Prime Lens 101

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By Joshua Kleiner

Published: Wednesday, November 20, 2013 - 11:07am

Whether shooting a DSLR or mirrorless camera, interchangeable-lens cameras significantly broaden the photographer’s range of creative possibilities. There’s a good chance that the kit lens included with your camera was a zoom lens that offers a zoom range suitable for most of your initial photographic pursuits. A fixed focal length camera lens, or "prime" lens, offers a great way to improve the quality of your images while helping to develop your eye as a photographer. Now that you’re looking to take your imaging capability to the next level, here’s a brief guide to finding a prime lens that’s right for you.

Prime versus Zoom

Compared to a prime lens, a zoom lens is a general purpose multi-tool that won’t cut it when it comes to tasks requiring surgical precision. Think of a zoom lens as a Swiss Army knife and a prime lens as a scalpel. Prime lenses are capable of image quality and durability well beyond variable focal length lenses. Element for element, a prime lens will outclass a comparable zoom lens every time. Fewer moving parts and a defined field of view allow manufacturers to craft an optical path that is optimized for a specific purpose. A prime lens is generally capable of wider maximum aperture and is less susceptible to optical aberrations like color fringing and soft focus at the edge of the image.
The high-resolution sensors in today’s DSLRs and mirrorless cameras enable photographers to pack an impressive amount of detail into each frame—even an entry-level camera can capture HD video. A quality prime lens can provide tack-sharp detail and lifelike tonal range in recorded images.

Choosing a Focal Length

Obviously, choosing a suitable prime lens is largely based on its intended use. Since fixed focal length lenses lack the versatility of their zoom-lens counterparts. A prime lens will serve you well for specific applications and focal length is critical. The maximum aperture, minimum focus distance, quality of glass and optical coatings are important to consider regardless of focal length.

Keep in mind that the angle of view captured by any lens will change when it's mounted on a non-full-frame camera, like a DSLR with an APS-C sensor. A 35mm lens mounted on such a camera, with a 1.5x crop factor, for example, will have an equivalent focal length of 52.5mm. A longer focal length lens captures a smaller field of view. So a super-telephoto lens mounted on a non-full frame DSLR can yield a prohibitively narrow perspective. However, cropped-sensor shooters can benefit from a faster, wide-aperture lens, that will image super-telephoto distance usually thought to only be available to full-frame shooters—Nikon’s AF-S Nikkor 600mm f/4 ED VR AF lens or Canon’s EF 600mm f/4 IS II USM become 900mm mega-photo lenses ready to get up close and personal with sports and wildlife action.

Standard Lenses

Standard lenses have an angle of view close to 45°, replicating the perspective seen by our eyes. Although the quality and design of the optics determine its angle of view, the standard primes usually have a focal length between 40mm and 65mm. A favorite among photojournalists is the 50mm lens. Henri Cartier-Bresson, one of the most prominent photojournalists of the Twentieth Century and an icon for amateur and professional street photographers, famously used a 50mm lens almost exclusively. A standard focal length lens acts as “an extension of (the) eye” according to Bresson, permitting photographers to trap life in a frame that resembles the way we experience the world.
Like all lenses discussed in these sections, standard length lenses are available for DSLR and mirrorless camera formats. Canon’s EF 50mm f/1.4 USM lens is a budget-friendly standard focal length DSLR option for your first prime; its wide maximum aperture can capture photos or video in low-light situations.

Telephoto Lenses

Telephoto lenses are essential for portraiture as well as event photography like weddings, concerts, and sporting events. Telephotos have a lens group within their optical path to create an extended focus point that is longer than the overall lens design. In effect, telephoto optics allow photographers to image a subject at great distances using a relatively compact lens. These lenses generally have focal lengths greater than 80mm, but can also include shorter focal length pancake lenses featuring a telephoto lens design. Technically, not all lenses with a focal length more than 80mm qualify as a telephoto lens, but these lenses can have unwieldy lengths and tend to use outdated optical designs.
Two important factors to keep in mind with telephoto lenses is their maximum aperture and image stabilization technology. As the focal length of the lens increases, the challenge of transmitting light through the lens system also increases. Since the lens system has a narrower field of view from which to gather light, the diameter of each lens element must be increased to maintain an acceptable level of image brightness, which is why telephoto primes with a maximum aperture of f/4 or greater have large front lens elements and a corresponding increase in overall lens weight.
Additional size and weight, coupled with the narrow field of view, make image stabilization an essential feature of telephotos, especially once you exceed a focal length of 200mm. Lens manufacturers are aware of this limitation, which is why they equip their telephoto lenses with technology that provides several f-stops of image stabilization, allowing photographers to use their telephotos with slower shutter speeds and lower ISO camera settings.

Wide-Angle Lenses

At the opposite end of the focal-length spectrum are wide-angle lenses. The focal length of this type of lens is generally less than 40mm, which works well for landscape and architectural photography. When attached to APS-C or other non-full frame cameras, a wide-angle lens can have the equivalent focal length of a standard lens—something to keep in mind before purchasing a 35mm lens, which becomes 52.5mm when attached to a non-full frame camera with a 1.5x crop factor. For the most part, wide-angle lenses are a sensible general-purpose option for family vacations, backyard gatherings, and photojournalism.

Specialty Lenses

Included in the wide-angle category are fisheye lenses, usually a focal length less than 20mm. This type of specialty lens, Rokinon’s 8mm f/3.5 HD Fisheye Lens, for example, offers a unique perspective by capturing a surreal 180-degree angle of view—great for conveying the overall feeling of a location as opposed to the limited field of view of most lenses.
Macro lenses are another type of specialty lens that can give a larger-than-life quality to your photos and an especially unique perspective to videos. Macro lenses are available in various focal lengths, from wide angle to telephoto. A macro lens is uniquely equipped for close-ups, thanks to its short minimum focus distance and specially designed focus mechanisms optimized for fine focus adjustments. The Makro-Planar T* 100mm f/2 Lens from Zeiss is a standout example of everything a telephoto macro lens should be; it features the premium optics Zeiss is known for, and it delivers precise focus control required for exacting focus placement.

If still life and product photography, or extreme close-ups of blooming flowers and other natural beauties are subjects of your photographic interest, then a macro prime lens is uniquely suited to help achieve the best image quality possible.

Advanced Compact Cameras

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By Amanda Bellucco

Published: Wednesday, November 20, 2013 - 10:46am

The compact point-and-shoots of yesterday have long since been replaced by the smart devices of today. In an ever-changing digital landscape, evolution is a necessity and the latest compacts are better than ever. Regardless of your skill level, these digital cameras have got you covered. With larger sensors, faster processors, and the ability to shoot RAW, they offer users incredible quality and control without requiring the leap to DSLR. Here are 11 of the best compacts on the market for the 2013 holiday season.
The Canon PowerShot G16 has a built-in 5x optical zoom lens covering a 35mm format equivalent 28-140mm. Its fast, wide maximum f/1.8 (w) - 2.8 (t) aperture enables effortless low-light shooting, along with the ability to really play with shallow depth of field. An Intelligent Image Stabilization system helps minimize camera shake by automatically employing up to 6 different IS modes, covering nearly any shooting situation. Users also have the freedom to turn IS off altogether, which is a preferred feature when the camera is mounted on a tripod; however, the Intelligent IS system can automatically detect when the camera is mounted on a tripod and will automatically disengage the IS system, too.

The G16 contains a 1/1.7” high-sensitivity CMOS image sensor with 12.1 effective megapixels. Together with the efficient DIGIC 6 processor, the camera produces beautiful still photos and video in full HD 1080p. In tandem, these features also form the Canon HS SYSTEM, an effective aid for reducing noise and enhancing the overall image quality of low-light photos. Even through the maximum ISO 12800 sensitivity, images are sharp and notably clear. The DIGIC 6 processor also enforces speed. A High Speed AF system quickly and accurately focuses on a subject, making on-the-fly shooting possible. This speed also enables full-resolution shooting at 12.2 fps for the first 6 images, followed by 9.3 fps for the next 500 shots. Full HD video can be recorded at up to 60 fps. Media playback and review is easy on the G16’s large 3.0” 922K-dot LCD screen, and composing shots is comfortable through the optical viewfinder. A Dual Axis Electronic Level can be displayed in either the viewfinder or on the LCD to help orient parallel lines consistently.

This compact has no internal memory, but readily accepts SD, SDHC, and SDXC memory cards. Built-in Wi-Fi allows users to take advantage of the CANON iMAGE GATEWAY and free CameraWindow app to transfer media from camera to mobile devices. While it does contain a pop-up flash, those looking for a little more control and power can attach a separately purchased Canon Speedlite (such as the 270EX II) via the hot-shoe mount. A number of creative shooting modes, such as Fisheye Effect, High Dynamic Range, and Fireworks bring both fun and assistive elements to shooting.
The Canon PowerShot S120 features a built-in 5x optical zoom lens with a 35mm equivalent focal-length range of 24-120mm. This covers all applications from wide-angle through short telephoto. A comfortable maximum aperture of f/1.8 (w) - 5.7 (t) provides effective speed during low-light shooting, as well as a soft, shallow depth of field at the wider end. The added Intelligent IS automatically selects from 6 stabilization modes to ensure that, regardless of the conditions, camera shake will not overwhelm the shot.

The S120 brings several considerable improvements over its predecessor, the S110. A 12.1MP 1/1.7” CMOS sensor and DIGIC 6 image processor lend a more polished quality to both still shots and video in full HD 1080p. DIGIC 6 enables a considerably better burst rate, with continuous shooting possible at 12.1 fps for the first 6 images, and a sustained rate of 9.4 fps for the next 600+ consecutive shots. Video recording in full HD 1080p is possible at 60 fps. An optimized HS SYSTEM, which keeps noise levels low in dimly lit shots, produces beautifully sharp images up through a maximum ISO sensitivity of 12800. The S120’s screen resolution trumps that of the S110, doubling in resolution to a 3.0” 922K-dot touchscreen LCD. Its navigation is intuitive and simple, providing both bright playback and easy live view monitoring. Camera controls can also be finely adjusted via a dedicated control ring on the front of the lens.
Built-in Wi-Fi connectivity allows direct wireless interaction with the CANON iMAGE GATEWAY and CameraWindow app, transferring media to smartphones, tablets, or PCs for instant online sharing. There is no built-in memory, but the S120 accepts standard SD, SDHC, and SDXC cards. It also comes with a catalog of shooting modes, including Snow, Nostalgic, Toy Camera, and more.
The Nikon COOLPIX A, which is available in black or silver, packs many near-DSLR qualities into a compact body. A dedicated wide-angle lens, equivalent to 28mm in 35mm format, captures images comparable to those taken with many interchangeable NIKKOR lenses. Its interior build contains refined optics that promise edge-to-edge sharpness, accurate color detail, and limited aberrations. A wide maximum f/2.8 aperture makes low-light shooting easy and gives users the leeway to play with creative depth of field.

The COOLPIX A has a 16.2MP APS-C DX-Format CMOS sensor that renders large, crystal-clear images, while the lack of a low-pass filter maximizes resolution and sharpness. Its EXPEED 2 image processor enables high-speed performance that reduces the likelihood of noise (with a maximum light sensitivity of ISO 25600) and overheating. Continuous shooting is possible in full resolution at up to 4 fps for a maximum of 26 shots, with video in full HD 1080p possible at 30 fps. In addition to autofocus, this compact also gives you the freedom to focus manually. The focus ring, along with all other buttons, dials, and switches, are designed with intuition and comfort in mind. Its 3.0” 921K-dot TFT LCD screen is easily viewable in any lighting conditions, and features brightness adjustments for an extra touch of personalization. It can also display a level on the screen, via the Virtual Horizon function, to assist capturing still-life, landscape, and architectural photos on a correct axis.
For the perfectionists, the COOLPIX A offers several methods for analyzing, editing, and polishing images. A hot shoe gives you the option of attaching a compatible optical viewfinder (DF-CP1) or Nikon Speedlight flash unit (such as the SB-400). Assistive functions also help ensure that every shot counts. Active D-lighting preserves the highlight and/or shadow detail that can often be lost when photographing high-contrast scenes. Picture Control gives 6 customizable settings to choose from, always employing the right combination of sharpness, hue, contrast, etc. on hand for various shooting scenarios. An in-camera Retouch Menu fine-tunes and manipulates photos before they even reach the computer. There is no built-in Wi-Fi, but a separately purchased, optional WU-1a Wireless Mobile Adapter will connect the camera to a smart device. This enables direct upload to email or social media services, as well as the use of a smartphone or tablet as a remote shutter release. The COOLPIX A accepts SD, SDHC, and SDXC memory cards.

The new Nikon COOLPIX P7800 features a built-in 7.1x optical zoom NIKKOR ED lens that provides a focal-length range of 28-200mm in 35mm format. Two extra-low dispersion elements greatly minimize chromatic aberrations, maintaining an overall clarity for stunning images. Its wide maximum f/2 (w) - 4 (t) aperture benefits working in low-light conditions, and a 7-blade circular diaphragm helps to create background bokeh that is soft, natural, and pleasant. Here, Nikon has incorporated their lens-shift type Vibration Reduction to minimize the effect of camera shake, as well as an internal 3-stop neutral density filter.

The 12.2MP 1/1.7” CMOS sensor and EXPEED C2 processor work together to achieve high-resolution still photos and full HD 1080p video. Maximum ISO is expandable up to 6400 with little instance of noise and grain interference. The processing speed enables continuous shooting in full resolution up to 8 fps for 6 consecutive frames, and video in full HD at both 25 and 30 fps. The P7800 also offers an electronic viewfinder, unlike the previous P7700 model, for more control over composition and framing. Its 3.0” 921K-dot LCD monitor is incredibly flexible for shooting and review, with a vari-angle design that lets it swivel out 180° to the side and tilt 270° forward and backward.
The P7800 has a built-in flash, but also contains a hot-shoe mount for compatible Nikon Speedlights. It includes a large internal memory or 86MB, and will also accept SD, SDHC, and SDCX cards. There is no built-in Wi-Fi, but a separately purchased adapter can provide wireless connectivity if needed. Retouching is possible directly in the camera’s review gallery, along with a number of additional helpful shooting modes such as Food, Sports, Sunset, and more.
One of Fujifilm’s newest releases is the XQ1, which is available in either black or silver. It houses a built-in 4x optical zoom lens, with a 35mm equivalency of 25-100mm and a maximum aperture range of f/1.8-4.9 for all applications, from wide-angle through short telephoto. Aspherical and extra-low dispersion glass elements and a HT-EBC coating are included to help minimize ghosting, flare, and troublesome aberration. The added benefit of a lens-shift type image stabilizer counters up to three stops of camera shake for cleaner, sharper photos.

This compact also comes with a 12MP 2/3” X-Trans CMOS II sensor and EXR Processor II. Together, these technologies enforce quick camera performance and render beautiful high-quality images and video in full HD 1080p. Low-light shooters will also notice a considerable reduction in noise and grain, giving a clearer picture up through its maximum ISO of 12800. Fujifilm’s unique X-Trans sensor uses a randomized pixel array pattern that eliminates the need for an optical low-pass filter, which in turn enables sharper-than-ever photos. An Intelligent Hybrid AF system employs 3 focus modes that utilize both contrast and phase-detection technology for fast, responsive autofocus in as little as .06 seconds. This is an excellent feature for shooting fast-paced action, which can be captured in full-resolution at 12 fps for up to 9 frames. Movie recording in full HD 1080p is supported up to 60 fps with full-time autofocus tracking. The use of both image stabilization and the optical zoom lens are enabled during video capture, giving a more refined sense of control over the final product. Playback and image review is bright and clear on the rear 3.0” 920K-dot LCD screen.
Added key features include 66MB of built-in memory, as well as compatibility with additional standard SD, SDHC, and SDXC memory cards. Built-in Wi-Fi connectivity enables instant image sharing to an Android or iOS mobile device. The Fujifilm Camera App allows users to browse through images on their camera from their smartphone or tablet, and will transfer HD videos as well as 30 photos at a time. In homage to Fujifilm’s iconic history and presence in film-based photography, the XQ1 incorporates several Film Simulation modes that mimic the look and feel of the Fuji classics—Provia, Velvia, and Astia. Additional modes include Panorama, Macro, Multiple Exposure, and a number of whimsical filters such as Toy Camera, Partial Color, Soft Focus, and more.
The Fujifilm X20, in black or silver, comes with a 4x optical zoom Fujinon lens that offers an effective focal-length range of 28-112mm in 35mm equivalency. It integrates a number of advanced optics, including aspherical, extra-low dispersion, and high-refractive elements, to reduce aberration and improve overall image quality. An added 2x digital zoom gives a slight boost in telephoto range for capturing distant subject matter.

The X20 improves upon its previous iteration, the X10, in a number of ways. It includes a 12MP 2/3” CMOS sensor that features X-Trans bespoke pixel array. This renders sharper, more accurate images and video in full HD 1080p. It maintains a clean signal-to-noise ratio up through an increased maximum light sensitivity of ISO 12800, which is a considerable jump from the former maximum of 3200. An EXR Processor II boosts overall performance for faster response times, including a 20% increase in burst rate, of 12 fps for up to 11 consecutive frames. Movie recording in full HD is possible at 60 fps. It’s also seen an overhaul in autofocus technology, including an Intelligent Hybrid AF system that employs both contrast and phase-detection methods for quick, responsive focus in as little as .06 seconds. Like its predecessor, the X20 has a rear 2.8” 460K-dot LCD screen that provides high-definition playback and an advanced optical viewfinder with a -3.5 - +1.5m diopter.
This compact has an internal memory of approximately 26MB, and accepts additional SD, SDHC, and SDXC cards. It offers several shooting modes, such as Portrait, Snow, Macro, and Film Simulation mode, which mimics Fujifilm’s Provia, Astia, and Velvia traditional-film emulsions. An assortment of built-in filters can also be used to add a playful effect. These include Toy Camera, Pop Color, Partial Color, and more. Buyers also have the option to purchase and use a wireless flash via the hot-shoe mount.

Leica is renowned for its stylish elegance, and the Leica C, in stunning Dark Red or Light Gold, is no exception. Despite its compact body, it contains a DC Vario-Summicron 7x optical zoom lens with a 35mm format equivalency of 28-200mm. At the wide end, which is perfect for landscapes or architecture, its maximum aperture is a fast f/2. Its telephoto end, great for tightly framed portraiture and beyond, reaches f/5.9 at its brightest opening. Optical image stabilization ensures that when shooting in low lighting or longer ends of the zoom range, camera shake is not an issue. An additional 4x digital zoom is possible for a little extra reach.

The Leica C has a 12.1MP 1/1.7” MOS sensor that provides crisp photo quality, as well as video in full HD 1080p, with brilliant color and contrast. Its fast autofocus system allows a continuous shooting speed of up to 10 fps, expertly capturing action and any other type of on-the-fly images. A programmable focus ring on the lens allows you to fine-tune adjustments while keeping your eye on the subject matter, which is clearly visible through its 200k-dot electronic viewfinder. This viewfinder, which also has a +/-4 diopter adjustment, is ideal for brightly lit settings and when composing eye-level photography. Image and movie playback is bright and clear on the 3.0” 921K-dot TFT LCD screen.
In addition to its compatibility with SD, SDHC, and SDXC memory cards, the C also has 87MB of built-in memory. It’s also the first Leica camera to feature an integrated Wi-Fi/NFC module for instant connectivity to Android or iOS devices. Paired with the free Leica C Image Shuttle app, a WLAN link can be set up and utilized to remotely control camera settings from a smartphone or tablet.
Olympus’s STYLUS XZ-2 iHS is equipped with a 27-108mm (35mm equivalent) 4x optical zoom lens that rivals the M.ZUIKO DIGITAL line of interchangeable-lens bodies. Its maximum aperture is incredibly wide at both the wide and telephoto end of the zoom range, covering f/1.8-2.5. This greatly enhances low-light shooting with a speed that’s hard to beat and yields stunning background blur in shallow depth of field. A dual IS system combines a high ISO 6400 sensitivity (extendable up to 12800) and sensor-shift stabilization that maintains image clarity in poor lighting and longer focal lengths.

The XZ-2 trumps the XZ-1 with a number of advancements, including an overall jump in image quality. It contains a 12MP 1/1.7” CMOS sensor with back side illumination, and a TruePic VI processor. Processing speed allows continuous photography at up to 5 fps for 200 consecutive frames, and video in full HD 1080p. The XZ-2’s 3.0” 920K-dot touchscreen LCD sees a notable 50% increase in resolution from the XZ-1, and includes a swiveling mechanism to physically flip out and away from the camera. This helps capture imagery from nearly any angle, and improves viewing comfort in nearly any scenario. Touch capacity gives an intuitive flow to selecting camera controls, while a hybrid control ring around the lens lets users assign function settings easily to their preferences.
The XZ-2 has 39MB of internal memory storage, and accepts SD, SDHC, and SDXC cards. While there is no built-in Wi-Fi, it does also accept Eye-Fi and Flash Air media cards for instant sharing to a smart device. In addition, it can be synched with a PENPAL Bluetooth unit. Several assistive functions ensure the perfect shot every time, and include in-camera editing, shooting modes (Sport, Beach & Snow, HDR, etc.), and an easy-to-use Live Guide. Live Guide shows the result of a photographic effect right on the LCD screen before the image is even captured. It also offers a catalog of tips and tricks for how to effectively shoot pets, flowers, kids, and more. There is a pop-up flash unit, but a hot shoe is provided as well as wireless control for optional external flashes.
The sleek Ricoh GR has a fixed 18.3mm f/2.8 lens, which is equivalent to 28mm in 35mm format. This wide-angle-lens-packing body contains 2 aspherical elements to minimize chromatic aberration, providing sharpness throughout the image frame with little distortion. Photographers will have the capacity to truly play with depth of field creatively at a shallow f/2.8, and a 9-bladed aperture renders gorgeous background bokeh. In addition to still photos, the GR also shoots video in full HD 1080p.

It contains an impressive 16.2MP APS-C CMOS image sensor that enables sharp, high-resolution image quality up through its broad 100-25600 ISO range. This sensor is designed without an optical low-pass filter, to yield truly sharp details. Its advanced GR Engine V processor further minimizes noise and enables fast response times including up to 4 fps of continuous shooting. During video capture, multiple resolutions and frames per second are enabled (including 60 fps in 720HD). Autofocusing is fast at a mere 0.2 seconds, and a designated AF button is easily accessible with the thumb on the back panel. Image and movie review on the 3.0” 1230K-dot LCD screen is bright, clear, and sharp. When composing a shot, a dual-axis electronic level can appear on the LCD screen for accurate alignment of horizontal or vertical framing.

The GR contains 54MB of built-in memory, and can use additional SD, SDHC, and SDXC memory cards. While it has no built-in Wi-Fi, it is compatible with Eye-Fi memory cards. These will enable automatic transmission of data to smartphones and tablets. It does contain a built-in pop-up flash, but also provides a TTL-A hot-shoe mount for a separate Ricoh GF-1 External Flash. Apart from a flash, optional optical viewfinders can be purchased separately and attached to the hot-shoe mount. Creative minds will enjoy a number of special image effects (such as Bleach-Bypass, Cross-Process, Miniature, and more) as well as shooting modes, including Macro, Face Detection, and 35mm Crop. The GR also incorporates a built-in, 2-stop neutral density filter that can be controlled manually or automatically.
Sony’s new dust- and moisture-resistant Cyber-shot RX10 brings durable, high-quality imaging to the compact-camera realm. Its built-in Carl Zeiss Vario-Sonnar T* lens has an 8.3x optical zoom that equates to a 35mm equivalent focal-length range of 24-200mm. This range covers wide angle through telephoto, truly opening up the possibilities for any shooting situation. Its maximum aperture is a constant f/2.8, making low-light scenarios easier to tackle. Optical design includes 7 aspherical elements and anti-reflective coatings to reduce aberrations, flare, and ghosting in both still photos and video in full HD 1080i/p. Image Stabilization minimizes the effects of both horizontal and vertical movements, and an Active 3-Way stabilizing system offsets both clockwise and counter-clockwise movements during video recording.

The RX10 houses a large 20.2MP 1” Exmor R CMOS sensor with back side illuminated technology. This enables low-light shooting up to ISO 12800 without being inundated by grain or noise interference. It also contains a brand-new BIONZ X processor that boosts not only image quality, but performance. Continuous shooting is possible at up to 10 fps, with video supported in both 60i/p and 24p frame rates. The RX10 contains a Direct Drive Super Sonic Wave Motor that smoothly, silently, and quickly homes in on a precise focal point. In addition, a lock-on focus mode tracks moving targets, while an Eye AF function precisely targets a subject’s eyes. The XGA OLED electronic viewfinder ensures that users can always see clearly and brightly when composing a shot, regardless of conditions. The control ring on the lens is ideal for those who want to keep their eye to the viewfinder while changing camera settings. The rear LCD, which is a large 3.0” 1228K-dot screen, features a tilting mechanism that enables the monitor to physically move up or down. With this feature on hand, shooting from high or low angles becomes much easier, as does reviewing playback in any conditions.
Additional technologies include Detail Reproduction, which minimizes digital artifacts when pictures are reproduced, and Diffraction Reduction, which maintains clarity by applying aperture-appropriate filter processing. Multiple shooting modes, which range from productive to purely for fun, include settings such as Anti-Motion Blur, Night Scene, Toy Camera, and Retro. The RX10 also includes built-in Wi-Fi and DFC for instant wireless communication with mobile devices via Sony’s PlayMemories app. While it has no built-in memory, it is compatible with a broad range of storage media; SD, SDHC, SDXC, microSD, microSDHC, microSDXC, and Sony Memory Sticks. A multi-interface hot-shoe mount will connect flashes, microphones, lights, and other accessories.
The compact Sony Cyber-shot DSC-RX100 II features a built-in Carl Zeiss Vario-Sonnar T* 3.6x optical zoom lens ranging from 28-100mm in 35mm format equivalency. An additional 2x Clear Image digital zoom can be used to intelligently magnify scenery even further for a little extra reach. At the wide end, its bright maximum f/1.8 aperture enables incredible low-light photography. At the longer end of the zoom range, maximum aperture is f/4.9. Anti-reflective coatings on the glass minimize ghosting and flare.

Its large 20.2MP 1” Exmor R CMOS sensor features back side illuminated technology, and a BIONZ image processor enables excellent speed and performance. Precise high-speed autofocus works as fast as 0.13 seconds, and continuous shooting is possible, up to 10 fps. When shooting video, multiple frame rates are supported, including 60p, 60i, and 24p. With the benefit of Optical SteadyShot IS, compensation is offered for both vertical and horizontal camera shake. Even through the maximum light sensitivity of ISO 12800, image quality is clear and detailed. Active 3-Way stabilization adds rolling control to balance clockwise and counter-clockwise movement during movie-making. The RX100 II has a large 3.0” 1229K-dot Xtra Fine LCD monitor that tilts, unlike the monitor on the previous RX100 model. This screen can be shifted up or down to promote easier use in playback review or at odd, uncomfortable shooting angles. WhiteMagic technology enhances brightness and clarity.
The RX100 II features several assistive functions for practical and creative use. Auto Object Framing will automatically analyze scenery and decide the best possible composition, and Auto HDR records several bracketed photos at once to be blended into one high-dynamic range shot. Face Detection will identify up to 8 faces in a shot and determine the correct camera settings for the photo. Additionally, aspect ratios, creative filters, and picture effects can be applied for a dynamic final image. This compact includes built-in Wi-Fi for instant connectivity and sharing, and accepts SD, SDHC, and SDXC memory cards along with Sony Memory Stick Pro Duo and Pro HG-Duo. A multi-interface shoe on top of the camera will accept separately purchased flashes, microphones, and other accessories.

Hands-On Review: the Nikon D5300

http://www.bhphotovideo.com/indepth/photography/hands-reviews/hands-review-nikon-d5300?cm_mmc=EML-_-Holiday-Thurs-_-131121-_-Body_Indepth_Hands-on-Review-Nikon-D5300
By Eric Reichbaum

Published: Wednesday, November 20, 2013 - 6:31pm

I shoot primarily with a D7000, which isn’t a huge camera, but the Nikon D5300 seems significantly smaller; it's a comfortable camera that felt great in my hands. When you’re accustomed to handling a camera body daily, size differences are readily apparent—in fact, the first thing you notice about the D5300 is its size. It’s smaller and lighter than its predecessor, the D5200, and while it's reminiscent of the D40, my first DSLR, all I can say is, "Wow, how things have changed since then." Nikon has packed the D5300 with features that make it shoot like a much bigger camera. And—it has the same sturdy ergonomic grip as the heavier pro-level bodies, but it is so lightweight that it’s a joy to carry around.

The response to our recent announcement was overwhelming, so I decided to take the camera out for a hands-on review, and what I found was pleasantly surprising. As soon as you turn on the camera you won’t want to put it down. The LCD almost had me forgoing the optical viewfinder, which is normally my preferred method of composing. Measuring a respectable 3.2" with 1037k dots, it swivels, is very bright, and extremely intuitive. Using the menu to make adjustments is exceptionally user friendly, and if this is your first DSLR, the LCD on the D5300 may help you transition from your point-and-shoot to a camera that gives you more control over settings.
A simple press of the Info button and all of the necessary camera controls pop up on the LCD. With the easy-to-use multi-selector button, you can quickly navigate between ISO, white balance, autofocus, metering, and many other settings. The menu also has numerous features that simplify making camera adjustments. For example, when choosing the ISO, there are small images to illustrate examples of scenes for which each ISO speed is ideal: bright sunlight for the lower speeds and dark night scenes for the higher ones. This can really help you make informed decisions when choosing your settings in order to get the best shots.

Grand Central Clock

The 24.2MP sensor and EXPEED 4 image processor produce stunning images with incredible color rendering in both RAW and JPEG formats. The sensor is a DX-format APS-C CMOS sensor with a 1.5x crop factor. This means that a 50mm lens has the focal length equivalent angle of view of a 75mm lens in the 35mm format—a very serviceable focal length for portraiture. I felt completely confident shooting at ISO speeds up to 6400 without worrying about any noise issues. The expandable ISO range stretches all the way to 25600, a remarkably high ISO that will let you shoot in extremely dim environments. The focusing was blistering fast with my 50mm f/1.8 lens, thanks to the 39-point Multi-CAM 4800DX autofocus system, and shooting at 5 frames per second is plenty fast for almost all shooting situations.
If you are a “pixel-peeper” like me, and want the sharpest photos possible, this camera might be just what you’ve been looking for. One of the most anticipated features of the D5300 isn’t something added to the camera, but something that has been omitted: the optical low-pass filter. By removing this filter, the camera’s sensor is able to maximize the high resolution and high pixel count, allowing lenses to render sharper images.

Coin Operated Binoculars on the Empire State Building

Have you ever wished that you could upload your photos right from your camera to your smartphone or tablet? Well, the D5300 makes this possible. Two great features included on this camera that were unavailable on the D5300’s predecessors are Wi-Fi connectivity and GPS location tagging. Both features are built in, and allow you to share your images directly via social media, or store them in the cloud while simultaneously geo-tagging them. The fact that my images are backed up in the cloud gives me peace of mind, knowing that they are safe, even if I lose or damage my memory cards on the way home from a shoot.
If you shoot indoors or in other low-light environments, the built-in pop-up flash on top of the camera is a feature that you will definitely appreciate. It utilizes Nikon’s i-TTL flash metering system, which means that the camera reads the scene in front of the lens and adjusts the flash’s power accordingly. There is also a hot shoe right behind the pop-up flash so that you can attach a speed light for even more power and control over your lighting. Adding a speed light to the hot shoe also allows you to use it as a commander to control off-camera flashes, something the pop-up flash doesn’t do.

Grand Central Terminal

As if all of the features I’ve mentioned weren’t impressive enough, the D5300 has full HD 1080p video with full-time autofocus. Having the ability to not only shoot great images but also incredibly detailed high-definition video is a huge plus, and this camera does both very well. It focused extremely fast while I was shooting video—so fast in fact, that I continued to change my focal point just to make sure I wasn’t seeing things.
I love shooting videos at concerts, and the vari-angle LCD is indispensible when trying to shoot over people’s heads while still being able to see what it is I’m filming. It is also great for holding the camera down by the ground for low-angle shots, such as action shots of skateboarders. The screen rotates, allowing you to make sure that you’re in focus and in frame when taking self-portraits ("selfies") with an extended arm. An added bonus to having the swiveling screen is that it can flip over and be hidden from view, which will protect it from harm when it is not in use.

Stained Glass

For instant shooting during different situations, you can choose between16 different scene modes, such as the standard Portrait, Landscape, Child, Sports, and Close-up, as well as scenes such as Sunset, Candlelight, and Food. This takes a lot of the guesswork out of shooting, and the extensive array of built-in features will help you get the most out of your shooting experience. Choosing from these preset scenes will help the novice achieve better results, while more advanced shooters can move right on to shooting in aperture or shutter priority, and full manual modes.
If you’re a fan of Instagram and other smartphone photo apps that add filters to images, you will love the 9 special effects that you can choose from for in-camera editing, such as Toy-Camera, Selective Color, and HDR Painting. This is a great option if you’d like to apply filters to your photos, but aren’t sure about using post-processing software, or if you just want to save time.

Empire State Building

After a few days of shooting with the D5300, I can honestly say it was a breeze to use. The combination of a small, lightweight body with the form and function of a large DSLR was the perfect blend of form and function. It was so light to carry around that I never once thought about putting it back into my bag. I highly recommend it for anyone looking for either an upgrade from an older DSLR, or someone making their first foray into the DSLR market.

Cinema Zoom Lenses

http://www.bhphotovideo.com/indepth/video/hands-reviews/cinema-zoom-lenses?cm_mmc=EML-_-Holiday-Thurs-_-131121-_-Body_Indepth_Cinema-Zoom-Lenses

By Steven Gladstone

Published: Wednesday, November 20, 2013 - 11:16am

People have been shooting HD video with DSLR cameras packing still lenses for years—mostly with fixed focal length lenses, which are often referred to as "prime" lenses in the film industry. In general, zoom lenses made for still photos are a poor fit for cinema production. You can use them, as many low-budget indie productions do, but they lack many of the necessary features that are required for capturing high-quality cinema images.

These circumstances have sparked a fair amount of growth in prime lens design and production for the cinema market, driven by the popularity of HDSLRs and mirrorless cameras used for HD acquisition. Add to this the development of cameras such as the Blackmagic Cinema and Pocket cameras, the Canon C100, C300, C500, and digital cameras from RED and Arri, and you can see why there is a growing market for high-quality cinema style lenses—especially zooms.
Zoom lenses are far more complex to design and build than prime lenses, and until the digital cinema camera boom really began to reverberate in the production market, around 2010, there were basically two manufacturers of zoom lenses for film production: Angenieux and Cooke. This is because as far as 35mm film cameras go, there was never a large market, and it became saturated long before the HDSLRs showed up. This resulted in a few extremely expensive options for cinema-style zoom lenses. Looking to the broadcast video market, there are many good quality zoom lenses available; unfortunately, these lenses were all designed for a smaller imager, and work with a prism that splits the image for three sensors used in video production. Because of this, these lenses are unusable with a single-sensor camera (film or digital) without using a costly adapter.
Now, however, with many more available single-sensor digital cameras being used to shoot HD video (and beyond), Zeiss, Fujinon, and Canon are producing cinema-style zoom lenses to supply the growing market, giving the creative user far more options than before.

Still versus Cinema: The Basics

Still photo lenses designed to cover a full-frame sensor are often smaller, lighter, and much less expensive than a cinema-style lens, which is designed to cover a sensor half the size. However, while cinema-style zooms and still-photo zooms essentially perform the same functions, it really is more about how each lens is doing its job, and under what conditions it has to do the job. Still-photo lenses are designed for taking a single photo at a time, framing, focusing, and refocusing for every shot, if necessary. Most still-photo zoom lenses aren’t really zoom lenses at all, they are more correctly called varifocal lenses. You aren’t really zooming while shooting stills so much as changing focal lengths by using one lens instead of carrying around several lenses and having to physically change from one lens to another.
However, when you shoot for movies/video you are shooting a series of images that must run uninterrupted, or the illusion of motion is going to be broken. There are four major functions at which a zoom lens can fail, which can affect the image and your video most. These are: focus shift, focus breathing, aperture ramping, and zoom tracking. Cinema-style zoom lenses are built to overcome these issues, which accounts for their increased size, weight, and cost.

Focus Shift: Varifocal versus Parfocal

A cinema-style zoom lens has to hold focus throughout the entire focal-length range. This requires that the   lens be parfocal, as opposed to varifocal lenses, which don’t hold their focus throughout the focal length range, requiring you to refocus when you change focal lengths. However, it is a necessity when shooting any kind of moving images that use a zoom. You can’t stop an actor in mid-word, re-adjust the focus because you are doing a zoom-in, and then continue shooting. If the focus changes noticeably within a shot it becomes distracting to the audience and adversely affects the impact of your piece. Constructing a parfocal lens requires much more optical compensation and complex mechanisms in the lens than are required to make a varifocal lens.

Focus Breathing

Focus breathing is an optical effect that occurs as you rack (adjust) focus in and out from one subject to another. As you adjust focus, the image size changes slightly and the resulting image begins to look like it is breathing. All lenses exhibit focus breathing, it is just a matter of how much. This is often more visible in zoom lenses than in primes, and can be very distracting to an audience. The less breathing a lens exhibits, the better.

(Click image to see focus breathing in action)

Aperture Ramping

One thing to be aware of is that a certain amount of light is lost as it passes through the lens, more so with zoom lenses than with prime lenses. With zoom lenses, the light loss can become much greater at the long end of the focal-length range. This effect is undesirable, and is often found on consumer-quality video lenses and varifocal still lenses. To avoid this problem and have the aperture remain constant throughout the focal-length range, you either end up with a small lens with a slow minimum aperture, or a large, heavy lens that will maintain a consistent aperture throughout zoom range.

(Click image to see aperture ramping in action)

Zoom Tracking

It is very important that your zoom lens tracks straight, and what this means is that if you zoom in and center your frame on a target, when you zoom out the center of the target stays consistent and doesn’t drift.  It is difficult enough to pull off effective zooms on a static subject without having to constantly adjust for the lens not tracking correctly.

(Click image to see a sample of poor zoom tracking)

Zeiss Compact Zooms

Zeiss has released a 28-80mm T2.9, a 70-200mm T2.9 and announced a 15-30mm zoom. Overall, the features of these zooms are exciting. The lenses cover a full-frame 35mm sensor, allowing you to use them on cameras with any of the popular sensor sizes from full frame, APS-H, Super 35, Academy 35, APS-C, and MFT. The lenses are also true zoom (parfocal) lenses, holding focus throughout the entire zoom range. These lenses, as with the Zeiss Compact Primes.2, offer the choice of five interchangeable lens mounts: PL, Canon EF, Nikon F, Sony E, and MFT. This makes it simple to forego adapters if you want to mount the lens on cameras with different mounts, and because you are swapping out the mount, you don’t have to worry about slop and play that may be introduced by the adapter. You can swap mounts, and ensure that your flange focal distance stays rock solid, and your zoom lens will deliver in focus images.

The Zeiss Compact Zooms are 4K ready, meaning they resolve enough detail to provide a sharp image when used on a 4K sensor. These lenses have also been designed and built to match the color of the Zeiss CP.2 prime lenses. This provides for a consistent look in your image when intercutting between the CP.2 primes and the Compact Zoom lenses, providing that distinctive Zeiss look, with all your lenses. The two currently available zooms feature a consistent maximum T-stop of 2.9 across the entire zoom range, and an iris design that produces rounded, out-of-focus highlights, which are very popular in photography. The focus and zoom barrels feature built-in gear rings so they are ready to interface with a zoom motor and follow focus without any modification. The focus barrel has nearly 300 degrees of rotation, providing for precise and repeatable focus pulls.

Fujinon Cabrio Zooms

Fujinon presents a 19-90mm T 2.9, an 85-300mm T 2.9-4.0, and announced a 14-28mm PL-mounted zoom lens. The lenses feature a 31.5mm image circle for use with many single-sensor digital cameras. Reflecting its heritage as an ENG lens maker, Fujinon also brings a removable ENG-style handgrip with built-in zoom control to the lens. This is an uncommon feature to find on a cinema-style zoom lens, as most cinema-style zoom lenses use a separate zoom motor and control unit. This will make for a comfortable transition for ENG camera operators who are now working with digital cinema cameras, and may also find favor among documentary camera operators. It is a nice feature, and the fact that it is removable, leaving you with a standard functioning cinema zoom lens, certainly makes this lens a very flexible choice.

The 19-90mm and 85-300mm lenses feature a 2.8’ and 3.9’ minimum focusing distance, respectively, a macro function, and they maintain a consistent maximum T-stop of 2.9. The lenses incorporate a 9-blade iris that provides for round, out-of-focus highlights. Borrowing again from its ENG roots, Fujinon incorporates a built-in back focus adjustment, which means that you can adjust the lens to the camera in the field, without un-mounting the lens and collimating it on a bench. The PL mount also includes both the LDS and iTechnology electronic data system that allows the camera to record lens data such as iris information, focus, and focal-length information. The lenses feature 200 degrees of focus barrel rotation, which provides ample room for your focus puller to work.

Canon Zooms

Canon has released four cinema-style zoom lenses that are capable of 4K images, and cover Super35-sized sensors. The Canon lenses are separated into two groups: the zoom series, which includes a 14.5-60mm T 2.6 and 30-300mm T 2.95-3.7, and the compact zoom series, which includes a 15.5 to 47mm T 2.8, and a 30-105mm T 2.8 zoom lens. The lenses all feature common gear positions and rotation angles for zoom, focus and iris—this design makes for quick lens changes between the Canon cinema zooms. The lenses are available in either EF or PL mount, and while you can have the mounts swapped out, Canon recommends this be done at the Canon factory. As with most of its lenses, Canon uses Flourite glass and aspheric elements in their lenses, and this is consistent with the construction of Canon’s cinema prime lenses, for easy matching with footage shot on the Canon cinema primes.

The 15.5-47mm and 30-105mm both feature a consistent maximum aperture of T 2.8. The 14.5-60mm features a maximum aperture of T 2.6, while the 30-300mm features a maximum aperture of T 2.95 from 30 to 240mm, and T 3.7 at 300mm. The 11-bladed circular iris provides round, out-of-focus highlights, popular with users of modern lenses. The focus barrel features 300 degrees of rotation, allowing for a large focus scale for precise focus pulls.

Wrapping it Up

Looking at these new cinema-style zooms, you can see where each manufacturer has chosen to emphasize what they feel is most important. They are all parfocal, and share a circular iris opening that creates more natural, rounded highlights, as opposed to the octagonal or even triangular highlights used in lenses of the past. They all feature large focus barrels, with significant amounts of rotation, providing for precise focus adjustments. Each manufacturer plays to its strengths: Fujinon brings an ENG-style zoom control to a cine zoom lens, and adjustable back focus adjustment. Canon stays true to its long history of producing high-quality lenses using fluorite glass, and continues its design philosophy of sharing the same gear positions and lens dimensions. Zeiss brings full-frame coverage, five interchangeable lens mounts, and the same Zeiss look as its primes. These lenses provide professionals with a wide choice of look, feel, and function—choices that just a few years ago were unavailable. This lets you to choose one system to build and develop your own look with, or the option to choose a different look for every project.

Sit. Roll Over. Now Smile: Holiday Pet Portraits and Beyond

http://www.bhphotovideo.com/indepth/photography/tips-solutions/sit-roll-over-now-smile-holiday-pet-portraits-and-beyond?cm_mmc=EML-_-Holiday-Thurs-_-131121-_-Body_Indepth_Holiday-Pet-Portraits

By John R. Harris

Published: Wednesday, November 20, 2013 - 10:59am

Every pet owner would love to take a photograph that shows off the truly wonderful characteristics of their furry family member, to capture the moment that best exhibits the playful, lovable, or simply beautiful nature of the beast who means so much to them. Needless to say, getting that shot is not so easy. Animals rarely tilt their heads a bit to the right on your command, and like the most temperamental of supermodels, they may just walk right off the set without so much as a moment’s notice.

I would think that, unless you’re William Wegman or have an animal trained for just such a photographic exercise (they do exist), the best way to get a great shot of your beastie is on their terms. Try to get them to do what they do best, just being themselves. Be ready and catch that moment. This will serve two important purposes. You’ll probably get the shot of them doing what you love about them most and you won’t drive yourself batty in the pursuit of that perfectly posed moment. Of course, there are many gorgeous photos of pets that are organized, posed, and impeccably lit, and we will talk about those shots too, but for starters, let’s address the whens and hows of capturing the unscripted awesomeness of your animal while also touching upon gear ideas that will help to make these photos better and easier.
The first rule to getting a good photo of your pet is to always have your camera handy, charged up, and ready. Seems obvious, but there’s no other way. When people tell me (and they often do), “You know, your camera is on,” I usually respond, “How else am I going to take a picture?” The point is, if your camera is in the closet, out of batteries, or the memory card is full, you’re not going to get the shot of Mittens stretching gracefully in the sun and you’re certainly not going to get her to “do it again, exactly the same way.” Simply being prepared for that spontaneous moment is probably the most important thing you can do to get a nice pet photo. And with the holidays coming up and a family-themed holiday card in the works, start now by breaking the camera out of its case and keeping it handy.

A second rule of thumb would be to photograph what it is that makes your canine, feline, or equine friend unique. Is it their beautiful eyes, the funny way they lift their ears, how high they jump? If this is not so obvious, think about what it is that makes them so special to you. What is it you love most about Fido, Fluffy, or Flicka? Go for that.
In terms of actually planning out a shot without getting too formal, the best thing to do is to go to where your critter is most comfortable, possibly their resting spot, favorite window, or place they play most frequently, even if it’s under a bed. Let them be themselves, play with their toys, get familiar with the camera, even sniff it and nuzzle it. With a wide-angle lens this, in itself, could make for a nice shot of your dog coming close to sniff the lens, but in general the idea is to have a calm time to shoot, in which you can be patient and your pet will be comfortable. Don’t try to get the shot in one take—shoot as many as you need to get the one you want. Indeed, many great portraits were taken while the animal was asleep. Curled in funny positions or with odd expressions, a sleeping pet is a happy one, and this could be a characteristic shot. Don’t forget that the way a cat or dog yawns and stretches is also a nice moment.

However, in the instances when your mascot is awake and in a familiar spot, introduce a favorite toy or treat or even some catnip to get them frisky and to keep them from simply walking over to the food bowl. Another advantage of going to your pet at its favorite spot is that you will usually be down, on or near the ground, at their eye level and able to focus directly on their eyes. As when you're photographing people, focusing on the eyes is of utmost importance to show off character as well as to simply having a technically well-shot image. A favorite image of mine is of my sister’s dog chewing on a shoe. I took the shot with the camera resting on the floor and the dog just happened to give me the most satisfied look of guilty pleasure. Other nice tricks would be to set your animal on a large mirror to work with the reflection or even on top of a glass table and shoot from underneath. Also, and especially with cats, a shot peering out from under a bed or from inside a cardboard box are usually winners.
Another point to remember, of course, is lighting. If your dog likes to sleep in the basement, you may be out of luck, but I would suggest finding a spot that offers sufficient natural sunlight, perhaps a bit diffused on a cloudy day. Light coming in from a window is fine unless it is too strong and creates bright spots with strong shadows. Introducing a flash into the equation is fine and can help to freeze movement for sharpness, but be sure not to fire directly into their little faces, as it will mostly likely overexpose the image or create red-eye (or the equivalent green-eye or gold-eye in animals).
Also, animal fur is notoriously hard to expose for, and flash lighting (or any strong light) may make the sheen of black fur appear gray or white. Bounce the flash upward off a low ceiling for a simple solution, and if using a camera with only a built-in flash, it may be best to avoid it altogether and find natural or a constant light source with which the animal is familiar. With light coming in from a window, you can work with the shadow it creates to emphasize one side of their face, or use a piece of white board or an inexpensive collapsible reflector to bounce the light for a more balanced image. As with everything else, it helps to experiment and be creative. Think about lighting (even with a regular desk lamp) from behind to create a silhouette or to emphasize the animal’s hair or whiskers. One thought, especially around the holidays, is to have your pet sit on or near a string of holiday lights, which will create a dappled effect, make reflections in its eyes and create nice out-of-focus points of light in the background.

If possible, when attempting this type of organized, if not fully posed shot, it is ideal to have someone there to help. On film and high-end photo shoots, there is always at least one animal “wrangler” (or several), whose sole job is to have the animal talent cared for and ready for their take. It is a difficult, often pressured-filled and thankless job, but utterly essential if you want to have critters in your movie. In the case of a more simple shot, it will help immensely to have someone else distract and pose your pet while you manage the camera. It’s hard, but not impossible, to do both at the same time.
One thought, if you are shooting solo, is to support the camera on a tripod and use a remote control to release the shutter. Tripods vary greatly in price, but numerous affordable tripod models with integrated heads are available. The disadvantage of tripods, of course, is they lack quick mobility, so if you have an animal that is prone to wander, a tripod might mean more frustration than benefit. Remote controls also come in a wide range of types and prices and since more and more cameras feature built-in Wi-Fi connectivity, it is increasingly easy to use your smartphone as a remote control for your camera.
Realistically, you can use any type of camera when shooting these casual shots, but I would recommend a camera in which you can control the shutter speed, because a slow shutter speed will be sure to cause blur with even the slightest movement by your subject—or you. Fortunately, almost all cameras today—other than the most inexpensive point-and-shoots—offer some degree of manual control to set shutter speed and aperture. A camera that provides RAW file capture is also a good idea if you need to adjust color and exposure after you have transferred your images to a computer. Again, it’s not necessary, but it does provide you with more options.
A wide-angle zoom lens may be the most obvious choice for a pet portrait, as you will need to be in close, and will want to be able to include head and body. The advantage of a zoom in this setting is that you will be able to quickly change focal lengths if your Rover decides to walk toward you or away. Of course, lens choice is a subjective decision and if you prefer to focus just on his face, a standard or portrait-length lens is fine. Long telephoto lenses can be tricky because you need to put distance between yourself and your furry friend, which would make it more difficult to control their action. However, a great deal can be said for just laying on the grass with a 200mm lens and letting your dog play while you shoot away.

A telephoto lens will compress space and has the advantage of shallow depth of field in which tight focus on a face will create a nicely out-of-focus background. Remember also that, when using wide-angle lenses, they tend to distort the subject, for example, making the snout seem longer than it really is. This may be something you want to experiment with and possibly emphasize for humor. Also, in general, prime (single focal length) lenses tend to be sharper than zoom lenses, so if you really want to have the highest image quality, you might consider a straight 35mm or 50mm lens. Other possibilities include macro lenses if you want to go for close-up details of eyes or whiskers or even a selective-focus lens, which I think is ideal for shooting pets. Selective-focus lenses, such as those made by Lensbaby, can place focus on your subject and nicely blur the rest of the frame. This adds an element of creativity to your shot while also placing emphasis on what you want to show off, namely, your pet’s face.
If speed and playfulness are among your animal’s best qualities, perhaps you want to move outside for a portrait. Lighting outside will almost certainly be taken care of by the sun and this, of course, is something to think on a bit. Do you want to use direct sunlight and shadow for effect or do you prefer the overall diffused light of a cloudy day? Always remember too, that the first hour after sunrise and the hour before sunset are considered the "golden" or "magic" hours, because the light is warm and low on the horizon and the shadows are not harsh. It is an ideal time to get that shot of your dog catching a Frisbee, or your cat just soaking up the new day's warmth.
A great advantage of shooting outside is that you’re presented with an infinite number of location possibilities to bring out the best in your furry or feathered friend. Dog runs are great places to shoot, as your dog is usually happy and playful. However, if you love to bring your dog boating, photograph him on the bow of your schooner, or if skiing, in the snow. Don’t forget the ol’ standby of head hanging out of car window. Cats put themselves in all kinds of crazy places; get a shot of her in a tree or, if you’re into classic motivational posters, hanging from a branch—the point being, use locations that are meaningful and the photos will have more impact and longevity.

Regardless of what time of day you shoot, if you want to catch your pet playing or running, you will need to use fast shutter speeds of about 1/125-second or faster to freeze the action. A simple way to get a nice shot is to have your dog sprint back to you while you shoot straight at it from a dog’s-eye view. As mentioned, set the shutter speed high and shoot at the maximum continuous shooting speed and just keep firing until he returns. Repeat fetch if needed.
Or try the opposite approach and emphasize your pet’s speed by having it caught running through a background blur. This can be accomplished having your animal run across the frame and panning with (tracking) it until it is center frame and you are shooting at it perpendicularly. Shutter speed will depend on the lighting, focal length, and the speed of your animal, but set it somewhere between 1/40 and 1/125 so that you can freeze your subject and still blur the background and remember to start panning before you shoot and continue panning after, like a good follow-through of your tennis or golf swing. It will take more than one try but a shot of your dog or horse or even bunny suspended in stride with a blurred background is wonderful to behold.

A nice trick to try outside is to get your dog (or cat if you’re both adventurous) wet and shoot it as it shakes off the water. Because you will want to freeze the action of the water flying and the head rotating, fast shutter speeds and a fill flash is almost essential. Of course, if you have the space and synced lighting, you can try this indoors as well. If the shaking off water attempts don’t succeed, you can also try getting a humorous portrait of a wet animal looking none too pleased at your creative attempts.
Shooting more formally posed photographs is a whole other playground where creativity can be expressed with lighting, backgrounds, and even costumes. This being a holiday-themed article, it’s obvious to suggest dressing up your beagle with reindeer antlers, a festive vest or a bow, but of course this opens the door to endless costuming possibilities that match your pet’s—and more so, your—personality.
With a posed photo, the important technical factors are lighting and background. A lighting setup is often determined by budget, and as we are really speaking to you non-pros, a simple strobe kit with soft boxes is enough to achieve a crisp, shadow-free shot that stops movement, captures facial expressions, and feels three-dimensional. The idea behind a typical lighting setup is to get the flash off your camera and illuminate the subject evenly so that you don’t really sense the strong head-on blast of an on-camera flash, even though the light is clearly performing its function. A decision between a strobe flash kit and a constant light source should take into consideration several factors including the heat generated by constant lighting, and the light burst of a flash. If either of these is a major problem for your pal, then you should purchase accordingly, but in general, I would recommend strobes, which are cooler, safer, more flexible in terms of light output, and most importantly when shooting animals, provide fast shutter-speed syncing that freezes movement.

For a basic arrangement, place your two light sources at 45-degree angles to the front of your subject, with a neutral-colored infinity background and a stool or other platform placed several feet in front of the background. Your camera can be handheld, on a tripod, or on a monopod to balance stability and mobility, and placed another five to fifteen feet away. The strobes will be synced to your camera either wirelessly or via a cable. In these instances, assuming Patches will remain sitting, you should experiment with facial expressions, knowing that a fast shutter speed synced with your lights will clearly capture whatever face your four-legged friend puts on. Head tilts, licking tongues, moving ears, blinks, and yawns all make for fun photos. If you want your pet to stare straight at the camera, try getting their attention with a squeaky toy or other distraction. The key here, as before, is to be patient and experiment as much as your animal will allow. If you decide that you want to step up to the next level in terms of creative lighting, throw another light onto the backdrop or even a direct hair light from above.
Finally, including yourself or a family member in a portrait with your pet is a great idea, especially when creating holiday cards. Most pets are certainly cute in their own right, but it’s the interaction between you and your beloved beast that is most important to you and can really demonstrate the bond you share. If shooting a family member with your animal in a posed setting, the above lighting and background ideas still apply. Again, also consider going to the location most loved by you and your pet or simply getting down on the floor and playing. If you will be shooting yourself with your four-legged friend, needless to say, a tripod and remote are almost obligatory; however, you can always set the 10-second timer on your camera, grab your Santa hat and jump into the frame. No matter how you decide to photograph your pet, the simple rules of thumb are get close, get creative, and have fun.

Cameras of the Year

http://www.bhphotovideo.com/indepth/photography/hands-reviews/cameras-year?cm_mmc=EML-_-Holiday-Thurs-_-131121-_-Body_Indepth_Cameras-of-the-Year
By Shawn C. Steiner

Published: Wednesday, November 20, 2013 - 6:28pm

Every year a series of "revolutionary" and "game-changing" cameras are released into the market. They included amazing high-resolution sensors, new professional-grade cameras, and slim new mirrorless designs in 2012. So what could possibly change in just one year?
A lot.

Hover over and click on the cameras below for more information:

To start, we saw a variety of new tech from Canon. They released the smallest DSLR to date with the SL1, which weighs only 13 ounces. It even has all the features you have come to expect from a Canon DSLR camera, including full HD video. It brings with it a Video Snapshot feature for automatically combining short clips into one longer video file.
But, the dual-pixel autofocus technology in their 70D was the biggest splash they made this year. The newly developed 20.2-megapixel sensor utilizes two photodiodes within each pixel for faster and more accurate contrast-detect focusing times. Or, for those not up to date on CMOS sensor terminology, it means faster and more accurate focusing in Live View and video modes.
Another more recent addition to Canon’s DSLRs can be seen in the 70D's Wi-Fi capabilities. This is showing up more and more on cameras as a built-in feature to allow for wireless control via smartphones and simple transmission of images across devices.
Other DSLR sensor development came with the Pentax K-3’s ability to turn on and off the anti-aliasing filter. They managed this by using micro vibrations of the sensor to blur the image just enough to create the effect of an actual anti-aliasing filter. But, when turned off, you can maximize the potential sharpness of your image.
Additional features of the K-3 include a revamped autofocus system with an impressive 25 cross-type sensors and durable body construction. Pentax makes their professional equipment with all-weather sealing, meaning that if you get caught out in the rain or snow you can be confident that your camera will work flawlessly.
Many would find it difficult to follow up a year with Nikon’s D4, D800, and D600 as well as Canon’s 1D C, 5D Mark III, and 6D. Manufacturers still tried to fill the appetites of camera enthusiasts with new cameras and tech. But, the real surprise came from Nikon’s announcement of a retro-styled camera.
They released the Nikon Df. With a body style evoking the spirit of the classic F-series and a full-frame CMOS sensor, Nikon is trying to appeal to those simply wanting “pure photography.” It features physical dials for settings like shutter speed and ISO and can use practically every Nikon F-mount lens, especially if you consider the metering coupling lever that allows you to use AI and non-AI lenses without any additional modification.
The Df is sure to attract those who shot with film cameras, or even those who still shoot film, to make the move to digital. And sure to please many enthusiasts, a screw-in port for using a manual release cable is available. This camera’s photography-only theme is stressed with the purposeful omission of video found on practically every digital camera today, even the common point-and-shoot.
On to point-and-shoots: they have been completely redesigned for the Instagram age. The square design of the Canon PowerShot N exemplifies this concept, along with featuring Wi-Fi connectivity for instantly syncing to our phones and posting pictures to our social media profiles. It can even send photos and video back to a computer at home or to an online photo album to share with friends and family at home.
But, speaking of camera designs, the QX-series camera modules from Sony take the cake. The QX10 and QX100 are powerful point-and-shoot cameras that clip onto your smartphone, using Wi-Fi or NFC connectivity to transform your phone into a full-featured digital camera.
Then, by connecting to your phone via a free Sony app, you can access live view and camera settings. However, you aren’t limited to simply attaching the camera to your phone; you can detach it and use it wirelessly to capture images above crowds or in tight spots in which you would never get the right perspective, normally.
Getting back to the standard form factor, Sony’s RX10 features the new BIONZ X image processor along with Wi-Fi and 1080p video at up to 60 frames per second—impressive specifications and video capabilities for a point-and-shoot. It wasn’t alone however; Sony released two other cameras using the BIONZ X image processor, the A7 and A7r.
These full-frame mirrorless interchangeable-lens cameras have 24- and 36-megapixel sensors, respectively. These maintain the image quality found in high-end DSLRs but with a compact form factor. Additionally, the A7r has a gapless on-chip lens design that better directs light across the entire sensor to each individual pixel and omits the low-pass filter for getting the maximum resolution possible out of the image.
On the other hand, the A7’s lower resolution sensor benefits from a “hybrid” contrast- and phase-detect focusing system. This means you will have faster, more reliable autofocusing. Regardless of which option you choose, these mirrorless cameras are perfect for constant travelers, or someone looking to carry a smaller gear bag for everyday use.
For adventurers who aren’t afraid to get a little dirty, the waterproof and shock-resistant Nikon 1 AW1 is perfect. It has superb weather-sealing and is waterproof up to 49.2’. The best part is that somehow, Nikon has endowed it with an interchangeable lens system, although I wouldn’t recommend swapping lenses while underwater.
Back on solid ground, the Galaxy NX from Samsung runs Android 4.2 Jelly Bean, meaning you can skip an entire step when dealing with your images. No more wireless transferring in order to work with your favorite photo-editing and sharing applications. The Galaxy NX even has Wi-Fi and 3G/4G LTE connectivity for uploading while on the go.
Don’t forget about the retro-styled bodies coming from Olympus. The new OM-D EM-1 addresses many of the gripes addressed to its predecessor. These have been resolved, with changes from simple generational updates in firmware and camera technology to the addition of a heftier grip for a solid handhold.
With the EM-1, Olympus is trying to reach out to the professional market. It’s designed with a durable build that is splash, dust, and cold proof. It also offers good image quality and a noticeable improvement in autofocus, a common issue on mirrorless cameras due to the lack of a dedicated autofocus sensor.
This year was filled with notable improvements across the board, and the cameras mentioned here were only a small fraction of those released. So, whether you need a tiny camera for quickly sending photos to your social media accounts, or the latest video technology in a DSLR, I'm sure there is something here for you.