on regular film SLRs.

• Nikon – Lenses are not marked with DX
• Canon – EF
• Pentax – FA
• Sigma – DG
• Tamron – DI

Macro

Macro is a feature many will recognize from compact cameras. It is simply the ability to get very close to your subject and be able to take picture of the little things (insects, flowers, etc.).

• Nikon – Micro
• Canon – Macro
• Sigma – Macro
• Tamron – Macro

About the Author
Morris Scjomin has been a professional photographer for over 10 years, practicing exclusively in the field of portraiture, still life, and documentary images. He has an affection and a passion for camera lenses. To buy a new lens can be a frustrating affair. A large and growing selection of lenses makes the choice more difficult, what will you choose? Gain more knowledge and advice before choosing the right lens.

Go to Full Article: How to Pick the Right Camera Lens to Fit Your Needs

Article from: PictureCorrect Photography Tips

By Richard Schneider

Last updated (03 September’10):
- Review by Luminous-landscape
The Voigtlander Nokton 40mm f/1.4 features 40mm at focal length with maximum aperture of f/1.4. The lens construction has 7 elements in 6 groups and has diagonal angle of view at 56 degrees. Closest focusing distance at 0.7 m and has a filter size of 43mm. The Voigtlander Nokton [...]

By Haryono

“Fort Perch Lighthouse Mono” captured by Mark Broughton (Click Image to See More From Mark Broughton)

When you watch a movie there is one element that never changes, a leading character. The whole movie centers around this leading player and the story is created around this subject. It is no different with a still image like a photograph. Each photo should have its lead character, called the subject, around which the image is created.

By creating this center of interest you form a visual focal point that anchors the eye of the viewer and holds it there. Everything else is discovered by the eye in relation to this one focal point. How the eye moves into the rest of the image is determined by this point. So in order for you to create a successful image you need to emphasize the subject. This is done in one of several ways, so let’s take a look.

1. Get in closer

When you get in really close to the subject it starts to fill the whole frame and the eye can no longer miss the subject and the subject is emphasized. It powerfully directs your attention to the subject as there is nothing else in the image to compete with it. It is a simple but dramatic emphasis of a subject. Use your feet more often when shooting and you will see just how dynamic the resulting images are.

2. Get further away

This may not seem a great idea in order to emphasize your subject. Picture this. The subject is a light house and there is an azure blue sky reflected in an ocean topped by white foam. The bold red and white lighthouse on the horizon is in stark contrast to the blue of the sky and ocean. It may not fill the image but it still dominates the scene in relation to the rest of it. Placed in the correct position it becomes even more striking.

3. Selective focus

Using a small aperture to control the depth of field, or depth of focus, lifts the subject out of a background that is now blurred by the very shallow depth of field. With the background details now blurred the subject stands out against it in clear focus. This simplifies the images and cause all attention to be focused on the subject.

“Ladybug on a car roof” captured by jacques gautreau (Click Image to See More From jacques gautreau)

4. Subject placement

By placing your subject off center it creates a very pleasing image to the eye. Called the rule of thirds, discovered by the Greeks and used by artists for thousands of years it adds a dynamic element to your photo. Imagine a noughts and crosses or tic-tac-toe grid over the scene. Where the two horizontal lines intersect with the two vertical lines is where you place your subject thereby emphasizing it to great effect.

5. Simplify your backgrounds

By placing the subject on simple, plain single colour background there is no doubt as to which is the subject. Making sure that the colour of your subject and the background contrast with each causes the subject to be clearly emphasized. You may need to change your viewpoint or angle of view in order to exclude clutter and keep the background simple. Remember that less is more and the KISS principle applies here.

The key to a great a photographs is a clear subject. Knowing where to place it in a photograph as you learn digital photography, allows you to emphasize the subject to great effect with stunning photo results. Happy shooting!

“lone tree” captured by paul Robertson (Click Image to See More From paul Robertson)

About the Author
Wayne Turner has been teaching photography for 25 years and has written three books on photography. His website can be found at 21steps2perfectphotos.com

Go to Full Article: Tips to Emphasize Your Subject in Photography

Article from: PictureCorrect Photography Tips

By Richard Schneider

“Cat Street” captured by AlwynL (Click Image to See More From AlwynL)

Cities are not only home to many people’s homes, businesses and offices but they also full of energy, power and vitality. There are many things that make a city great and capturing the true essence of a city in one single photograph is a very hard thing to do.

The main thing that encapsulates and defines a city can actually differ depending on the time of the day and even the season. During the morning cities can look peaceful and calm, whilst during the evening or nighttime they can come alive with activity and purpose.

Most of the people that call the a particular city home don’t take the time to stop and marvel at the magnificent landmarks and sights that make their own home city such a wonderful place to be a part of. A really good city photograph not only shows off the majestic buildings in the heart of the city centre, but should also showcase some of the more enthralling aspects and delights that day to day city life has to offer.

1. Choose an Interesting Subject – Make sure you have an interesting subject for the photo, either in the middle section of the photo or in the foreground.

2. Have a Mix of Foreground & Background – Ensure that you have a good mix of interesting foreground and background areas in the entire photo.

3. Leave Room to Crop – When you are framing up the photo in the viewfinder make sure that there is some room around the edge of the photo to crop the final image.

4. Use a Level Tripod – Before taking the photo make sure that you use a level tripod so that the horizon is straight. Even though you can fix this up later in photoshop it is easier to do it right in the first place to save yourself the hassle.

5. Keep the Sun Behind You – Try and keep the sun behind you so that you get the most amount of light on your the city and the sky has a brilliant blue look to it.

6. Choose the Right Time of Day – Try to take photos as early or as late as possible in the day, as these times generally give the best light and produce more shadows and detail on your photos.

7. Use the Correct Exposure – When setting the exposure for a photo make your reading based on the brightest part of the photo so that there is no overexposure.

“paris” captured by abeer (Click Image to See More From abeer)

8. Use a Timer or Remote – Always use a timer or remote control to take the photo so that there is not any camera shake caused by you when you depress the photo button.

9. Use a Polarizing Filter – On your SLR camera use a polarizing filter to remove the light reflections that bounce of building windows and metal objects.

10. Buy in a Good Lens – In order to get the best from your SLR camera invest in a good quality lens. They may be expensive but it will be well worth the money.

By using all of the above tips you are sure to see a noticeable improvement in any photos that you take of city building or skylines. Not only will your city photos will clearer and more well defined, but they will also has a wide spectrum of color, which is the sign of a great photo.

“shtil” captured by Raluca Mateescu (Click Image to See More From Raluca Mateescu)

About the Author
Landscape Photography has a range of city photography pictures on show, which showcases what it is possible to achieve if you follow the above techniques.

Go to Full Article: 10 Tips for Taking Great Cityscape Photos

Article from: PictureCorrect Photography Tips

By Richard Schneider

The Leica Elmarit-M 24mm f/2.8 ASPH features 24mm at focal length with maximum aperture of f/2.8. The lens construction has 7 elements in 5 groups and has diagonal angle of view at 84 degrees. Closest focusing distance at 70 cm and has a filter size of 55mm. The Leica Elmarit-M 24mm f/2.8 ASPH lens weighs [...]

By Haryono

The Leica Summarit-M 35mm f/2.5 features 35mm at focal length with maximum aperture of f/2.5. The lens construction has 6 elements in 4 groups and has diagonal angle of view at 63 degrees. Closest focusing distance at 31.5 inches (0.8 m) and has a filter size of 39mm. The Leica Summarit-M 35mm f/2.5 lens weighs [...]

By Haryono

“Eiffel Tower” captured by Ion Paciu (Click Image to See More From Ion Paciu)

In this article, I will cover a core concept in photography that is neglected by a surprising amount of photographers. Photography is a wonderful mixture of science and art. The science part can be intriguing and is an important aspect but not the whole of it. Techniques like depth-of-field control, slow shutter speed effects or motion freeze are all interesting but they only compliment one of the core concepts of photography which is closer to art: composition.

Composition

A photographer is an Artist and a dreadful fate of an artist is “predictability”.

And it is this area where we are all set apart from each other. We see things differently, perceive differently and of course think differently. Although biologically we are all human, all these contribute to the “uniqueness” of one person and hence to his/her creation in any field of art.

So am I saying only a specific people can become a photographer? Absolutely not. We, humans, have an excellent gift of learning. We learn by imitating, we learn by reading and collaborating through communication. Same applies to photography. We first have to imitate the best works from legendary photographers, try to “see through” their work, analyze it, appreciate it and follow it before we can innovate our own styles.

After going through a bunch of photography works from distinguished photographers like Ansel Adams, Edward Curtis and Irving Penn and many others… I noticed “few” patterns and commonalities that make their work extraordinary. And then after researching on internet and library books, I found there are a LOT of concepts and ideas behind those “few” patterns. Somehow the patterns were “deliberately” introduced to be noticed and CREATING new ideas for the rest of the photographers (like me) to learn and adore.

Here I am going to share some of my insights combining already available plethora of information on this topic while throwing in some of my examples in this engaging discussion of COMPOSITION: How to make a photo more “appealing” and “pleasing” to our eyes. Like good food is not a direct outcome of cooking in a good utensil, it’s the photographer’s decision that makes a photo great and hardly the camera itself. Of course you must know the technical part of taking the photo or you will land up ruining your best shot due to incorrect camera and flash settings.

“viento2″ captured by Raluca Mateescu (Click Image to See More From Raluca Mateescu)

This discussion is very subjective, slightly controversial but informative as well. Please understand, real artists are not confined into any set of rules. But I can guarantee you that they are MORE aware of these “rules” than us and thus are able to consciously take a superior decisions to either follow the rules or break them. So I would suggest that my tips are mere guidelines and are not meant to be followed diligently in EVERY situation.

Sounds kind of a disclaimer, huh… well it’s a message from a photographer to a photographer. Most of the time we THINK that we are limited by what is presented to us for taking photos, but little we REALIZE that it us who choose WHAT we photograph, in what ANGLE, from what POSITION. and WHEN we press the shutter, click!

Now let’s jump right in. For simplicity I have broken the material into four easy key elements to remember and understand and I will cover two of them in Part I of this article:

I. Choose the subject

Be a miser when choosing your subject. Do not try to include EVERYTHING you see in a SINGLE photo. I got a great advice from one my photographer friend that I am going to share with you -

While Painting a picture we start from a blank canvas and “add” objects and colors on it to produce a finished painting. With Photography, we start with a scene already full of objects and colors and we consciously “eliminate” unwanted distractions and focus on a subject resulting in a good photograph.

“Bacons Barn” captured by Joey (Click Image to See More From Joey)

Quite an “a-ha” moment.

Like good literature, a choice of subject should be concise, and to the point. Find an “interest point” in what you are seeing in front of you. While writing this article, my eyes see a glass of half-filled water. Is this an interesting subject? Why not? What about just the edges? Or maybe vertically from top, when you can see a circle and a magnified image of what is beneath the glass. Seeing photographically involves having artistic taste. And then comes aesthetic composition.

If you find that “interest point” in the scene, try to keep only ONE central interest point per photo, if you have more, the viewer’s eyes will naturally hover around. The viewer’s brain tries to make a decision of what to look at and concentrate and in this process of searching loses interest because we tend not to think too hard just to figure out what the photo is all about. All this happens very quickly and at a sub-conscious level.

The central point of interest can be a color, an object or shapes. A central theme can be a rhythm, pattern or even chaos. Do not confuse with “one” central point of interest with “one” object in the scene. It can be one object or combination of many objects, the key is to search for pattern or relationships (more to come in the next section)

II. Choose the environment to compliment the subject

You can have multiple or all of the themes (from section I) in a scene. It’s a photographer’s task to identify what needs more attention and what doesn’t. Keep one, eliminate others. The process of elimination can be either completely removing them out of the frame of your photo or optionally making them “out-of-focus” or blurring out the unwanted elements.

“saving us” captured by Raluca Mateescu (Click Image to See More From Raluca Mateescu)

You can also have a frame to enhance the focus on the subject. A frame can be the outer edges of your viewfinder or anything from the ACTUAL scene, like an arch or tree branches or a window. Find something in the scene itself that can provide a frame to your subject.

Draw attention of the viewers to the detail of the subject. Don’t let distractions dominate the composition. Remember: Less is more.Define your subject so strongly among it’s backgorund that the eyes of the viewers get locked on it. Have (or make) a contrasting background, either Dark on Light or Light on Dark. Also place other objects in the environment keeping in mind the relationship with the main subject.

Remember the concept of a subject does not always apply to conventional “subject” notion that comes to our mind like a person, a structure or a mountain. It can be even be a part of the conventional subject like a dress on a person, eyes of a person, a corner of a structure or a rock on a mountain. Choosing a specific details of a subject generally tells a story and keeps interest among the viewers.

III. Positioning Your Subject

Now that you have selected a subject and complimenting background, let’s get to the “positioning” part. The famous (Thumb-)Rule of the Thirds is so important to follow ( and to break elegantly ) that it is worth mentioning yet one more time here.

Position the subject (chosen in Part 1) in the environment (chosen in Part 2) at 1/3rd distance from the left or right of the viewfinder edge horizontally and 1/3rd distance from top or bottom of the viewfinder edge vertically.

Here’s a diagram that will be useful:

Composition Diagram for Photography

You can see I have divided the viewfinder into 9 blocks. The simple thumb rule says that blue area is the sweet spot for placing the subjects. The intersection is the “sweetest”. Here are few detailed guidelines for different types of subjects -

• Objects (trees, rocks, focused part of any bigger subject) – at V1H2, V2H2, H1V2 and V1H1.
• Portraits (eyes at H1H1)
• Horizons at either H1H1 or H2H2
• Vertical or Horizontal elongated subjects like trees or bridges at V2V2

The negative Rule of Third says dead center is deadly – avoid placing the subject in the centre of the frame and avoid letting the horizon divide the photo into two equal halves (There are exceptions though, which I will cover next in this series).

If you are not able to get the subject into that sweet spots for whatever reason, crop in post-processing to achieve the same effect. But do remember cropping and enlarging might reduce the overall quality of the photo (may not be noticeable when viewed on computer screen or smaller dimension prints).

Hence cropping at source is always recommended. Finally even if you keep the subjects near the intersection of the lines, that will still be better than dead-centering. Next you should align the frame edges with the subject’s orientation. Of course you can always post-process and rotate the photo slightly if required.

You can position the subject such that imaginary lines either converge or diverge from the subject. The line can even be curved or lead towards the centre of interest. This will add a dynamic impact to the photo.

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Frame edges can be respectfully avoided for positioning the center of interest, this leads to limiting the eye movements of the viewers only at the edge of the frame.

For action shots, it is advisable to keep a space in front of the moving subject to give a sense of motion, and future position of the subject thus providing anticipation as well.

Try different height, please. Do not shoot at your shoulder height. We are so bored seeing the whole world at our own eye levels, that we need fresh angles to look at objects that normally we don’t try. Try lying down, crouch, get a higher vantage point (hill, table, 10th floor).

Positioning the subject inside a (imaginary) frame serves to isolate your main subject and create an interesting composition. I have covered this part in Part 3 of this series. Also one aspect of positioning is to try to fill the above frame with most of the subject’s area so that you get a closer, tight look of the subject. This specially looks good with nature and wildlife where we have little scope to be actually that close to the subject in our everyday life.

IV: Breaking the Rules

This last element might seem quite counterintuitive, and actually that’s the key to mastering any form of art. Some of the most stunning pictures break the above ‘rules’. And you must be totally familiar with the above rules in order to identify the opportunity where you can break them elegantly. No rules can guarantee a well-designed photograph. If “nice looking” photos do not come to you intuitively, the above “rules” will definitely help you improve the results by increasing the visual appeal of your photos. But we must remember that we must not become a servant and blind follower to the above rules which will lead to “boring” predictability which I had discussed in the Introduction of this series.

“Morning Walk” captured by Debra Vanderlaan (Click Image to See More From Debra Vanderlaan)

There’s one exception to the rule of the third’s though. In case of reflections, do let the horizontal line divide the photo into equal halves to emphasize the quality of reflection by mirroring.

Miscellaneous Tips

Here’s few standalone tips that will help you enhance the scene on your photo.

• When you are shooting something with great height like canyons, valleys or cliffs and you want to emphasize the height, shoot vertically.
• You can repeat visual elements of the subject throughout the photo. Repetition can be in form of color, texture or shapes.

About the Author
To see full size example photos used to demonstrate various concepts of composition in this article please visit: http://www.pleasurephotography.com/composition-photography-part-I.

- Sudipta Shaw is a software professional and a self-made photographer. He also likes to teach and mentor. To read more on photography tips, techniques and resources, visit his homepage: http://www.pleasurephotography.com.

Go to Full Article: Composition in Photography

Article from: PictureCorrect Photography Tips

By Richard Schneider

The Panasonic DMW-LT55 features Offering a magnification of 1.7x with f/3.7 brightness, the lens extends your 12x zoom to 20.4x, with a maximum focal length of 714mm (35mm equivalent). The result is remarkably clear, expressive shots of distance objects, making it great for wildlife close-ups. Compatible with the Panasonic Lumix DMC-FZ30 and DMC-FZ7, the lens [...]

By Haryono