Tuesday, June 23, 2009

Canon EF 100mm f2.8 Macro USM review

This telephoto macro lens is capable of focusing to life-size (1X) without attachments. Although it replaces the EF 100mm f/2.8 MACRO lens marketed in 1991, it is a completely new design. It incorporates a ring type USM giving quiet, high-speed autofocus. The full-time mechanical manual focus gives very smooth manual focusing. For the first time in a 1X focusing telephoto macro lens, Inner focusing is used. The lens length remains constant and a long Working distance of 149mm makes worrying about getting too close to the subject unnecessary. Also, during focusing the front ring does not rotate making use of front-mounting accessories like macro ring lites simple and effective.
Canon has obviously put some effort into the build of this lens as it feels solid and extremely well made. The controls are well laid out and easy to use. The ultrasonic focusing is excellent too - silent, fast and accurate> The only thing that goes against it is its large size, but as its focusing is internal it don't get any bigger like most other Macro lenses do when focusing close-up.

Image quality,
Whether the lens is wide-open or stopped down, the quality is excellent. One tiny comment would be that there is a little the centre and be rounded along the outer edges 
', CAPTION, 'Barrel Distortion',BELOW,RIGHT, WIDTH, 400, FGCOLOR, '#CCCCFF', BGCOLOR, '#333399', TEXTCOLOR, '#000000', CAPCOLOR, '#FFFFFF', OFFSETX, 10, OFFSETY, 10);" onmouseout="return nd();">Barrel Distortion
, but you only likely to notice it in a image of straight sided buildings.. In all of out tests it performed well and it is diffecult to find and faults with the image quality.

Canon has produced a great lens here and for once you don't have to re-mortgage the house to get hold of one. Shame it's only available for Canon. It's a top notch professional lens but as a reasonable price. Well reasonable for Canon but still quite expensive for most photographers.

Monday, June 22, 2009

Nikkor AF 80-400mm f/4.5-5.6 ED VR D - Review / Lab Test Report


Released back in 2000 the Nikkor AF 80-400mm f/4.5-5.6D ED VR was the first in a row of new Nikon lenses featuring a Vibration Reduction (VR) mechanism which is certainly one of the key selling arguments besides the very attractive zoom range of the lens. The VR has an efficiency equivalent to 3 f-stops (at cost of slow shutter speeds like all optical image stabilizers). Unlike its Canon counterpart the VR is capable to detect panning so it is not necessary to switch between two different modes for static and action scenes. The VR should be switched off when using the lens on a tripod - otherwise you risk added blur because the lens tries to find non-existing motion.

The AF 80-400mm VR is a gold ring lens indicating a professional grade Nikon lens for F-mount DSLRs. It's a full frame lens and there're no limitations regarding the usage on film and digital SLRs. On current APS-C DSLRs like the Nikon D200 (used for testing) the focal length is equivalent to 120-600mm (5x ratio).

The build quality of the lens is good but don't expect an all-metal tank - many parts are made of good quality plastic. The Nikkor has a conventional zoom ring making it quite convenient to set an exact focal length. The zoom action feels a little on the stiff side. As you can see in the product shots above the lens extends quite a bit when zooming towards the long end of the zoom range but this is typical for zoom lenses in this focal length class. The AF 80-400mm VR features a detachable tripod collar which is certainly needed regarding the weight class of the lens. Unfortunately it isn't exactly the best implementation around because turning the ring between horizontal and vertical layout is imprecise at best. Most users will probably prefer to take it off.

Thanks to an IF (internal focusing) design the front element does not rotate so using a polarizer is no problem. The lens has no internal AF motor and relies on a slotted drive screw operated by the camera. As a result AF operation will generate a moderate degree of noise. The AF speed is quite slow - one of the primary points of criticism with its the user community. Sports photography is not really a strong aspect of the 80-400mm VR but things aren't all that bad on the D200. The lens has a focus limiter which can be useful in low-light situations where the camera's AF may tend to hunt at times. If you deactivate AF on the camera you still need to turn an AF-MF ring on the lens in order to use the focus ring - otherwise it remains detached from the focus gears. Quite awkward compared to the recent AF-S designs.

Optical construction17 elements in 11 groups inc. 3 ED elements
Number of aperture blades9 (rounded)
min. focus distance2.3m @ 400mm (max. magnification ratio 1:4.8)
Filter size77mm (non-rotating)
HoodNikon HB-24 (supplied), barrel-shaped
Other featuresLens provides distance (D) information to the camera. Tripod collar. Vibration Reduction (VR).
Lens kindly provided by Horst Schneider!

Nikkor AF-S 300mm f/4D IF-ED Review / Test Report

ens kindly provided for testing purposes by Josef Merk!


The Nikkor AF-S 300mm f/4D IF-ED is the longest tele fix-focal length lens in the current line-up that remains within the financial reach (around 1250€/US$) of serious amateurs. Surprisingly Nikon does not offer an AF-S 400mm f/5.6 so for anything longer you either have to add a tele-converter or go for the AF 80-400mm f/4.5-5.6D ED VR which has about the same form factor.

Released back in the early 2000 the AF-S 300mm f/4 is obviously a full format lens. In the tested APS-C scope (Nikon D200) the field-of-view is equivalent to classic 450mm. The Nikkor AF-S 1.4x extends the reach to 420mm (630mm equiv.) f/5.6.

The build quality of the lens is exceptionally high. The outer barrel is made of metal with a silky finish. The very broad, rubberized focus ring operates very smooth and slightly damped. A build-in telescope lens hood (lockable) is also supplied. In order to provide a more balanced usage on a tripod or monopod Nikon also implemented a detachable tripod-collar.

The AF-S 300mm f/4 is a true IF (internal focusing) design so its length remains constant regardless of the focus setting and the front element does not rotate. Using a polarizer is therefore no problem unless you extend the lens hood. Thanks to a silent-wave motor the AF is very fast and near-silent.

Optical construction10 elements in 6 groups inc. 2 ED elements
Number of aperture blades9 (rounded)
min. focus distance1.45m (max. magnification ratio 1:3.7)
Filter size77mm (non-rotating)
Hoodbarrel shaped (build-in)
Other features


The naked AF 300mm f/4D IF-ED produces an insignificant degree of distortions only measurable under lab conditions. Adding tele-converters does merely affect this base characteristic.


The AF-S 300mm f/4 is a full frame lens so it can take advantage of a sweet spot behavior on the D200. Vignetting is detectable at f/4 (0.4EV) but it shouldn't be overly field-relevant. At f/5.6 vignetting is absolutely negligible. There's even less vignetting at wide-open aperture when adding a Nikkor AF-S 1.4x or a third-party (Soligor) AF 1.7x DG converter.
Lens provides distance information (D). Tripod collar.

Sunday, June 21, 2009

Canon EF-S 18-55mm 1:3.5-5.6 IS review Andy Westlake, January 2008

Canon's 18-55mm 1:3.5-5.6 IS is the latest in its line of inexpensive dSLR kit lenses which began with the original 18-55mm in 2003, as an accompaniment to the groundbreaking EOS Digital Rebel/300D (widely considered to be the camera which started the affordable dSLR revolution). The focal length range was chosen to be equivalent to the popular 28-90mm kit lenses then available for entry-level 35mm SLRs, and lightweight plastic construction was used to keep costs down. The design was slightly refreshed with the introduction of a mk II version to accompany the Digital Rebel XT/350D, however this only really featured subtle cosmetic changes, with no improvement to the optics. And those optics were never the strong point of this lens, which gained a reputation as a somewhat mediocre performer, with many users looking to upgrade fairly rapidly.

But Canon has now produced a major upgrade in the shape of this IS version, which looks destined to become the new standard kit lens for Canon's APS-C dSLRs such as the EOS 450D. IS stands for Image Stabilization, and the new lens features a wholly new, simplified optical image stabilization module, which Canon claim offers similar performance to that offered in their higher end (and hitherto much more expensive) IS lenses. This new lens is a clear response to the competitive threat posed by other manufacturers offering sensor-shift stabilization in relatively inexpensive dSLR bodies, so the big question is whether it can deliver the goods in terms of image quality, in the face of some strong competition at this entry-level point.

Changes compared to the non-IS versions

Side-by-side comparison of the 18-55mm IS to the non-IS mkII version suggests that it offers more than simply the addition of an IS unit. The new lens is slightly longer than its predecessor (70mm vs 66mm), and the front element is substantially larger in diameter (44mm vs 37mm); the optical diagram reveals that the next three elements are also larger, presumably to accommodate the demands of the optical IS unit. The aperture diaphragm has been moved rearwards in the lens assembly, and the lens coatings also appear to have been changed. However the lens remains impressively lightweight and compact; addition of the IS unit adds nothing to its diameter, and just 10g to the weight. As an added bonus, the minimum focus distance has been reduced from 0.28m to 0.25m, offering a welcome increase in maximum magnification from 0.28x to 0.34x. Overall this represents a pretty impressive technical achievement by Canon’s lens designers.


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Canon EF 14mm f/2.8L USM Lens Review


The Canon Lens Review Overall Rating Break Down for the Canon EF 14mm f/2.8L USM Lens Review

Canon EF 14mm f/2.8L USM Lens Review Construction: coming soon
Canon EF 14mm f/2.8L USM Lens Review Price Rating: coming soon
Canon EF 14mm f/2.8L USM Lens Review Overall Image Quality: coming soon
Canon EF 14mm f/2.8L USM Lens Review Overall Score: coming soon
Canon EF 14mm f/2.8L USM Lens Review is a "" Quality Lens.

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Saturday, June 20, 2009

Canon EF 70-200mm f/4 USM L IS (full format) - Review / Test Report

Special thanks to Johannes Matzke for providing this lens for testing!
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Canon users were always gifted with a broad range of excellent tele lenses, especially zooms. At the time the Canon EF 70-200mm f/4 USM L hit the market back in 1999 it was another milestone but there was one itch left: wouldn't it be nice to have this lens with an image stabilizer ? In late 2006 Canon heard the calls and released the Canon EF 70-200mm f/4 USM L IS so there're now no less than -four- 70-200mm L variants in the lens line-up. However, some user calls probably went silent after seeing the price tag beyond the one grand (€/US$) barrier. Still, for many a wish came true. We have already tested the lens on an APS-C DSLR some time ago (with superb results) but its native playground is the full format so let's have a look how it performs here now.
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The Canon EF 70-200mm f/4 USM L IS does a good job with respect to distortions but the situation is still a little worse compared to prime lenses. The Canon lens produces a slight degree of barrel distortion at 70mm, slight pincushion distortion at 135mm and moderate pincushion distortion at 200mm. The latter may be visible in very critical field situations.

The build quality of this lens is excellent - no wobbling and smooth controls. The lens does not extend during zooming and thanks to its inner focusing system the front element does not rotate so using a polarizer is no problem - unless you attach the hood of course.

The lens incorporates a new third-generation Image Stabilizer (IS) with a claimed gain of 4 f-stops for hand held photography (at cost of shutter speed). This is achievable in the field but better take 3 f-stops as a guidance. Unlike the consumer variants the IS system has 2 modes - a normal one for static shooting (horizontal + vertical stabilization) and a panning mode (horizontal OR vertical stabilization - the panning direction is automatically detected). It also features tripod detection so the IS can remain activated here.

By default the EF 70-200mm f/4 USM L IS does still NOT come with a dedicated tripod mount but it is available as an option either in black or white. The lens may be relatively light-weight but used on a tripod the camera-lens balance is quite bad so if you intend to use here the optional tripod mount is a good investment.

Typical for most modern EF lenses it features a ring-type USM drive which offers near silent and very fast AF operations. There were no problems with respect to AF accuracy during our field tests either. Like its direct cousins the lens is compatible to the EF 1.4x (-> 98-280mm f/5.6) and EF 2x (-> 140-400mm f/8) converters. Please note that Canon consumer DSLRs will not provide AF with the latter combination due to the small max. aperture.

The similarities between the two 70-200mm f/4 variants are quite striking so let's have a short look at the paperwork here before going on to the test results.

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Canon EF 70-200mm f/4 USM L IS Canon EF 70-200mm f/2.8 USM L IS
Elements/Groups 20/15 23/18
Special Elements 1x CaF2 + 2x UD 4x UD
Image Stabilizer Efficiency (*) 4 f-stops (with tripod detection) 3 f-stops (with tripod detection)
Aperture blades 8 (circular) 8
Min. focus (magnification) 1.2m (1:5) 1.3m (1:5)
AF motor ultrasonic with FTM ultrasonic with FTM
Zoom type true IF true IF
Size 76x172mm 86x197mm
Weight 760g 1470g
Filter size 67mm 77mm
water/dust protection yes yes
approx. Price (EUR) ~1040€/US$ ~1600€/US$

Friday, June 19, 2009

Canon Rebel T1i Review

Canon Rebel T1i Review

BY: Adam Crawford, DigitalCameraReview.com Contributor
PUBLISHED: 6/19/2009
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The Canon Rebel T1i is the camera company's first DSLR to feature both full HD and 720p video capture in the same camera body (the Canon EOS 5D Mark II was their first DSLR with full HD capture). The T1i comes packed with pro-quality features like an APS-C sized 15.1-megapixel CMOS sensor, the impressive DIGIC 4 image processor, a high-res 3.0 inch LCD, full manual control over exposure, and easy-to-use scene modes for everything from night portraits to sports.

With all the buzz surrounding Nikon and Canon's trailblazing DSLRs with HD video, we are starting to see an onslaught of cameras being released, from point-and-shoot compacts to pro-level SLRs, with this exceptional feature – appealing to those who need HD video and the highest quality stills all in one device. The T1i certainly is capable of both.

The T1i inherits the same technology as the higher-end 50D, packing the same-sized image sensor and DIGIC 4 processor, and giving a reviewer like myself reason to draw comparisons between the two cameras. Although technologically similar, the T1i and 50D are different in size, features, controls – and, of course, price. But it is interesting to see just how much of the 50D has made its way into the affordable T1i.


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Thursday, June 18, 2009

Canon EOS 450D (Digital Rebel XSi / Kiss X2 Digital) Review May 2008, Simon Joinson and Phil Askey

Review based on a production Canon EOS 450D
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Four and a half years have passed since the first affordable digital SLR from Canon; the EOS 300D (Digital Rebel). In that time we have witnessed two further iterations (the EOS 350D and EOS 400D) leading up to today's fourth generation EOS 450D, with twice the megapixel count of the original (twelve versus six) in a smaller body with a far wider range of functionality and features and a $200 lower list price. Since those heady days in 2004 when the EOS 300D was the only kid on the block we've seen Nikon, Pentax and Olympus all attempt to hit the same sweet spot of size, features and price at the 'lower end' of the DSLR market, with varying degrees of success. Without a doubt the EOS 450D will have to do more today to prove itself in an increasingly crowded market.

On the third page of this review you'll find a detailed breakdown of all of the changes and updates compared to the EOS 400D but the headlines are; a larger 3.0" LCD monitor, Live View with both passive and contrast detect AF, Spot metering, improved auto-focus, 3.5 fps continuous shooting a larger viewfinder and a switch SD/SDHC for storage (all previous cameras in this range were Compact Flash). Other features appear to be inherited from the EOS 40D; 14-bit image pipeline, Highlight Tone priority, optional High ISO noise reduction, 'My Menu' and display of the ISO sensitivity on the viewfinder status line. There's also the new stabilized kit lens (for review and samples click here).

Note that throughout this review we will refer to the EOS 450D by its European name; if you live in other parts of the world you'll know the camera by (in order of silliness) Rebel XSi or Kiss X2 Digital, but they're all the same.

A brief history; Canon entry level digital SLR series

Foreword / notes

If you're new to digital photography you may wish to read some of our Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / recommendation / ratings are based on the opinion of the author, we recommend that you read the entire review before making any decision. Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of them, click to display a larger image in a new window.

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This article is protected by Copyright and may not be reproduced in part or as a whole in any electronic or printed medium without prior permission from the author.

Dpreview use calibrated monitors at the PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally also A, B and C. (www.dpreview.com)

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Tuesday, June 16, 2009

Canon EOS 5D Mark II Review BY: Theano Nikitas, DigitalCameraReview.com Contributor PUBLISHED: 5/26/2009

Canon EOS 5D Mark II

This second iteration brings the EOS line up to date using the 5D as its base, adding new and enhanced features, a little trickle down from the 1Ds Mark III and a couple of additions borrowed from the 50D. A great mixture of features, technology and performance, the 5D Mark II has already made its mark on the photo community.

In addition to a new 21 megapixel CMOS sensor (similar to the one used in the 1Ds Mark III), the 5D Mark II is equipped with a high resolution 3-inch LCD, a new viewfinder, a DIGIC IV processor, increased ISO to 25,600, and HD video capabilities for recording up to 12 minutes of HD at a clip.

Canon EOS 5D Mark II

The camera is equipped with an updated version Canon's integrated cleaning system, featuring a Fluorine coating on the low pass filter to help repel dust. The cleaning system can also be activated manually via the camera's menu.

Other notable features include Peripheral Illumination correction, which helps correct vignetting (the camera can store the data of up to 40 Canon lenses), Highlight Tone Priority and interchangeable focusing screens.

The list of additions and improvements is long and impressive but to get a better feel for what the camera does and how it performs, read on.

Physically, the 5D Mark II is pretty much a clone of its predecessor in terms of design, weight and size. Control layout is almost exactly the same, both weigh about 1.8 pounds (body only without battery) and the 5D Mark II measures only a fraction of an inch larger. The biggest external difference is the larger, higher resolution LCD-a 3.0 inch monitor (vs. the 5D's 2.75 inch LCD) with about four times the resolution of its predecessor and a wider viewing angle. A new viewfinder, which offers 98% coverage, is also a welcome addition.

Canon EOS 5D Mark II

Other changes include two more Custom settings options on the mode dial, bringing the total to three custom modes, and the addition of a Creative Auto mode-a feature borrowed from the 50D. The CA mode is, essentially, designed for novice DSLR users or, according to Canon, experienced photographers who want a quick and easy method of adjusting certain settings. Mostly, though, it's for people who don't fully understand manual exposure or the relationship between aperture and depth-of-field. One of the CA options, for example, moving a slider bar to "blur the background" (i.e. limit depth-of-field). It's one of those take it or leave it features that most experienced photographers will probably ignore.

Upon close inspection you'll also notice the addition of an IrPort remote sensor so you can use one of Canon's optional remotes. And, of course, since the 5D Mark II is capable of recording HD video, there are connections for an external microphone and for HDMI output.

Canon EOS 5D Mark II

While the 5D Mark II doesn't have a built-in flash, one of Canon's Speedlites will fit neatly into the camera's hotshoe. And if you're a macro fanatic, be sure to check out Canon's Macro Ring Lite or Macro Twin Lite flashes. Of course, the full complement of Canon's EF Lenses is available for the camera as well.

You'll need a high speed, high capacity CompactFlash card to make the most of this camera and since the 5D Mark II supports UDMA CF cards for higher capacity burst capture (as well as standard CF type 1 and II cards), I tested the camera with a 16GB Lexar UDMA card and a SanDisk 16GB Extreme IV card. Both cards performed well and having the higher capacity was extremely useful since the 5D Mark II's files are about twice as large as the 5D's. For video, keep in mind that about 12 minutes of HD video requires about 4GB of space.

Canon EOS 5D Mark II

A new battery pack provides between 750-850 shots per charge but that's not the only benefit of the new battery. You can also track several of the battery's data points including the remaining number of shots. A new battery grip is also available and the camera is compatible with Canon's WFT-E4A Wireless File Transmitter so you can transfer images in a number of different ways including wirelessly and directly to USB drives.

Build quality is excellent and, best of all, the 5D Mark II-like the 5D-opens up the world of full-frame DSLRs to those of with smaller hands, less than Hulk Hogan upper body strength and modest bank accounts, and offers the opportunity to shoot comfortably with a full-frame camera. Of course, you can always outsize your strength by coupling the 5D Mark II with a huge telephoto lens but that's where a sturdy tripod comes into play. Bottom line: the 5D Mark II is solidly built, has enough heft to counterbalance long lenses and is equipped with a well-designed grip for stable handholds.

Canon EOS 5D Mark II

Ergonomics and Controls
Since the 5D Mark II's controls are almost a carbon copy of the 5D, 5D users won't miss a beat when upgrading, although there is a slight learning curve for using Live View and shooting video on the new model. Other Canon DSLR users will also have an easy time transitioning to the 5D Mark II since controls are very similar.

As I mentioned earlier, one of the benefits of the 5D Mark II's modest physical design is that it's easy for those of us with smaller hands to use. There is one exception, however. Because the power on/off switch is at the bottom right on the rear panel of the camera, it's sometimes a little awkward to turn the camera on and off without shifting the right hand off the grip. It's not a big deal; it's just something one has to navigate a little differently than other cameras with more easily accessible power on/off switches.

Menus and Modes
Canon has kept the 5D Mark II's menu system fairly uncluttered, with the full complement of options under each tab visible on a single screen. Granted, there are more tabs to cycle through but at least you don't have to scroll through more than one virtual "page" of a menu to get to the setting you want.

There are nine tabs but even those unfamiliar with Canon's menu system can quickly figure out what each tab icon means. The first two-a camera icon on a red background-are capture settings; the two blue icons with white arrows are for playback settings, etc.

Shooting information is available everywhere including the viewfinder, top panel LCD and rear panel monitor. With the rear LCD's info panel, you can easily change all of the most important options ranging from f/stop (which is also adjustable with the main control dial), ISO, file size/resolution and more.

The exposure mode dial, located on the left top surface of the camera offers a number of different options:

  • Custom settings: C1, C2, C3 allows users to register three different custom modes with most often used or special settings
  • B(ulb): holds the shutter open for as long as the shutter button is depressed in the 5D Mark II
  • Manual: you set both the shutter-speed and aperture
  • AV: you select the aperture and the camera selects the shutter-speed
  • TV: you select the shutter-speed and the camera selects the aperture
  • Program: the camera sets the shutter-speed and aperture but some manual settings are available
  • Creative Auto: provides a simple graphic interface to adjust aperture and exposure compensation
  • Auto: the camera selects all but a few settings

Although it's unlikely the 5D Mark II will attract photographers who will make use of the Auto and Creative Auto modes, Canon didn't penalize exposure options by including them. Rather, an extra two Custom modes, bringing the total to three, is a welcome change and will be well-utilized by many photographers.

The new, larger and higher resolution LCD is a very welcome addition to the 5D Mark II. Even though the 3.0 inch LCD is larger than the 5D's 2.75 inch monitor, there's only a barely-noticeable shift of control positions and fractions of an inch increase in body size.

At 920,000 dots, the screen offers great resolution and can now be viewed at a wide 170 degrees. The 5D Mark II offers 7 levels of brightness adjustment, as well as auto, and while using the LCD is a pleasure under all lighting conditions, it's easy to be fooled into thinking that your exposure is right on if the LCD brightness isn't at the right level so be sure to use the histogram and highlight alert features.

The manual LCD brightness option came in handy when shooting in Live View, though. While the LCD delivered fluid movement in Live View, the image on the screen was a little dark but was easily brightened by a quick trip to the internal menu system.

While the optical viewfinder offers about 98% coverage-up from the 5D's 96%--I'd still like to see 100% coverage. After shooting with the Sony A-900, it's hard to go back to any other optical viewfinder. Still, the 5D Mark II's optical viewfinder is quite good. Optional focusing screens are also available.

Thanks to the implementation of Canon's new DIGIC IV processor, the 5D Mark II has made some gains over the 5D. Burst mode is now at about 3.8 frames per second, versus the 5D's 3fps, and won't win the 5D Mark II any awards but given that the new model is pushing almost twice as many pixels, it's a pretty good improvement. (Sony's A900 is even more impressive but uses dual processors to push the pixels from its 24 megapixel sensor.).

A larger buffer allows the camera to shoot up to about 13 consecutive RAW files (you can add a few more when using a UDMA card). Use sRAW1 or 2, which are smaller-sized RAW files (10 megapixels and 5.2 megapixels, respectively), new for the 5D Mark II, to pick up some speed and extra shots.

Shutter lag and autofocus times are good, although I found that the 5D Mark II occasionally had to hunt for focus in very low light. I have used the 5D Mark II to shoot fashion shows but probably wouldn't take it to an air show, sporting event or car race since the autofocus and burst rate may not be up to the challenge. But wedding photographers and photojournalists will be more than happy with its performance.

Shutter Lag (press-to-capture, pre-focused)

Camera Time (seconds)
Olympus E-30 0.02
Canon EOS 5D Mark II
Nikon D90
Pentax K20D
Sony Alpha DSLR-A350

AF Acquisition (press-to-capture, no pre-focus)

Camera Time (seconds)
Olympus E-30 0.14
Nikon D90
Canon EOS 5D Mark II
Sony Alpha DSLR-A350
Pentax K20D 0.28

Continuous Shooting

Camera Frames Framerate
Olympus E-30 9 5.0 fps
Nikon D90 4.0 fps
Canon EOS 5D Mark II 3.8 fps
Pentax K20D
38 3.0 fps
Sony Alpha DSLR-A350 2.1 fps

Note: Continuous shooting framerates are based on the camera's fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.), as tested in our studio. "Frames" notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.

Unlike most DSLRs equipped with Live View, Canon has equipped the 5D Mark II's Live View with three autofocus modes: Quick, Live and Face Detection Live. In the Quick mode, the mirror drops down so that phase detection autofocus can be used. Live and Face Detection Live use contrast detection autofocus because the mirror is kept up and out of the way. Contrast detection is a slower mode of autofocus than phase detection but is certainly usable. Be sure to test the Live AF mode in video before shooting footage; depending on the subject matter and the lens used, you may want to manually focus instead since it's more accurate (and quieter).

As expected, the 5D Mark II produces great images-even on its default settings. If you don't like the image, simple adjustments to one or more of the camera's many options will do the trick.

Canon 5D Mark II

It was no surprise that auto white balance produced a very warm image under incandescent lighting. Expect this from all Canon cameras and don't depend on auto white balance indoors (AWB does work well outdoors in sunlight, however).

Canon EOS 5D Mark II

Monday, June 15, 2009

Reasons to Upgrade to a DSLR Camera

  1. Image Quality - Due to the larger size of image sensors in DSLR camera which allows for larger pixel sizes - DSLR are generally able to be used at a faster ISO which will lead to faster shutter speeds and less grain (ie shoot at 1600 ISO on most DSLRs will have less noise than shooting at 1600 on a Point and Shoot). DSLRs also have built in noise-reduction when genearating JPG images which also helps cut down on noise.
  2. Adaptability - DSLR’s ability to change lenses opens up a world of possibilities for photographers. While my point and shoot has a nice little 3x Optical Zoom (and many these days have longer ones) my DSLR can be fitted with many high quality lenses ranging from wide angle to super long focal lengths depending upon what I’m photographing (and of course my budget). Add to this a large range of other accessories (flashes, filters etc) and a DSLR can be adapted to many different situations. It should be noted that when it comes to lenses that the diversity in quality of lenses is great. Image quality is impacted greatly by the quality of the lens you use. nikon, canon, minolta
  3. Speed - DSLR’s are generally pretty fast pieces of machinery when it comes to things like start up, focusing and shutter lag.
  4. Optical Viewfinder - due to the reflex mirror DSLR’s are very much a what you see is what you get operation. camera second
  5. Large ISO range - this varies between cameras but generally DSLRs offer a wide array of ISO settings which lends itself to their flexibility in shooting in different conditions.
  6. Manual Controls - while many point and shoots come with the ability to shoot in manual mode, a DSLR is designed in such a way that it is assumed that the photographer using it will want to control their own settings. While they do come with good auto modes the manual controls are generally built in in such a way that they are at the photographers finger tips as they are shooting.
  7. Retaining Value - some argue that a DSLR will hold it’s value longer than a point and shoot. There is probably some truth in this. DSLR models do not get updated quite as often as point and shoot models (which can be updated twice a year at times). The other factor in favor of DSLRs is that the lenses you buy for them are compatible with other camera bodies if you do choose to upgrade later on (as long as you stay with your brand). This means your investment in lenses is not a waste over the years.
  8. Depth of Field - one of the things I love about my DSLR is the versatility that it gives me in many areas, especially depth of field. I guess this is really an extension of it’s manual controls and ability to use a variety of lenses but a DSLR can give you depth of field that puts everything from forground to background in focus through to nice blurry backgrounds.
  9. Quality Optics - I hesitate to add this point as there is a large degree of difference in quality between DSLR lenses but in general the lenses that you’ll find on a DSLR are superior to a point and shoot camera. DSLR lenses are larger (more glass can add to the quality) and many of them have many hours of time put into their manufacture (especially when you get into higher end lenses). I strongly advice DSLR buyers to buy the best quality lenses that they can afford. It it’s the difference between a high end lens on a medium range camera or a medium range lens on a high end camera I’d go for quality lenses every time as they add so much to photos.

Sunday, June 14, 2009

Leica DSLR M8 First Impressions Review

The Leica M series stretches back to the early 1950s, when they offered 35mm film shooters an extraordinary level of refinement and precision. The Leica M8, introduced at Photokina this week, is the logical successor to those forebears – it accepts M-bayonet lenses made since 1954 with focal lengths from 21 to 90 mm. In many ways, the M8 contrasts with its competition now the same way the M3 and M4 contrasted with the Nikon F and Canon F-1 in their heyday. Simply, the Leica M8 is less versatile than other $5000-plus digital cameras. At 10.3 megapixels, with a 2 frame-per-second burst rate for 10 images, no autofocus, and the choice of aperture-priority or manual exposure, its specs are not competitive. But its image quality is superb, its handling very efficient, and its construction uniquely robust. We had the chance to jostle with a throng of Leica enthusiasts (there is no shortage of them in Cologne, Germany) at Photokina to get a first look at the M8. We weren't allowed to save any images shot with the camera, but we gave it a going-over, and have some clear impressions.

Performance Expectations
We weren't allowed to save any images shot with the Leica M8, but we looked over the images in the camera. Our impressions are not definitive, but the shots looked very sharp and the color was very accurate. We look forward to testing the M8's images in a controlled setting and hold high expectations for the long awaited rangefinder.

Saturday, June 13, 2009

Canon EOS 5D Mark II intro

The Canon EOS 5D Mark II is the successor to the EOS 5D, the World’s first ‘affordable’ full-frame DSLR. Announced in September 2008, the EOS 5D Mark II comes almost three years after its predecessor, during which time the DSLR market has moved-on considerably. Unlike the EOS 5D which initially enjoyed no competition, the new EOS 5D Mark II finds itself launched against two key rivals: Nikon’s D700 and Sony’s Alpha DSLR A900. So the new 5D Mark II is in a much tougher position than its predecessor and Canon had to make some significant improvements.

The EOS 5D Mark II of course features a full-frame sensor, but the resolution enjoys a considerable boost from the 12.8 Megapixels of its predecessor to 21.1 Megapixels. This in fact matches the resolution of Canon’s current flagship, the 1Ds Mark III, but it’s not the same sensor. The EOS 5D Mark II features a new CMOS sensor which employs an improved output amplifier, a more advanced colour filter with superior light transmission, and other enhancements also seen in the recently announced EOS 50D. Canon claims the result is the highest quality seen from any EOS DSLR to date.

The Canon EOS 5D Mark II is the successor to the EOS 5D, the World’s first ‘affordable’ full-frame DSLR. Announced in September 2008, the EOS 5D Mark II comes almost three years after its predecessor, during which time the DSLR market has moved-on considerably. Unlike the EOS 5D which initially enjoyed no competition, the new EOS 5D Mark II finds itself launched against two key rivals: Nikon’s D700 and Sony’s Alpha DSLR A900. So the new 5D Mark II is in a much tougher position than its predecessor and Canon had to make some significant improvements.

The EOS 5D Mark II of course features a full-frame sensor, but the resolution enjoys a considerable boost from the 12.8 Megapixels of its predecessor to 21.1 Megapixels. This in fact matches the resolution of Canon’s current flagship, the 1Ds Mark III, but it’s not the same sensor. The EOS 5D Mark II features a new CMOS sensor which employs an improved output amplifier, a more advanced colour filter with superior light transmission, and other enhancements also seen in the recently announced EOS 50D. Canon claims the result is the highest quality seen from any EOS DSLR to date.

Olympus E-620 review

Olympus E-620 review

The Olympus E-620 is a 12.3 Megapixel DSLR with built-in anti-shake facilities and Live View enhanced by a fully-articulated 2.7in screen. Announced in February 2009, it’s positioned between the entry-level E-4xx series and the higher-end E-30, and while Olympus continues to sell the E-520 at the time of writing, we expect the E-620 to replace it over time.

As such, the E-620 represents a step-up from budget entry-level models for those who want a more sophisticated camera without having to invest in an upper mid-range or semi-pro body.

The E-620 inherits a number of key aspects from the higher-end E-30 including the same 12.3 Megapixel Live MOS sensor, six creative ‘art-filters’ and the articulated 2.7in / 230k monitor, allowing you to easily compose at any angle in Live View – although the screen panel itself is a newer version.

These are also the headline improvements over the earlier 10 Megapixel E-520, although the new E-620 additionally addresses several complaints of its ‘predecessor’ by featuring a more sophisticated phase-change AF system (7-point vs 3-point) and a slightly larger viewfinder (0.96x vs 0.92x); continuous shooting is also a little quicker (4fps vs 3.5fps). The E-620 is also a little smaller than the E-520 without sacrificing too much of a grip, making it the smallest DSLR with built-in Image Stabilisation. It's even more impressive when you consider there's also a fully articulated screen in there.

It’s another compelling DSLR specification although one that approaches the price of two key rivals: Canon's EOS 500D / Rebel T1i and the Nikon D5000. In our Olympus E-620 review we’ll compare all three models closely, starting with their physical differences and ending with how their respective image quality measures-up. So if you’re considering one of these three DSLRs or are simply after a step-up from a budget, entry-level model, you’ve come to the right place.

Testing notes:

We tested a final production Olympus E-620 running firmware version 1.0 and 1.3 in its body and kit lens respectively. Following our convention of testing cameras using their factory default settings unless otherwise stated, the E-620 was set to Large Fine JPEG quality, Auto White Balance, ESP metering and the Natural Picture Mode with Normal Gradation; Noise Reduction and the Noise Filter were set to their ON and STD settings respectively. In-camera Image Stabilisation was enabled for all handheld shots and disabled for tripod-based tests.

Nikon D300 data

The good: Excellent performance and photo quality; solidly built; extremely flexible custom settings architecture; onboard wireless flash controller.

The bad: A bit too expensive, given the competition.

The bottom line: Visibly better photo quality and slightly improved performance make the Nikon D300 a significant upgrade over the D200 and an excellent all-around choice.

Specifications: Digital camera type: SLR ; Resolution: 12.3 megapixels ; Optical zoom: 11.1 x ;

Friday, June 12, 2009

Canon EOS 500D review

Just 14 months after the launch of the EOS Rebel XSi (450D), Canon has unveiled its latest model, the Rebel T1i (500D). It's the fifth generation of Rebel and enters the market at a difficult time - in the midst of a global economic downturn and against the fiercest competition we've ever seen in the entry-level DSLR sector. So what has Canon done to make this latest model in the longest-established family in the sector live up to the edgy and exciting image implied by its US naming?

The 500D/T1i doesn't quite have to be the everyman camera that its predecessors were. The introduction of the Rebel XS (1000D) in June 2008 means the T1i no longer has to appeal to everybody who doesn't want to stretch to buying into the 50D class. As a result, the 450D was able to bulk up its feature set to include a selection of features that price-conscious shoppers don't necessarily realize they want, such as a larger viewfinder and spot metering. The result was probably the most complete Rebel we'd seen.

There's a full explanation of the differences between the 500D/T1i and it predecessor on the coming pages but, in general terms, it's a gentle re-working of the 450D. So you get the 15MP sensor much like the one that appears in the 50D, helping this to become the first entry-level DSLR to feature video (and 1080p HD video at that). You also get the lovely 920,000 dot VGA monitor that has been slowly working its way down most manufacturer's DSLR line-ups. There are a handful of other specification tweaks that come from the use of the latest Digic 4 processor but essentially this is most of a 50D stuffed into the familiar 450D body.

And, if the loss of the letter 'X' from the US name seems a bit disconcerting, you can comfort yourself with the knowledge that the Japanese market will still know it by the odd-to-European-ears 'Kiss X3 Digital.' For simplicity's sake, we'll refer to the 500D/T1i/Kiss X3 by the name 500D throughout the rest of the review.

A brief history; Canon entry level digital SLR series

* The Canon EOS 1000D represents a sub-class of the Rebel series and hence should be considered a parallel series

Compared to predecessor - key differences

Although for the time being the EOS 500D will sit alongside the 450D in the Canon DSLR line-up there is no doubt that sooner or later it will replace the older model and occupy the spot between the 1000D as and the EOS 50D on its own. The most noticeable new features on the EOS 500D are the higher resolution sensor, the new high-res LCD and the HD video mode but the camera also comes with the latest generation DIGIC imaging processor which brings a few more low-key improvements such as fine-tunable noise reduction and Highlight Tone Priority or a fresher, animated menu design with it. See the list and table below for all the spec and feature changes..

  • Higher resolution sensor (15.1 vs 12.2 effective megapixels)
  • Extended ISO range up to ISO 12800
  • HD video capability
  • New 3.0 inch 920K pixels screen
  • Adjustable noise reduction and highlight tone priority
  • Face Detection in Live View
  • Peripheral Illumination Correction
  • HDMI output
  • Larger buffer in continuous shooting
  • Digic 4 style menu design

Thursday, June 11, 2009

Nikon D5000 Hands-on Preview Richard Butler, April 2009

Preview based on a pre-production Nikon D5000

The recent boom in DSLR sales has seen all the major manufacturers adding bulked-up or stripped-down entry level models, repositioning their offerings to make sure that anyone willing to put up with the size and weight of a DSLR will look at one of their models. The whole thing has often left existing DSLR owners a little lost - 'why isn't there a direct replacement for my camera?' - but has undoubtedly meant there are many more attractive, accessible cameras on the market just waiting to entice first-time DSLR owners.

And its into this maelstrom of DSLR proliferation that Nikon launches its latest baby DSLR, the D5000. The name will come as no surprise to anyone within earshot of the rumor mill but the camera itself may present some more surprises. Having confused many people but made huge ground with its simplified D40 and D60 range, it appears Nikon has again decided that simply replacing models isn't the best way to address the market. So here we have a camera that genuinely seems to sit above the D60 (rather than continuing in parallel until the stock runs out), and below the D90. Like the baby Nikons, the D5000 doesn't have an autofocus motor built into the body but does gain a tilt-and-swivel LCD, as a series of leaked images that have made their way around the internet would have you expect.

The idea of an upper-entry-level DSLR (for want of a better term), that sits below the 'enthusiast' grade D90 (with its twin control dials, big battery and pentaprism viewfinder), is hardly a radical one - the Canon 500D and Olympus E-620 seem to cater to a similar market. So what does this new Nikon have to offer either the tech-savvy first-time DSLR buyer, or the owner of an older entry-level model wanting newer features but unwilling to slavishly follow the manufacturer's 'upgrade path'?

Nikon D5000 Key Features

  • 12.9 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
  • 2.7" tilt and swivel LCD monitor (230,000 dots)
  • Movie capture at up to 1280 x 720 (720p) 24 fps with mono sound
  • Live View with contrast-detect AF, face detection and subject tracking
  • Image sensor cleaning (sensor shake)
  • 11 AF points (with 3D tracking)
  • IS0 200-3200 range (100-6400 expanded)
  • 4 frames per second continuous shooting (buffer: 7 RAW, 25 JPEG fine, 100 JPEG Normal)
  • Expeed image processing engine
  • Extensive in-camera retouching including raw development and straightening
  • Connector for optional GPS unit (fits on hot shoe)
  • New battery with increased capacity
  • 72 thumbnail and calendar view in playback

Nikon D5000 vs D60: Key Differences

The D5000 could easily be seen as a D60 with a tilting screen added, and most of a D90 stuffed into it. As such it offers quite a few feature improvements over its little brother:

  • 12.3 MP CMOS sensor (D60: 10.2 MP CCD)
  • Tilt/swivel screen
  • Live View with contrast detect AF
  • Movie Mode
  • Wider ISO range
  • 11 point AF system with 3D tracking (D60: 3 point AF)
  • Control of Active D-Lighting intensity
  • Automatic correction of lateral chromatic aberration
  • Choice of JPEG quality in RAW+JPEG shooting
  • Extra retouching options
  • More scene modes
  • Faster continuous shooting
  • Bracketing

Tuesday, June 9, 2009

Canon EOS 500D Akhirnya Dirilis Di Indonesia!

Setelah kurang lebih 2 bulan beredar di pasaran luar negeri akhirnya kamera digital SLR EOS 500D buatan Canon (http://www.chip.co.id/imaging-devices/eos-rebel-t1i-kamera-dslr-terbaru-dari-canon.html), akhirnya sejak tanggal 26 Mei 2009, kamera ini dirilis secara resmi di pasaran Indonesia. EOS 500D yang hadir di pasaran Indonesia memiliki spesifikasi yang sama dengan kamera yang beredar di luar negeri.


EOS 500D merupakan kamera DSLR entry-level pertama dari Canon yang dilengkapi dengan prosesor gambar DIGIC 4. Kamera ini hadir dengan sensor CMOS APS-C yang memiliki resolusi sebesar 15.1 megapixel. Dengan besar sensor sebesar itu, tentu saja kamera ini dapat menghasilkan gambar yang tajam dan kualitas detil yang tinggi.


Untuk pengambilan gambar di tempat yang gelap, kamera ini memiliki ISO hingga 12800 yang didukung dengan teknologi ISO speed noise reduction. Kamera ini juga sudah dilengkapi dengan feature Lighting Optimizer dengan Face Detection Technology. Dengan menggunakan feature tersebut, maka EOS500D secara otomatis akan meningkatkan tingkat pencahayaan pada area gelap sebuah gambar. Kamera ini juga sudah dilengkapi dengan LCD monitor berukuran 3 inci.

Canon EOS 500D juga mampu merekam video dengan kualitas Full HD movies: 640x480 pada 30 fps; 1920x1080 pada 20fps; atau 1280x720 pada 30fps. Pengguna kamera ini juga dapat menampilkan hasil foto mereka di layar TV Full HD karena telah tersedia A/V Out Terminal dan HDMI Output.

Bagi Anda yang ingin membeli Canon EOS 500D, Anda diharuskan merogoh kocek sebesar Rp 9.950.000,- (Body Only); Rp 10.950.000,- (dengan Lens EF-S 18-55mm IS); atau Rp 16.500.000,- (dengan Lens EF-S 18-200mm IS).

Source : Canon
Author : Del

Kamera Rating

Hasil rating dari seluruh tempat itu kira2 dalam 50 besar urutan dari subject evaluasi (note: unsur price & keahlian pengguna dikesampingkan) :

1 - Nikon D3 (harusnya D3X nih... nga ada yang ngalahin sekarang.. 25MP, dan live view lagi..)
2 - Nikon D700
3 - Canon EOS 1Ds Mark III
4 - Sony Alpha 900
5 - Canon EOS 1Ds Mark II
6 - Nikon D90
8 - Canon EOS 5D
11 - Nikon D300
15 - Sony Alpha 350
17 - Nikon D60
18 - Nikon D200
20 - Canon EOS 40D
21 - Canon EOS 50D
26 - Nikon D80
27 - Sony Alpha 100
28 - Canon EOS 450D
39 - Nikon D40
43 - Nikon D50

Komparasi merk kamera

1. CANON - koleksi lensa2nya lengkap. biasanya Canon sangat cepat mengeluarkan barang baru, dan yang lama langsung turun harganya. dan kadang bedanya tipis banget sama sebelumnya.

Rata2 lensa tele nya mantep. dan sering di pake jurnalis2 buat ngejar moment. belum punya canon klo blom punya 70-200 banyak di pake di foto model karena soft di skintone. Juga rame di pake di dunia wedding.

Satu lensa yang unik adalah MPE 65, lensa buat macro dan ngetop di dunia. karena pembesaran bisa 5x dalam 1 lensa ( jelasnya ngacungnya panjang banget ).

2. FUJI - body2 nya ngambil dari Nikon. dan di modif sendiri. so far seh, jarang yang make. JPG bagus di skintone, tapi RAW ancur2an. dengan harga yang mirip2 sama dgn nikon, yah.. rata2 ngambil nikon lah.

3. LEICA - overpriced. lebih kearah collectible daripada di pake sehari2. enough said

4. NIKON - saingan Canon. dua merek ini jadi banyak standard di dunia foto. Nikon tuh klo udah ngumumin barang keluar, tapi sampe ke tangan kita bisa berbulan2 kemudian. lebih konservatif.

Banyak lensa2 Nikon yang masih AFD ( artinya focusnya masih pakai motor di body ). tapi pelan2 sudah mulai ganti ke AFS. perkiraan gua seh, rata2 mau di jadiin lebih mahal lagi. Lensa2 nikon banyak legendaris di Wide angle dan Fish Eye. serta lensa2 "aneh" PC, PCE, dst.

lensa 105mm macro dan 200mm macro dah jadi legenda deh. untuk pembesaran 1:1 jarak 15-30 cm... dah jadi raja. terus ada lagi PB6 ( bellow ) yang bisa moto 11x pembesaran. jadi misal ada binatang 2mm, di foto bisa 22mm di sensor... nyam nyam.

Lensa Nikon banyak yang warna lebih saturasi dan kontras di pinggiran ( sehingga persepsi kita melihat hasilnya lebih tajam ).

menurut gua satu kelebihan nikon adalah, lensa lama masih bisa di pakai di body baru dan meteringnya jalan, artinya orang yang dah berdedikasi ngumpulin puluhan lensa, tetap bisa makai. seperti yang saya bilang, klo motonya pake manual, ngapain pusing beli lensa2 baru.

5. OLYMPUS - Dengan ukuran sensor yang lebih kecil ( 4/3 ) olympus cocok buat yang demen macro atau tele, karena lebih kerasa. mungkin karena ukuran sensor yang lebih kecil membuat orang kurang suka. gimana juga, size does matter at some point. di tambah lensa2 Olympus gak terlalu murah.

6. PENTAX - padahal jaman 1970an, pentax ini raja loh.... rame banget yang pake spotmatic, Pentax 67, pentax 645 ( autofocus pertama di medium format ). sayang dah mulai redup. barang2 nya gak ada pembaharuan. jadi kayak megang barang jadul.

di era digital, Pentax tuh sistem yang paling murah di banding merk2 lain. yah kelengkapan barang2nya gak terlalu banyak. cuma kalau pakainya zoom di range 18-200 masih tersedia lah. dan 1-2 flash.... cocok buat pemula yang gak mau repot dan " tegoda " beli2 lensa lain ( haha.. mau beli juga gak ada barangnya ).

7. PANASONIC - versi murahnya Leica sejak kerjasama dgn Pana, kayaknya Pana gencar neh mau masuk ke DSLR dan RangeFinder, pake lensa leica... dengan mounting FOUR THIRD.

8. SAMSUNG - asli... dah keluarin bbrp DSLR tapi lom pernah liat satu pun yang make

9. Sigma - sama seperti samsung,lom pernah liat orang yang make. secara teori sih Foveon, ini sama persis dengan prinsip kerja film warna. karena salah satu kriteria detail adalah warna, mustinya warna yang di hasilkan sangat cerah ( wide gamut ).

kalau di lensa.... 50-50. artinya kadang bisa dapet barang bagus, kadang gak. klo lensa dia yang terkenal adalah 70-200/2.8. karena harga gak gt mahal dan HSM pulak.

10. Sony - dulu seh minolta ngetop di Indo. terus ilang, dan sekarang di beli sama Sony. lensa2 bagus, tapi rata2 price lebih tinggi dari nikon dan canon. klo di liat seh bakalan jadi 3 besar. karena dukungan dana yang kuat dari pihak sony.

Tips2 membeli kamera

yang kita beli pada pertama kali kadang menentukan investasi berikut2nya. kalau kita membeli satu kamera A, bukan berarti kita cuma membeli lensa dan kamera itu, bagaimana kelanjutannya ? ada FLASH, ViewFinder tambahan, Lensa2, Vertical Grips, bellow, extension, converter, ring2 khusus, Lens adapter, underwater case, remotes, cable release dst dst.

semakin banyak perlengkapan tambahan kan semakin bagus. siapa tau nanti2nya kita mau main ke spesifik object. mau gak mau aksesories tuh musti di tambah, misal extension tubes, TC, atau bellow, flash macro. Atau klo buat interior, mungkin lensa2 PC, dst.

juga musti di liat, apakah banyak yang menyediakan barang2 tambahan tersebut di sini, atau klo sampe gak ada, musti cari dimana. Singapore kah ? HK kah ? atau sampe ke US..

3rd party. walau gak semua orang suka, tapi paling gak, ini salah satu pendukung diantara merk2 "official". malah bbrp merek besar, udah melakukan sub ke 3rd party.


harga sih biasa menentukan banget pembelian awal. ada paket2 kamera beginer yang murah.... tapi klo berlanjut ke kamera yang semi pro, dan lensa2 pro di merk yang sama.... nah itu dah mulai deh mahalnya keliatan.

terus juga, musti di ingat, kadang rencana cuma mau keluar 5 juta tau2 bengkak jadi 20 juta. itu dah biasa banget. karena ntar mau foto malam hari musti beli tripod, klo mau foto macem2 dikit musti beli flash, beli komputer, beli software, beli lensa lain dll dll dll.

alternatif dari merk "official" yah 3rd party. di sisi harga biasanya lebih murah, tapi kadang cuma beti, beda tipis. klo di cari barang mirip cuma beda 10%, ngapain beli yang 3rd party. malah ada yang lebih mahal.


kemudahan dalam mengoperasikan satu kamera tuh penting banget. paling bagus kalau mau beli kamera dgn merek tertentu, kita tuh nyoba 1-2 hari. baru ketahuan.

walaupun memang semua bisa karena terbiasa, sangat baik klo beli barang, jangan dateng ke toko klo lom pernah megang, apalagi lom pernah liat kameranya.

klo moto sebagai hobi sih ok, tapi klo mau menjadikan ini kerjaan, jangan sampe pas moto pre wedding, kita kebingungan tombol2 menu kita dimana. hehehe.. menu dan tombol2 pada kamera harus bisa mempermudah kita menggunkan kamera.

anyway, kan kita yang mengontrol kamera, bukan kamera yang mengontrol kita.


ini mungkin yang paling susah neh. pertanyaannya selalu apakah teknologi yang di berikan sama kamera bisa memperbaiki kualitas dari foto kita ? jawabannya bisa ya bisa tidak.

yang pasti teknologi di butuhkan SESUAI dengan kbutuhan kita. sekarang kalau kita di kasih teknologi VR / IS / OS. tapi kita selalu motret di atas tripod. buat saya malah sesuatu yang mubazir. Atau kalau di kasih AFS / USM, untuk memotret produk atau macro..... mubazir juga.

lantas bagaimana kita tau kebutuhan kita apa ? yah... banyak2 moto dan sesuai dengan interest kita aja. ada yang hidup mati gak mau motoin model. ada yang gak mau landscape. teknologi yang ada mempermudah kita melakuan hal, tapi tidak membuat lebih bagus.

lalu klo mau beli kamera DSLR gimana ? menurut gua klo ada fungsi M dan A, serta ngerti bagaimana cahaya berkerja dah cukup. sisanya adalah tambahan yang menyenangkan.

misal kalau pakai nikon, klo motret pake RAW, fungsi D-Lighting gak ada guna. karena D-Lighting hanya bekerja pada JPG ( yang artinya, prosessor pada kamera mengubah data shadow yang terlalu gelap dan di naikan ). Active-D-Lighting bedanya, sebelum di jepret, kamera sudah ngitung dulu mana yang shadow mana yang highlight, baru deh di jepret. tapi hasil jpg juga berarti hasil olahan kamera.

sama seperti teknologi2 lain di kamera. bisa panjang di bahas satu persatu. http://www.bintangmawar.net/forum/images/smilies/smilies4/chuckle.gif


suka gak suka, feeling pas lagi handling kamera juga berpengaruh besar loh. ada yang semua kriteria masuk, cuma pas di pegang rasanya gak balance, ada yang kok kayaknya kurang solid. ini kita ngomong di kelas hobiist yah.... klo kelas professional, buat cari duit, kamera apa aja ok lah, malah kadang kamera bapuk pun tetap di pake.


jadi sebenernya susah kalau di tanya, kamera apa yang bagus ? karena semua kembali ke masing2 individu. terus lagi feeling kadang ngalahin logika. misalkan ada barang A dan B ( dalam satu merek, yang satu lensa PRO, yang satu lagi lensa amatir ). apakah dengan kualitas yang 10% lebih baik, kita harus mengeluarkan biaya 10x lipat ? semua tergantung.

terus berapa MP yang cukup ? walah... sekarang kamera 5 jutaan aja udah 10MP semua, sedangkan gua pernah cetak kira2 1 x 1,5 meter, dari D2h, yang gua crop stengah frame. nah karena hasilnya di taro di atas tangga yang jarak pandang minimum 2 meter. hasilnya hampir acceptable di mata gua, tapi di mata orang awam ( temen gua... cewe ), " ihh lucu.... bagus deh"

Tips merawat kamera

Berikut ini ada sedikit tips tentang cara merawat kamera yang baik, agar kamera anda bisa tetap awet, dapat berfungsi dengan baik dan berumur panjang.

1. Tempat Penyimpanan : Tempat penyimpanan sangat perlu diperhatikan, simpan lah kamera anda di tempat yang sejuk ( tidah terlalu panas dan tidak terlalu lembab ) dan terhindar dari debu. anda bisa membeli Lemari khusus penyimpan kamera tapi harganya masih relatif mahal, untuk alternativ lain anda bisa membeli Lemari kaca / kayu yang lebih murah, pasangkan lampu 5watt di dalamnya dan atur jarak dari lampu ke kamera anda sekitar 40cm agar suhu di dalam almari bisa tetap sejuk. kemudian letakkan beberapa silica gel untuk menghindari jamur.

2. Cara menyimpan : selain tempat penyimpanan cara anda dalam menyimpan kamera juga harus diperkatikan. pastikan posisi anda meletakkan kamera sudah benar, bersihkan lah kamera anda sebelum menyimpannya. untuk penyimpanan dalam waktu yang lama keluarkan lah baterai dari dalam kamera untuk menghindri Over-charger. untuk kamera D-SLR, lepaskan lah kensa sebelum di simpan dan ingat di pasang ” bodyup ” nya pada lensa dan body Kamera. apabila anda membawa kamera dalam bepergian simpanlah kamera anda pada tas khusus tempat kamera atau tas yang memiki lapisan lebut yang lebih tebal dan pas dengan ukuran kamera anda agar terhindar dari goncangan.

3. Hindari sinar Matahari berlebihan : Panas sinar matahari yang berlebihan bisa merusak bagian bagian kamera anda yang terbuat dari plastik dan karet serta komponen elektronik di dalamnya.

4. Hidari Kapur Barus : kapur barus adalah benda yang sangat di takuti oleh kamera, karena kapur barus dapat merusak PBC ( printed circuit board ) yaitu tempat dimana chip elektronik kamera itu terpasang. uap kapur barus juga dapat membuat flek flek pada lensa kamera anda. menurut berita kerusakan pada kamera yang di sebabkan oleh kapur barus sangat sulit diperbaiki dan bahkan mungkin tidak bisa di perbaiki lagi.

5. Hindari Air Laut : Air laut sangat berbahaya bagi kamera, jauhkan kamera dari cipratan air laut, Air laut sangat jahat dan penyebab karat yang potensial terhadap kamera ataupun perangkat elektronik yang lainnya. bagi pengguna kamera D-SLR, jangan sekali sekali mengganti lensa di pantai apalagi di laut, karena Uap air laut yang di hembuskan angin dapat masuk ke dalam kamera anda dan membawa butir-butir pasir dan zat garam yang menyebabkan kerusakan pada bagian dalam kamera anda. sehabis hunting di laut atau pantai segeralah bersihkan kamera anda karena butir butir pasir yang mengandung zat garam dapat menyebabkan karat pada bagian kamera yang terbuat dari besi.

6. Bersihkan kamera : Usahakan anda dapat membersihkan selalu kamera anda seusai di gunakan atau setidaknya seminggu sekali. gunakan lap halus khusus kamera atau yang biasanya di pakai mengelap kacamata untuk memebersihkan body dan bagian luar lensa untuk baguian depan lensa dan filternya anda bisa menggunakan tisu basah khusus pembersih lensa. untuk membersihkan debu gunakanlah kuas halus atau kuas rias dan untuk bagian dalam kamera gunakanlah blower khusus kamera. semua peratan di tersebut bisa anda dapatkan di toko kamera terekat di kota anda.

7. Servislah Berkala : Lakukan servis secara berkala jangan tunggu sampai kamera anda rusak baru di servis. servislah kamera anda di tempat yang resmi, apabila anda bukan tukang servis kamera jangan sekali sekali membongkar kamera anda di rumah.