asian photography 201209

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Vol. 24 - No.9

JoiN us oN

september 2012 ` 100 us$9

www.asianphotographyindia.com

FixedFocalLengthLens&AAARechargeableBattery

SHooTouT

Tips & Techs

review

shooT My ciTy

CanonEoS650D

NikkorAF-S85mmf/1.8G

TheEndlessLandscapes

IamveryoptimisticaboutthefuturegrowthofIndia-ToshiyukiKasai

Passing of Legends and Some Interesting Predictions

w w w. a s i a n p h o t o g r a p h y i n d i a . c o m

Published by TRILOK DESAI on behalf of Special Audience Publications Pvt. Ltd., 509 & 511, Dilkap Chambers, Fun Republic Street, Off Veera Desai Road, Andheri (W), Mumbai - 400 053. InDIA Printed by TRILOK DESAI on behalf of Special Audience Publications Pvt. Ltd., 509 & 511, Dilkap Chambers, Fun Republic Street, Off Veera Desai Road, Andheri (W), Mumbai - 400 053. InDIA Printed at Rajhans Enterprises, H.O. no. 134, 4th Main Road, Industrial Town, Rajajinagar, Bangalore -44, Published at 509 & 511, Dilkap Chambers, Fun Republic Street, Off Veera Desai Road, Andheri (W), Mumbai - 400 053. InDIA Editor - TRILOK DESAI.

All material covered by copyright; no part of the contents of this journal may be published or reproduced or transmitted in any form without prior written permission of the publisher. The views and opinons expressed by the authors do not necessarily reflect those of the publisher or the editorial staff.Special Audience Publications Pvt. Ltd. and ASIAN PHOTOGRAPHY AND IMAGING is not responsible and liable for any comments and articles published by its contributors and will not be liable for any damages. All disputes are subject to the exclusive jurisdiction of competent courts and forums in Mumbai, India.

Unfortunately, this month started with the unexpected and shocking demise of the legendary photographer Prabuddha Dasgupta. Hailed by many as a visionary, he shot some of the most beautiful pictures that we have seen in recent times. I felt particularly upset since I have been a big fan and have followed his work for a while, more so because we had interacted a few months ago and were hoping to interview him for our Pro-Profile section.

At the time of writing this editorial came the news of Neil Armstrong’s death, and although irrelevant to photography, I personally feel that the Apollo 11 mission had a major impact on photography apart from science. Some of the first images that Armstrong and Aldrin shot of the Earth using their Hasselblad etched their way into history and our memories in time. And although they seem insignificant today due to the technological advancements that we have made, those images became a part of our history.

In this month’s review section we feature the Canon EOS 650D, the latest offering from the manufacturer. I was particularly excited to review the DSLR since in our July 2012 “Trends Special” issue we had predicted that smartphone like touchscreens should very soon feature in DSLRs as well in order to improve their user interface, and we already have the first product in the same category in September itself. There were a host of other predictions that we made in the same issue for the coming years and we are certain that some of these will hit the markets soon.

So Until Next Time…Happy Reading!!!

EDITOR / PublIshER Trilok Desai

GROuP hEADBhavya Desai

NEw DElhI buREAuAmitabh Joshi

sENIOR CORREsPONDENTsMithila JariwalaFred ShippieLester Ledesma

EDITORIAl TEAMRojita Padhy Ajay SinghGeorge KurienTapshi DhandaSteve D’SouzaHimanshu SharmaYashnashree sPECIAl CORREsPONDENT Lopamudra Ganguly (Delhi)

DIRECTOR MARkETINGAruna Desai ([email protected])

DEsIGNGoraksh Kokate Rajendra Gaikwad

MANAGER ADvERTIsINGLaila Rupawalla

Dy. MANAGER ADvERTIsINGKora Ganguly

MARkETING ExECuTIvERagini DesaiWayne OliverSudeshna ChakravartyNivedita HegdeVatsala Dimri (Delhi)Naveen Tanwar (Delhi)

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PRODuCTION MANAGERManoj Surve

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Cover Design: Goraksh Kokate

EDITORIAL

september 2012 AsiAn photogrAphy And imAging[03]

follow us on Twitter@Asian_Photo @Bhavya _Desai

10 News• FujifilmIntroducesFinePixS4500• CanonGearsforOnam• ManfrottoIntroduces290CarbonTripods• FujifilmX-Pro1BagsHonourfromEISA• NikonExpandsitsCoolpixPortfoliowithFiveNewCameras• Top80Photographers’ExhibitionatNCPA• NikonIntroducesSportOptics• StudioProperTeamsUpwithUSTetherTools

Contentsseptember 2012

22 AAA RechARgeAble

bAtteRy shootout

24 lens shootout MirrorlessCameraLenses DSLRCameraLenses

40 PRo- PRofile•ErikJohansson

49 shoot My city•Ladakh

82 cAMeRA ReviewCanonEOS650D

87 lens ReviewNikkorAF-S85mmf/1.8G

60

65

68

58 tiPs And techs58CameraCare

60GetHigh

65DIYCameraBeanbag

68ForcedPerspective

74CartoonVectorEffect

79ThriftyTreasures

AsiAn PhotogrAPhy And imAging[6]september 2012

Feed

back

Readers

’ Comments

and Suggest

ions.

..Dear Sir,

I am a visually handicapped student pursuing an MSC in Electronic Media. My brother subscribes to your magazine and I enjoy going through it. I don’t have vision in my left eye and only 40% in the right eye, but despite that I love to take photos with my DSLR.

My mother and my fellow students do not encourage my interest in photography as a hobby; only my father and elder brother are supportive. My father recently bought me a Nikon 5100 DSLR with the kit lens and a 55-200 mm. I have sent a few photos taken at the Chennai zoo for the Photoscape section and I would be happy if you can print my photos and give me advice on shooting better. I enjoy all photos in your magazine and eagerly wait to get my copy of the magazine every month.

R. Praveen,Chennai

Dear R. Praveen,

Thanks for your mail and I am elated to know that despite your challenges you have taken up photography as a hobby and enjoy it a lot. I personally feel that you shouldn’t get discouraged by whatever anyone says especially if you enjoy photography. Why don’t you try explaining to your mother how much you enjoy it? There are countless examples of visually impaired photographers as well. And more importantly, one must always do what makes them happy.

As for the pictures that you have sent, we haven’t received them so I would like you to send the same again and I will have a look at them.

Dear Sir,

I am not much of a photographer, but I love photography. I got interested in it because of my first job as a content writer for Creative Images, and later by discovering your magazine in Delhi. I purchased that magazine and when I opened it the images of landscapes and profiles inspired me again.

I can give great words to a photograph with regards to its concept/idea, subject, people, photographic technique and camera angles. It will be a great opportunity for me if I could work with Asian Photography. Could you tell me how to apply, or what the selection process entails?

Sachin Singh

Dear Sachin,

It is good to know that you are passionate about photography and that our magazine and its content inspired you in some manner. If you would like to contribute to the magazine, I suggest that you get in touch with me via email and propose ideas that you might have.

We will review the same and get back to you about the possibilities. Hope this answers your queries.

I have known about the magazine for some time now, but it was only recently that I picked up a copy and flipped through the pages. I liked the content of the magazine.

I have studied fashion designing from NIFT and I love photography. I do photography professionally as a fashion photographer but also love to capture wild life, nature and candid moments.

With such a magazine around, I am sure young talents in our country will show interest in this subject. I would be glad to be a part of your team in any way possible.

Sandeep SarkarKolkata

January 2011 asian PhotograPhy and imaging[6]

Feed

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Readers

’ Comments

and Suggest

ions.

..

The Letter

of the month will receive a gift from Uniross

Dear Editor,

I want to convey my thanks and regards to you for reviewing my photos in the link that I provided. I express my gratitude for providing me with your most valuable feedback and reviews on my photos. I promise that I will practice more on shooting techniques and try to improve my compositions. Following your advice I have already started to experiment on different subjects and I am getting better results.

However, I want to improve my compositional skills and give my pictures a more professional touch. I am currently using a Nikon Coolpix L110 camera and looking forward to buy a DSLR after I pass Class 12. It would be very kind of you to provide me, as well as the readers, tips on composition. Hope you take up the subject.

Regards,,Sabyasachi TalukdarNagaon, Assam

Dear Sabya,

It is good to know that our feedback has helped you in improving your photography skills and that you would like to learn more and more from the magazine. I will discuss this in our upcoming edit meet and we will ensure that we do something comprehensive on the Composition side so that the readers can benefit from it.

Dear Editor,

I have been reading your magazine for a while now and must comment that your team and you have been doing a great job. I have seen the simple and subtle changes that you have brought to the content and the fine balance that the magazine has been achieving lately.

I also like the reader columns like My Story, Ask Your Expert and Shoot My City. I am happy that you are looking at sections in the magazine that make them more reader interactive and I think that is the way forward for any magazine. From the December issue I loved the interview of Dabboo Ratnani. The DSLR shootout also provided a lot of valuable feedback on the cameras and their performances. Wish the AP team renewed success and great year ahead.

Regards,Vishal ShahAhemdabad,Gujarat.

Dear Vishal,

We are always happy to know that the readers are appreciating our work since it takes a lot of effort to put all the things together. Apart from the same I also have a great team that works really hard to ensure that we keep that fine balance in our content going.

In the months to come you will see some more initiatives that are reader driven so that we can engage more of the readers and also interact with them on a regular basis.

The Letter



Feed

back

Readers

’ Comments

and Suggest

ions.

..

Dear Sandeep,

Thanks for your letter and we are happy to know that you liked the content of the magazine. As mentioned in the letter above to Sachin, you too can get in touch with us and propose any idea that you might have for the magazine. We encourage reader participation in the magazine since it allows them to showcase their talent and share their images with other readers.

Hi

I am a regular reader of your esteemed magazine and I wanted my picture to be reviewed by you. I have attached a picture in this mail and I request for your feedback on the same.

Regards,Ritesh Ranjan Sett

Dear Ritesh,

It’s good to know that you are a regular reader of the magazine. I saw the picture that you sent us and honestly I could not find anything wrong with it. You seem to have got the basics right in terms of the composition as well as the frame. I am not sure if you have worked on the picture in post production, but if you have shot the image on RAW then I suggest that you bring the lake out a little since the blues seem to be overpowering it.

Keep up the good work.

The Letter


September 2012 AsiAn PhotogrAPhy And imAging[10]

News

Manfrotto Introduces 290 Carbon TripodsManfrotto have just announced the launch of its 290 Carbon tripods, a new family of carbon fibre camera supports. The 290 Carbon supports the aspiring photographer along the path from hobby to passion.

The 290 Carbon series is designed to be easily transported and carried with travelling photographers in mind: 290s are small when folded, but lightweight and very stable when opened. For the 290 Carbon, Manfrotto

developed carbon tubing that uses optimised fibre angles to provide advantages of torsion/flexion rigidity and stability compared to aluminium tubing.

The 290 Carbon kit tripods have interchangeable heads and its aluminium leg levers have adjustable locking tension that can be tightened to ensure wear-proof stability and reliability. The tripod’s aluminium castings make it durable.

The 290 Carbon range includes a “legs-only”

tripod, a monopod and a small selection of ready-to-use complete tripod + head kits, divided into two sizes: the more stable 294 models have larger diameter leg tubes and 3-section tripod legs for extra rigidity and vibration-resistance, while the more compact 293 model has narrower tubes and 4-section legs so it folds to an even more compact size.

The MRP of 290 Carbon Fibre starts from `12,500 (inclusive of all taxes)

Fujifilm Introduces FinePix S4500

Fujifilm recently introduced its FinePix s4500, a superzoom camera with a 30x Fujinon optical zoom lens. The camera offers a 14 megapixel CCD sensor with sensor-shift in a compact and robust body. some of the camera’s shooting functions include Motion Panorama, super Macro shooting, Tracking Auto Focus, Instant Zoom and Zoom Bracketing Mode.

Canon Gears for OnamCanon India Pvt Ltd, recently announced its business plans for the forthcoming festive season starting this Onam. Canon has registered 32% growth in the first six months of 2012 driven by a 60% growth in its camera business. The company announced that the increase in its market share was a result of aggressive marketing, new product launches, attractive pricing, retail expansion and portfolio expansion, citing Canon’s entry into the Cinematography domain with the launch of its Cinema eOs C300 camera. The company has planned marketing worth of INR 40 crores for the festive season, starting with Onam, to achieve its market share target.

Canon India’s camera division’s marketing expenditures comprises of almost 72% of Canon India’s overall marketing budget of INR 142 crores for 2012. This year, the camera division also has increased its marketing budget - from INR 76 crores in 2011 to INR 102 crores in 2012 - an increase of over 34%.

The company is investing heavily in marketing and promotion and has rolled out a new marketing campaign exclusively for Onam, featuring the company’s brand icon, Anushka sharma. Announcing the company’s

plans for Onam, Dr. Alok Bharadwaj, senior Vice President, Canon India, reported that the number of their partners in Kerala has reached 102 spread across 22 cities. while the camera business has grown at 60% overall, the growth in Kerala has been 110%, highest for Canon in any area.

To kick-start the festival sales plan the company has announced price reduction for 11 camera models. They also plan to expand imaging brand stores to 100 by the end of this year. “All this will help us reach revenues of INR 2100 crores in 2012, with a market share of 25% in cameras and 45% in DsLRs,” said Bharadwaj.

seiji Hamanishi, Assistant Director & Head of ICP division, Canon India, said, “Kerala is a crucial market for Canon and plays a vital role in the company’s overall growth strategy.” Canon has recently launched a new range of 21 camera models and nine new lenses. The new camera range includes 12 digital camera models, five digital video recorders, three DsLR cameras (Canon eOs 5D Mark III, Canon eOs 650D and the mirrorless Canon eOs M) and the Canon C300.


News

Fujifilm X-Pro1 Bags Honour from EISA Top 80 Photographers’ Exhibition at NCPA

Fujifilm’s X-Pro1, has been awarded the european Professional Compact system Camera 2012-2013 by the european Imaging and sound Association (eIsA).

Aimed at the advanced photographers the X-Pro1 is a new compact system packed

In order to promote the art of photography, and to commemorate world Photography Day, on August 19, a photo exhibition, an open library and a display of some of the oldest cameras from Indian Art studio were recently organised at the National Centre for the Performing Arts (NCPA), Mumbai.

The exhibition has been curated by Mukesh Parpiani, head of the gallery.

ever since it inception in 1988, the Piramal Gallery has played host to nearly 500 photographers who have participated in various photo exhibitions held in the Gallery under the banner of Centre for Photography as an Art-form (CPA).

Many photographers have donated their pieces to the photo archives. CPA will be showcasing the works of 80 such masters of Indian photography during the exhibition.

The library stocked over 200 photography books as well as international magazines and journals at NCPA gallery from August 19, 2012 to August 26, 2012 which were made available to photographers for reference at the venue. This is Mumbai’s first open and free library to inspire a new breed of photographers in the city.

This year the gallery has included pictures of the late Prabudhha Dasgupta. On the first day of the exhibition, an interactive session with some renowned photographers was held and recordings of Prabuddha Dasgupta were played.

A presentation of past events is also being made for the visitors.

with exciting features, lenses and accessories. Housed in a metal bodyl, the X-Pro1 contains a 16.3 megapixel APs-C X-Trans CMOs sensor, a hybrid multi-viewfinder, an original X-Mount for Fujinon XF lenses and an eXR processor.

It also offers additional features such as multi-exposure mode, aperture and shutter priority, enhanced film simulation mode and a TTL hotshoe with a sync terminal.

eIsA judges were particularly impressed with the X-Pro1’s image quality. Commenting on the award, the eIsA jury said, “It is a combination of exceptional lens quality, great build and a revolutionary new sensor design that makes the Fujifilm X-Pro1 such a successful camera.”

Nikon Expands its Coolpix Portfolio with Five New Cameras

Nikon India, recently announced the launch of five new products to its COOLPIX series of digital compact point and shoot cameras. The five new models include P7700, L610, s6400, s800c, and s01.

All the new models are equipped with Nikkor lenses and an HD movie function. The Coolpix P-series model, Coolpix P7700 comes complete with functions like faster continuous shooting and enhanced image quality when shooting at high sensitivities. This camera features a 7.1x zoom Nikkor eD glass lens with a maximum aperture of f/2 and a 12.2-megapixel CMOs sensor.

The Coolpix L610 is a high zoom-ratio

model with a 14× optical zoom lens covering the 25 to 350 mm range of focal lengths and simple operation. The s6400 is a slim, high-powered zoom camera that offers a built-in touch panel. The s800c is wi-Fi compatible camera equipped with the Android Os. The s01 claims to be the most compact and lightest Coolpix model in history.

Hiroshi Takashina, MD, Nikon India said, “with the new Coolpix range Nikon is raising the standard of the photography experience.”

All five models will be available by October 2012 in the Indian market, and the prices will be announced in september.

Corporate Office : 704, Ring Road Mall, Sector-3, Rohini, Delhi. Tel. : 011-47074444, Fax : +91-11-47074499 Email : [email protected]

Branch Offices : Mumbai : 09892088651 Kolkatta : 09830517744 Jaipur : 09799211188 Ahmedabad : 09374232944 Hyderabad : 09390377744


News

Nikon Introduces Sport OpticsNikon India, early this month announced the launch of its Nikon sport Optics range of binoculars, fieldscopes and laser rangefinders. The Nikon sport Optics attains its paramount with the eDG series of Binoculars and Fieldscopes. The eDG Binoculars have Nikon’s lens technologies including eD glass, dielectric high-reflective multilayer prism coating and multilayer coating. Other than the common eDG series features Nikon has also incorporated the lens-shift type VR (Vibration

Reduction) system into some of the eDG series Fieldscopes.

The series of binoculars available in India are - High Grade series, Action series, Outdoor series, elegant Compact series, Compact series, Marine series and Advanced Nature Observation series. Fieldscopes are a broad selection of interchangeable eyepieces and feature rugged, waterproof construction. The Laser Rangefinders are recommended for consumers who sail, play golf or during

an architecture exploration. Apart from these to cater to the dedicated needs of consumers Nikon Optics offer the following series - stabileyes, Binocular Telescope, Loupes, Fieldmicroscopes

The price of binocular, fieldscopes and laser rangefinders range from INR 3,750 – 149,950, INR 22,450 – 99,950 and INR 19,950 – 33,450 respectively.

The entire sport Optic Range will be available across India starting August 2012.

StudioProper Teams Up with US Tether ToolsstudioProper have teamed up with Us photography equipment designers, Tether Tools, to create a new iPad and Galaxy Tab system, the wallee Connect Lite, with unlimited mounting options.

The Connect Lite offers configurations for mounting and integrating the iPad and Galaxy Tab into the photography and film workflow. The Connect Lite mounts to tripods, grips, and clamps, making integrating your tablet into daily work, life and play, easy.

The wallee Case has an open X at the centre that works as a receptor for the patented locking system on each of the mounts and accessories. The device also features an easy rotation handle, and the wallee system is future proof. when the next iPad or samsung Tablet is released, users only need to replace the case and all the existing accessories will still work.

Lead designer and Founder of studioProper, Alon Tamir says, “Our team at studioProper and Tether Tools stand for very similar things - creating the most versatile accessories to enhance user experience with their technology. Together, we’ve designed the most adaptable modular mounting system. Tapping into this space with Tether Tools has been a great journey.”

Canon Enhances Printing Technology with Canon Arizona 360GTCanon India Pvt. Ltd. at the start of the month announced the launch of Canon Arizona 360GT Flatbed a printer that claims to be able to print up to 360 square metres per hour.

Canon brings this machine with enhancements over previous models and ensures reduced running costs with the lowest ink consumption and economical UV lamps. This printer has been installed at s.V. Color Graphics located in Bangalore. Inaugurating the new gallery, Dr. Alok Bharadwaj, senior Vice President, Canon India said, “with the launch of Canon Arizona 360GT, the company has taken yet another step towards adoption of technologies that offer green printing, thereby ensuring a safer environment.”

Demand for such printers is on a high, he says, owing to the increasing usage in verticals such as Telecom, Retail, Petrochemicals and Healthcare. “we are looking forward to around 10-12 installations by 2013, as the UV Curable Printing Industry is growing at 12% annually,” he added.

The Canon Arizona 360GT is meant for display graphics’ print producers that want to increase their capacity. The printer offers 6-42 picolitre variable grayscale printheads. It uses UV curable inks that do not contain any volatile organic compounds (VOC) and require only office grade ventilation.

The product ranges from INR 90 lakh to INR 2.5 crores.

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The ‘Ask Your Expert’ column where your SanDisk expert will answer all your queries on photography

I am an amateur photographer who owns a Nikon D5100 with an 18-55 mm basic lens. I want to know why the 18-55 is not able to capture bokehs. Is it necessary to have an in-built motor or a power connection in the extension tube for efficient macro photography?Regards,Rahil S. JanbazSrinagar

Dear Rahil,The smoothness of a bokeh (the soft out-of-focus area of the image) is based partly on the optical formula of the lens and partly on the physical roundness of the aperture opening created by the blades in the lens. Almost all kit lenses, in an effort to keep costs reasonable, use fewer aperture blades than their more expensive counterparts – and this often results in a rather harsher bokeh effect. You can enhance it by using wider apertures, soft lighting and low contrast subjects.

For your second question, since the extension tube is actually the connector between the camera body and the lens – it must be capable of transmitting the electronic information needed for

proper aperture, focus and exposure control. Using older manual extension tubes will not facilitate these automation features. Certain lenses, that have no manual aperture ring for example, would make exposure control almost impossible. Thus, it is preferable that you get the specific automatic extension rings for your camera model.

I have a Nikon D5100, and my question is related to two of its features: Exposure Bracketing (or HDR) and D-Lighting. I am slightly confused about what feature to use in what situation. I cannot make out the difference between the two, as both are used for capturing more details in high and low light areas in a single frame. Some help would be appreciated.Regards,HimanshuNew Delhi

Dear Himanshu,Digital imaging uses several techniques to cope with extended or extreme brightness range in the frame when it is beyond the sensor’s dynamic range. Nikon uses its D-lighting technology to adjust exposure, and boost shadow or highlight information in marginal cases – useful when the scene brightness range just slightly exceeds the sensor’s dynamic range.

Bracketing is used to get a series of frames with slightly different exposures – useful when perfect scene metering is difficult, and one needs options to later choose the appropriate exposure.

HDR (High Dynamic Range) is useful when


Answered by Manisha Sood

Country Manager, India & SAARC, SanDisk

Send in your Questions [email protected]

Questionof the Month

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[17]september 2012 AsiAn photogrAphy And imAging

the subject’s brightness range grossly exceeds the dynamic range of the camera’s sensor. It is a technique that combines several exposures, selectively using shadow, mid-tone and highlight information from different exposures of the same scene, to compress the expanded tonal range into one frame. Be careful though, heavy handed use of HDR can result in unnatural colours and flat contrast.

I have been using Nikon l21 coolpix point n shoot camera till now. I have now moved over to the Canon EOS 550D, and frankly, I love it. But ever since I moved to a DSLR I have been facing problems shooting with the viewfinder, as I am used to the LCD display on my Nikon l21 coolpix. As a result my photographs come out to be more underexposed than they should be. Any help will be appreciated. Thank you. Regards,Anonymous

Do you get the underexposure problem in the auto-exposure modes too? If so then you should get the camera’s meter

checked. And while this may sound

too obvious, but have you checked if the exposure compensation is set at zero or not?If using manual

exposure, use the camera meter

as a guide, or even better call up the exposure histogram for

more accurate assessment of the tonal distribution. Don’t adjust exposure based solely on your visual perception of the camera’s review screen.For a viewing experience similar to your earlier compact, try using live view – though live view results in slower autofocus, it does provide a more realistic preview.

I am pursuing a diploma in animation. I have recently developed a passion for photography, and want to take it up professionally in the

future. What camera should I go for at this level, and will I need to read any books to help? I have tried to ask other photographers for suggestions, and most of them have a very different opinion on the matter from each other. Some have even said that photography can be only learnt on film rather than digital. Please help me as I am very confused about it all. Thank you.Regards,Dipanjan BhattacharyaHalisahar (West Bengal)

Dear Dipanjan,Without prejudice to the adherents of film based photography and its inherent qualities, these days the vast majority of professional work is done via the digital medium – and digital photography requires a slightly different skill set from film based photography. Since you intend to go professional, I would recommend that you adopt and learn the techniques keeping digital images in mind – rather than first learning on film and then moving to digital.As for books, there is not one (or even two) that can cover all the topics – in fact, there are simply too many to make a narrow recommendation. Try joining a library for access to several books, to cover areas such as camera operation, the theory of light, exposure, printing, composition etc. The internet too, can prove to be a rich source of information, providing one has patience enough to wade through its corridors.

Trade Talk

I am very optimistic about the future growth of India - Toshiyuki KasaiWhen talking about the imaging and printing industry in India, most consumers and media often put Japanese manufacturers like Sony, Nikon, Canon and Olympus in the limelight. But for years now there has been a Japanese manufacturer that has silently functioned in the background and made itself a name to reckon with in the market. Although it is a household name today, somehow Epson has never got the recognition it deserves in the Indian imaging market. Toshiyuki Kasai, the new President of Epson India spoke to Bhavya Desai on his new role as the President of Epson India, and the company’s direction for the future.

L ike many in the imaging and printing industry, Toshiyuki kasai has been with epson for a long time; since 1981 to

be precise. although he came to India only this March, he has been well versed with the Indian printing industry through the regional headquarters at epson Singapore, where he was posted before India. due to the growing importance of the Indian market, like many other manufacturers, epson decided to make its Indian subsidiary independent from april this year and that is what landed kasai-san his new role as the President of epson India.

as part of his tenure spanning 31 years with epson kasai-san has spent seven years in the US, setting up the manufacturing facility and three years in Netherlands, which is the european regional headquarters. The 31 years also include other high positions held in departments of production planning, corporate planning, profit management and MIS, among others.

The call from the global headquarters for his move to India came as a surprise for kasai-san and his journey in these four-five months has been eye-opening. “I have no working experience or relationship with India but since the time I have come here I have realised that it is a country with great diversity. and in order for us to grow we should know the customers’ needs in depth. It is important for us to comply with the customers’ need as that is the key for success,” he says.

kasai-san’s objective is to grow this company as much as possible but the growth

“It is important for us to comply with the customers’ need as that is the key for success.”

- Toshiyuki Kasai


has to be robust with appropriate profit. does making the Indian operations independent put pressure on him? “No” is an instant reply. He added, “after spending four months they (the company) have not put any special pressure on me. India’s GdP has gone down a bit but as compared to the other markets it is still very high. There is a potential to grow further and I am very optimistic about the future growth of India.”

His strategy is simple and involves focusing on the customer value creation for printing, projection and sensing devices. among these special focus has been provided to free core technology and free lCd projection in the printer and projector business.

However the long-term challenge for the printing manufacturers continues to be the poor growth of the home printing segment and kasai-san agrees that this will continue to be the challenge ahead as well. For instance, he mentioned that the epson PictureMate was originally designed for home printing, but other than India, in all the leading countries the PictureMate is used for that purpose. It is only in India that it is used by small photo- professionals. However, he believes that there is great scope for its growth in the future.

kasai-san’s attention these days is distracted towards the rupee depreciation, which has made things challenging. We asked him how epson India is coping with this and he said, “In the current year we do have a big challenge because while we are able

to post a good growth we still have tough condition in our bottom-line. Current year sales are heading to negative profitability overall as an organisation but we are seeking headquarter support in this point in time. It is our anticipation that this short-term support is for long-term gain.”

despite the rupee depreciation playing a damper to its plans, the company is still targeting an increase in its turnover this year. “We started off the year pretty well; especially the first quarter despite the challenges that headed our way in this period of time. In the first quarter we have roughly posted growth of about 15% and are currently looking at growth anywhere between 20-30% for the current year.”

World’s 3rd Largest Consumer Electronic & Imaging Show

3rd to 6th January 2013, Pragati Maidan, New Delhi.

Formerly known as Photofair I Stall Bookings Opening Shortly

Organised By: Co-Organised By:

IndIa’s no.1 PhotograPhy MagazIne

SEPTEMBER 2012 AsiAn PhotogrAPhy And imAging[22]

Battery Shootout

AAA Rechargeable

Battery ShootoutBuying rechargeable batteries is tricky business. the average

consumer seldom invests time or thought into choosing the most appropriate battery for a particular purpose.

understanding your requirement is crucial to selecting the most suitable battery for your electronic devices. For example, a digital camera consumes much more power than an average wall clock. all batteries have a power rating, and it’s important that you rationalise the battery’s power rating against the power requirement of your device to select an appropriate battery for your needs.

With last year’s winner, Sanyo’s eneloop, not participating in the shootout this year, choosing the contenders for this year’s shootout was tricky. this month, for the aaa rechargeable battery shootout, we

Contenders

Brands rating Price (in INr for a set of two)

uNiroSS DyNaMIC 1100mah 250envie infinite Plus 1100mah 225

chose batteries based on general product visibility at electronics stores, cameras and accessories stores, keeping in mind that the batteries had the exact same mah (Milliamperes per hour) rating in a bid to offer the contenders of our shootout a level playing field. We’ve attempted to keep the tests as error free as possible and hope you benefit from it.

SEPTEMBER 2012 ASiAn PhoTogRAPhy And iMAging[22]

SEPTEMBER 2012 ASIAN PHOTOGRAPHY AND IMAGING[23] ASIAN PHOTOGRAPHY AND IMAGING

RATING:

RATING:

TEXT: STEVE D’SOUZA AND GEORGE KURIEN IMAGES: STEVE D’SOUZA

disappoint. We used a third-party universal charger (Maxell AA/AAA charger) to test the batteries for charge time, and both batteries took almost the same amount of time to charge with the UNiROSS DYNAMIC outperforming the envie infinite Plus batteries by nine minutes.

PARAMETERS

UNiROSS DYNAMICPriced at `250 for a pack of two batteries, this is the more expensive of our two contenders. The batteries come pre-charged, and are fairly efficient with both high and low drain applications.

envie infinite PlusThe envie infinite Plus AAA cell is a 1.2V cell. It has a minimum capacity of 1100mAh, comes pre-charged, and claims to be able to retain 80% of its charge even after a year when not in use. It is priced at `225 for a pack of two. The company also claims that the batteries can be charged approximately 1000 times.

THE TESTWe had a tough time finding the right devices to test these batteries on, and after several unsuccessful attempts at sourcing digital cameras that use AAA batteries, we settled down with the walkie-talkies we used last year, besides evaluating the batteries on parameters like price and charge time. The walkie-talkies use four AAA rechargeable batteries and are fairly high drain applications.

Judging the batteries on the basis of parameters like pricing or even printed ratings isn’t enough and a comparative study of how long these batteries last, and the time they take to recharge might help you make a more informed decision when buying AAA rechargeable batteries. Since both the competitors were of the same mAh value, deciding upon a winner was challenging.

0510152025303540

Uniross Infinite

Tim

e (i

n h

ours

)

Battery Brands

Discharge time

22.022.042.062.082.12.122.142.16

Uniross Infinite

Tim

e (i

n h

ours

)

Battery brands

Charge time

PERFORMANCEA lower capacity as compared to AA batteries might mean faster discharge, but the AAA batteries truly hold their own, and do not

UNiROSS DYNAMIC Priced at `250 for a set of two rechargeable batteries, this is the more expensive of the two batteries. The batteries held out for 25 hrs 39 mins on the walkie-talkies that we used to test the fully recharged batteries. The batteries took two hours and five minutes to charge, 9 minutes less than the envie infinite plus.

envie infinite PlusThe envie infinite Pus batteries took nine minutes longer than the UNiROSS DYNAMIC batteries to be fully charged after having been drained completely. The batteries took 36 hrs two mins to drain on the walkie-talkies, effectively outlasting the UNiROSS DYNAMIC batteries by 10 hours and 23 minutes. This, in our opinion, is considerable, especially because both the batteries were rated similarly. Priced at `225 for a pack of two, the envie infinite Plus batteries comfortably won our shootout, beating its competition in two of three parameters.

CONCLUSIONDespite both batteries being rated similarly, the envie infinite Plus batteries lasted longer on the walkie-talkies. The batteries took slightly longer than the UNiROSS DYNAMIC batteries, but owing to their lower price, won our AAA rechargeable battery shootout by a narrow margin.

UNiROSS

UNiROSS

envie

envie

AsiAn PhotogrAPhy And imAging[24]September 2012

Shootout

Fixed Focal length

Lens shootout

Since all the manufacturers participating in the shootout didn’t have lenses of the same focal length, we called for the best fixed focal length lenses with focal lengths ranging from 10mm to 18mm. We evaluated the lenses across parameters like build quality, picture quality, colour reproduction, distortion, chromatic aberration and value for money for the benefit of our readers.

We’ve changed things a bit this year for the shootouts, and keeping in mind the groWing popularity of mirrorless cameras across markets WorldWide, We’ve introduced a feW neW categories to our shootouts. aside from the mirrorless camera shootout, Which We’ll feature later this year, We have included the mirrorless lenses as a category in the shootout this year. this month, We start With fixed focal length lenses for mirrorless cameras.

Mirrorless Camera Lenses

Build and Handling Except for the olympus M.Zuiko Digital ED 12mm 1:2.0, all the other lenses are pancake lenses, and except for the 1 Nikkor 10mm f/2.8, all other lenses have an external focusing ring. the Fujinon XF 18mm F2 R is easily the sturdiest lens of the lot, featuring an aperture ring, tremendously improving the overall camera handling experience. Focusing capability is undertaken internally in all these lenses, so the dimensions of the lenses don’t change while changing the focus. Manually focusing the Nikkor lens seemed cumbersome owing to the lack of a dedicated focusing ring. Focusing with the Lumix G 14mm F2.5 ASPh lens, despite having a dedicated focusing ring, wasn’t smooth when compared to both the M.Zuiko Digital ED 12mm 1:2.0 and the Fujinon XF 18mm F2 R.

SpeCifiCationStype xf18mmf2 r

lens construction 8 elements in 7 groups (includes 2 aspherical elements)

focal length(35mm format equivalent)

f=18mm(27mm)

angle of view 76.5°

max. aperture f2.0

min. aperture f16

aperture control number of of blades : 7 (rounded diaphragm opening)

focus range approx. 18cm - ∞

max. magnification 0.14x

external dimensions ø64.5mm x 40.6mm

Weight (excluding caps and hoods) approx. 116g

filter size ø52mm

fujinon Xf 18mm f2 R (28mm on a 35mm equivalent SenSoR)

Price

` 36,999


SpeCifiCationSmount type nikon 1

focal length 10mm

maximum aperture f/2.8

minimum aperature f/11

format cx

maximum angle of view 77°

lens elements 6

lens groups 5

optical conversion factor 2.7x

compatible format(s) cx

diaphram blades 7 (rounded diaphram opening)

aspherical elements 2

autofocus yes

internal focusing no, rear focusing

minimum focus distance 0.66ft.(0.2m)

filter size 40.5mm

accepts filter type screw-on

dimensions (approx.) 2.2x0.9 in. (diameter x length)55.5x22 mm (diameter x length)

Weight (approx.) 2.8 oz. (77g)

supplied accessories lc-n40.5 snap-on front lens caplf-n1000 rear lens cap

1 nikkoR 10mm f/2.8(27mm on a 35mm equivalent SenSoR)

m.Zuiko Digital eD 12mm 1:2.0 (24mm on a 35mm equivalent SenSoR)

lumiX g 14mm f2.5 aSpH(28mm on a 35mm equivalent SenSoR)

SpeCifiCationSfocal length 12 mm

lens configuration 11 lenses / 8 groups

dsa lens elements 1

aspherical glass elements 1

ed lens elements 1

super hr elements 1

lens mechanism inner focus with screw drive mechanism

angle of view 84 °

closest focusing distance 0.2 m

maximum image magnification

0.08 x (micro four thirds) / 0.16 x (35mm format)

number of aperture blades 7 circular aperture diaphragm for natural background blurring

maximum aperture 1:2.0

minimum aperture 1:22

filter diamater 46 mm

dimensions 56 mm Ø, 43 mm

Weight 130 g

SpeCifiCationSmodel no. h-h014

lens construction 6 elements in 5 groups (3 aspherical lenses)

mount micro four thirds mount

focal length f=14mm (35mm camera equivalent 28mm)

aperture type 7 diaphragm blades / circular aperture diaphragm

aperture f2.5

minimum aperture f22

closest focusing distance 0.18m / 0.59ft

maximum magnification approx. 0.10x / 0.20x (35mm camera equivalent)

diagonal angle of view 75°

filter size 46mm / 1.81inch

max.diameter 55.5mm / 2.19inch

overall length approx. 20.5mm / 0.81inch (from the tip of the lens to the base side of the lens mount)

Weight approx. 55g / 1.94oz

standard accessories lens cap, lens rear cap, lens storage bag

Price

` 8,450

Price

` 49,490

Price

` 26,990


cHromatic aBerrationWe used Quick MtF, an image quality testing application to test specific charts photographed using each of the lenses. Based on the tests we performed on the lenses, the Fujinon XF 18mm F2 R exhibited the least amount of chromatic aberration, and the olympus M.Zuiko Digital ED 12mm 1:2.0 exhibited the maximum chromatic aberration. the graphs are displayed below for your information.

fujinon xf 18mm f2 r


1 nikkor 10mm f/2.8

1 nikkor 10mm f/2.8

m.Zuiko digital ed 12mm 1:2.0 lumix g 14mm f2.5 asph

colour reProductionthe olympus M.Zuiko Digital ED 12mm 1:2.0 aced this test, reproducing the most natural colours, followed closely by the Lumix G 14mm F2.5 ASPh and the 1 Nikkor 10mm f/2.8.


m.Zuiko digital ed 12mm 1:2.0

m.Zuiko digital ed 12mm 1:2.0


lumix g 14mm f2.5 asph

lumix g 14mm f2.5 asph

1 nikkor 10mm f/2.8

distortionDistortion is an important aspect to consider while buying lenses. Since all our fixed focal length lenses were wide angled lenses, all of them exhibited some amount of barrel distortion. olympus M.Zuiko Digital ED 12mm 1:2.0 owing to its narrower angle of view exhibited the least amount of distortion. the Fujinon XF 18mm F2 R came in second, followed by the Lumix G 14mm F2.5 ASPh and the 1 Nikkor 10mm f/2.8.

September 2012 AsiAn PhotogrAPhy And imAging

conclusion

m.Zuiko Digital eD 12mm 1:2.0We tested this lens with the olympus Pen E-P3. Despite having performed poorly in our test to gauge chromatic aberration and the higher price, we thought the M.Zuiko Digital ED 12mm 1:2.0 yielded sharp images with brilliant colours and little or no noticeable barrel distortion, making it second only to the Fujinon XF 18mm F2 R in this shootout.

lumiX g 14mm f2.5 aSpHthe Lumix G 14mm F2.5 ASPh tested with the Panasonic Lumix DMC-GX1 came in a close third, losing out to its competition narrowly. Excellent colour reproduction, above average build quality, minimal chromatic aberration and attractive pricing makes this a lens to recon with.

fujinon Xf 18mm f2 RDespite having entered the mirrorless camera segment after some of its contemporaries, Fujifilm seems to have gotten more than a few things right with their mirrorless cameras and lenses. We thought the Fujinon XF 18mm F2 R performed consistently across our set parameters, making it our best buy in this segment. We tested this lens with the Fujifilm X-Pro1 and it aced two out of five tests, coming second in one. Although it priced highly it delivers quality for its price.

1 nikkoR 10mm f/2.8the most attractive thing about the 1 Nikkor 10mm f/2.8 we thought was its pricing. At just Rs. 8450, we thought this lens was easily affordable and a good buy for people working with the Nikon 1 system already, yielding results well above average. We tested this lens with the Nikon 1 V1. But unfortunately we were tad disappointed with its over performance as compared to the competition in the shootout


for this years lens shootout in the fixed range category we called in for entries in the best lens in the 50mm category since it one of the most popular lens used by photographers both amateur and professional. We have the Canon ef50mm f/1.2l uSm, af-S nikkoR 50mm f/1.4g and tamron Sp af60mm f/2.0 Di ii macro 1:1 lens which go head-to-head in this years shootout.

SpeCifiCationangle of view (diagonal) 46°

angle of view (horizontal) 40°

angle of view (vertical) 27°

closest focusing distance (m, ft) 0.45/1.5

construction (groups elements) 6-8

diameter x length (mm) (maximum) 85.8 x 65.5

distance scale o

drive system ring-type usm

filter size (mm) 72

maximum magnification (x) 0.15

minimum aperture 16

no. of diaphragm blades 8

Water or dust-resistance o

Weight (g) (approximately) 590

SpeCifiCationdiagonal angle of view (ff) 46º

diagonal angle of view (aps-c) 31º 30'

maximum aperture f1.4

minimum aperture f16

lens construction 8 elements / 7 groups

number of diaphragm blades 9 (rounded)

minimum focus 0.45m

maximum magnification 0.15x

af motor type • Ring-type SWM

filter thread • 58mm

Weight 290g (10.2 oz)

dimensions 73.5mm diameter x 54.2mm length(2.9 x 2.1 in)

DsLR Camera Lenses

Build and Handling

Price

` 89,990

Price

` 31,950

Canon ef50mm f/1.2l uSm

af-S nikkoR 50mm f/1.4g

Going by the numbers, it is quite evident that the Canon is the fastest lens followed by the Nikkor and tamron in the fixed focal length category. the build quality of the Canon and Nikkor is far superior as compared to that of the tamron. As for the focusing, the Canon performed better than both the Nikkor and tamron; whereas the tamron seemed a tad noisy.


SpeCifiCationdiagonal angle of view 27°

lens construction 14 elements/ 10 groups

number of diaphragm blades 7

minimum focus distance 0.23m

minimum Working distance 100mm (3.94in.)

maximum magnification ratio 1:01

filter thread 55mm

Weight 400g (14.1 oz)

dimensions 73mm diameter x 80mm length

cHromatic aBerrationcanon

nikkor tamron

tamRon Sp af60mm f/2.0 Di ii maCRo 1:1

As per the graphs, the tamron SP AF60mm F/2.0 Di II Macro 1:1 lens exhibited maximum chromatic aberration, and the Canon EF50mm f/1.2L uSM lens exhibited the least chromatic aberration.

Price

` 29,900


colour reProduction

distortion

For this test all cameras were reset to factory settings and the images were clicked in the manufacturer’s respective uncompressed RAW/NEF image formats which were later converted to Jpegs. Canon reproducing the most natural and vivid colours, closely followed by Nikkor and tamron.

Neither of the sample images produced by the lens exhibited any visible distortion. this spoke highly for all the manufacturers.

canon

canon

tamronnikkor


tamronnikkor

conclusion

tamRon Sp af60mm f/2.0 Di ii maCRo 1:1 Although the tamron did not perform as well as the latter lenses in this category, it did

manage to churn out decent results. Besides the slow AF, it produced decent quality images. the 1:1 macro capability is a welcomed add on which is not available on any other lenses in this category. Priced at `29,900, it is the cheapest lens in this category.

af-S nikkoR 50mm f/1.4g Priced at Rs. 31950, the Nikkor 50mm f/1.4G

is quite a performer. Coming in a close second in the Chromatic Aberration test and Colour reproduction test, Nikkor was consistent in its results. the images produced by this lens were sharp and vivid.

Canon ef50mm f/1.2l uSmCanon’s 50mm f1.2 EF lens outperformed the remaining two lenses

in this years 50mm fixed focal length category. Besides being the dearer from the lot; Canons superior build quality, a quick Autofocus and excellent image reproduction is unmatched. With a premium optical quality packed in a well built body, the Canon 50mm f1.2 EF lens is our pick for the Best Buy in this segment.

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AsiAn PhotogrAPhy And imAging[34]sEPtEmBEr 2012

I t is not a surprise to find ourselves this month moving on from talking about using a single light set up to adding additional lights to our studio light kit. In all likelihood, you must have

already tried using some type of bounce or reflector to support your single light set up and to fill in a shadow here or there. When I first started out I became very adept at angling all types of reflective materials to fill in shadow or add highlight. once I began to explore the joys of shooting with more lights I soon discovered that I could do the same thing with flash, and even better, I could control the

flash output and use different types of modifiers to direct and diffuse the flash light producing varied effects. 10 years on from those days, I now shoot on a regular basis anything from a good old one light set up to commercial shoot concepts that require 12 plus flashes.

With perhaps your reflector experimenting coupled with one flash in hand, let’s start adding more lights to your set. The single light will be your starting point and base that all other lights will revolve around. no matter where you place the first light, the light that is your prime source of light will be your main light. classically,

Shooting with Multiple Lights

Todd Anthony Tyler

sEPtEmBEr 2012 AsiAn PhotogrAPhy And imAging[35]

the main light is set either on the right or the left of your model at a 45 degree angle. From this position you can tilt or angle the light in a number of ways to achieve different light looks. Your options for lighting look are expanded even more when you consider a wide variety of light modifiers that you can employ to further alter the light coming from your bare flash. For simplicity, and as a starting point, we are going to speak about the light set up in terms of placing the light stand at a 45 degree angle with the light tilted at a 45 degree and the light covered with a basic square soft box. once you turn on the light (if your flash has a modelling light option) you will clearly see that one side of your model’s face falls into some degree of shadow. I say some degree as there are a few factors that affect the depth of the shadow created but the main light including what sort of light modifier is on the main light. For instance, a soft box will allow the light to spread more and thus have a reduced shadow, where as a small beauty dish with a grid will produce a high contrast between the lit side of the model’s face and the shadow side. The other main factor is what is physically present near the shadow side of the model. If you are set up in studio it might be a white wall which then acts as a bit of a reflector bouncing light back

on the model. or perhaps you are set up on location and on the shadow side is a black curtain which absorbs light resulting in the shadow becoming deeper (even if the same light is used for the main light). Whatever the case, the question you are asking yourself when introducing a second light into your light set up is how much contrast you want between the lit side of the model’s face and the shadow side. A common starting point is to have a one stop difference in light from the main light (the lit side) and the fill light or the second flash unit. For example, if your main light is set at F/8 then you would have the fill light at F/5.6.

You might be wondering how you can achieve this one stop difference. For adjusting the light itself you can power the light flash unit up or down to vary the flash output. Different light units have individual methods on how the power is changed; current flash units have digital controls usually and adjustments can even be made from afar on your computer and on older model units the power output is controlled by sliders or dials. Besides controlling the power output right on the flash you can also physically move the entire flash unit farther away or nearer to your model. However keep in mind that doing so changes the look and feel of the light. To



see the basic effect, take a flash light and move it closer and farther away from the palm of your hand to observe how the light changes. Really the best way to learn and discover the light change due to distance is to experiment yourself.

All the while you are adjusting power or moving the light back and forth you do need, at some point, to “see” what is happening and what light ratio you are creating. I personally prefer to still meter individual lights using a lightmeter to obtain correct exposure. However, with digital cameras there certainly is an argument to be made that you can simply look at the back of your camera or computer screen and power the flash up and down accordingly from what you see needs to be done to achieve the look you are after.

now with the introduction of a second light, a fill light, you have navigated away from familiar territory of shooting with one light and perhaps some form of reflector to fill in shadow and reduce contrast. congratulations! You are now shooting with a two light set up. let’s not stop here, we are going to venture on and consider adding more lights to the mix. Two other lights you might want to consider are an accent light (a kind of highlight on the cheek, back of the head or on the body outline of the model) and a hair light

which puts spectacular highlights on the model’s hair. At times, in conversation you might hear these two types of lights being used interchangeably. They can be a bit confusing as both are adding an extra spark of light to the shot. often an accent light is placed at a 45 degree angle behind the model on the fill side, pretty much directly at a 45 across from the main light. I personally don’t use accent lights too often, but when I do, I like the light to not be too overpowering and to create just a nice rim of light that can assist in creating separation from the background and also facilitates the creation of a 3D type of effect to your image. Accent lighting can be subjective. I would say there are really no ingrained rules on where to place an accent light and how strong it should be. A good starting point is to stop over the main when you read the light with the lightmeter in the general direction of the light supplying the accent. You will find that an accent light and a hair light, to that effect, will under the same power and light meter reading appear different on subjects with different hair colour or clothing colour. For example, the same accent light exposure will be more pronounced on a model with blond hair than a model with black hair. When it comes to bringing in a fourth light and going for a hair light it would be beneficial to


have a greater selection of light stands than just a straight stand. You will benefit from having a boom stand where you can use the long arm of the boom stand to bring a flash out and over the top of your model’s head. As with all flash units, there is a wide choice of how to control the light being emitted from your hair light. I often use a small 18 cm reflector with a grid for more concentrated and directed light, though you could also use a softer light created with a soft box.

The last set of lights I would like to introduce into your repertoire of multiple lights set up are background lights. Here too you have great variation in what can be done. usually a background light is used to even out exposure from front to back in your shot. Background flashes can be used to do everything from creating a pure white background to creating shapes and shadows on the background.

You can now see how it doesn’t take too long to get from using one light to multiple lights in a single light set up. At the risk

of overstating, all of my suggestions and guidance here are a basic starting point. What is important here is your progression from learning how to use natural light, then introducing the use of one flash to now exploring the use of several flashes. With commercial photography I can often be a little tied down to following technical details, but in fashion photography on a whole I do love that there is freedom to experiment and create. I prescribe to the notion that with a little knowledge and experience the doors to discovery can be flung wide open. learning, experimenting and discovering are more than half the fun in photography.

Take the details I have given you here and start with placing the lights in the positions I have suggested; then be brave and start moving them around to see how the change in angle, direction and power output impacts your shots. It took me sometime to switch to the digital age, but without doubt a wonderful thing about digital photography is that it is conducive to learning and exploring. You are only one click away from a new discovery.


Pro-Profile

Illusive Delights


Illusive DelightsHis images will grab your attention and hold it there for longer than you expect. Each one a carefully crafted blend of photography and image manipulation, Erik Johansson’s work is an amalgamation of all that he loves and more; drawing, computers, photography and even the Swedish countryside he grew up in. This month he tells Asian Photography how he creates the images he does and what inspires him to see the world upside-down, sometimes literally so!

Erik Johansson

Born in 1985 outside a small town called Götene in the middle of Sweden, Johansson, for as long as he can

remember liked drawing. He received his first digital camera at the age of 15 and it opened up a whole new world for him. Being used to drawing from an early age, the process of capturing a photo initially felt strange. it wasn’t the process of creating something in the same way, but with his interest in computers he naturally started to play around with the photos and create something that you couldn’t capture with the camera. “it was a great way of learning,” he says, “learning by trying.”


However, he didn’t consider it as a profession until years later when after posting some of his work online he started to get requests from a local advertisement agency about helping them out with some retouch work. That’s when he realised that he could actually do this for a living. And after finishing Computer engineering at Chalmers University of Technology in Gothenburg, Sweden, he started freelancing full time.

ConfluEnCE of PHoTogrAPHy And rETouCHing“reality was a bit too boring to me,” Johansson says and his images back him up. Having always been more interested in surreal paintings than photography, he confesses that he wasn’t good enough at drawing/painting and that’s why started using photography as a way of realising his ideas. And a natural way to go beyond just capturing images was to retouch them, thus involving his painting and computer skills.

drAwing inSPirATionlike most other photographers, Johansson derives inspiration from all things around him, right from the things he sees in his daily life to other artists’ work and photography. But what sets him apart is his innate skill of looking at the world from a different perspective.

He admits that painters, more than photographers inspire him and ignite ideas that he then transforms into his images. “for me the ideas are as important as the realisation,” he says.


For me the ideas are as important as the realisation

How long from idEA To imAgEGiven how much work is involved in an idea with regards to the elements in it, the time taken to realise it depends accordingly. “Planning and

finding locations is what takes up most of the time, sometimes even years. But most of the time it’s a couple of weeks from idea to final image,” he explains.


finding THE rigHT loCATionS “i always have an idea of what i want to create and what i imagine the scene to look like,” he says with certainty. So he begins by searching for the ideal location to go with the mental picture of the idea. And sometimes when it’s too hard to find a place that looks like the idea he has in mind, he says he has to “Create it by shooting different locations and combining them” and if you observe carefully, you can notice that in some of his images.

THE CHAllEngESJohansson believes it’s always a challenge to make something look realistic; to make a sketch come to life in a photo, but also to find locations and materials that work well together. “As i shoot every part of my work myself, i’m limited to the locations around me but i like that limitation since it makes my work reflect the world around me,” he says, willing to see the challenge as an opportunity and you can see the defiance of limits translate into his work.

fAvouriTE PArT in THE ExECuTion ProCESSJohansson says his favourite part is to start putting the different parts together and to realise that this might actually become something really nice.”

fAvouriTE imAgE So fAr“My favourite is always the next i’m about to create,” Johansson says simply. “i don’t really want to look at the stuff i’ve made. i just want to look forward, find new


challenges and improve,” he determinedly adds.

THE CHArACTEriSTiC Erik JoHAnSSon lookWhen you view images by Johansson, you will notice a compelling characteristic look to them that distinguishes his images and makes them unforgettable. “i think it’s my work flow that creates the look; the way i build an image,” he explains. in addition to that he says he usually uses similar adjustments on

different photos which lends them a unified expression.

PErSonAl work or CommiSSionEd workJohansson’s clients include the likes of Google, Microsoft and iKeA and he says, “it’s always a challenge to realise someone else’s ideas.” He considers both, commissioned work and personal work, fun in different ways and says, “The commissioned work pays my bills but the personal work is my passion.”

Camera: Canon EOS 5D mark II

Lenses: Canon EF 24-70/2.8L USM, Canon EF 17-40/4L USM, Canon EF 70-200/4L USM and some prime lenses

Flashes: Elinchrom RX600 and Canon flashes

Computer: Home-built PC, Windows 7 64-bit, Eizo Coloredge monitors.

Software: Adobe Photoshop CS5

Weapons of choice

September 2012 [48]

Simplified, the process is divided into three different parts.

The first part is planning. Once Johansson has an idea that he thinks is good enough to realise he begins to find the places he needs to shoot to put the photo together. This can take anywhere between a few days to several months, sometimes even years. This is the most important step as it defines the look and feel of the photo. It’s his raw material, he says. This step also includes problem solving, how to make the reflections, materials etc. realistic.

The second part is shooting/collecting the material. Since he always wants to be in complete control of his personal projects, he never uses stock photography, and shoots every bit himself. “It limits me in a way that I can’t realise all ideas I have, but limitations are good sometimes to define the work,” he says. A similar light and perspective is extremely important to create a realistic result when combining the photos.

The final part is putting the photos together. This can take anything from a few days to several weeks. He considers it the easiest step, given he did a good job in the first and second step. “This part is like a puzzle, I have all the pieces, and I just need to put them together,” he concludes.

The WorkfloW

looking forwArd Toonly 27 years of age and some of his greatest achievements include being a speaker at the TeD conference in london, November 2011, creating ‘Mind your step’, a public illusion in Stockholm, Sweden 2011, working with concept visuals at Google 2011 and securing first place in Scandinavian Photo’s Photoshop contest 2007, amongst others. in 2012, he plans to move on to motion pictures as well as to start with a book project. Ask him what he is looking forward to and he says, “All the photos i’m about to create; you’ve just seen the beginning!”

TexT: TAPSHi DHANDA


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September 2012 ASiAn photogrAphy And imAging[50]

The Endless Landscapes


What comes to your mind When someone uses the Words landscapes and ladakh in a single sentence and tells you that you Would practically be cut off from the World With no mobile netWork coverage and internet? it Was these and a feW other facts that sold the idea to me. so With my kit packed i Was off to ladakh to Witness the stories of the War-heroes, the landscapes and the thukpa (local tibetan food).

The Endless Landscapes


As a photographer’s paradise, Ladakh lives up to all the expectations since every nook and corner offers a

photo-op. So it is advised that you carry as much memory as you can, especially if you are going to shoot in RAW, or you will find yourself choosing between deleting your great and good pictures. First things first, i have always believed that a photographer is as good as his equipment. So make sure that you carry your best equipment for a trip like this. i carried the 18-200 mm, 50 mm f/1.4 and the 10-24 mm with me.

initially i was in two minds about carrying the 10-24 mm for the trip since i didn’t want to carry excess weight but in retrospect, i think it was a good decision. it is always important to choose the right equipment for any trip, but this decision becomes all the more important when you are travelling to a location like Ladakh since acclimatisation can be an issue. travel light, even in terms of your equipment, but choose wisely.

While most travellers prefer flying into Leh to save time, the more adventurous kind can either go through Manali and Rohtang Pass (which is considered to be more scenic) or

take the Srinagar-Kargil-Leh route. Whichever route you choose though, be prepared for endless travel halts and landslides. i took the Srinagar-Kargil-Leh route and it’s absolutely breathtaking.

if you choose the same route then make sure that you stay atleast for a night stay in one

of the houseboats at the Dal Lake in Srinagar. the beauty of reaching Leh by road is that along the way you can pit-stop at picturesque locations. they say the Dal Lake is not as beautiful as it used to be back in the day but i found it amazing. Kashmir has somehow managed to preserve its culture and beauty

AuguSt 2012 ASiAn photogrAphy And imAging[54]

amidst all the distractions that we have come to know over the years. it is in such locations that your ultra wide-angle lens comes in handy,

since it allows you to capture the lake, the landscape and the locals in a single frame. i spent maximum amount of time using my 10-24 mm while i was there.

Due to the sensitive state of affairs of Jammu and Kashmir, it is impossible to miss the presence of the army at periodic intervals throughout the state. Surrounded on one edge by Pakistan and on the other with China, it is only through a trip to such sensitive locations that one can recognise and respect all the hardships that the indian Armed Forces go through. on the way to Leh we halted at Kargil and visited the operation Vijay memorial. one can’t help but feel proud of what the army has done in that region, and while we sit far away from where the


action happens, standing there in front of the memorial gave me a sense of the reality that our jawaans go through every day.

Enroute to Leh, it doesn’t take long to fall in love with its beauty; primarily because man-made objects have not capsised it. Leh is the capital of Ladakh and has much to offer in terms of monasteries and palaces. Some of the most famous monasteries in and around Leh include Lamayuru, which houses a three storey statue of Buddha and thiksey, which has a 15 feet high statue of Maitreya Buddha. the Lamayuru and thiksey are the best preserved of all monasteries in Leh. A photographer can find numerous photo-ops at these locations, not only to shoot the lamas, but also some interesting pictures of the artifacts and of course, the statues.

the best and the most notable feature of Ladakh is it mountainous terrain and vast landscapes. in fact as a photographer you will find yourself stopping at every corner to take some great pictures. i am a big fan of shooting landscapes but on this trip i found myself


falling in love with shooting people. the most useful lense for me turned out to be the 50 mm f/1.4 and the images of the locals caught with the same lens were surreal. if you like clicking portraits or doing street photography, don’t leave your house without your fixed focal lens.

While i loved visiting Ladakh, travelling long

distances was a bit of a discomfort. if you are a person who doesn’t like spending most of their day in a car or a on a bike, then the trip far north or east might not be a good idea. in fact my trip to the famous Pangong Lake was spoilt due to the overcast conditions; which meant that i spent six hours one way travelling to the lake to

see murky water overshadowed by mountains.having said that, there is little to compare

to the beautiful and picturesque landscapes of Leh and Ladakh and no photographer’s journey is complete without a check on this trip.

tExt AnD iMAgES: BhAVyA DESAi


Today’s digital cameras with their circuit boards, buttons, and electronic contact points can be adversely affected by the weather. Extreme climatic conditions are not suitable for general operation of a digital camera and render it quite vulnerable. By following a few simple camera care tips you can ensure that your camera remains safe. After buying the gear, one of

the most important things you need to pay attention to is the bag you will store and transport it in. It is imperative to keep your camera stored in a camera bag to protect it from shock, dust and water. Camera bags come in many shapes and sizes, so you can find one that fits your needs, for example, for an outdoor user, there are the backpack style bags with rain sleeves. For those who are into commercial work and often travel a lot can opt for the hardcover weather proof cases while photojournalists or travel photographers could choose a compact bag or a sling bag. It is a good idea to carry a plastic bag in your camera bag to protect

your camera when you experience bad weather while shooting, in which case you can cover the camera with the plastic bag and tear an opening for the lens. While shooting in cold weather you can wrap the camera inside the plastic bag with a few silica desiccant packets or some grains of rice to help reduce moisture. A camera sleeve is also

a good investment to protect your camera from rain and dust. These are especially designed to fit the camera and make it easier to handle than in a plastic bag but are also expensive compared to a plastic bag. In a DSLR, the sensor is highly

susceptible to dust due to changing of lenses. To reduce the chance of foreign particles entering your camera, point the body of the camera downward while changing the lens. Most DSLRs include a built-in sensor cleaning function which cleans the sensor either while switching on or switching off the camera. However, if you do notice small black dots on your photographs on the same portion repeatedly, then the senor has dust on it and it is advisable to give the camera to authorised and trained professionals for servicing. Another vulnerable component of a digital camera is its LCD display on the back. The LCD is prone to scratches and cracking if not handled carefully. One of the easiest ways to protect the display is by using a scratch guard, which is nothing but a thin sheet of plastic which sticks to the screen. It is beneficial to carry a soft dry towel which can absorb water in

case water spills on the camera somehow.

Batteries should be removed from the camera when not in use and should be placed in the battery cover.

TIpS & TECHS

Camera CareC a m e r a b o d y C a r e

Digital cameras are expensive investments and it is important that we recognise how to take proper care of them. providing even basic camera care for your digital camera

equipment will help to reduce the risk of damage and therefore, hefty repair bills. Below are a few simple camera care tips to protect your equipment from some of the more common, everyday dangers and problems encountered by photographers.


The lens is an important component of a camera irrespective of it being a fixed or an interchangeable lens. Despite the coatings that the glass on the lens has, it is not completely secure from scratches. Here are a few tips that can help you take care of your lens. All DSLR lenses have a threading before its front element where a

UV filter can be attached. The UV filter helps to protect the front of the lens from dust, scratches and damage caused due to accidental bumps. Even if you get a scratch on the UV filter, it’s easier and cheaper to replace the filter than replacing the lens. You can keep

your lenses clean by using a blower. This clears any dust or foreign

particles from the front or rear of the lens and is better than directly cleaning with a cloth which may cause small scratches. point the lens in a downward direction to prevent the dust you’re blowing out to fall back into the lens. Incase you get any fingerprints or smudges on the lens glass use

a micro-fiber cloth to wipe off with a gentle circular motion. If the smudges are stubborn, the safest method would be to put a drop or two of lens-cleaning fluid on a micro-fiber cloth and wipe. As obvious as it may sound, using the lens cap does a good job

of protecting your lens. Having it on the lens whenever you’re not shooting is a good idea. During storage or transport, keep the lens in a plastic bag along with

silica desiccant packets to protect the lens from moisture which can cause fungus. Always turn the camera off before changing lenses.

Always turn the camera off before connecting it to a computer.

L e n s C a r e

As important as the camera body and optics may be, the medium the images are stored in is equally important. If memory cards are not taken care of, there is a possibility that you may end up losing your precious images unexpectedly. Read on for tips on memory card care. Keep memory cards away from magnetic sources such as magnets,

television monitors and audio speakers. Cards need to be kept cool so they shouldn’t be left in places where

they can heat up, such as in direct sunlight, car glove compartments etc. Keep the cards dust free by avoiding removing them from the

camera in dusty conditions. Always use a protective case to transport your cards around or when

not in use. Format your memory card often and only from the camera. It is best

to avoid deleting unless you are out of room on the card and need to shoot more. Always turn the camera off before removing the memory card.

m e m o r y C a r d C a r e

TExT: STEVE D’SOUzA

september 2012 AsiAn PhotogrAPhy And imAging[60]

tips & techs

Get HighWe as photographers always love to shoot different subjects

in our photography journey. But how about taking the same subject and looking at it from a different angle altogether?

say, from a height? We are accustomed to seeing the world at eye level, but changing the vantage point can offer a unique, unexpected view of the world. We are sure some of you must have tried to capture your subjects from a height but for some this might be a chance to widen their angle of view (pun intended) towards any particular subject and try out something new.

Angles are used in photography, or any other visual medium, to establish a message. For example, a low angle shot would establish the subject as big and powerful. Likewise for a high point of view (taken from 60 degrees onwards) each image delivers different information for both the subject and the background. Look for opportunities to get above the subjects you are capturing because this angle can be interesting, apart from being real fun to shoot. You can try shooting portraitures (especially children), pets, streetscapes, landscape and so on.

photography is a wonderful art of expressing life in a single frame. Angles can help you present that frame in a more creative way. in this project, you might have to push yourself to extremes to deliver brilliant shots and so, be very careful and ensure yours and your camera’s safety. We tell you in this article what are the things to consider before you go ahead climbing that tree for a shot.

the right heightQuite obviously the height you click your shot from is of paramount importance. say if you plan to shoot a festival from a height, so you may be able to capture all its glory in one shot, make sure you have enough time to set yourself at a good height to capture the festive mood or the activity and also find the right vantage point.

even when you have not planned to shoot a subject from a height, you can incorporate that angle in the shoot, to give it an interesting diversion. As you keep trying this angle with different subjects, your own judgement in photography will help you frame subjects on-the-spot.

Ph

OtO

: Ste

ve D

’Sou

za


some shots when taken from a height give a lot of information about the subject and its actions. You can do this with anything, out of your apartment of the street below, or looking down from a cliff to the people on a beach. You don’t necessarily need to be at a great height to get a good photograph; sometimes even a little height does the job.

ChallengeStypically, you want to be somewhere high, and then you can vary the degree depending on what the feel in the photo is that you are aiming for. it might sound simple, but there are times when people have a tough time framing and composing their shots. As you shift to a higher degree, the subject has to be shot at the right time. Keep yourself and your camera on a firm surface; you will need to be extra careful about your camera when shooting from a height. it’s best you get the camera strapped to you to avoid the camera from slipping out of your hands. Monopods and tripods come in handy in such situations.

treatment in photography you have to always treat your subject according to its surroundings. Likewise in high angle photography you will have to keep various steps in mind in order to treat your images. While shooting from a height the first treatment before or while taking a shot is to avoid distracting backgrounds. Your background works as a key factor in complementing your subjects. You can use backgrounds in a more creative way; textures and patinas can make the subject more appealing to the eye.

shooting down on a scene tends to have a more flatten look. this means that depth of field doesn’t come into play as much as you might want it to. But you should ensure that you have an apt setting to capture the right composure. Another way to treat you subjects while shooting from a top angle is to remember to consider shadows. it is a good idea to shoot from a height at the start or end of the day when the shadows are at their longest. You can make your pictures more defined by giving importance to shadows. Keep in mind to capture the right actions and postures of the subject(s). this shadow detail can be achieved only from


a top angle because while shooting from ground level at such times the light may be wonderful but it’s almost impossible to get a full shadow in your frame.

higher angled shots add a unique perspective to images. sometimes it is difficult to photograph familiar subjects from a height, but shots of certain subjects can be accentuated when shot from a high angle. For instance, a large gathering of people where a photo taken from the top will speak for itself, as against a shot from eye level where you will not be able to judge how big the crowd is. With the high angle shot you can not only convey how big the crowd is but also give the scene an interesting perspective.

We are sure you will have a great time exploring the edges of high angle photography. so step out there and give it your best shot. And remember what makes a photo interesting is to capture the subject in a way people do not normally get to see it. Use that to your advantage when shooting a subject from top.

text: & iMAges: AjAY singh


tips & techs

Ever tried taking a photograph with a telephoto zoom lens from the ground level without camera shake? if you have, you would know just how difficult it is

to achieve that. since most tripods have a minimum height restriction it is not convenient to use them, add to that the time taken to set one up. While shooting a photograph from ground level, you are bound to use your elbows for support, but we say, spare your elbows and use a camera beanbag. A camera beanbag is like a tripod when set down, or a stabiliser when braced against any surface. it is useful in situations where you cannot use a tripod due to space constraints. it is a popular tool amongst wildlife photographers who use it in various scenarios to get pin-sharp photographs. We show you and easy way to make one yourself at a fraction of the cost of a readymade camera beanbag.

DIY Camera Beanbag


Step1: Get a pair of pants, preferably jeans with a working zipper. Mark a line across the waist and legs as shown in the image. create a V-shaped groove for stability.

Here’s what you’ll need• An old pair of jeans with a working zipper• scissors• Marker pen/sketch pen• sewing machine (preferable)/ thread and needle• Lentils (or grams)

Step2: cut the jeans along the marked lines leaving enough space for a hem. Keep the zipper undone while cutting.

Step3: turn the jeans inside out before you start stitching. Use a sewing machine to stitch the waist and the legs to seal the beanbag. turn the beanbag the other way out by pulling it back through the zipper hole.

Step4: Fill the beanbag with lentils as they make it flexible in taking shapes and yet supportive. Fill in the lentils through the zipper and seal the beanbat by closing the zipper.


Step5: test the beanbag by putting the lens in the V-shape groove of the beanbag. We tried shooting by placing the V-shape of the beanbag over the car door to create a stable platform to rest the lens on.

You will be able to notice the results instantly and the beanbag will definitely help in eliminating camera shake.

text And iMAGes: steVe d’soUzA

AfterBefore


Tips & Techs

ForcedPerspective


Over the years photography has taken the term “visual illusion” to a whole new level in the hands

of talented artists. Blending reality in your photography is one of the most powerful things about creating images. And before you assume, this is not an article based on photoshop techniques that help you blend reality into your images. instead we show you how without photoshop you can create a unique illusions in your image. And the answer to how is just two words, forced perspective.

in photography, perspective is a constant variable that becomes a universal point of reference for all spectators. Forced perspective is a photographic illusion generally used to make two or more objects seem different from their actual size. photographs where one subject seem to merge with another and which portrait defiance of gravity are technically part of this genre of photography although they actually rely more on orientation and point of view than a true visual compression due to the single eye of the lens.

Forced perspective is used in architecture and landscaping to create desired illusion of space. This style of photography is intriguing - it manipulates human perception with things like size, positioning and scale – and does not involve fancy equipment, as you might believe by now. All you have to do is visualise the frame with relation to one or more subjects. Generally speaking, forced perspective photography is when a photographer takes advantage of depth perception and careful placement of the camera to give the viewer the impression that an object is larger, smaller, closer, or farther away than it actually is. This technique is used not only in photography but in videos as well.

here are a few tips for you to undertake this photography project and ensure that


Forced perspecTive GenerAlly FAlls inTo A Few mAin cATeGories.1. making one main subject large2. making one main subject small3. merging subjects4. defying gravity

you get it spot on.

Size changing forced perSpective

For size changing perspective you will have to depend on a few technical principles such as depth of field, distance and line of sight. These are the three main ingredients in a size changing forced perspective photo. when creating this type of photo, the subject you want to appear smaller should be further from the camera than

the subject you want to appear larger. Also, the larger the size difference between the actual size and desired appearance, the more space needed to execute the photograph. To shrink a pet you might only need six or eight feet but to shrink a mountain you might need a kilometre or two.

The best lens to deliver such an effect is a wide angle lens less than 35 mm and a large f-stop setting. why so? Because there will be distance between the two subjects and your job


is to ensure that you use a setting that puts two or more subjects in focus. sometimes it’s best to use a high quality point and shoot camera to give you an easy focus. Alignment is one of the key factors to be considered in forced perspective photography. if the alignment is not right then the purpose of the photographic effect does not make sense and cannot be achieved. For example, if you are setting up a photo where the subjects appear to touch, such as one person appearing to stand on another

person’s hand, you may need a tripod to get the stability you need for fine adjustment to the line of sight so that you don’t have gaps and overlaps of subjects in the wrong spots.

gravity defying forced perSpective

one of the most interesting parts of this photography project is to reverse the law of gravity. with the support of a neat and clean location, gravity defying perspective

Quick tipS1. Use a tripod if available.2. Use a wide angle lens. it is not

mandatory but by using a wide angle lens achieving this style becomes easier.

3. plan and experiment with depth perception and framing.

4. Find a foreground and background that complement each other.

5. make sure you move your camera and yourself around to try different perspectives on how the objects meet.

6. Use adequate f-stops to ensure that depth of field is enough to maintain subjects in focus (f/16 or above).

7. shoot on manual mode.8. Keep some elements real so it is

evident to the viewer that it is a forced perspective effect.

9. choose a bright day to shoot.10. embrace the unexpected. you will be

happy to see the unplanned shots, some of which will put a smile on your face.


photography can be one of the most interesting experiments in the book of photography. The tough part in doing this is to find a location that works for this type of a shot. once you have found a good spot then it is just left to you to frame the right subjects and shoot. For example, subjects can lie down on the ground with their feet on a wall as though they were sitting against a wall or multiple subjects can lie down on the ground at various locations to appear to be flying.

sounds like a lot of fun right? But remember the most important things here is to find the right location. look for a spot where a subject can lie down on the ground in such a way that it looks like it is sitting against a wall and the camera can be positioned where the wall looks like the floor instead of a wall. in this technique you will always have to be perfect with framing. it is very important so that you deliver a clear defined illusion. Also, pay attention to the subject’s clothing and hair positioning; and other such details. while you shoot you will have to keep in mind the result of turning the photo’s orientation to create the gravity illusion.

TexT And imAGes: AjAy sinGh

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Tips & Techs

Step 1

Step 2

Cartoon Vector effect

Open an image and duplicate it into another layer so that you have the same picture in two layers. We named the top layer “sketch” and the bottom layer “original”

select the sketch layer and make sure the foreground colour is set to black.

We have been playing around and providing you with a few smart tips to improve your creative skills

in photoshop for quite some time now. This month we are going to make sure that you have fun experimenting with the cartoon effect in photoshop. We are going to share with you a few important steps to go about creating this effect. This technique can be experimented with in various ways, but we thought of introducing a basic method by which you can create a neat cartoon effect from your photographs while sitting in your home. so let’s create…



Step 3After setting the foreground colour to black, in the same sketch layer go to Filter – sketch – stamp.

Step 4As soon as you select the stamp filter, you will have the stamp filter adjustment window on your screen. here you can make adjustments to the photo by the Light/Dark Balance and smoothness slide bars. This step helps you set the preferred levels of sharpness and detail in the photograph. so be creative and go for what looks best to you.

Step 5This is how your image will look like when you’re done with step 4.


Step 6in this step move to the bottom layer “original”. Turn the sketch layer to invisible and select the eyedropper tool from the Tool box. With the eyedropper tool, make a colour selection. For example we started off with the colour of the skin. You can do the same while colouring the other parts of the photo too.

Step 7After making a selection of the skin colour with the eyedropper tool, you can start painting over the face using the Brush tool. Most important part in this step is to make sure you add a new layer to paint.

Step 8Once you are done with painting over the face, you can select the Blending mode “Multiply”.


Step 9in this window you could see a lot of spill from the airbrush. so you can use the eraser tool with maximum hardness and erase the unwanted paint from the airbrush.

Step 10here you can see how we

worked on a few parts of the photo by following the above four steps (step 6,7,8,9).

Step 11You can add various colours to your image, but be aware of the spill.

Step 12here you can see the way we used colours on our image to create the cartoon effect.

SEPTEMBER 2012 [78]TexT AnD iMAges: AjAY singh

final imageORiginal image


Tips & Techs

hriftyTreasuresPhotography, let’s admit, is an expensive hobby. The price tags on most accessories in your camera bag are bound to make you cringe when you first go to buy them. But not every useful thing in your bag needs to burn a hole in your pocket, or for that matter, even make you cringe. It could in fact be just a junk drawer, or a stationery shelf away. Look around more carefully, put your ingenious self to test and you will find what we found this month when we decided to scout for dirt cheap substitutes to some of the fancy camera accessories in your bag.

MirrorsNo we don’t expect you to carry a sheet of

glass around, but one or more small pocket mirrors could come in handy as reflectors and are highly directional; take note for portraits and outdoor shoots. Acrylic mirrors are your best bet. They are light, unbreakable and durable. What more, you can find them at any local store, or for that matter, even in your mother’s vanity case.

spray bottlecarry a small plant-misting bottle

with you and use it to get a sprinkling of raindrops or dew drops on flowers and leaves in your frame. For macros of flowers, wet look for model’s close-ups and such, a spray of water can work wonders. if you want more precise droplets and their placement, we suggest you carry an eyedropper and some glycerine. The reflection off the droplets sometimes is enough to add charm to the image, and you need not deprive the image of that just because there is no rain or dew.

Glycerine works magic when trying to achieve a glaze in food shots.

ASiAn photogrAphy And imAging[79]September 2012


plastic bags As much as they are bad for the environment,

they are useful in your camera bag. They are one accessory you wouldn’t have to go buy since you are bound to have more than a couple at home. if you can’t recycle then, you can atleast reuse them. carry a few in your camera bag always to shield your gear against rain. in case of sudden showers and bad weather chuck all your gear inside a big plastic bag to protect it. if it’s an outdoor shoot with a model, and rain comes to play spoiler, use plastic bags as spontaneous umbrellas to save the hours of hair and make-up invested in the shoot.

cellophane paperscellophane papers act as coloured gels when placed over the flash to

balance lighting. if shooting with on-camera flash in an environment lit by tungsten light, you’ll get a mixed lighting which is not desired. in such a case you can use an orange or yellow colour cellophane paper to balance the lighting. Also, if you’re feeling experimental, you can place different coloured cellophane papers in front of the lens to get similar effects as achieved through glass filters. Though note that the cellophane papers will not be as clear as glass filters.

electrical tapeThis little role of tape can be more useful than you can

imagine. stuff falls apart at the absolute worst times - camera straps, shoulder bags, those comfy old running shoes - electrical tape can save the day. it isn’t elegant, but it will fix the tear or break in a jiffy. Gaffer’s tape would be ideal since it leaves no sticky residue upon removal but it will take up a lot more space in your camera bag than electrical tape.

if you absolutely need to shoot in the rain use a garbage bag, the big black one, for your camera and your head to fit in together, or a zip lock bag to zip around your hands with the camera inside the bag, to make it more secure. in either case make a rain cover out of the plastic bag, before you step out. here’s how:• cut out the bottom of the bag approximately

the size of the lens opening.• pull the bag inside out.• Tape the lens hood (with gaffer tape or

electrical tape) facing out into the hole you have cut.

• pull the bag back so it is no longer inside out.• Tape around the edges of the outside of the

hood as well.• shoot the regular way• This make-do rain cover will probably be

good for a few hours but if you have to shoot long hours in the rain, we suggest you get proper cover to protect your camera.

White therMocol plates

Thermocal plates that are easily available at any supermarket in the ‘party supplies’ aisle, or even in a general store near your house, can be put to good use as reflectors. if you cut a hole in a white thermocol (or paper/plastic) plate and tape it to your lens with gaffer tape, you have a great reflector for backlight close-ups and face shots.



paper cupsThey actually have multiple uses, the

simplest being using a paper cup as a substitute lens cap. Also, if you cut the bottom of a paper cup and mount it on your speedlight it can work as a snoot. The focused light through the snoot could be useful for portraits or for creating a particular mood in an image. You can also mount it as a snoot, but cut the front out and use it as a bounce diffuser.

black/White/aluMiniuM sheetYou can use a black sheet of paper to cut light

and to add shadows while shooting products. A white sheet of paper can work as a reflector. put it in front of a light source and it doubles up as a light diffuser. Aluminium home foil, or aluminium sheet can be used as a reflector but it will be harsh compared to a white sheet reflector.

if you just look around, we are sure you can find more such everyday things that can go in your camera bag and the ones listed above, are maybe just a few. We say, go scout!

TexT: TApshi DhANDA

torches/flashlights

They can be used in multiple roles besides just being used to search your way while shooting in the dark. The small, inexpensive one that you can find in any stationery or general store can be used to paint interesting background patterns in your light-paintings. penlights or laser lights are great fun to enhance light-paintings too. Also, if you can’t find something in your camera bag, guess what comes handy!

hair dryerWe have all seen the windy, hair-flying

fashion images of stars in glossy magazines. We’ve even tried replicating them in fact (don’t deny it)! The easiest way to do it is to use a blow dryer or those small hand fans that run on battery (though they may not be as powerful). This lends a windy ambient feel to the image. You can find a small portable blow dryer at an electronics store, or simply borrow hers from your sister.

butter paperNeed an instant softbox effect? Use butter paper to diffuse light instead. The more you want to diffuse light, the thicker the butter paper you need to use. The effect is the same and at a fraction of the price.


AsiAn PhotogrAPhy And imAging

Camera review

Canon EOS 650DPrice

55,995(Body Only)

59,995

(eF S 18-55 iS ii)

September 2012 [82]

September 2012 AsiAn PhotogrAPhy And imAging

With major buzz surrounding the launch of the Canon EOS 650D, there was high anticipation for the much awaited successor of the famous and globally well-received EOS 600D. Canon pulled a fast one on the competition with the announcement of the EOS M series as well as the EOS 650D. But what makes the 650D stand out against the rest is its touchscreen interface which makes it the first DSLR in the industry to offer touch capability.

recent times) and the eye-sensor which has moved on top of the viewfinder in the 650D.

The biggest and the most noticeable change in 650D is its touchscreen and user interface as compared to the 600D. The operation of the camera becomes easier as the user interface feels more relaxed and easy in the live view function.

FEatuRES (aS MEntiOnED By thE ManuFaCtuRER)

The Canon india website highlights some of the important features of the 650D as under:

Vari-angle Touch ScreenUndoubtedly the biggest feature that the

650D offers is its 3-inch touchscreen which has a smartphone kind interface. we particularly were impressed by the touch of the same since it felt similar to the touchscreens of today’s mobile phones. The screen recognises multi-touches and we felt it could well be the way into the future. in fact as we had predicted in our Trends issue, it is only a matter of time that these features become a reality.

Enhanced movie shooting with Movie Servo AF

an important feature in the 650D is that the new eF-S18-135mm f/3.5-5.6 iS STm lens is better equipped for movie shooting and users can enjoy smooth, speedy and quiet Servo aF during movie shooting. essentially the new lens offers better performance while shooting videos especially while zooming in and out during recording.

PERFORManCEThe 650D is powered by the Digic 5

processor which helps deliver vibrant and sharp images. The 9-point cross-type aF sensor is quick and works swiftly in various lighting scenarios. However, the focus tends to hunt depending on the type of lens, especially when shooting in extremely low light conditions. The colour reproduction of the 650D is accurate and the auto white Balance judges the scene well.

we felt that the iSO performance of the 650D was much better than its predecessor, the 600D. The images produced between iSO100 and iSO1600 have no visible noise, however, the noise on images begins to show slightly when you go beyond iSO 3200. The images begin to lose detail from iSO 6400 at 100% zoom.

Sample Image

LOOk, BODy anD FEELat first glance the 650D doesn’t look

different from its predecessor, the 600D. But a closer look at the dimensions reveals that the camera is slightly smaller in height and diameter as compared to the 600D. The body itself weighs about 50 grams more than the 550D but five grams more than the earlier version. So what is it that the 650D offers more than the 600D and the 550D in ergonomics? well the answer is, not much!

Canon has pretty much retained the look of the camera with the front and the back featuring identical layout and feel except that the buttons on the 650D are more compact and neatly laid. The only noticeable change in the layout is the left-hand side of the camera where the microphone now has a dedicated output socket for better video recording (which has become extremely popular in

[83]


Sample Image

Sample Image

Effective pixels 18.0 megapixels

Sensor CMOS APS-C (22.3 x 14.9 mm)

Processor Digic 5

ISO Auto, 100, 200, 400, 800, 1600, 3200, 6400, 12800 (25600 with boost)

File format JPEG: Fine, Normal (Exif 2.3 compliant)Design rule for Camera File system (2.0),RAW: 14bit RAWDigital Print Order Format [DPOF] Version 1.1 compliant

Autofocus Contrast Detect (sensor),Phase Detect, Multi-area, Selective single-pointSingle, Continuous, Face Detection,Live View

Number of focus points 9

Lens mount Canon EF/EF-S mount

LCD display Clear View II 3 inch touchscreen TFT LCD

Minimum shutter speed 30 sec

Maximum shutter speed 1/4000 sec

Exposure modes Program AEShutter priority AEAperture priority AEManualScene Intelligent AutoNo FlashCreative AutoPortraitLandscapeClose-upSportsNight PortraitHandheld Night SceneHDR Backlight Control

Continuous drive Yes (5 fps)

Metering modes Multi, Center-weighted,Spot, Partial

Video resolutions 1920 x 1080 (30, 25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 480 (60, 50 fps)

Storage types SD/SDHC/SDXC

USB USB 2.0 (480 Mbit/sec)

HDMI Yes (HDMI mini)

Wireless EyeFi

Remote control Yes (E3 connector, InfraRed)

Weight (inc. batteries)

575 g

Dimensions 133 x 100 x 79 mm (5.24 x 3.94 x 3.11")

ViDEO PERFORManCEThe 650D is capable of recording video in

1920x1080p at 30/24 fps. The focusing options like Face Detection (with subject tracking), FlexiZone-Single (user defined aF point) and FlexiZone-multi (automated aF point selection) are welcome features. The autofocus is slow and tends to track while recording but does not record the sound of the motor on the video.

The 650D has a pair of stereo microphones on the camera which reproduce accurate and clear sound along with the aid of the manual control over audio levels and a visual sound meter. There is also a provision of a 3.5 mm jack for an external microphone. The overall quality of the video is good and produces a good tonal range. it works well even while recording video in high iSO settings.

Sample Image

Specifications


COnCLuSiOnat `55,995 for the 18-55 mm kit, the eOS

650D is not very different from the eOS 600D but it offers enough to keep you interested. Honestly the biggest and the most refreshing change is the touchscreen which, from a general user point of view, changes a lot, but with regards to the features, the 650D has been given only a minor facelift when compared to its predecessor.

Like every other Canon DSLr, the 650D delivers crisp and seamless performance. So if you are looking to upgrade your DSLr

combined with sophisticated and advanced user interface then the eOS 650D could be the right choice for you.

TexT: BHavya DeSaiimageS: STeve D’SOUZa

Well designed body with new touch screen LCD

Look, Body & Feel Rating

Excellent image quality with improved low light shooting capabilities

Performance Rating

Combination of good image quality along with a new interface with improved AF

Overall Rating

ISO 100

ISO 400

ISO 1600

ISO 3200

ISO 6400

ISO 12800



lens Review

Nikkor AF-S 85mm f/1.8G

Nikon’s new AF-s 85mm f/1.8G, announced earlier this year, is a fixed focal length medium telephoto lens with a maximum aperture of f/1.8, and is optimised for use with nikon’s full-

frame FX format cameras. when used with DX format cameras, it provides an effective focal length of approximately 127 mm. lightweight and fairly compact, allowing users to easily carry their camera around with the lens mounted, this lens is capable of much more than just portraits.

Look, Body and FeeLThe body is lightweight and rugged at the same time, ideal in terms of weight and dimensions for FX format cameras. some of you might prefer the old metal body to the new plastic feel, but it feels sturdy and durable. while it might seem a little out of proportion on DX format cameras, compatibility is a non-issue. Most of the outer body parts are made of plastic and this contributes to the light weight of the camera.

Price` 31,950


Lens Construction (Elements/Groups) 9 elements / 9 groups

Picture Angle with 35mm (135) format 28Â° 30

Picture Angle with Nikon DX Format 18Â° 50

Minimum f/stop 16

Closest focusing distance 0.8 m

Maximum reproduction ratio 0.124x

Filter Attachment Size 67 mm

Lens Cap Snap-on

Lens Hood HB-62

Lens Case CL-1015

Dimensions (approx.) 80 mm x 73 mm

Weight (approx.) Approx. 350 g

SpecificationsThe ridged focus ring makes focusing easy and also adds to the grip. Focusing happens internally, which means that the dimensions of the lens do not change while focusing.

The lens lacks built-in vibration Reduction, but the fast aperture f/1.8 somewhat makes up for this. The silent wave Motor makes for quiet autofocus operation.

The G in the lens’ nomenclature is a little deceptive, in that it probably suggests the introduction of some new technology in the construction of the lens. However, the G here isn’t a feature but a handicap and stands for ‘Gelded.’ The dictionary defines gelded as to deprive of strength or vigour, or to weaken. The aperture ring has been removed, possibly, to cut costs. The removal of the aperture ring from the lens means that the lens will not work on the older manual focus cameras, since there is no way to change aperture. while it’s still possible to mount this lens on the older manual focus nikon cameras, the camera will shoot only at the smallest aperture, and the camera’s light meter is liable to give you wrong readings.

PerFormanceFor a consumer grade lens, the nikkor AF-s 85mm f/1.8G has excellent optical quality, yielding brilliant, sharp images. There were absolutely no complaints with the autofocus mechanism either, both with respect to speed and accuracy. The seven blade diaphragm makes for an above average bokeh, the character of the out-of-focus areas in your images.

Sample image


Lightweight but rugged and seems durable

Look, Body & Feel Rating

Excellent optics, brilliant sharp images

Performance Rating

Good value for money

Overall Rating

The ergonomics of the lens are great. The autofocus override feature makes it possible to switch between manual and autofocus very easily. The lens exhibited no significant barrel distortion, and even chromatic aberration was well within permissible limits.

concLusionFor an asking price of ` 31950, this lens is excellent value for money for

someone stepping into the professional domain of DslR photography. if you’re looking to work with an 85 mm lens specifically, this is a great buy. For DX format camera users, it gives an angle of view similar to what a 127 mm lens would give when used on a 35 mm or an FX format camera.

TeXT AnD iMAGes: GeoRGe KuRien

Sample image

Sample image

Book review

Digital PhotographyUltimate Field Guide for Photographers


Mukesh Srivastava, a renowned photographer based in india, has recently launched a book

called Digital Photography: Ultimate Field Guide for Photographers, which is claimed to be the first book on digital photography by an indian author. we reviewed the book to gauge how helpful it might prove to be if you are foraying into the world of digital photography for the first time, as well as if you are a professional and want to learn

more about the craft.The book is written keeping amateurs

in mind; the language is simple and easy to read, and all the facts are properly exemplified by images and screenshots. in the first two sections, the author has explained in detail about the basic components of the cameras typically used for professional photography; everything from the types of cameras in the market and their classification to the different varieties of sensors and their specifications. Apart from the hardware, careful attention has also been paid to details like crop factor, file extensions, white balance etc. Short notes in the form of ‘expert Tips’, where the author gives his take on the particular topic, have been included at the end of most of the sections, which provide the readers with a professional’s point of view on the subject. Topics which amateur photographers are often confused about, like active D-lighting, metering modes, histograms, exposure bracketing, depth of field etc. have been explained in extra detail to make the reader as comfortable with them as possible.

in the next chapter, essential Shooting Techniques, the author has explained how to use the basics like shutter speed and aperture to your advantage, complete with photographs for examples. Full length sections have been dedicated to topics like ‘How to hold the camera’ and ‘How to select a proper lens’, which are particularly essential if one wants to take up photography as a profession. All the basic modes in the camera have been explained with examples too, again something a lot of amateurs are known to have problems with. in the later part of the chapter, the author has slightly shifted from generic to specific, telling the readers about the settings on the camera as well as how to use the environment to get the desired effect. Lighting, perhaps the most important part of a photographic frame, has been explained in extensive detail too. A section has also been given to studio equipment and how they work; though it was a topic that we felt could have been included in a separate chapter.

Going further in the book, the author moves the readers’ attention towards composition. Starting from the most basic rule of framing, and probably the most

important, the rule of Thirds, the author explains how one could get the desired effect by keeping a few simple rules in mind. often an image which could have otherwise turned out to be exceptional fails to, because of a bad angle, poor focusing, or simply inappropriate spacing among the subjects. Almost all of these issues have been touched upon to give the reader an acute sense of what not to do rather than what to do while shooting. Tips on the aesthetics involved in all the popular genres of photography, portrait, landscape, macros, travel etc. have been included too.

The chapter on editing techniques touches upon the popular post-processing tools, as it is one of the most important aspects of a photographer’s job. The author has explained, in brief, all the functions a photographer might need during post-processing, as taking each of them up in full detail would have been out of the scope of the book. There are separate sections for amateur and professional photographers, as there are a lot of functions which an amateur will only understand once he/she has had some hands-on practice on the software.

The author has introduced the basics of video cameras in the last chapter. Though if you are more interested in movie-making than photography, we’d advise you take up a dedicated movie-making book instead, as the information included in this chapter is very limited. At the end of the book an alphabetically arranged glossary is added for reference, in case you want to quickly look something up without having to search the whole book for it.

we felt the classification in certain places could have been better; some sections would have worked better as sub-sections and vice versa. This book is designed more for an amateur than a professional, as professionals will definitely find better and more detailed matter on the same topics in a lot of different books in the market. All in all, the book is a good effort on the photographer’s part to educate budding photographers on the basics and specifics of digital photography, and if you’re an amateur this can prove to be the right start for your photography career.

TexT AnD imAGe: HimAnSHu SHArmA



Picture by: Akash GhoshCamera: Nikon D3100 Shutter Speed: 1/160 secF-Number: f/5.6Focal Length: 18 mmISO: 400

Send in your entries to photoscape at [email protected]


Û

Picture by: Abir ChoudhuryCamera: Nikon D90 Shutter Speed: 1/1000 secF-Number: f/5.6Focal Length: 32 mmISO: 400

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Picture by: Ayan Kumar MitraCamera: Nikon D90 Shutter Speed: 1/200 secAperture: f/5.6Focal Length: 50 mmISO: 250

Picture by: Arun Bharhath Camera: Canon 550D

Shutter Speed: 1/40 secF-Number: f/3.5

Focal Length: 23 mmISO: 2000


Û

Picture by: Easwaran ChandrasekaranCamera: Canon EOS 1000D Shutter Speed: 1/200 secF-Number: f/2.8Focal Length: 50 mmISO: 400

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Picture by: Sirsendu GayenCamera: Nikon D80Shutter Speed: 1/60 secAperture: f/4.2Focal Length: 32 mmISO: 320

Picture by: Rajat NagCamera: Canon EOS 1100D

Shutter Speed: 1/60 secF-Number: f/2.8

Focal Length: 50 mmISO: 125


The Winner

Of the Monthly

PhOTOScaPeSection will

receive a gift from

Uniross

Û

Picture by: Anupam Roy ChowdhuryCamera: Canon EOS 1000D Shutter Speed: 1/80 secF-Number: f/3.5 Focal Length: 18 mmISO: 200

Picture by: Soumi ChakrabortyCamera: Nikon D90 Shutter Speed: 1/40 secF-Number: f/4.5Focal Length: 38mmISO: 20

Picture by: Somnath ChakrabortyCamera: Nikon D7000 Shutter Speed: 1/80 secF-Number: f/10Focal Length: 10 mmISO: 100


Dear Editor,I am a network engineer by profession and a regular reader of Asian Photography magazine. Photography to me is a way of making bridges between dreams and reality. I try shooting as often as possible especially when I travel.

The Gangasagar workshop was solely taken with my Nikon D7000 with 18-200 mm VR, just one day before this aforesaid tour. Here are a few images that I have clicked. Somnath Chakraborty

Send in your portfolio at: [email protected]

september 2012

The Featured

portfolio in the

PHOTOMONTAGE

section will receive a

gift from Uniross

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Documents

veera desai road

india editor trilok

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p h y i n d i

fun republic street

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main road

trends special issue