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CAMERA REVIEW

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PRO-PROFILE

Vol. 26 - No.3

Basics of shooting landscapes Symmetrical Photography Through the frames

Colour is in the air Architectural Momento From Colour to Monochrome

TIPS & TECHS



EDITORIAL

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

W hile focussing on new and innovative things, we sometimes tend to miss out on the basics, a fact

that is also reminiscent in photography. So, in this month we have gone back to take a look at

something simple, yet surreal. Speaking of surreal, there is nothing that is more surreal than a

‘serene landscape’. There is something about a beautiful landscape that transcends your mind, body and soul to

a completely different level. And even that will not be enough to describe the emotion you experience when

you look at the pictures of Landscape photographer Dustin Farrell. His images depict beauty that one can only

imagine and seldom get a chance to see.

Paired with the interview of the Pro-Profile, we also feature interesting tips on shooting landscapes,architecture photography, using symmetry in images, importance of shooting RAW and a feature on

photographing through the frames. With the most colourful festival of the year round the corner, we have also

presented a special feature on Holi. In our Shoot My City section, we feature the beautiful destination of Bali.

The review section this month is all about the new cameras in the market. We feature the reviews of the Nikon

Df, Nikon 3300, Ricoh Pentax K-3 and the Fujifilm X-E2.

I also wanted to take this opportunity to thank you for your support on our social media platforms like

Facebook. It was only last year, in June, when we had approximately 10,000 followers on FB and today, we

have already crossed over 80,000 followers on the same platform. We have just started our initiative on Twitter,

recently. So, I would like to welcome you to follow us and continue to support us.

Until Next Time…

Happy Reading!!!!

EDITOR / PUBLISHERTrilok Desai

GROUP HEADBhavya Desai

NEW DELHI BUREAU Amitabh Joshi

SENIOR CORRESPONDENTSFred Shippie

Lester Ledesma

DIRECTOR MARKETING Aruna Desai

DESIGNGoraksh Kokate

Rajendra Gaikwad

EDITORIAL TEAMRojita Tiwari

Steve D’Souza Abhishek Desai

YashnashreeNeha Aggarwal

Ushma Dhamdhere

SPECIAL CORRESPONDENTLopamudra Ganguly (Delhi)

MANAGER ADVERTISING

Laila Rupawalla

DY. MANAGER ADVERTISINGKora Ganguly

MARKETING EXECUTIVERagini Desai

Vatsala Dimri (Delhi)Mamta Bhide

COPY DESKSameer Gadkari

PRODUCTION MANAGERManoj Surve

MUMBAI OFFICE:

509 & 511, Dilkap Chambers,Fun Republic Street, Off Veera Desai Road, Andheri (W), Mumbai - 400 053.Tel: 91-22-40401919Fax: 91-22-40401927E-mail: i [email protected]



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Vol. 26 - No.3

Basics of shooting landscapes Symmetrical Photography Through the framesColour is in the air Architectural Momento From Colour to Monochrome

TIPS&TECHS

Cover Image: Dustin Farrell

Cover Design: Goraksh Kokate

follow us on Twitter@Asian_Photo

@Bhavya _Desai 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.,

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(W), Mumbai - 400 053. INDIA

Printed at Magna Graphics India Ltd, Suvery No 43 & 44, Vevoor Nandura Road

Village Vevoor, Palghar East, Dist - Thane, 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 writt en permissio

of the publisher. The views and opinons expressed by the authors do not

necessarily reect those of the publisher or the editorial staff.

Special Audience Publications Pvt. Ltd. and ASIAN PHOTOGRAPHY AND

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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.

DELHI OFFICE:

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Surreal Landscapes

March 2014



CONTENTS MARCH 2014

News

Column• The RAW Deal

Shoot My City• Bali

Pro-Profle

• Dustin Farrell

• Fujilm India announces the new FUJIFILM X-E2 interchangeable

lens camera

• Nikon releases the new RAW image processing and adjustment

software Capture NX-D

• Nikon announces the launch of its new Nikon D4S

• Kingston introduces fastest ash card in India for 4K and Ultra-HD

video capture

• Five Indian photographers shortlisted for 2014 Sony World

Photography Awards

• Tamron developing an all-in-one wide-angle zoom lens

22

28

37



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Vol. 26 - No.3

Basics of shooting landscapes Symmetrical Photography Through the framesColour is in the air Architectural Momento From Colour to Monochrome

TIPS&TECHS

17 Ask Your Expert




77 80 84

Tips and Techs

50

March 2014 3938 March 2014 www.asianphotographyindia.com

TIPS &TECHS

BASICS OF SHOOTING

LANDSCAPES P H O T O : U r m a s H a l j a s t e

March 2014 63

Through The

FramesC

omposition according to textbook

def ini t ion i s something that i s

createdby arranging severalthings

to form aunifiedwhole. Thatisexactly what

itis. Thecomposition ofyourphotograph is

thecombination of visualelementscoming

togetherto createthe whole image. We

often putthephotoswe takeinto frames

asa way ofdisplaying anddrawing attention

to ourmain subject – butthere isanother

typeof framing thatyou can do, as you’re

taking your shots, which can be just as

effectivedoing justthesame thing. Framing

isthe techniqueof drawing attention to the

subjectof your imageby blocking other

par tsofthe imagewi th something in the

scene.

Framinghelps ingiving thephoto a

context.For example,framinga scenewith

awindowcante l l yousomethingaboutthe

place youare,by thearchi tectureof the

window,or includingsome foliagein the

foregroundofashot canconveyalittledrama

inyourshot.By framingyourpicture,youwill

getyourviewermuchmore attentivetoyour

shotmakingthemwonderandtakemore

interestinfiguringout yourimage.

TIPS &TECHS

Pentax K3 FujiFilm X-E2 Nikon D3300

6244

90

94

Photoscape

Photomontage

44 Basic of shooting landscapes

50 Colour is in the air

56 Symmetrical Photography

62 Through the frames

66 From Colour to Monochrome

TIPS &TECHS

Colour is in the air! W

ith themonth ofMarch comesone

ofthebest festi va lsoftheyear- Holi!

A spring festival, commonly known

asthefest i va lofcolours,Holi isprobably one

of India’smost widely celebratedfestivalsafter

DiwaliandGanesh Chaturthi.

Camera Review

90 94


http://slidepdf.com/reader/full/asian-photography-201403 6/100March 2014 www.asianphotographyindia.com

Dear Editor

I started photography four years ago and have fallen in love with it. I started with18-55mm kit lens. As a beginner enthusiast, I love to shoot almost everything thacomes in my way. In between the years, I bought new lenses, and off late I have startepaying attention to the techniques and composition. When I subscribed to Asian

Photography magazine, it has been a great help to me in creating my own body o

work. It is pleasure to read the magazine which endeavours to answer the queries oevery photographer, be it an amateur or a professional.Personally, I love to shoot under a particular theme. Working with themes is a

great way to practice your photographic skill. I have learned a lotthrough my own mistakes during the series. Taking pictures islike writing an essay. You want it to tell a story; however, insteadof using words you have to use pictures. I worked on three seriesin last two years with 100mm macro lens. I would love to sharethose series with you. However, I don’t know whether thoseseries will go with the ‘Photo Montage’ section or not. So, I amsharing one of the series with you along with the write up.

Amit Vakil

Chamba, Himachal Pradesh

Dear Amit,

It is good to know that your interest in photography has grown a lot over the yearsand that you are taking it a lot more seriously than before. We are also glad to knowthat we have contributed in some manner in growing your zest for the same. Welwe usually book the Photo Montage section well in advance, and we have shortlisteyours in one of the upcoming issues. We will notify you in the coming months if wewill feature the same in the magazine, but at the offset it looks very interesting andunique.

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Le t ter o f t he mon t h w i l l

rece i ve a g i f t

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Dear Sir

I joined 500px.com photographer’s community on March 6th, 2013. This February, i341 days, I have crossed 100,000 affections on the site. A feat never/seldom achieve

by an Indian (to the best of my knowledge). Would be glad to see you publish this factin your esteemed magazine, as this is a proud moment, not just for me, but also amotivating piece of information, for all the budding photographers in India, who arefollowing photography as not only a subject of interest, but also considering it as acareer option.Rahul Tripathi,

Faridabad

Dear Rahul,

It is good to know that you have achieved this feat and we support you for youendeavour in the future as well. However, unless we can authenticate that no othephotographer has achieved the same, we can’t go ahead and print it. So, in case youhave any factual information regarding that then please pass it onto us, and we can

take a look at it.

Dear Sir,I am really passionate about nature and Asian Photography . My images have beenaccepted in many national and international salons and also in National Geographi

Top 25 wild bird photographs. I want to send my images for your magazine, and I ameagerly waiting for your feedback and response.

Tapas Chattopadhyay

Kolkata

Dear Tapas,

We have seen the link of the images that you have sent and it looks interesting. You casend in your entries to our readers section and also get in touch with the team or theEditor via email to speak something elaborate on the issues.



Fujifilm India has announced the launch of FUJIFILM X-E2,a premium interchangeable lens camera with the latest

APS-C X-Trans CMOS II sensor and world’s fastest AF

speed.

Rohit Pandit, EVP- Sales & Marketing, Fujifilm India said,

“After the success of X-E1 in the Indian market, I am delighted

to announce this new X-E2 camera which offers many advance

features to become a delight of the professional photographers.”

Building on the global success of the acclaimed FUJIFILM

X-E1, awarded 2013’s Best Expert CSC by the Technical Image

Press Association, the X-E2 is intended to take image quality to

a dynamic new level that is comparable with full-frame cameras.

Fujifilm informed that the camera has the world’s fastest AFspeed of 0.08 seconds. It features 16.3 million pixels APS-C sized

X-Trans CMOS II Sensor that incorporates an original colour

filter array. The hybrid AF also combines phase detection AF

and contrast AF to ensure accuracy when shooting low-contrast

subjects and dark scenes.

The X-E2 is available in solid black or two-tone black and

silver, and is priced at ` 76,999 for body and ` 1,09,999 with

XF18-55mm kit lens.

NEWS

Fujilm India announces the new FUJIFILM

X-E2 interchangeable lens camera

Nikon releases the New RAW image processingand adjustment software Capture NX-D

Nikon India, recently announced

that Capture NX-D (beta

version), software for processing

and adjusting RAW images captured with

Nikon digital cameras, will be available free

of charge beginning February 25, 2014.

Capture NX-D is a free software

application that will replace the current

Capture NX 2 application. RAW images

(with the NEF or NRW file extension)

captured with Nikon digital SLR

cameras, Nikon 1 advanced cameras

with interchangeable lenses, and Nikon

COOLPIX compact digital cameras can be

loaded into the application for high-quality

photofinishing through the processing and

adjustment of images. In addition to RAW

images, the application can also be used to

adjust JPEG and TIFF files. “D” comes from

the word, “Development” for software that

offers adjustment functions specialising in

RAW development.

During the period that Capture NX-D

(beta version) is available; Nikon will collect

requests and ideas regarding the application

from those using it on their website and

use those requests and ideas to improve

the application prior to its official release

scheduled for this summer.

Nikon will continue to update and

provide support for the current Capture

NX 2 application while the beta version

of Capture NX-D is available. However,

once the official version of Capture NX-D

is released, Capture NX 2 will no longer be

supported with updates.

Here are few of the primary features of

Capture NX-D:

- Adjustment functions specialised for

RAW processing, just as they were with the

Capture NX series including white balance

and exposure compensation.

- Support for simple adjustment of

JPEG and TIFF images such as tone curves,

brightness, and contrast, as well as functions

for correcting lateral colour aberration

caused by lenses.

- Floating palettes that are easy to use

with multiple screens

- A variety of displays, including

comparisons of multiple images and

adjustment before-and-after images

- Adoption of a sidecar format that saves

original data as non-destructive files

- Filtering functions have been built into

the application, allowing users to easily find

the images they are looking for by filtering

them according to criteria such as camera

name or lens focal length based on tag data.


http://slidepdf.com/reader/full/asian-photography-201403 11/100March 2014

NEWS

Nikon announces

the launch of its

new Nikon D4S

Nikon India recently announced

the launch of its new Nikon D4S.

Nikons new flagship model, the

D4S, offers advances over its predecessor,

with revisions to a number of features

and functions, including autofocusing

performance, image quality, workflow andoperation, and movie recording.

Nikon informed that the D4S

features an advanced AF performance,

superior image quality with sharpness

and enhanced depth that responds more

completely to the demands of professional

photographers and supports the speed

press photographers require. In addition

to D-Movie function for recording Full-HD

1920 × 1080 60p/50p movies, the Nikon

D4S supports exclusive Nikon technologies

and functions for more convenient and

smoother workflow.

The D4S ropes refined algorithms for

the autofocus (AF) system better suited

to acquire and track subjects regardless of

whether they enter the frame suddenly

or take up the entire frame, for a morepowerful composition. In addition to the

four time-tested modes available with the

D4 (namely Single-point AF, Dynamic-area

AF, 3D-tracking, and Auto-area AF), the

D4S offers a fifth AF-area mode known as

Group-area AF (which uses five focus points:

one specified by the user, as well as one

each above, below, to the left, and to the

right of the selected focus point). This mode

enables a smoother autofocusing, along

with continuous shooting at approximately

11 fps with AF and AE tracking.

The D4S also features new EXPEED

4 image-processing engine, together

with a new Nikon FX-format CMOS

image sensor, an effective pixel count

of 16.2-million pixels, and a range of

standard sensitivities from ISO 100 to ISO25,600. The D4S also supports extended

sensitivities as low as the equivalent of

ISO 50 and as high as the equivalent of

ISO 409,600. Communication speed has

also been increased with 1000BASE-T

support for wired LAN communication,

making it possible to have extremely fast

image transfer. A RAW S Small (12-bit

uncompressed RAW) setting has also been

added for faster post-capture editing on a

computer.

Kingston introduces fastest ash card inIndia for 4K and Ultra-HD video capture

K ingston recently announced its fastest

addition to the Secure Digital product line.

The new SDHC/SDXC UHS-I Speed Class

3 (U3) card is intended to allow professionals and

consumers to capture 4K and other Ultra-HD

video resolutions. The new card is available in

16GB, 32GB, and 64GB capacities.

The SD Association’s latest specification,

UHS-I U3 (Ultra High-Speed Bus, Speed Class

3), guarantees performance of at least 30MB/s

read and write, enough bandwidth to record and

playback 4K video without interruption. Kingston’s

SDHC/SDXC UHS-I Speed Class 3 card provides

speeds of 90MB/s read and 80MB/s write, which

is up to 9x faster (read) and up to 8x faster (write) than standard

Class 10 SD cards. The faster speeds is intended to ensure the best

video and photo integrity by reducing stutter as well as faster PC

upload time especially when using USB 3.0 card

readers.

The SDHC/SDXC UHS-I Speed Class

3 is compatible with all SDHC and SDXC

host devices. It aimed at allowing users to

capture cinema quality Full HD (1080p), Ultra

HD (2160p), 3D, and 4K 2K videos on high-

performance cameras such as D-SLRs, mirrorless

cameras and video cameras. In addition to 4K

video capture, it can also be used for high density

photograph capture in burst or continuous capture

mode, television recording, and live broadcasts.

Users can capture up to 60 minutes of 4K HD

video or shoot high-density image files in RAW or

JPEG (up to 8,000 24MP images) on a 64GB card.

The SDHC/SDXC UHS-I Speed Class 3 is backed by a lifetime

warranty and free technical support.



The winners of the Open

categories – for which two

Indian photographers are being

considered - will be announced

on 18 March and each will

receive the latest digital imaging

equipment from Sony.

The 14 Professional category

winners, the coveted L’Iris

D’Or/ Sony World Photography

Awards Photographer of the

Year title and the overall Open Photographer of the Year will beannounced at a gala ceremony in London on 30 April.

The L’Iris D’Or winner will receive $25,000 (USD) and the Open

Photographer of the Year will receive $5,000 (USD). All winners,

including category winners, will also receive the latest digital imaging

equipment from Sony.

NEWS

Five Indian photographers shortlisted

for 2014 Sony World Photography Awards

Tamron developing an all-in-one wide-angle to telephoto zoom lens

Tamron recently announced the development of an advanced

new all-in-one zoom lens, 16-300mm F/3.5-6.3 Di II VC

PZD MACRO (Model B016) exclusively for digital SLR

cameras with APS-C size image sensors that provides an 18.8X

zoom ratio, and 28-300mm F/3.5-6.3 Di VC PZD (Model A010)

for full-frame DSLR cameras. The lens sample will be on display

at the Tamron booth at the CP+ 2014, which will be held from

February 13 to 16 in Yokohama, Japan.

Tamron previously launched an 18-270mm (Model B008)

all-in-one zoom lens exclusively for digital SLR cameras with APS-C

size image sensors that features a 15X zoom ratio and Tamron’s

acclaimed VC (Vibration Compensation) mechanism.

Having revolutionised the optical design of the previous

28-300mm (Model A20), Tamron is developing a new, high-power

zoom lens for full-frame DSLR cameras that enhances image quality

and incorporates the PZD (Piezo Drive) - a standing-wave ultrasonic

motor system optimised for swift, quiet AF - and the acclaimed VC

(Vibration Compensation) mechanism in an amazingly compact

configuration.

Five Indian photographers were recently announced on the

shortlist of the 2014 Sony World Photography Awards, one of the world’s leading photography competitions.

The five photographers span the Professional, Open and Youth

competitions of the awards across five different categories. They

were selected by a panel of photography industry experts from nearly

140,000 submissions by photographers from 166 countries, the

highest number of entries in the awards’ seven year history.

The photographers are:

Professional categories – for serious photographers and judged on a

body of work

• Arko Datto, People

• Palani Mohan, Nature & Wildlife

Open categories – for enthusiasts and judged on a single image

• Arup Ghosh , People

• Anurag Kumar, Smile

Youth categories – for photographers under 20 years old

• Ishan Siddiqui, Portraits

In addition, 17 images by Indian photographers were commended

across the 10 Open categories.

Each year the Sony World Photography Awards rewards the very

finest contemporary international photography from the past year.

The five Indian photographers cover a diverse range of topics in their

imagery, including a provocative series by Arko Datto questioning the

role of the photographer in the digital age, and a beautiful study of theKazakh horseman in Mongolia by Palani Mohan, a finalist in both the

2012 and 2010 Sony World Photography Awards.

All the Indian shortlisted images will go on show at Somerset

House, London, from 1-18 May as part of the 2014 Sony World

Photography Awards Exhibition.

ARUP GHOSH

PALANI_MOHAN

ISHAN SIDDIQUI

ANURAG KUMAR

ARKO DATTO



Nikon COOLPIX A and Nikon 1 AW1 receive

Germany’s iF Product Design Award 2014

Transcend releases small formfactor M.2 and mSATA SSDs for

mobile computing devices

Nikon India recently announced

that COOLPIX A, the firstCOOLPIX camera to be

equipped with a Nikon DX-format

CMOS image sensor, and waterproof

and shockproof Nikon 1 AW1 advanced

camera with interchangeable lenses, are

the recipients of iF Product Design Award

2014, globally prestigious industrial product

design awards sponsored by International

Forum Design. The COOLPIX A is

equipped with a new wide-angle 18.5mm

(equivalent to a 28mm angle of view in35mm [135] format) fixed focal length

NIKKOR lens with a maximum aperture

of f/2.8 designed exclusively for the

COOLPIX A for the ease and portability of

a compact digital camera and the rendering

capabilities of a digital-SLR camera.

The Nikon 1 AW1 offers all the

characteristics of Nikon 1 advanced

cameras with interchangeable lenses, and

it is also the world’s first digital camera with

interchangeable lenses to be waterproof to a depth of 15m and strong enough to

withstand the shock of falls from up to 2m.

The iF Design Awards have been

sponsored by iF Industrie Forum Design

Hannover e.V. based in Hanover Germany,

since 1953. This year, 4,615 products from

55 countries were evaluated in, with the

various awards being presented to a total

of 1,626 products.

Transcend recently announced

the release of its SATA III 6Gb/s

N8S750 M.2 and MSA340 mSATA

solid state drives (SSD). Featuring compact

dimensions and the next generation SATA

III 6Gb/s interface, Transcend’s N8S750and MSA340 SSDs are suited to address

the strict size limitations and increased

performance needs of today’s advanced

portable devices.

The N8S750 SSD’s compact 80mm M.2

form factor (80.0mm x 22.0mm x 3.5mm) is

aimed to meet market demands of ultra-thin

and light mobile devices that require an SSD,

including Ultrabooks, notebooks, tablets,

portable gaming systems, and smartphones. It

features the latest SATA III 6Gb/s specification,

DDR3 DRAM cache, and is comprised

of MLC NAND Flash chips. With transfer

speeds of up to 520MB/s read and 330MB/s

write, the N8S750 handles everyday

computing tasks as well as demanding

multimedia applications.

Transcend’s MSA340 mSATA SSD is

78% smaller than a standard 2.5” SSD and

measures a mere 50.8mm x 29.85mm

x 4.0mm. As a result, manufacturers

can benefit from design flexibility when

developing space-restricted embedded

applications such as tablets, smartphones,

Ultrabooks, eBook readers, navigation

systems, set-top boxes, hand held

scanners, mini PCs, and slim servers. The

MLC NAND Flash MSA340 supports the

latest SATA III 6Gb/s specification, boastshigh speed DDR3 DRAM cache, and

is built around a powerful controller to

deliver blazing fast transfer speeds of up

to 520MB/s read and 280MB/s write, and

long-term reliability.

The N8S750 M.2 and MSA340 mSATA

SSDs offer full support of SATA Device

Sleep Mode (DevSleep) and Intel Smart

Response Technology (ISRT). DevSleep

allows compatible mobile devices to

completely power off the SATA interface

when not in use while maintaining a

response time of less than 100ms (0.1

second), offering instant-on capabilities

akin to a smartphone. With ISRT, users can

configure their computer system with an

SSD used as cache memory between the

hard disk drive and system memory.

Transcend’s SATA III 6Gb/s N8S750

M.2 SSD is available in 32GB, 64GB and

128GB capacities while the SATA III 6Gb/s

MSA340 mSATA SSD is available in 32GB,

64GB, 128GB, and 256GB capacities.

NEWS

Tamron India will be organising

a series of workshops in

several major cities throughout

India in the month of March, April

and May 2014. Tamron informed that

these activities are part of TamronIndia’s several initiatives to strengthen

their bonds with photographers, both

amateur and professional. The goal of

these workshops is to enhance their

skills by playing a catalytic role as a

leading manufacturer of world-class

photographic lenses.

Titled, “Lens Simplified”, the

workshop would be moderated by

a panel of experts, each workshop

will present a unique opportunity

to participants for exchanging views

and experiences, clarifying doubts

and discussing the finer points of

photography. For example, topics

such as shooting with ambient light

instead of flash.

These workshops last for a

duration of one day and are free of

cost. For registration and detailed info

please visit the following link - www.

tamron.in/workshop

Tamron India

organising a series

of photography

workshops



NEWS

Hasselblad ocially launches 50MPmedium-format CMOS camera

Samsung Galaxy S5 features 16MPcamera with 4K video

A fter its first announcement in January

this year, Hasselblad has begun

shipping the H5D-50c, the world’s

first fully integrated medium format camera

system to use CMOS sensor technology.The Hasselblad H5D-50c had a brief

debut at the CP+ Camera and Photo

Imaging Show, Japan, this February and is

now available worldwide. Ove Bengtson,

Hasselblad Product Manager said, “As

with all our cameras, the H5D-50c was

developed with one goal in mind - to

produce simply the best image quality

possible today. This CMOS sensor model

represents a major leap forward in camera

development and breaks new grounds for

medium format photographers who now will be able to shoot with the ultimate

in image quality, regardless of lighting

conditions. Outstanding ISO performance

- up to ISO 6400 - will raise available light

photography to new heights in this genre.”

He added, “The camera, which

we believe is one of the best we ever

Samsung recently launched the Galaxy

S5, the fifth generation of Samsung’s

high-end Galaxy S smartphone line.

Although the S5 is physically similar

to its predecessor, the S4, it has a load

of features, including a new camera. The

resolution of the camera has been increased

from 13 megapixels to 16 megapixels

with 4K video recording capabilities.

Samsung also claims the AF speed has been

improved. Other new camera features

include: real-time HDR processing, new

user interface and Selective Focus that

allows you to blur the background by taking

two pictures at different focus settings

and merging them. However, users will

have to make do without an optical image

stabilization system. The new phone’s shell

has been improved which is dust and water

resistant, which mean the user can shoot

under water.

designed, is supported by a range of 12extremely high performance lenses with

built-in central lens shutter.”

The H5D-50c key features a 50

megapixel CMOS sensor, high dynamic

range (up to 14 stops) for improved detail

in shadow and highlights areas, longer

shutter speeds (up to 12 minutes), 1.5

frames per second, live video in Phocus

with higher frame rate, True Focus auto-

focus system with Absolute Position Lock

and camera controls, options for working

with tilt-shift, GPS recording flexibility toname a few.

Ian Rawcliffe, Hasselblad CEO,

stated, “There is no price premium at all

for customers who wish to acquire this

groundbreaking technology. The H5D-50c

will ship with the same price tag that applies

to our H5D-50 model.”

“The outstanding ISO performance

of this new CMOS sensor-based model

has quite literally put medium format

photography into a new light. Now

photographers no longer have to be so

concerned about shooting in challengingconditions - and of course they can choose

to work tethered or untethered with

the option of processing raw images in

Phocus or directly in Adobe Photoshop

Lightroom,” he added.

The new H5D-50c will retail at

€20,900 (excl. tax).



FEATURE

Samsung Forum 2014

W e were recently invited to the Samsung Forum 2014 in

Bali, where Samsung introduced a wide range of products for the APAC market which they are going to release this

year. Right from LED televisions to refrigerators, to smart vacuum

cleaner and the ever-growing mobile and tablet segment, Samsung

featured every product in this range at this year’s forum.

“One of the key pillars of growth for the Southwest Asian

market is the strong trust we have built with our customers and

partners,” said Mr. BD Park, President & CEO, Samsung South West

Asia. “In 2014, Samsung will continue to achieve positive growth by

providing our consumers with innovative products and technologies

that will help consumers discover a world of possibilities,” he added.

On the imaging front, the Samsung launched some new DSC

cameras with interesting features.

Samsung NX30

Samsung introduced the NX30 CSC featuring a 20.3 megapixel

APS-C CMOS sensor with NX AF System II for fast and accurate

focussing. The NX 30 has a fastest shutter speed of 1/8000sec.

With 9 fps and 3 inch Super AMOLED swivel touch display. The

NX30 features NFC and Wi-Fi which allows for sharing, remote

viewing.

Samsung 16-50 mm F2-2.8 S ED OIS lens

Samsung’s first premium ‘S’ Series lens has a wide aperture

opening (F2.0 at 16mm; F2.8 at 50mm). It features an Ultra-Precise

Stepping Motor (UPSM) with optical image stabilisation. The lens is

splash and dust proof. The forum also featured Samsung 16-50mm

F3.5-5.6 Power Zoom ED OIS lens, a lightweight lens weighing in

at 111g with silent auto focussing.

Samsung Galaxy Camera 2

Samsung revealed their smart camera with a 16 megapixel BSI

CMOS Sensor with a 21x optical zoom. The Samsung Galaxy 2

also features a 1.6 GHz Quad- Core processor with a 2GB RAM

and 2000mAh battery. It is loaded with a 4.8 inch HD Super Clear

Touch LCD.

All products will be launched by February end or early March.

Opening note by BD Park, President & CEO, Samsung South West Asia for

the Samsung Forum 2014



HAVE UNANSWERED QUESTIONS

ABOUT PHOTOGRAPHY? THEN

Send your questions to

[email protected]

Ask Your Expert

SAP MEDIA WORLDWIDE LTD. 509 & 511, Dilkap Chambers, Fun Republic Street,

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Brought to you by

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



I am a regular reader of the magazine and have a lotof questions about photography. So, kindly addressthe same.1. What are the factors that need to be taken intoaccount when taking both natural and culturalphotos at once?

2. What is the reason a photo becomes attractive?3. Where can one present their photos?4. How can one become a real photographer?Swagat Thapa

Dear Swagat,The questions you have asked are very ambiguousand there is no right answer for the same, sinceit depends on each individual’s perspective to behonest. However, I have tried to answer the samedepending on what could be the best response.

There isn’t a particular factor that one needs tokeep in mind, as what could be a good picture forme, could be a bad one for you. Ideally, it is a goodidea to keep the simple rules in mind while clickingany picture. These include composition, capturingthe mood/emotion, essence of the subject. These aresimple things that you should keep in mind whilecapturing any picture.

There is no particular reason why a photobecomes great or attractive. For me, personally, ifthe photo that I am viewing connects or touches any

chord or emotion, then it automatically increases itsvalue in the viewer’s eyes.

As for your third and fourth question, thereare no real or fake photographers or a right way ofpresenting your photos. You need to know whatthe objective that you are trying to achieve is, while

presenting your photo, and the path that one needsto take is usually followed post that. So, maybe youneed to ask yourself the same question.

-----------------------------------------------------------

I am a beginner and fairly new to photography.The major problems I face are with the sharpness ofmy image and the grains. I have recently switchedto Nikon D3200; lens18-105mm. I basically shootat f/4.5, shutter speed 1/125, and ISO 100-200.Below is attached a photograph clicked byme, kindly provide your review aboutthe same. Please tell me how can Iimprove the sharpness of my imageand have a clean photo.Jyoti Bharadwaj

Dear Jyoti,I have seen the image that you have givenand there isn’t anything wrong, when it comes to thecomposition or the sharpness. Since it is a hi-res picture

Answered byBhavya Desai

Editor Asian Photography

Send in your Questions [email protected]

Q ues t io no f t he Mo n t h

A P

March 2014 www.asianphotographyindia.com



NEWS



COLUMN

TheRAW deal



Todd Anthony Tyler

“Ishoot in RAW” sounds like a fairly

provocative statement to make, but

it is one I say often, as it is a common

question I am asked. Most people even if

they are not much of a photography buff

are familiar with what a JPEG file is or even

perhaps a TIFF file. However, the RAW

“file” remains somewhat of a mystery, at

least to those new to photography, and

in my experience, almost every client that

ever hires you.

It is a bit of a misnomer to call a RAW file

‘a file’ in the same way as you refer to a JPEG

or TIFF file. A RAW capture needs to be

processed to be fully edited and ultimately

printed or digitally displayed, whereas a

JPEG or TIFF tagged image is processed and

compressed and in some stage, used as an

image file. I say some stage, as there can be

several layers to fully completing an image

today, and several variations of the same

basic image.



So, what is a RAW file? Many cameras

can now output RAW files compared to the

past where RAW files tended to only exist in

the realm of high-end pro cameras. A RAW

file is a capture that is unprocessed and

uncompressed data which is, basically, all

of the data that is captured by the camera’s

sensor when you make an exposure. The

file tag or format itself denotes the fileis not quite as universal, as say, a JPEG.

Generally, the RAW file format depends on

what camera you are shooting with – a few

common ones are ‘.CR2’ for Canon, ‘.NEF’

for Nikon, ‘.3FR’ for Hasselblad and ‘.MOS’

for Leaf.

Regardless of which camera you are

in RAW shooting with, you will always be

capturing an unprocessed file that most

people refer to as a digital negative, and as

with the hard copy negative, you need to

follow a processing step in your workflow toproduce a final image file. Unlike a JPEG that

is ready for use right out of the camera, as

the camera has made all the choices for you.

For some people the time required

and the extra computer editing is really not

worth it. They prefer to have, what I call ‘the

Polaroid experience’ that JPEG files tend to

give you; that immediate satisfaction of having

an image that can be shared are further

manipulated and then output for use. There

is no doubt that when you shoot in RAW

you have added additional layers to your

workflow, and thus, the time required havinga usable image. However, there are several

advantages that come with shooting in RAW.

Just before I launch into what those are,

I will take a moment to say that shooting in

RAW is not an excuse to be sloppy about

your exposures, or get lazy in getting it right

in-camera; especially, if you call yourself a

professional or have intentions of developing

your photography to work professionally.

Anyone with even a bit of experience

with digital photography and shooting

and developing RAW files will tell you that

overall nothing still beats getting it right

in-camera on shutter release. Trying to “fix”

it later, in particular, if we are talking about

under-exposed images, never produces a

quality file in comparison to a solid exposure

in the first place. Not to mention that you

will never be able to monetise in your

career and business of photography, all of

that time spent in fixing your exposures and

images. Shooting RAW still means exposing

correctly in the first place, and don’t think

you can use shooting RAW files as a crutch

to shooting wildly, with no care for the basic

laws of exposure in ISO setting, aperture

and shutter speed.

What RAW files do give you is essentially

choice and control over your final images,

as the processing is done by you and not

by an automated method by your camera

processor. All of those choices lead to a

higher image quality, as you have a larger

file with more colour shades, finer control in

white balance, hue, shadow details, highlight

exposure and even a choice in image

space. Unlike a JPEG file that has discarded

information and is compressed, a RAW file

gives you a starting point for creating an

image that you desire, and all accomplished

in a non-destructive way.

To help you understand a little better

the process of shooting in RAW, I am going

to walk you through a typical shoot for me.

I almost always shoot RAW with a small

JPEG. Now, why do I do that, if I am going

to ultimately not use the JPG files? Well, I

have found that for the rough edit, JPEG files

are very immediate and useful; whether it



is for roughing together a layout, for quickproofs that we might print up and pin up

on the board, as we shoot and develop the

fashion spread or catalogue, or for basic

presentation in a post-shoot meeting. We

also often use low-res JPEG to communicate

with clients, for making quick and easy final

image selections; the files are not too large

and can be swiftly exchanged and viewed

and selections made. Once we have

narrowed down what images we are using

and working on in post-processing for final

image output, then we move on to working

with the RAW files. To process a RAW file

you need to use a RAW file converting

software – everyone seems to have their

favourites – certainly there are forums filled

with discussions on what is better. However,

to keep it simple, I will just say you can find

RAW file conversion software with your

software that comes with your camera and/

or you can look at using a few of the more

common ones like Adobe Camera Raw,

Lightroom or Capture. I am often working



with ACR, since I am just used to it.

A big part of the digital darkroom for

me happens in processing the RAW file, and

here lies why you would want to be making

your captures in RAW, if you crave creative

flexibility and choices in post. One of the first

things I usually do is go to camera profile

and take a look at my options – often times I

find that there is something I like better than

Adobe Standard and I make the switch.

While I am on that tab, I will also usually

take a quick thought on any adjustments

in the colour ranges or shadows. Then I

will go back over to basic tab and consider

if I feel like the white balance needs to be

adjusted or that a different colour temp or

tint would be a plus to the final image. This

is followed by any tweaking in exposure,

contrast, highlight area, shadows, white,

blacks, clarity, vibrance and saturation. I

think you can further see from this basic

explanation how much more control and

personal input you have on your final image

when shooting in RAW, and the best part is

that the actual capture itself is not destroyed

in the process, and you can always go back

to create other variations or adjustments, as

that information is always there in the RAW

file. To finish up my file before exporting to

Photoshop for final post work I will always

usually do a bit of sharpening, though I like

to keep my main sharpening usually to the

last step of my post/retouch process.

There are several different details that

can be adjusted in RAW file conversion –

I haven’t even touched here on the crop

tool, straighten tool, retouch tool, red-eye

removal, adjustment brush or graduated

filter, just to name a few. The question for

you as a photographer remains whether

you feel like it is worth the time to tackle

all of these adjustments and be processing

digital negatives. I heavily argue that it is.

I think there is no doubt that

photography has always been a combination

of skills, primarily that of a good natural eye

for composition, blended with good camera

technique and a skill in the darkroom. Why

let the camera do the darkroom work for

you? Take control of your work and images

right away and shoot in RAW. Shooting in

RAW doesn’t define you as being a pro,

but it does take you a step in a professional

direction.



PRO -PROFILE

The

Exquisite expanse



After taking up photography 15 years ago professionally, he has carved out a niche for himself asa landscape, time-lapse photographer. He has extensively shot around the Southwest of NorthAmerica, and produced stunning images and time-lapse videos in his Landscape series, that havetaken the internet by storm. This month, we talk to US-based photographer Dustin Farrell abouthow he discovered photography, and his love for landscape and time-lapse.



Legendary photographer Ansel

Adams helped define the genre of

landscape photography, and today

photographers are taking it to another level.

However, the enormity of the genre often

leaves the best of photographers baffled.

American photographer Dustin Farrell,

based in Phoenix, Arizona, has recently

emerged as a new and fresh voice in the

field of landscape. Dustin’s images and

videos of the vast landscapes of Southwest,

have won accolades from viewers, as well

as applauded by critics. However, Dustin’s

journey wasn’t straight road to success.

The journey beginsDustin’s first tryst with photography was

as a kid, playing around with his mother’s

Polaroid Instamatic camera. He snapped off

a perfectly composed picture of a Florida

rainbow through some palm trees. He said,

“I think that was everyone’s first hint that I

may also have the family gift.”

He is the third generation of

photographers, and he says that it runs in

the family. “We have been associated with

photography, as my grandmother was a

photographer and my father continues to

make a living as a director of photography,”

he said.

Hailing from a family of photographers,

Dustin had several family members who

were an inspiration to him as a photographer.

However, he soon steered towards

videography. “My father had achieved

some success as a news cameraman when

I was young, and that began to give me

ideas of concentrating on video instead of

photography,” said Dustin.

The desire to createDustin then began work in local news

in North Carolina, and was tied up with

videography, working as a camera operator.

Working with ABC , NBC , ESPN and other

networks, Dustin won accolades for his

camera work over the years, and won

several awards and nominations.

However, he desperately missed

creating his own pieces of art, from start

to finish. “When being hired to operate a

camera, you usually do not have much

creative input content-wise, and you

definitely have no say in the final product

that everyone sees,” he said.

With the burning desire of a creative

outlet, Dustin initiated work on a timelapse

video project. Named as ‘Landscapes ’,

Dustin put out a three-part video series

comprising of time-lapse videos of vast

landscapes, shot in and around the

Southwest.

After hitting the internet, the videos

gained thousands of hits, and became highly

popular with professionals and enthusiasts

alike. The first volume of Landscapes was



a yearlong compilation of his time-lapse

work. “The majority of the shots were in

my beautiful home state of Arizona. Goblin Valley State Park and Natural Bridges

National Monument in Utah also make an

appearance,” he said.

His second video in the series also

featured the state of Arizona and other

iconic landmarks with motion controlled

HDR and night timelapse, as a new way to

see old landmarks. In the third and the final

video of the series, Dustin captured some

of the most stunning visuals of waterfalls and

amazing colours of the Icelandic summer,

and the Aurora Borealis in Icelandic winter.

He said that even though ‘Landscapes:

Volume 2 ’ was a huge viral hit, he still

considers Volume 3 as his best work so far.

The dynamicsSpeaking about the series, he said that

biggest challenge was the time. “Squeezing

in timelapse days between the normal stuff

that I was shooting was a huge challenge.

To make the project possible, I practically

worked every day for three years,” he said.

Describing his own style of photography,

Dustin said, “I shoot for depth, for

foreground. In the end, my images are

usually finished into a timelapse video with



Dustin’s first DSLR was NikonD70s. However, the first

cameras he ever worked with

were film. “I can’t remember

the models. I was one of

my high school yearbook

photographers. We even

developed our own film in the

dark room. I actually dodged

and burned for real! Sigh, I

sound old,” he joked.

Currently, Dustin mostly uses

Canon gear while shootinglandscapes. When it comes to

cameras, he uses the Canon

EOS 5D Mark III and the Canon

EOS 6D, which are full frame

cameras. For the lenses, he

uses the Canon EF 24mm

f/1.4L II USM prime lens for

making landscapes with dark

skies, the Canon EF 16-35mm

f/2.8L USM lens is his go-to

lens. “I use the Canon 14mmf/2.8 L II prime lens quite

often, and I also find the Canon

EF 70-200mm F2.8 L IS II

USM lens pretty awesome. For

motion blur, I generally use

Lee filter holders and filters. I

use Dynamic Perception for my

timelapse dolly and Emotimo

for the pan/tilt,” he said.

WEAPONS

OF CHOICE

Dustin’s first DSLR was NikonD70s. However, the first

cameras he ever worked with

were film. “I can’t remember

the models. I was one of

my high school yearbook

photographers. We even

developed our own film in the

dark room. I actually dodged

and burned for real! Sigh, I

sound old,” he joked.

Currently, Dustin mostly uses

Canon gear while shootinglandscapes. When it comes to

cameras, he uses the Canon

EOS 5D Mark III and the Canon

EOS 6D, which are full frame

cameras. For the lenses, he

uses the Canon EF 24mm

f/1.4L II USM prime lens for

making landscapes with dark

skies, the Canon EF 16-35mm

f/2.8L USM lens is his go-to

lens. “I use the Canon 14mmf/2.8 L II prime lens quite

often, and I also find the Canon

EF 70-200mm F2.8 L IS II

USM lens pretty awesome. For

motion blur, I generally use

Lee filter holders and filters. I

use Dynamic Perception for my

timelapse dolly and Emotimo

for the pan/tilt,” he said.



some sort of a dolly move. In my opinion,

foreground is always important, but it is

especially significant when the camera is

moving. I have been told several times that

my work gives viewers a sense of 3D.”

We asked him what he loved most about

landscape photography, and he said that it’s

the quiet that he likes the most. “Shooting

timelapse videos is usually relaxing, andalmost always requires a camping trip. I love

to camp, especially, with my wife Laura and

our dog Sadie,” he said.

Landscape photography can be a

challenging task, and Dustin listed out

some of the common challenges one might

face. He said, “In my opinion, dealing with

highlights and shadows is the toughest part

to good landscape photography. On the

other hand, sometimes finding good and

unique locations is tough. Other elements

can be challenging at times, like fences, ‘No

Trespassing’ signs, cops/park rangers and

long hikes.”

Talking about how he prepares for a

shoot, Dustin mentioned some short, yet

crisp tips. “Clean sensors, clear media,

quadruple check gear, research locations,

check moon phase/sunset times, vehicle

maintenance, pack an extra car battery, pack

the winch and shovel, pack the beer,” he

exclaimed.

Importance of a locationDustin also said that deciding on a

location in advance is highly important.

“Scout your location(s) online before you go

if you can. Remember to be early, as rushing

can really stifle creativity. Use your polarizer

and shoot north and south; the side lighting

looks better too. Don’t ever leave as soon

Clean sensors, clear media,quadruple check gear,research locations, checkmoon phase/sunset times,vehicle maintenance, packan extra car battery, packthe winch and shovel, packthe beer



as the sun has dipped below the horizon,

the show has just begun! Also, try shooting

that ‘place that everyone has shot’ at night

for a different look,” he said.

Dustin’s work on the Landscape

series has mostly been shot in and around

Southwest, but we asked him if he has

any dream locations where he would

like to shoot. “The Southwest US hasspectacular views of the night sky, and this

will always be one of my favourite places

to shoot. However, I must and will visit

New Zealand sometime soon. Iceland was

incredible too. There I got my first taste of

the northern lights. It is something that I am

determined to shoot again many times in

my life,” he said.

MemoriesTalking about some of his most

memorable moments in the profession,

Dustin said that receiving a call from

Overbrook Entertainment was enjoyable.

“The folks at Overbrook Entertainment

contacted me to let me know that Will

Smith was a fan and would like to meet me

someday. That was a cool phone call!” he

said. He also said that shooting timelapse

scenes for the recently released 3D IMAX

film ‘ Jerusalem ’ is something he will never

forget.

Discovering new horizons We urged him to tell us about what he

was currently exploring, and if there were

any upcoming projects. He said that he was

currently working on a project in Las Vegas.

“It’s an exciting new project that highlights

the city of Las Vegas. I have gained access

to shoot some seldom shot locations. I was

recently given a Lamborghini for the night

to stick cameras on and drive down the Las

Vegas strip,” he said.

Dustin also added that he was also

exploring urban photography a little bit.

However, in a little more than a year, viewers

and followers can expect an all-night landscape

timelapse video from him. Landscape

photography, especially timelapse, is not a

piece of cake, and we asked the master to give

amateurs some handy advice. He said that

having fun is the most important. “Remember

to have fun. If it’s not fun, it’s not worth it. Also,

do it for the enjoyment of others. If your end

goal is monetary success then you will most

likely fail. Make photos for others to enjoy and

the success will follow,” he concluded.

TEXT: ABHISHEK DESAI



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feature it in the magazine likeBali this month?

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SHOOTMY CITY

Bali



In this month Shoot My City, we take

you to the exotic city of Bali. Generally

referred to as one of the most popular

vacation destinations in the world. Bali

attracts all kinds of tourists – families,

honeymooners, surfers, backpackers and

many more. Our journey to Bali was the

shortest SMC I’ve personally experienced;

I guess a week would be apt enough to

explore the place, but then again, I would

have loved to stay there for a month.

Our journey began from Mumbai

which got us to Bali roughly after 12 hours.

One of the most testing moments was the

never-ending immigration queue which ate

into our time in Bali and delayed us by a

few hours. Next in line were our transfers

to the hotel, which is something you should

check out, as it, is rather convenient for a

first time traveller than hunting around for

ways and means to reach your destination.

On our way to the hotel, we drove

over a dense network of bridges with stilts

over the sea from one island to another.

This was really amazing, as I had never

seen, let alone experienced something



that is 23 metres high. Originally, it was

planned to create a structure which was

146 metre high which would be the largest

statue in the world. However, due to some

economic problems the work was haltedand now it has been continued.

Although most of Indonesia

predominantly follows Islam, Bali is home

to the Indonesia’s Hindu minority. A

majority of the population of Bali practice

Balinese Hinduism, a form of Hinduism;

one walk around the park and you notice

how much the architecture is influenced by

it. Bali is estimated to have around 20,000

temples. Besakih, the Mother Temple of

Bali on the slopes of the sacred Mount

Agung; Tanah Lot, Bali's famous sea temple;

The GWK Park currently

houses the statue of Lord

Vishnu that is 23 metres

high. Originally, it wasplanned to create a structure

which was 146 metre high

which would be the largest

statue in the world.

like this. Our hotel was located in the

Nusa Dua district which is a sterile tourist

enclave, also called as Kawasan Pariwisata,

which means Tourism District. On arriving

at the hotel, we rushed ourselves, as we

were quite keen for the city tour organised

by the hotel. Unfortunately, the delay

caused by immigration caused us to miss

most of the tourist destinations on the

itinerary.

So we decided to head to Garuda

Wisnu Kencana Park (GWK) which is a

cultural park devoted to the Hindu god

Vishnu, and his mount, Garuda, the

mythical bird. The drive from the hotel

to Bukit Peninsula crosses lush greenery,

small villages, heaps of mangroves and an

overall picturesque scene, thanks to the

monsoon. On our way to the park, our

guide Francis pointed out that most of Bali,

especially Bukit, is a limestone plateau and

it rains for six months and is dry and sunny

for the next six months. The GWK Park

currently houses the statue of Lord Vishnu



PHOTO: Aldrin Silva



with their photographer to capture some

amazing moments while the sun set in the

background. Bali is a popular location fordestination weddings, and couples from

across the globe travel here every year to

get hitched.

Another attraction in Bali is its

mouthwatering cuisine. Most of their food

has rice as a staple with small portions of

spicy vegetables, mostly fish served with

sambal. For those who had their fair share

of serenity and peace can head out to Kuta,

which is Bali’s nightlife capital. The street

has an array of bars, pubs, discotheques

and eateries roughly along a 7km stretch.Before heading back for our flight to

Mumbai, we stopped by a local market

to pick up a few souvenirs. We saw small

shops selling artwork, leather goods,

clothing and other knick-knacks. This was

probably one of quickest and shortest

Shoot My City, I have been on, and the

desire to see the unseen Bali has left me

wanting. However, I did enjoy myself, and

I have a feeling I will head back there in the

near future.

TEXT AND IMAGES: STEVE D’SOUZA

Ulun Danu which rises out of Lake Bratan

and Kerta Gosa at Klungkung are few of the

famous temples.

Other than being gifted with natural

beauty and such rich culture, Bali is home

to several mountains including the famous

Mount Agung (3031 m), also known as

the "mother mountain" which is an active

volcano; and tranquil beaches. For those

who are into adventure sports most resorts

also offer various water sports activities.

While our stay there, we saw people

windsurfing, snorkelling and surfing. A

casual conversation with another traveller

revealed that he had been water rafting

down the river Ayung, one of Bali’s

longest rivers. While returning back to

our humble abode, we came across a

newly married couple who were dressed

in a western wedding attire accompanied



TIPS &TECHS



BASICS OF SHOOTING

LANDSCAPES



Quite often, we come across a

beautiful landscape, and when we

photograph it, little does it look

like anything we had originally seen. When

we look at a scene, our eyes can selectively

focus on part(s) of it that appeal the most to

us. Our eyes and brain travel over a scene

before us and have the ability to ignore the

distractions. This cannot be done even by the most sophisticated camera equipment.

However, there are a few ways you can

construct a good landscape photograph

with minimal distractions.

Here are a few tips that will help create

amazing landscape images

PreparationOne of the most important aspects

of creating landscape images is time; you

cannot expect to simply show up at a

location at any time and get a mind blowingimage. When you arrive at a place you’ve

not visited before, spend time scouting

for various locations. With advancement

in technology, it is easy to check where

and when the sun will rise and set, using

various apps on your smartphone. Check

the terrain, and the means to get there so

that you can plan how to get there. Be sure

to carry enough food and water as you may

be quite far from any place that sells food.

Equipment You can carry the best of equipment -

lenses, cameras, and the best tripods, all

of it; but what if you have to trek or climb

to your location and you have a ton of

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luggage to carry along with you. The key

point is to keep it simple. A simple DSLR

camera would be recommended with a wide-angle zoom lens, anywhere from the

focal range of 10mm onwards. A zoom lens

with a maximum focal range of 300mm can

be useful to compress the frame. A good

sturdy tripod is needed, preferably with ahook on its center stem, which gives similar

stability provided by heavier tripods. Other

accessories like cable release, good camera

bag, graduated filter, UV filter, a torch (just

in case you plan to trek to your locationin the dark before or after capturing the

sunrise or sunset or you can even use it

to illuminate elements in the foreground).

Last but not the least, additional batteries

for your camera and other equipment and

spare memory cards are a must.

Composition Again, I would suggest you to keep

it simple; one of the easiest to try here is

the ‘rule of thirds’. Divide your frame into

imaginary thirds on both the horizontal

and vertical axis. Now simply place areas

of interest at the points at which the lines

intersect or – in the case of a horizon –

along one of the lines. However, don’t be

afraid to break the rules once in a while.

Also while composing your frame, be

sure what you would like to include in your

shot. Avoid overhead wires and litter; you

might think you can clone them during post-

processing, but removing them from the

image before you shoot it will save you time. P H O T O : R a f t e n B i l l , U . S .

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Depth of eldIdeally, landscape imagery demands pin

sharp image quality which can be achievedby using smaller aperture openings like F/9

all the way to F/22. This is done so that the

subject in the foreground is as sharp as the

distant horizon. Shooting at such depth of

fields means that you would have to use

a slower shutter speed, which makes it

essential to use a tripod.

Shutter speedOne of the most variable factors while

shooting a landscape image is the shutter

speed. If you’re creating imagery in the

middle of the day, you would shoot using

a higher shutter speed, whereas shootingan image in low-light or diminishing light

would require you to shoot at a slower

shutter speed. While using a gradient filter,

irrespective of its density, you would be

•Plan your shoot in advance toavoid any last minute hassles

• Carry sufficient batteries and

memory cards• Remember to check your

frame before shooting• Use a tripod and shutter

release to eliminate camerashake

• Stock up on adequatesupplies(food, water, clothingetc.) while going to shoot

• Shoot in camera RAW mode

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often pushed to use a slower shutterspeed.

Even though you shoot your images

in camera RAW, it is better to bracket your

shots so that all details can be captured from

highlights and shadows. This keeps the ISO

and aperture constant and changes the

shutterspeed to create various bracketed

images which can be later blended in a

software programme to create a HDR image.

Post ProcessingOnce you have shot your images in

camera RAW, all you need to do is run

them through a post-processing software.

Depending on the shot you have planned,

you can process the images. For example,

if you have bracketed the frame at different

exposure, you can merge them using

Photomatix to create a HDR or Exposure

fusion image. For the other images, you can

adjust the white balance, contrast brightness,

levels and curves as per your taste to create

some wonderful landscape images.

TEXT: STEVE D’SOUZA

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Colour

is in the air! W ith the month of March comes one

of the best festivals of the year - Holi!

A spring festival, commonly known

as the festival of colours, Holi is probably one

of India’s most widely celebrated festivals after

Diwali and Ganesh Chaturthi.



Traditional celebrations of

Holi begin with a bonfire known

as Holika Dahan, the night before

Holi; it means to burn Holika, the

devil. However, the morning after

the bonfire is why the festival is

really popular; that is when the

real fun starts. People douse and

paint each other in a plethora of

colours all day, and rejoice and

celebrate the occasion.

In recent times, Holi is not

just celebrated in India, and has

spread to countries across the

globe, from USA to Europe.

People around the world galore

in colourful splendour, celebrating

the festival of Holi.

Recently, I got news from a

friend that an event company called

V Indus is organising a beachside

Holi festival in Singapore. Hearing

‘beachside Holi’, and that too in

Singapore, got me excited, and

it was something which I just

couldn’t afford to miss.

I booked the tickets and

started planning, and of course

preserving the best of moments

is on my priority list. I chose the

lightest and smallest equipment,

so I didn’t need to bother about it

much while playing around. I had

two cameras at that time and a few

lenses. I chose the smallest crop

frame DSLR I had, as I wanted

March 2014 www.asianphotographyindia.com



to carry a lightweight camera.

Crop frame did not bother

me, as I was going to shoot in

daylight and also I needed that

extra reach which I get with the

crop frame sensor. I chose the

85mm prime from the lot, as I

just love shooting with primes.

Also with that lens, I can easily

isolate my subject and again,

it’s a lightweight lens and easy

to carry.

At first, I thought that I should

cover the equipment with some

polythene bags or waterproof

plastic. But my choice was to

either concentrate on freezing

moments or waste time in

March 2014



safeguarding my camera from

colour and water, and I chose

to concentrate on photography

part.

Being a diverse global-city, thecrowd there was from different

parts of the world like Australia,

Africa, USA, Europe, Malaysia,

India etc. For me, watching

different people from different

parts of the world celebrating a

Hindu festival, rejoicing together

in colour and water, was a

complete bliss in itself.

Holi shoots can generally

be a little stressful, as you

are mostly preoccupied with

the hassle of protecting your

equipment. There is also,

generally, so much action

happening at once, that it can

be a little overbearing to decide

what to shoot and what not

to. However, just go with the

flow, focus on capturing candid

and natural moments, as the

people celebrate care free.

While planning such kind of

fun shoots, here are a few

things you can keep in mind:

- No matter what, be a part of it.

- Carry less. Enjoy more.

- Don’t be afraid to click

strangers.

- Don’t chimp and rather shoot.

- Be Yourself.

Now get out and start shooting.

Happy Clicking :)

TEXT AND IMAGES:

MANIE BHATIA

March 2014



SymmetricalPhotography-The Mirror Image StrategyRemember learning about symmetry in your geometry classes? Now, we will tell you

how to use it in your images.

TIPS & TECHS



Symmetry is all around us and has

always been associated with beauty.

Trying different techniques to

compose creative frames can result in an

interesting piece of art. In today’s digital

world, photographers are not only trying

out different angles and techniques, but are

also adding different compositions. Onesuch composition is engaging symmetry

in images. Derived from the greek words

‘sun’, meaning ‘with’ and ‘metron’ defining

‘measure’, symmetry conveys the

pleasant sense of proportionality and

balance.

Symmetry has been used in other

visual mediums since long ago. In

photography, it is used to create an image

which can be divided into two equal parts,

which may be either horizontal or vertical,

depending on the frame you choose.These two parts look the same as they

create mirror images. The line that splits

a symmetrical object is called the ‘line

of symmetry’. You might choose to be

creative with diagonal lines of symmetry.

In such images, the line of symmetry lies at

an angle of 45 degrees to the sides of the

picture frame.

Albeit, photographers may search

for symmetrical picture frames onpurpose, many a times, photographers

add symmetry in their photography

unknowingly, as most of them prefer to

apply the ‘rule of thirds’. In art, design

and photography it is a common practice

to employ the use of this rule in our

compositions. The rule of thirds is derived

from the Golden Ratio which has a

historical background in painting and arts

and also exists in many natural forms. By virtue of this, symmetrical compositions

are usually avoided and are thought of as

unrefined and too simple.

Looking at a mirror image instantly

vouches for symmetry. A viewer is able

to recognise the duplicity within the



shot as symmetry soothes the eyes and

mind of the viewer. Symmetry creates

an eye-catching point of interest and a

powerful composition. Without these two

elements, it cannot occupy the viewer’s

scrutiny for long. Although symmetry

can be easily seen, capturing it is the real

challenge. Here are a few tips you could

use while creating mirror images.

ANGLEOne of the tricks to capture symmetry

is to ensure that you are shooting from

the centre of the structure and not at any

angle which may cause distortion. Do not

forget to compose your frame in a manner

that the subject is equidistant to both its

sides. Tilting your camera would most

probably disturb the symmetry. Instead of

straightening it in post-production, get it

right in the camera.

CLEAN-UPS

Creating mirror images may seem

difficult if you’re out and about on the

streets. See if any element present in your

photo is taking away the symmetry. Here,

it would be better to first clean up the

frame from the unwanted elements which

disarray the symmetry rather than in post-

processing.

EXPLORE THE GENRES

Depending on the genre ofphotography, symmetry can be achieved

in a profusion of ways. Symmetrical

portraits can be very much alike, yet easily

distinguishable. Reflection of subjects in

water is a good way to find horizontal

symmetry. Furthermore, a shape of an

evenly balanced object can display vertical

symmetry very easily. Buildings, landscapes,

corridors, etc are great subjects for

vertical symmetry. Locating symmetry may

seem tough when shooting landscapes.

However, on a macro level, symmetry can

be easily found. Flower petals, spider web

pattern and snowflakes are such examples.

BREAK THE RHYTHM TO ADD DRAMA! Although symmetrical images offer

a visual treat to the eyes of the viewers,

breaking its rhythm can make the photo

appear all the more appealing. You can

break the symmetry in an image and make

it balance at the same time. While trying

to break the symmetry with an added



element, one can attempt to keep it

balanced by adding a strong focal point in

their photograph. Another way to break

the monotony of repetition can be by

shooting a symmetrical shape with different

contrast levels. Such an example could be

a symmetrical corridor in which one wall is

well-lit and the other is darkly shadowed.

The point at which the symmetry gets

broken becomes the point of interest and

draws your attention. Breaking this rule can

be fun and adds drama to a photograph!

POST-PROCESSING

Keeping in mind the various photo-

editing tools akin to Adobe Photoshop,

there are a few work-around techniques

that may be applied while post-processing

to create symmetry. With technological

advancement, there are plenty mobile

applications like instaMirror for all those

who like to upload their pictures instantlyusing which symmetry can be achieved to

enhance the photograph on the go.

To make you more familiar with this

concept, we have outlined a basic activity

that will help you train your eye in terms of

finding symmetrical patterns.

Powerful compositions can be created

using symmetry and discovering it is

completely based on your ‘ James Bond’ eyes,

so tag your camera everywhere you go. Try

and capture symmetry with different angles

and in different patterns! Remember, once

your eyes get trained, you will start noticingsymmetry more often.

TEXT AND IMAGES: NEHA AGGARWAL

• Look around every room inyour house (or outside) anddiscover anything that couldhave a line of symmetry. Tryyour window frame, your diningroom chairs, a table lamp, and

so forth.• Goal - 10 objects with lines of

symmetry.• You may nd that it is easier

to spot a horizontal line ofsymmetry rather than avertical or vice-versa.

Exercise



TIPS &TECHS



THROUGH THE

FRAMESC

omposition according to textbook

definition is something that is

created by arranging several things

to form a unified whole. That is exactly what

it is. The composition of your photograph is

the combination of visual elements coming together to create the whole image. We

often put the photos we take into frames

as a way of displaying and drawing attention

to our main subject – but there is another

type of framing that you can do, as you’re

taking your shots, which can be just as

effective doing just the same thing. Framing

is the technique of drawing attention to the

subject of your image by blocking otherparts of the image with something in the

scene.

Framing helps in giving the photo a

context. For example, framing a scene with

a window can tell you something about the

place you are, by the architecture of the

window, or including some foliage in the

foreground of a shot can convey a little drama

in your shot. By framing your picture, you willget your viewer much more attentive to your

shot making them wonder and take more

interest in figuring out your image.



When is it worth framing in a photo?Definitely when the subject is a bit desolate

in the photograph; when there is a lot of

useless space but either you cannot or do

not want to come closer to the subject.

As framing is a composition technique,

it can be created in the photo itself out of

the very elements of the composition. What

can you frame it with? You can look for trees,

branches, rocks or artificial elements like

doors or windows, traffic lights, buildings.

The fact is that the possibilities are endless

as to how and when you want to frame

your picture.

Frames for photographs come in all

shapes and sizes and as I mentioned before

can include shooting through overhanging

branches, shooting through windows, using

tunnels, arches or doorways – you can

even use people, shoot them behind their

shoulder, or through a mirror. Your frame

doesn’t need to go completely around the

edges of your image – they might just be on

one or two edges of your shot.

Following are a few things you can keepin mind while doing the same:

DEPTH AND LAYERS: When framing a

shot, giving your images a sense of depth

and layers by putting something in the

foreground, gives it an extra dimension, and

adds more drama to the shot.

LEADING LINE: Follow the leading line

which leads the eye of the viewer

towards your main focal point or

subject. Some also believe that a

frame can not only draw the eye

into a picture but that it keeps it

there longer – giving a barrier

between your subject and the

outside of the shot.

INTRIGUE: Sometimes it’s what

you can’t see in an image that draws

you into it as much as what you can

see in the picture. Perfect framing

can leave your viewers wondering

a little or imagining what is behind

your frame. Intrigue your viewer

with out of the box framing.

CONFUSED? If you are confused whileexperimenting ask yourself – will this add to

or take away from the image? Sometimes

framing an image through another frame

can add extra chaos to a shot and make it

feel cramped – but at other times it can be

the difference between an ordinary shot

and a stunning one.



Lastly, if you do use framing techniques you

also need to consider whether you want

your frame to be in focus or not. You can

always experiment by using a 1.8 or a 1.2

aperture and make either your foreground

or your background blur to add up to the

image. In some instances a nicely blurred

frame will really add a sense of mood and

depth to your shots. However, to have

your frame in focus can help with adding

context to the scene. In this case, use upper

apertures like 11 or more to give a shallow

depth of field to your picture.

These are the basic points on how

you can experiment with this type of

composition. At the end it’s all about

practicing and experimenting. Happy

Shooting!

TEXT BY: USHMA DHAMDHERE



TIPS &TECHS

From Colour to

Monochrome-the colour debate



A lbeit the digital age has brought us better colours and millions

of megapixels, we continue to embrace the traditional

medium. Choosing coloured images over monochrome, or

viceversa, has been debated back and forth. Photographing portraits,

landscapes or even wildlife, can be moulded to suit anyone’s artistic

style and have become more accessible, as digital photography offers

a lot more creative freedom. A monochrome image is treated as

a genre in itself and there are no real limits to the subjects you can

shoot. The advantage is that we no longer have to select betweenshooting in colour or in monochrome, since with the advent of the

digital age of photography.

The darkroom has also been updated giving credit to image-

editing software programmes like Adobe Photoshop which gives

photographers a lot more control over the conversion process when

it comes to adjusting light, contrast and tonal range.

It is not easy to judge which coloured shots will convert well in

monochrome, and it is vital to note that vibrant shots with a lot of

different colour hues do not always translate well into monochrome.

Colour PhotographyColour accents draw your attention and add a different feel to the

image altogether. Colour images liven up the scene and make things

come to life which feel more real and vivid. While shooting in colour,

you can add more hues and tones which you cannot do while

shooting in black and white. Here are some reasons which suggest

why shooting in colour at times could be better.

Did you know? Colour photography first came into picture in 1861 byphysicist James Clerk Maxwell



It allows you to highlight certain elements in an image

With colour you can highlight various elements of an image which

often get forgotten in monochrome. The mood in coloured images is

more energetic and contemporary as compared to monochrome images.

Grabs Attention

Vibrant colours yell ‘look at me!’, therefore, when shooting street

photography and you want your audience to look at something,

colour is definitely the way to go.



It has richer dynamic range

With colour, you have more access to wider dynamic range in

terms of colours, tones, and hues.

Monochrome PhotographyThere is nothing more classic than a monochrome image. It often

reminds us of our past. As we do not see the world in black and

white, it makes these images interesting to look at. Here is why you

can opt to shoot in monochrome.

They have an everlasting look

When we think of the past, for some reason we always image the

memories and pictures in our mind in black and white. To add a nostalgic

mood to your images, monochrome photography is a great medium.

Simplicity

A monochrome image allows you to focus freely on the visual

rather than the colours, cutting out distractions. You can pinpoint

certain details in the composition which may have been obscured

by colour.

Adds drama!

With monochrome images, it is easy to create dramatic images

which have high contrast and heavy vignettes. In a black-and-white

image, without the distraction of colour, we see the subject and

its context more directly and can connect with the photographer’s

intent more easily. Furthermore, many street photographers prefer

black and white images as they illustrate more drama and emotions.

Resurgence of MonochromeStrangely, shooting in colour is essential, if you want great

monochrome shots. Generally, it is a common practice to shoot

images in colour first with the intention of converting them into

monochrome later. To leave your shots open to all options, you must

ensure that you’re shooting in RAW file formats, so if it doesn’t work

in black and white, it still has a good colour image. This method is

beneficial when you need to adjust the photograph’s contrast and

tonal range as it hands you more control over the conversion process.

Shooting in RAW makes you gather as much information in the

scene as possible, so that you’re guaranteed great quality conversions

that provide a plethora of detail across the entire photograph.

MONOCHROME CONVERSION TIPS1. In-camera, check your colour exposure on the back LCD. This

will give you a preview of the image as a JPEG. Many cameras

give you the option to preview in black and white for an idea of

how the colour tones will convert.

2. Although colour hues can have a substantial effect on the outcome

of your image, don’t get caught up in the rules when it comes to

converting. Experiment with all of the colour channels for artistic

results.

3. Activate your camera’s grid lines to help you create your

monochrome shots in camera. These are particularly useful

when framing a photograph using compositional rules.

4. For the best monochrome shots seek out scenes that include

distinctive patterns, shapes and textures.

When composing a black and white image in colour, it is

important to notice the hues that feature within a frame. It’s these

colours that are eventually accountable for the tonal range within

your monochrome image.

Before digital photography, monochrome film photographers

would rely on colour filters to enhance specific tones and contrast

within their shots. These days we can pretty much achieve the same

thing using image-editing softwares. Understanding how these filters

and colour channels can affect your image is vital. This is particularly

important while converting a colour capture to monochrome.



The strength of a monochrome image lies in its composition.

Unlike colour photography where vivid hues can command attention,

monochrome images rely seriously on their content in order to

connect the viewers to the frame.

Things to look out for in a composition

1. LEADING LINES Encourage the viewer to engage the scene with leading lines to

guide their eyes around the frame. Use leading lines to create an

illusion of depth that can guide the viewer’s gaze.

2. SUBJECT

Distinct subjects that stand out can work just as well in black and

white as they do in colour.

3. LIGHT

Contrast is the key to adding depth so ensure the light and your

exposure settings are spot on!

4. TEXTURE

Texture is a great way to enhance depth in monochrome and

bring out contrast.

5. RULE OF THIRDS The rule of thirds works excellently for monochrome stills. Use

your camera’s grid lines for best results.

Converting an image into black and white can be as simple as

changing from RGB (Red-Green-Blue) to Grayscale mode. However,

if you are serious about getting strong monochrome images, it is

worth taking a little more time and trouble. When converting into

Monochrome Filters

Filters can enhance your black and white photography butyou need to know how to use them to get the full benefit. TheSRB-Gritum filter kit is used in monochrome photography toimprove colours within the shot, with each filter enhancingdifferent aspects.• Red lters help to exaggerate clouds and darken greens

whilst lightening reds and yellows• An orange lter will enhance details such as stone work• Yellow lters darken blue skies, improve contrast and

lighten yellows• A green lter will lighten foliage as well as help the cloud

effects

monochrome, you need to pay close attention to how individual

colours are responding, as this can make or break the final image.

Another important thing to keep in mind is the contrast, which oftenneeds to be more dramatic in monochrome.

Monochrome images are making a comeback as digital

camera owners re-discover their beauty. There are cases in which

monochrome images are more appropriate, and times where colour

images are. There is absolutely no rule which defines when to use

colour or black and white, it’s completely up to you.

TEXT AND IMAGES: NEHA AGGARWAL



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TIPS &TECHS

Architectural

Momento



In the last month’s issue we spoke about

the basics of Street Photography, this

month we bring to you some of the tips

and techniques that can be helpful while

shooting Architecture.

There are two major challenges that

a photographer faces while shooting

architecture – perfect lighting and image

distortion. Image distortion occurs when the building has lines running horizontally

and vertically and they appear distorted.

Distortion looks good sometimes, but not

all the time. When it comes to lighting,

when photographing the exteriors, natural

light is all you have got, and you have to

capture the subject at its most alluring

settings; you have options of lighting the

exterior up with artificial lights.

Interior architecture with repeating

patterns and different shapes is a golden

parachute to the falling photographers while struggling to get the perfect

exposure. Use of different camera angles

would unfold the beauty of these designs.

Perspective is one of the most

important aspects of architectural

photography. You can use perspective to

your advantage to highlight the dimensions

or shape of the building. If you’re capturing

a tall building emerging from a chunk of

smaller buildings, you will compose the

image from a distance. On the other

hand, to highlight the length of the building

dramatically, you can shoot straight up from the footsteps, with the building soaring

against the blue sky.

Besides light, architectural photography

is a lot about the weather conditions that

significantly changes the appearance of all

buildings and architecture, the perspective

and the look both indoors and out. So

before you begin shooting look around,

check the time, the colour temperature,

the coloUr of the lights and consider the

clouds.

On a bright day, you might see

amazing, and sometimes surreal, streaks

of light coming in from corners, windows

or through ceilings in the entire structure

of the building. On the other hand, on a

cloud cast afternoon, it will be dark and

adverse. Often, you might find yourself in

a position where you’d wish there were

more clouds or the day was a little less

bright. For example, if you are shooting a P H O T O : U s h m a D h a m d h e r e



fort with amazing interiors, there might be

a chance that you would look for a softer

source of light to bring out the calmness

and non-chaotic atmosphere around.

Also, unlike many other forms of

photography, interesting architectural

images can be shot and created in all types

of weathers. A conventional building on a

clear day may strike the audience as good

but maybe a bit bland, but on the other

hand the shot of the same building when

there’s a storm brewing overhead or with

a an interesting dramatic cloud play can be

altogether more intriguing. By revisiting and

shooting the same building in these various

weather conditions, you will get the idea of

what time is suitable to shoot the building.

When it comes to any genre of

photography, gear doesn’t really matter, but

for architectural photography it does. You

don’t need the latest and greatest, but you

need basic equipment that will push a good

image into the realm of perfection.

It starts with a solid tripod. Yes, tripods

are often clunky, awkward and generally

a pain in the neck to tote around town.

However, any frustration spurred by their

unwieldy nature is always offset by their

tremendous usefulness, especially with

regards to architectural photography.

Here’s why you need a tripod. When

you’re shooting buildings, you’ll often set

your camera to a smaller aperture, or

f-stop, because doing so keeps more of

your subject sharp. The trade-off with

using a smaller f-stop is that you must set

P H O T O : U s h m a D h a m d h e r e

PHOTO: Rojita Tiwari



Panorama is a technique in which

multiple images are stitched

together to increase the field of

view or create a wider shot a lens

would not allow. Panoramic photos

can consist of anywhere from two

to an infinite number of images.With panoramic photography, it’s

possible to have a series of images

that span 360 degrees of view. A

true panoramic photo contains

a larger field of view than can be

captured by the human eye or the

focal length of your available lens.

Photos that are cropped into a wide

format are not considered to be

true panoramic Images.

Panorama

your camera for slower shutter speeds so

enough light reaches the sensor or film.

Nudge the camera even a tiny bit and the

image will blur.

You might think that a tripod is

necessary only for dim, indoor shooting,

you’re quite mistaken. Even when you’re

outdoors in bright light, a tripod is a

really good idea. Picking the right tripod

is important, too. Firstly, forget ball-head

tripods. For serious shooting, you need

a geared tripod that allows for minute,





creating the sharpest possible pictures.

A fish-eye or wide-angle lens is ideal

for shooting architecture, as it enables

the photographers to frame the entire

building, and its environment in one

frame. Although there might be times

where your lens can’t capture an entire

building that’s when you move a little out

of your comfort zone and take multiple

frames and create a panorama.

That’s pretty much all there is to it. Just

like all the different genres of photography,

you will need experience to define your

style, and it’s your personal style that will

bring in the exposure and money. So our

advice is to shoot, shoot and just keep

shooting. Good luck shutterbugs!

TEXT: USHMA DHAMDHERE

• The nal outcome of an

architecture shot shouldn’t just

be aesthetic and graphic; they

should also provide dynamism

and movement – so play with the

lines, the light and the shadows to

create drama and grasp attention.• Consider the limits of levels

and areas. Architecture is built on

the basic principle of symmetry,

so capturing this symmetry

will ultimately strengthen the

composition.

• Discover the centre of the

symmetry by placing your hand

between your line-of-sight and

construct your frame around this

centre.

• Alternatively, break free from

the straight lines and rectilinear

angles and follow the principles

of nature by including curves and

circles in the form of shadows or

reflections, as they can help to

soften the structure.

• Use a tripod and capture the

movement of people, or anything

that makes you wait to get a clear

shot; it makes your shot much

more interesting.

Tips

precise adjustments. You’ll need one with

a bubble-level, too. And to make sureyour clunky fingers don’t bump the shutter

button, you should invest in a cable release

for hands-free shooting.

Result? - A perfectly stable platform for P H O T O

R

j i t

T i

i




CAMERA REVIEW

Pentax K-3 From lens-style to mirrorless full

frame cameras, we have had many

firsts, when it comes to reviews in

the past few months. This month, we are

reviewing a Pentax product for the first time

ever. Pentax, now a part of Ricoh Imaging,

launched K-3 last year has its flagship model

for their K digital SLR camera series.

The camera boasts of a weatherresistant body with 92 protection seals. It

has a 24 effective megapixel sensor APS-C

size CMOS sensor, with a PRIME III imaging

engine, and the world’s first anti-aliasing

simulator. It features 8.3 fps continuous

shooting, with full HD video recording.

The camera has won several accolades

around the world, but we put it to test to

see how it performed.

Look, Body and Feel

At first glance, the Ricoh Pentax K-3seems like a pro-level body in a compact

size. One of the first things you will

notice while holding the K-3 is its deep

rubberised handgrip that allows for a

better shooting position, where the middle

finger comfortably sits in the groove of

the handgrip. You will also notice weight,

Sample Image

P R I C E

` 8 9, 9 9 5

( O n l y Bod y

)



Effective pixels 23.35 MP

Sensor 23.5 x 15.6mm CMOS sensor

Focus System SAFOX 11 TTL phase-matching - 27 point (25 cross type focus pointsin the center)

LCD Monitor 3.2” TFT colour LCD with brightness/saturation/color adjustment ARcoating and air-gapless glass.

Flash Retractable P-TTL popup flash with Guide number: 13m (ISO 100)

ISO Sensitivity Auto: ISO 100-51200 (1, 1/2, 1/3 steps), Auto ISO range selectable,

White Balance Daylight, Shade, Cloudy, Fluorescent Light (D: Daylight Colour,N:Daylight White, W:Cool White, L:Warm White), Tungsten Light,Flash, CTE,

Shutter Shutter speed: 1/8000 to 30 sec (1/3 or 1/2 EV steps), Bulb

Video Full HD (1920x1080, 60i/50i/30p/25p/24p)

Drive Modes Mode selection: Single, Continuous (H,M,L), Self-Timer (12s, 2s),Remote (0s, 3s, continuous), Exp. Bracketing (standard, timer,remote), Mirror up (standard, remote), HDR Capture (3 shots at 1EV,2EV, or 3EV, 3 blend settings plus Auto, pixel alignment)

Dimensions 5.17in x 3.94in x 3.05in

Weight 28.2 oz

Operating Humidity Weather resistant: Yes (92 special sealing parts)

Specificationsowing to its stainless-steel alloy frame and

lightweight magnesium-steel alloy body,

which is uncommon in other cameras of

that size. This is one of the most ergonomic

controls with more than easy access to the

aperture dial, shutter dial, shutter button

and other key control buttons.

The K-3 is dust, cold and water resistant,

and employs a system of 92 special sealsused throughout the K-3’s design. Pentax

claims that it can operate at temperatures

as low as -10°C. The top of the camera

features a mode dial with a dual locking

system which is unique to this camera. The

back of the camera is dominated with 3.2

inch LCD screen with a cluster of control

buttons placed throughout the rear of the

camera. The Pentax K-3 has a good solid

build with a very basic UI which is easy to

grasp after some use.

Features• 24.4 megapixel APS-C CMOS sensor

• Sensor-shift image stabilization with

rotational compensation

• Anti-aliasing ‘simulator’ (camera has no

optical low-pass filter)

• SAFOX 11 TTL autofocus system

(27-point, 25 of which are cross-type)

• 3.2-inch LCD with 3:2 aspect ratio and

1.037k dots

• Pentaprism optical viewfinder with

0.95x magnification, 100% coverage

• 8.3 fps continuous shooting• 1920 x 1080 video recording (60i, 30p,

24p)

• Dual SD card slots

• Headphone, microphone ports

• USB 3.0 support

Performance As mentioned earlier, another new

feature to look out for is that the Pentax K-3

has done away with the low-pass filter, and

instead features the anti-aliasing simulator. It’s

like an on-demand low-pass (anti-aliasing)

filter that applies microscopic vibrations to

the image sensor unit at the subpixel level

during image exposure that is supposed to

generate the same level of moiré-reduction

effect as an optical anti-aliasing filter. What is

great about this intelligent feature is that you

can, at your own will, choose when to have

the low-pass filter, and when not to.

The Ricoh Pentax K-3 was tested

with the Pentax 18-135mm f/3.5-5.6 lens

during our review period. Focussing on

K-3 was fairly accurate and rapid too, but in

low-light situations, the auto-focussing can

be a little slow. The camera provided fairly

remarkable quality images, with the pictures

having fine colour reproduction, and a lot

of vibrance. However, the tonal range was

fairly limited. When zoomed in to the image

at 100%, we noticed that the image could

do with some more sharpness.

When it comes to shooting videos, the

output is quite good, with smooth transitioning

from well-lit to low-light areas. However,

the lack of auto-focus when shooting videos

could be disappointing for many.

The camera also provides post options,

right from transferring images to applying

digital filters, colour moiré correction,

re-sizing and editing (image and video).

ISO Performance While testing the Pentax K-3 for the

ISO performance, we noticed that the

Sample Image



Solid, rugged build and design with

ergonomic controls

Look, body and feel rating

Good image and video quality and colour

reproduction but poor ISO performance

Performance rating

Built can be comparable to most pro-levelbodies, but image quality could use some

improvement.

Overall rating

ISO 200 (100% Crop) ISO 12800 (100% Crop)

ISO 1600 (100% Crop)

ISO 800 (100% Crop) ISO 51200 (100% Crop)

ISO 6400 (100% Crop)

ISO Performanceimages shot between ISO 100 to ISO 400

exhibited no noise. However, on shooting

with ISO 800 starts showing slight hints of

digital noise on zooming in 100% to the

image. Increasing the sensitivity to ISO 1600

and above clearly showed amplified levels

of noise and overall an increased softness

in the image. Further, while shooting onISO 25600 and ISO 51200, the image had

visible noise which looked like spots making

the image look unusable.

Conclusion At the price of Rs89,995 (only body)

and Rs119,595 (with 18-135mm lens),

the Pentax K-3 is a rugged camera, with a

solid all-weather body. The image output

of the camera was fairly remarkable, with

vibrant and colourful images. However,

the camera fell short when it came toperforming in low-light, high-ISO situations.

The video shot by us with the camera was

impressive, and had smooth transitioning.

The camera left us with mixed feelings; the

built of the camera is a definite plus, and

a worthwhile investment. However, the

ISO performance left us wanting for more;

especially, when entry-level cameras by

other brands perform better in the similar

ISO settings.

TEXT AND IMAGES: ABHISHEK DESAI

Sample Image



CAMERA REVIEW

FujiFilm X-E2

P R I C E

` 76, 9 9 9

( O n l y Bod y )

Since FujiFilm introduced their X- series

in 2010, they have bombarded the

imaging industry with some chic,

retro-looking cameras with brilliant optics

and image quality. One of their latest

entrants in the compact system camera

segment is the FujiFilm X-E2 which replaces

the X-E1. Few of the improvements that the

X-E2 has over its predecessor are the 16.3

megapixel APS-C sized X-Trans CMOS II

sensor, a Lens Modulation Optimiser which

automatically corrects diffraction blur, EXR

Processor II, hybrid auto-focus system with

fast AF speeds of 0.08 second, 7fps burst

shooting, a built-in flash, Wi-Fi connectivity

and Full HD video recording capabilities at

up to 60fps.

Look, Body and Feel At the first glance, the X-E2 looks similar

to its predecessor, the X-E1, with similar

body design and layout of controls. The

FujiFilm X-E2 has the traditional X – series

rangefinder design with the top and front

magnesium alloy plates and a leather finish

that wraps around the body. The camera

feels sturdy and solid during use, with most

of the control buttons ergonomically placed.

The back of the camera is dominated by

the larger 3-inch, higher-resolution screen

as compared to the predecessor. The X-E2

also features a 2,360,000 dot OLED panel

which automatically switches between the

LCD by means of the proximity sensor.

The ‘View Mode’ button has been done-

away with on the X-E2 as compared to its

predecessor which means it is not possible

to switch modes quickly without fiddling into

the menu.

Features• 16MP X-Trans CMOS II sensor

• EXR Processor II

• ISO 200-6400, plus 100 - 25600

expanded

• 7 fps continuous shooting; 3 fps with

continuous AF

• Lens Modulation Optimizer (for sharper

JPEGs when shooting at large or small

apertures)

• 2.36M dot OLED electronic viewfinder



• 3-inch 1.04M dot 3:2 fixed LCD

(non-tilting, not touch-sensitive)

• Built-in Wi-Fi for image transfer to

smartphones or computers

• Full HD movie recording (1920x1080,

60fps, 36Mbps bitrate), with built-in

stereo microphone

• 2.5mm stereo microphone socket, also

accepts electronic remote releases

PerformanceThe FujiFilm X-E2 was tested with the

Fujinon 18-55mm F2.8-4.0 lens for our

review. The images produced by the X-E2

were of excellent quality. The images

exhibited a wider gamut of tonal range,

considering it has an APS-C sized sensor

where most of the images could directly be

used for print out of camera.

The autofocus on the X-E2 performed

well in bright and dark lighting conditions,

Sample Image

Sample Image



Number of effective pixels 16.3 million pixels

Image sensor 23.6mm x 15.6mm (APS-C) X-Trans CMOS II with primary colour filter withUltra Sonic Vibration Sensor Cleaning system

Storage media SD memory card / SDHC memory card / SDXC (UHS-I) memory card

Sensitivity AUTO (Control available up to ISO6400)

Equivalent to ISO 200 - 6400 (Standard Output Sensitivity)

Extended output sensitivity: Equivalent to ISO 100, 12800 and 25600

Exposure control TTL 256-zone metering, Multi / Spot / Average

Exposure mode Programmed AE, Shutter Speed priority AE, Aperture priority AE, Manual exposure

Shutter type Focal Plane Shutter

Shutter speed (P mode) 1/4 sec. to 1/4000 sec.,(All other modes) 30 sec. to 1/4000 sec.;Bulb (max. 60 min.)

Continuous shooting Approx. 7.0 fps (JPEG: max. approx. 28 frames, RAW / RAW+JPEG: max.approx. 8 frames)

Auto bracketing AE Bracketing (±1/3EV, ±2/3EV, ±1EV)

Film Simulation Bracketing (Any 3 types of film simulation selectable)

Dynamic Range Bracketing (100% · 200% · 400%)

ISO sensitivity Bracketing (±1/3EV, ±2/3EV, ±1EV)

Focus Single AF / Continuous AF / MF Distance Indicator with Intelligent HybridAF (TTL contrast AF / TTL phase detection AF), AF assist illuminatoravailable

White balance Preset : Fine / Shade / Fluorescent light (Daylight) / Fluorescent light(Warm White) / Fluorescent light (Cool White) / Incandescent light /Underwater

Flash Manual pop-up flash (Super Intelligent Flash)

Guide number: approx 7 (ISO200 · m), approx 5 (ISO100 · m)

Flash modes Auto / Forced Flash / Slow Synchro / Suppressed Flash / Rear-curtainSynchro / Commander

Viewfinder 0.5-in., approx. 2.360K-dot OLED color viewfinder

LCD monitor 3.0- inch, aspect ratio 3:2, Approx. 1,040K-dot, colour LCD monitor (Approx.100% coverage)

Movie recording Full HD 1920 x 1080 60p / 30p, Continuous recording: up to approx. 14 min.

Wireless function Geotagging, Wireless communication (Image transfer), View & ObtainImages, PC Autosave

Other functions PictBridge, Exif Print, Language selection, Time dif ference, HighPerformance mode, Silent mode

Dimensions 129mm (W) x 74.9mm (H) x 37.2mm (D) / 5.1 in. (W) x 2.9 in. (H) x 1.5 in. (D)

Weight Approx. 350g / 12.3 oz. (including battery and memory card)

Specifications

however there were a few times that the

camera focussed incorrectly and still allowed

us to shoot in dimly-lit conditions.

Another welcome feature in the FujiFilm

X-E2 is its capability to record video in Full

HD at 60fps. The video recorded on the

X-E2 was smooth and crisp teamed with

the kit 18-55mm lens allowed for an extrasmooth zoom which is not even possible on

most high quality DSLR zoom lens, which

often are jerky while zooming in or out.

Additional feature of Wi-Fi connectivity

allows for users to instantaneously share

JPEG images of camera to various social

media sites. It is still not possible to remotely

shoot using this feature, but if Fujifilm puts

out an upgraded firmware, it can surely do

the trick.

ISO PerformanceThe FujiFilm X-E2 produced outstanding

noise-free images at higher ISO sensitivities

while shooting JPEGs. We could hardly

notice visible noise up to ISO 5000. Even

shooting at ISO 6400 showed hints of

noise, but it could be passed off as film grain

which is very usable. At ISO 12800 and

ISO 25600, the images show slight noise

and overall were softer, and not as sharp.

Sample Image



Conclusion With a price tag of ` 76,999 for

body and ` 1, 09,999 with XF18-

55mm kit les, the FjiFilm X-E2

is quite an expensive option in the

CSC range. One of the problems

with its predecessor was a slow

autofocus system. However, this

has been addressed by Fuji using

a new hybrid AF system that

offers quick focussing. Its excellent

image quality and amazing ISO

performance, teamed with its

chic looks, is definitely worth

considering for most photography

enthusiasts and pro-level users.

Looks similar to its predecessor, solid built

and ergonomic controls


Excellent image, with amazing high ISO

noise performance, and high quality Full HD

video

Performance rating

Overall a great camera, but is more on the

dearer side

Overall rating

TEXT anD IMagES: STEvE D’SOuza

ISO 200 (100% Crop)

ISO 1600 (100% Crop)

ISO 12800 (100% Crop)

ISO 800 (100% Crop)

ISO 6400 (100% Crop)

ISO 25600 (100% Crop)

ISO Performance

Sample Image



Nikon D3300

CAMERA REVIEW

Sample Image

PRICE

` 32,450 (ONL Y BOD

Y )

Nikon’s latest entry, the

D3300, is the company’s

latest entry-level DSLR

camera which replaces the Nikon

D3200. The Nikon D3300 boasts ofa 24.2 megapixel APS-C sensor along

with the latest EXPEED 4 processor. It

also features 5fps continuous shooting

and Full HD video recording. The

camera’s ISO range tops out at

25,600 and optional wireless sharing

to smartphones or tablets can be

accomplished via Nikon’s WU-1a

module or an Eye-Fi SD card.

We put the D3300 to the test this

month, and let’s take a look at how it

turned out.



Sample Image

Look body and feelThe Nikon D3300 is similar to its

predecessor, the Nikon D3200. Thecamera has a rubber grip along the handgrip

and thumb rest at the back of the camera.

Overall the camera feels well-built and

sturdy while using it. Most of the control

buttons are similar to that of the D3200

with the exception that the D3300 is

slightly smaller and compact as compared

to its predecessor. The D3300 features

a memory card slot on the right side and

shutter release, microphone, AV out and

HDMI ports on the left side.

It also features the Guide mode on the

mode dial, similar to the D3100 and D3200,

to help teach beginners about the various

camera settings to use under various situations.

The back of the camera houses a 3-inch

LCD screen with a 921k dot resolution which

is easy to view images even in bright sunny

conditions. Pressing the “i” button allows for

quick change of setting like image quality,

white balance, metering, ISO, focusing mode,

AF area mode, exposure compensation and

flash compensation options.

FeaturesBeing an entry level camera, the Nikon

D3300 boasts of the following features thatare unlike any other cameras in the similar

segment.

• 24.2-megapixel DX-format sensor with

no OLPF

• Guide Mode: Clear, step-by-step

assistance

• ISO 100-12,800 (expandable to ISO

25,600 equivalent)

• EXPEED 4 image processing engine

• 5 fps continuous shooting

• 11-point AF system with a cross-type

sensor in the centre

• 420-pixel RGB metering sensor with

Nikon’s Scene Recognition System

• D-Movie: Full HD movies at frame rates

up to 50/60p

• 7.5 cm (3.0-in.) with wide-viewing angle

and 921K-dot resolution

• Small, lightweight body: Approx.

124x98x75.5mm. Weighs just 410g

(without battery and memory card)

Performance We tested this camera with the kit lens

(18-55mm f/3.5-5.6 G VR II) provided with the Nikon D3300. The D3300 produced

good quality images with a decent tonal

range and colour contrast. We tested the

camera on the default picture mode which

made some images look flat, however

changing the picture mode or running the

image through a post-processing software

can help you achieve the desired result.

The focussing on the Nikon D3300 is

fairly quick and accurate in bright well-lit

conditions. Shooting in low-light conditions

on the D3300 was surprisingly fast with

very little tracking as compared to its

predecessors.

The D3300 can record Full HD video at

frame rates up to 50p/60p with continuous

autofocus which delivers smooth video

with good clarity. The audio recording

by the built-in microphone was clear and

surprisingly sounds great. You can also add

an external mic to the camera for better

sound quality.



Looks similar to its predecessors, small

size may not appeal users with large hands


Good image and video quality with decentISO performance

Performance rating

Average built with good final image and

video

Overall rating

Effective pixels 24.2 million

Image sensor 23.5 x 15.6mm CMOS sensor

Total pixels 24.78 million

Dust-reductionSystem

Image sensor cleaning, Image Dust Off reference data (optional Capture NX 2software required)

Image size (pixels) Easy panorama mode: 4800 x 1080 (normal, horizontal pan) 1632 x 4800 (normal,vertical pan) 9600 x 1080 (wide, horizontal pan) 1632 x 9600 (wide, vertical pan)Other modes: 6000 x 4000 (Large) 4496 x 3000 (Medium) 2992 x 2000 (Small)

File format NEF (RAW): 12 bit, compressed JPEG: JPEG-Baseline compliant with fine (approx.1: 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression NEF (RAW)+JPEG:Single photograph recorded in both NEF (RAW) and JPEG formats

Picture ControlSystem

Standard, Neutral, Vivid, Monochrome, Portrait, Landscape; selected PictureControl can be modified

Media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards

Shutter speed 1/4000 - 30 s in steps of 1/3 EV; Bulb; Time

Frame advance rate Up to 5 fps Note: Frame rates assume manual focus, manual or shutter-priority autoexposure, a shutter speed of 1/250 s or faster, and other settings at default values.

Metering method Matrix metering: 3D colour matrix metering II (type G, E, and D lenses); coloUrmatrix metering II (other CPU lenses) Center-weighted metering: Weight of 75%given to 8mm circle in center of frame Spot metering: Meters 3.5mm circle (about2.5% of frame) centered on selected focus point

ISO sensitivity ISO 100-12800 in steps of 1 EV. Can also be set to approx. 1 EV (ISO 25600equivalent) above ISO 12800; auto ISO sensitivity control available

Focus point Can be selected from 11 focus points

AF-area mode Single-point AF, dynamic-area AF, auto-area AF, 3D-tracking (11 points)

White balance Auto, incandescent, fluorescent (7 types), direct sunlight, flash, cloudy, shade,preset manual, all except preset manual with fine-tuning.

Lens servo Autofocus (AF): Single-servo AF (AF-S); full-time servo AF (AF-F)Manual focus (MF)

AF-area mode Face-priority AF, wide-area AF, normal-area AF, subject-tracking AF

Autofocus Contrast-detect AF anywhere in frame (camera selects focus point automaticallywhen face-priority AF or subject-tracking AF is selected)

Video 1920 x 1080, 60p (progressive)/50p/30p/25p/24p, high/normal 1280 x 720, 60p/50p,high/normal 640 x 424, 30p/25p, high/normal Frame rates of 30p (actual frame rate29.97 fps) and 60p (actual frame rate 59.94 fps) are available when NTSC is selectedfor video mode. 25p and 50p are available when PAL is selected for video mode.Actual frame rate when 24p is selected is 23.976 fps.

Dimensions (W x H x D) Approx. 124 x 98 x 75.5mm (4.9 x 3.9 x 3in.)

Weight Approx. 460 g (1 lb 0.2 oz) with battery and memory card but without body cap;approx. 410 g/14.5 oz (camera body only)

SPECIFICATIONS

ISO 100 (100% CROP) ISO 400 (100% CROP) ISO 800 (100% CROP)

ISO 25600 (100% CROP)ISO 6400 (100% CROP)ISO 1600 (100% CROP)

Sample Image

ISO PerformanceShooting from lower ISOs like ISO 100

to ISO 400 produce good quality images

without any noise. There are slight hints ofnoise from ISO 800, but it is only visible if

you zoom in more than 100%. From then

on, the ISO noise gradually increases from

ISO 1600 to ISO 3200, but the image is

still usable. Pumping the ISO sensitivity toISO 6400 all the way to ISO 12800 clearly

shows digital noise and loss in detail.

Conclusion

Priced at `

32,450 (only body) theD3300 is slightly dearer (by ` 5200) than its

predecessor, which is competitively priced

considering the upgrades removal of the

Optical Low Pass Filter, EXPEED 4 processor,

expanded ISO range 100-25,600, 5fps

burst shooting, 50/60p movie recording,

improved battery life, and a new range of

special effects found in the mid segment of

Nikon DSLR cameras. Good image quality,

quick autofocus teamed up with decent

ISO performance and good quality Full HD

video recording marks the Nikon D3300 a

cut above the other cameras in the samesegment.



Nikon DfNikon Df

CAMERA REVIEW

P R I C E

` 1 8 3, 9 5

0

T

he Nikon Df is supposed to be a

fusion of the old and the new. At

first sight, this camera does grab you

by the eyeball, especially if you’re a fan of

“retro”. But underneath all the styling, has

a lot really changed? We put the camera

through the paces this month to see for

ourselves what the fuss was all about.

Look, body and feel The camera comes in chrome and

black. The Nikon Df has engraved solid

metal dials, alloy top, rear and bottom

plates, and it takes a real cable release too.

Like other DSLRs, there are two electronic

command dials too. The design is beautiful.

Those of you who’ve grown up with film

will perhaps appreciate it better.

The Df is possibly Nikon’s lightest full-

frame camera. It is small, light and tough, and

the camera feels great and sturdy to use. In

terms of build quality, I’d give the camera a

10 on 10. The Df would be a good weapon

in the arsenal of street photographers who

choose SLRs for their speed and versatility

in a variety of situations.

I thought the dial for ISO could have

done without a lock. Also there is no

auto ISO position. Some of the “manual”

adjustments that I thought should lock

don’t. For example, I would’ve liked the

dial for the drive mode to have a lock. The

shutter speed dial is a bit oddly placed, and

locks at B, X, and 1/3 step. Using it is a bit

cumbersome.

Features The camera features a 16 megapixel full-

frame CMOS sensor (same as Nikon D4).

With an ISO 100-25,600 (expandable to

ISO 50-204,800 equivalent), the Df makes

for a good camera to use in low light. The



Lens mount Nikon F mount (with AF coupling and AF contacts)

Effective angle of viewand effective pixels

Nikon FX format, 16.2 million

Image sensor and total pixels 36.0 x 23.9 mm CMOS sensor. 16.6 million

Image size (pixels) FX (36 x 24) image area : 4928 x 3280 (L), 3696 x 2456 (M), 2464 x 1640 (S)DX (24 x 16) image area : 3200 x 2128 (L), 2400 x 1592 (M), 1600 x 1064 (S)

File format NEF (RAW): 12 or 14 bit, lossless compressed, compressed, oruncompressed TIFF (RGB) JPEG: JPEG-Baseline compliant with fine

(approx. 1 : 4), normal (approx. 1 : 8), or basic (approx. 1 : 16) compression(Size priority); Optimal quality compression available NEF (RAW)+JPEG:Single photograph recorded in both NEF (RAW) and JPEG formats

Media SD (Secure Digital) and UHS-I compliant SDHC and SDXC memory cards

Frame coverage FX (36 x 24): Approx. 100% horizontal and 100% vertical DX (24 x 16):Approx. 97% horizontal and 97% vertical

Magnification Approx. 0.7 x (50 mm f/1.4 lens at infinity, -1.0 m-1)

Compatible lenses Compatible with AF NIKKOR lenses, including type G, E, and D lenses(some restrictions apply to PC lenses) and DX lenses (using DX 24 x 16 1.5ximage area), AI-P NIKKOR lenses, and non-CPU lenses. IX NIKKOR lensesand lenses for the F3AF can not be used. The electronic rangefinder canbe used with lenses that have a maximum aperture of f/5.6 or faster (theelectronic rangefinder supports the center 7 focus points with lenses thathave a maximum aperture of f/8 or faster and the center 33 focus pointswith lenses that have a maximum aperture of f/7.1 or faster).

Shutter Type Electronically-controlled vertical-travel focal-plane shutter

Shutter Speed 1/4000 - 4 s in steps of 1 EV (1/4000 - 30 s in steps of 1/3 EV with main

command dial), X200 (with shutter-speed dial only), bulb, time

Frame advance rate 1 - 5 fps (continuous low speed) or 5.5 fps (continuous high speed)

Exposure Metering TTL exposure metering using 2016-pixel RGB sensor

ISO sensitivity (RecommendedExposure Index)

ISO 100 - 12800 in steps of 1/3 EV. Can also be set to approx. 0.3, 0.7, or1 EV (ISO 50 equivalent) below ISO 100 or to approx. 0.3, 0.7, 1, 2, 3, or 4EV (ISO 204800 equivalent) above ISO 12800; auto ISO sensitivity controlavailable

Autofocus Nikon Multi-CAM 4800 autofocus sensor module with TTL phase detection,fine-tuning, and 39 focus points (including 9 cross-type sensors; the center33 points are available at apertures slower than f/5.6 and faster than f/8,while the center 7 focus points are available at f/8)

Focus point Can be selected from 39 or 11 focus points

AF-area mode Single-point AF; 9-, 21-, or 39-point dynamic-area AF, 3D-tracking, auto-area AF

Monitor 8-cm/3.2-in., approx. 921k-dot (VGA), low-temperature polysilicon TFT

LCD with approx. 170 ° viewing angle, approx. 100% frame coverage, andbrightness control

Battery One rechargeable Li-ion EN-EL14a battery

Dimensions (W x H x D) Approx. 143.5 x 110 x 66.5 mm (5.6 x 4.3 x 2.6 in.)

Weight Approx. 765 g (1 lb 11 oz) with battery and memory card but without bodycap; approx. 710 g (1 lb 9 oz; camera body only)

Supplied accessories BS-1 accessory shoe cover, BF-1B body cap, EN-EL14a rechargeableLi-ion battery, MH-24 battery charger, DK-26 eyepiece cap, AN-DC9 strap,UC-E6 USB cable, String for eyepiece cap, ViewNX 2 C

Specifications 39-point AF system with nine cross-type AF

points is the same as D610. The camera has

a 3.2-inch, 921K-dot LCD screen. There is

only a single SD card slot, but since there’s

no video, you could probably make do with

just one card.

PerformanceThe Df is a very responsive camera,

and it’s built for fast shooting. However, the

camera has a 5.5 fps rate, which isn’t very

impressive for serious sports photography.

In terms of overall image quality, we had no

complaints.

Low-light performance is impressive

when it comes to picture quality. That

said, since the camera doesn’t have any

AF illuminator of its own, it struggles a bit

in low-light conditions with autofocus. The

camera doesn’t have a built-in flash. While

this isn’t a handicap if you’re equipped with an external flash, having a built-in flash

wouldn’t hurt.

The 16-MP sensor yields brilliant, sharp

images. While using high ISOs, noise seems

manageable under ISO 6400, creeping up

only in images ISO 1600 and above.

Sample Image

Sample Image



Excellent build quality and overall design


No video, built in ash

Performance rating

Classic styling, good low light output. AF

performance could be better in low light

Overall rating

ConclusionThe Df is fun to shoot with in good light,

and produces exceptional image quality,

consistent with other cameras in its class.

At ` 183,950, this camera is an expensive

buy. If you’re a casual buyer looking to buy

based on features, price, specifications and

test reports, the D610 might be more value for money.

TEXT AND IMAGES: GEORGE KURIEN

Sample Image

ISO 200 (100% Crop)

ISO 400 (100% Crop)

ISO 800 (100% Crop)

ISO 3200 (100% Crop)

ISO 6400 (100% Crop)

ISO 12800 (100% Crop)



Picture by: Indrajit DebnathCamera: Nikon D90Shutter Speed: 1/40 secF-Number: f/10Focal Length: 18mmISO: 640

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Û

Picture by: Abhishek TripathiCamera: Canon 550DShutter Speed: 1/25 sec

F-Number: f/13Focal Length: 55mmISO: 100

Picture by: Avishek MalCamera: Fujifilm Finepix S4500

Shutter Speed: 1/320 sec

F-Number: f/4.0Focal Length: 8mm

ISO: 100

Û

Picture by: Ayan Kumar MitraCamera: Nikon D7000Shutter Speed: 1/20 secF-Number: f/5Focal Length: 38mmISO: 2000



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Picture by: Bimalendu SamantaCamera: Nikon D90Shutter Speed: 1/640 sec

F-Number: f/5.6Focal Length : 32mmISO: 200

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Picture By: Dr. Sayan BhattacharyaCamera: Nikon D3100Shutter Speed: 1/80 secF-Number: f/4.5Focal Length: 26mmISO: 400

Picture by: C. EaswaranCamera: Canon 1000DShutter Speed: 0.5 sec

F-Number: f/4.0Focal Length: 50mm

ISO : 100



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Picture by: Partha Pramanick Camera: Nikon Coolpix P5000Shutter Speed: 1/30 secF-Number: f/7.3Focal Length: 26mmISO: 64

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Picture By: Sabuj NandiCamera: Nikon D3000

Shutter Speed: 1/200 secF-Number: f/7.1

Focal Length: 48mmISO: 100

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Picture by: Swarup DasCamera: Nikon D90Shutter Speed: 1/125 secF-Number: f/5.6Focal Length: 48mmISO: 200



Dear Editor This series of photographs are from a trip I took in order to find, photograph and film the Aurora Borealis (Northern Lights) from Iceland back inNovember 2013. Iceland lies a stunning country, what is most astonishing about Iceland is how within a few minutes travel, you could journey through ghastly winds, to heavy snowstorms and arrive at the foot of a rainbow. I was shooting in very harsh conditions such as the strong windand bitter coldness. However, through my photos and time lapse video, I hoped to have shown the country’s natural and untamed beauty atits best.

Amritpal Sembhi

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