Friday, April 8, 2016

Hasselblad H6D-50c-100c and H6D Characteristics

2015 was the year of Phase One with a new platform for shooting XF and the first back to 100 MP. 2016 could well be that of Hasselblad, which today unveiled a new H6D housing and two digital backs to 50 and 100 MP. What securely reposition the brand to compete. The Hasselblad H, introduced in 2002, has seen many iterations including the HxD series dedicated to digital backs. Currently, the H3D / H4D and H5D are still brand catalog with back capable of recording 31 to 60 million pixels. 200MS versions (for multishot) offer a definition of 200 megapixels combining several shots. Today the Swedish brand therefore presents a whole new shooting platform associated with two new CMOS digital backs: Series H6D.

Hasselblad H6D-50c-100c and H6D Characteristics

PRESENTATION

New sensors up to 100 megapixels and video to the UHD RAW

The new range H6D comes in two versions with two different sensors:
- The H6D-50c : CMOS sensor 43.8 x 32.9 mm (same as the H5D-50c), 8272 x 6200 px;
- The H6D-100c : CMOS sensor of 53.4 x 40 mm 11 600 x 8700 px.

Both sensors are manufactured by Sony which, for the occasion, made off with much of the medium format market, the Japanese giant manufacturer probably for PhaseOne and Pentax.

Hasselblad H6D-50c-100c and H6D Characteristics

MP 100 for the sensor, the manufacturer announced a dynamic 15 IL 16-bit (files larger than 600 MB), but it will be possible to use the 14-bit back to improve responsiveness, thus flexibility 'use. Burst mode increases to 2.5 fps on the 50c and 100c on the 1.5 fps. The use of CMOS sensors allows better management of electronic noise with an ISO range revised upwards: 100 to 25,600 ISO for 50c, and 100 to ISO 12 800 to 100c.

Hasselblad H6D-50c-100c and H6D Characteristics

CMOS also allows the Live View screen (LiveView). Both models have a multi-touch LCD 920 000 points (7.5 cm diagonal) and refresh the screen at 30 fps. The focus peaking color is also present. It will be possible to have a video back with the Phocus Mobile application or computer. With this touch screen Hasseblad also introduces a new way to control and configure the enclosure, with a GUI brought up to date with large icons.

Hasselblad H6D-50c-100c and H6D Characteristics

Video recording is invited for the first time at Hasselblad. The H6D-50c offers 1080 HD recording at 30 fps (H.264). The 100c is probably more interesting, since it offers capturing UHD (3840 x 2160 px) at 30 fps. If H.264 is used, it will be possible to record in RAW - format owner unfortunately it will take into Apple ProRes with the Phocus 3. With this feature, Hasselblad is one the few brands to offer the RAW video recording. That's pretty amazing!

The case review
For H6D, Hasselblad has thoroughly reviewed its electronics housing to provide additional processing power and responsiveness, for both the housing and the digital back. The case now has two slots for memory cards with two different formats: SD and CFast. The latter format is present to facilitate the UDH video recording.

Hasselblad H6D-50c-100c and H6D Characteristics

The H6D now has a modern and very interesting connection to the video with a stereo microphone input (3.5mm), headphone output, HDMI output, an output 3 USB (type C) to transfer logged data and mode, an input and an output for the flash sync. The H6D also has a Wi-Fi chip as standard. Again, this is a first for the brand and the most recent protocols are supported (802.11 a / ​​b / g / n - 2.4 and 5 GHz). Supply side, the H6D requires only one battery supplying both the housing and back, unlike PhaseOne system that requires two batteries.

Hasselblad H6D-50c-100c and H6D Characteristics

Optical updates
Hasselblad take the output of H6D to update its optical park with models with fast shutters can climb to 000 1/2 s. The entire system H receives this update: housings up H5D will now trigger at 000 1/1 sec (1/800 sec against previously) and new H6D allow a trigger to 1/2 000 s. The optics have these new central shutter will be marked with a small orange square.

Hasselblad H6D-50c-100c and H6D Characteristics

Phocus 3 face CaptureOne Pro 9
Behind the confrontation housings, another battle rages: that software. Indeed, PhaseOne was widely imposed in the studio shooting through his CaptureOne Pro software, which allows to remotely control many Canon and Nikon SLR plus PhaseOne back. This versatility and the quality of the images quickly conquered the photographers who now trust the brand and associated equipment. To counter this hegemony Hasseblad also present on March 1 e version of its raw file processing software and work connected mode: Phocus 3. This update draws heavily from his point of view of the competitor interface. Phocus 3 now has tools for local editing (moire, sharpening, exposure), a point highly anticipated by photographers. The software will be able to read the videos produced by the packages you can transcode videos RAW in Apple ProRes.

Hasselblad H6D-50c-100c and H6D Characteristics

PRICING AND AVAILABILITY
The H6D-50c will be available in April for suggested list price of € 23,000 excl. Naturally, a material of the buyback program is planned. So if you have an H4D-40/50, Hasselblad offers a cover of your equipment up to € 8400 for a total amount of € 14,500. The H6D-100c, it will be available in June for recommended price of € 29,000 excluding VAT. The recovery of an H4D-40/50 will equip the new housing the special price of € 19,500. Note that the recovery program also works with non-product Hasselblad camera equipment.


FINAL REVIEW
Hasselblad had to react to repeated attacks of its Danish competitor. This is done with the series H6D and those back at 50 and 100 MP, which come frontally oppose the PhaseOne XF IQ3-50 and 100MP. In terms of definition, the delay is filled. However, the new H6D missing some teeth to actually hold sway over its direct competitor. We would have liked an improved autofocus, or current features like HDR mode, timelapse or stacking focus as proposed. PhaseOne. On paper, the plafeforme PhaseOne XF looks a little more modern and a little more innovative (control of integrated Profoto strobes, work hyperfocal). It remains to see how the Hasselblad case behaves in production. The evolution of Phocus was also expected and is the rendezvous. Yet again, the changes are too timid and, above all, the software is still not used to control other remote enclosures, unlike CaptureOne Pro. The Hasselblad system remains essentially interesting for its more homogeneous optical park (all have a central shutter), the variety of its optical-shift (24, 28, 35, 50, 80 and 100 mm with an adapter) and quality. The video mode is probably doomed to evolve, but as is, it is still too embryonic to interest videographers. Hasselblad rates are also more accessible than some equivalent PhaseOne, including the model 100 MP, available within € 29,000 while the 100MP PhaseOne touches of the 34,000 €.

CHARACTERISTICS

SENSOR:CMOS 50 megapixel (43.8 x 32.9 mm) (50c) 
CMOS 100 megapixel (53.4 x 40 mm) (100c)
MOUNT:H system
DELIVERED OPTICS: 
STABILIZATION:no
ANTI DUST :no 
VIEWFINDER:optical. 3.1x magnification
FLASH: 
SCREEN:yes, the digital back. 7.5 cm / 921 000 points, touch.
FOCUSING:True Focus (1 point) with correction of shift
AF MODES:simple
EXPOSURE CONTROLS:spot, center-weighted
EXPOSURE MODES:PSAM
SHUTTER SPEED:60 min at 000 1/2 s (up to 1/2 synchroflash 000 s)
ENGINE:2.5 fps (50c) 
1.5 fps (100c)
ISO SENSITIVITY:100-25 600 ISO
MEMORY :SD / CFast
IMAGE FORMAT PHOTO:JPEG and RAW (3GB)
FORMAT VIDEO IMAGE:HDTV 1080 30p (50c) H.264 / UDH 30p (100c) and H.264 RAW
Power :1 Li-Ion battery 7.2 V / mAh 3100
LOGIN:3 USB Type C HDMI, Wi-Fi, microphone input, headphone output, power supply, flash sychro input and output
DIMENSIONS:153 x 131 x 205 mm (with optical HC80 mm)
WEIGHT:2.3 kg with optical HC80 mm
SOFTWARE:Phocus 3

Saturday, March 26, 2016

Canon EOS 1300D: Test, presentation and characteristics

Canon EOS 1300D Presentation and characteristics. Early this year is quite intense among all manufacturers. See happen was thought a small break in the ads after the CP+, but it seems that there are still new products ready to be launched. Today Canon is announcing its new DSLR entry level, the EOS 1300D, successor to the EOS 1200D released two years ago at the CP + 2014. We can say that Canon has seen very light in terms of improvements of its new entry-level SLR. The EOS 1300D ships same sensor, the same AF system, the same viewfinder, the same opportunities burst or video as the 1200D. The device thus incorporates a sensor of 18MP APS-C format backed a new version CPU that passes DIGIC 4+ generation but does not change absolutely nothing a priori to device performance: ISO 6400 with an extension to 12 800, 3 frames per second (f/s) burst, autofocus 9-point, FHD video mode at 30 frames/s. in the new program, the rear screen does a little definition to 920 000 px and the case is seen with Wi-Fi function and NFC for easy backup and sharing pictures on social networks and control the device from a smartphone.

Canon EOS 1300D: Test, presentation and characteristics

Canon EOS 1300D: Test, presentation and characteristics

AVAILABILITY AND PRICE
The new Canon EOS 1300D will be available from April 2016 to € 380 price naked and € 490 in a kit with a 18-55mm.

We can not hide our disappointment at the new housing developments from its predecessor are more anecdotal. This announcement does not send the message that there are still many possible innovations in the DSLR world. We had already had the same feeling, though less marked, at the time of the announcement of the EOS 80D, yet one for experts photographers housing, so new fans. Hopefully Canon has in its real advances in cartons reflex material for the rest of 2016. We expect all the successor to the 5D Mark III and 6D. Remember, photokina will take place in less than 6 months now.

CHARACTERISTICS

SENSOR:APS-C 22.3 x 14.9 mm CMOS 18MP
MOUNT:EF / EF-S
DELIVERED OPTICS:N / A
STABILIZATION:Optical
ANTI DUST :Software
VIEWFINDER:Penta mirrors 95% / 0.8X
REFERRED LCD:Yes
SCREEN:LCD 7.5 cm / 920 000 pixels
FOCUSING:TTL-CT-SIR 9 points (f / 5.6 center)
AF MODES:One Shot, AI Servo, AI Focus
EXPOSURE CONTROLS:TTL 63 zone
EXPOSURE MODES: Evaluative, Spot, Center-Weighted
SHUTTER SPEED:Mechanical 30 s / 1/4000 s (electronic first curtain)
ENGINE:3 i / s
ISO SENSITIVITY:100-6 ISO 400 (Ext. ISO 12 800)
MEMORY :SD, SDHC, SDXC
IMAGE FORMAT PHOTO:JPEG, RAW, RAW + JPEG (3456 x 2304) /
FORMAT VIDEO IMAGE:MOV 1920 x 720 px 30 fps
FOOD :Battery LP-E10 (500 views)
LOGIN:USB / WiFi (NFC)
DIMENSIONS:129 x 101.3 x 77.6 mm
WEIGHT:485 g
SOFTWARE:DPP, EOS Utility, Picture Style Editor
IN THE BOX :NC

Wednesday, March 23, 2016

Sony A6300: presentation and characteristics test

As mentioned in its announcement early February, Sony launches Alpha 6300 to the specifications reinforced concrete: APS-C sensor of 24 megapixels, 425 point autofocus, 4K video and 120 i/s, electronic viewfinder, burst! But still no touch screen.

PRESENTATION
Sony does not release the song on its range of hybrid devices. After a complete overhaul of the range A7 24x36 and a generalization of the mechanical stabilization, the brand introduced a new model APS-C size widely reviewed.

Sony A6300: presentation and characteristics test

Autofocus competition
One of the most striking features when you discover the specifications of the A6300 is probably the AF module. The new case has a 24 megapixel sensor that does not include less than 425 AF by phase correlation: the record all categories. For the record, it was previously owned by Sony always on the 24x36 series with 399 points AF. This is complemented by a contrast-detect autofocus on 169 points. Coverage should approach 100% (it was already 93% on A7R II in APS-C mode). Sony announces development time of 0.05 s (there is no information on this measure), so the faster the time autofocus. Too bad the sensitivity is limited to -1 EV.  This new autofocus also works with an optical mount A and an adapter ring, such as the Sony LA-EA3 ring.  The AF point density enable excellent tracking of a subject movement and with a burst rate of 11 f/s, the A6300 should appeal to photographers of action. the sensor associated with the new data processor Bionz X, allows to increase to 51,200 ISO.

4K video and 120 fps in 1080
The A6300 is also capable of shooting 4K TV (3840 x 2160 px) to 30/25 and 24p to 100 Mb / s (XAVC-S) but also in HDTV 1080 120/100/60/50 / 30/25 and 24p (50 Mb / s XAVC-s). That will deliver fluids slowed in full HDTV resolution. Sony said that in 4K mode, the appliance uses all the sensor pixels 16/9 for a total of 20 million pixels! The video is then sub-sampled 4K to gain rendering finesse. Autofocus is also improved and adjustable for flexibility during a transition or monitoring of a character. The icing on the cake, the A6300 also offers recording in S-Log and S-Gamut to improve rendering in the highlights and shadows (S-lOG3). And it could finally entice filmmakers with the ability to set an XLR adapter to the accessory shoe. In addition, you always have the focus peaking for manual focusing and exposure of zebras. Finally, a new mode "Display Gamma Assist" facilitates the development in S-Log mode offering a corrected preview.

Sony A6300: presentation and characteristics test
The Sony Alpha 6300 with the new optical 24-70 mm f / 2.8 G Master

More accurate viewfinder
The A6300 is not that of the womb; it also has an electronic viewfinder with 2.4 million points. This is the highest resolution proposed by Sony, but we regret that the brand has not taken the opportunity to pass this course, as proposed for example Leica with 3.6 Mpts. The housing benefits from a magnesium alloy frame and provides moisture resistance and enhanced dust. 

PRICING AND AVAILABILITY

The Sony Alpha 6300 will be available in March at an approximately € 1,250, and € 1,400 for the optical 16-50 mm.

FINAL REVIEW
The Sony Alpha 6300 is very attractive on paper. The brand ardently pursuing the development of its range of hybrid packages by improving its main weaknesses are autofocus and electronic viewfinder. With such specifications, worthy of a professional housing, we regret that Sony has not pushed further update of its case in terms of ergonomics. The video is always touches so difficult to access and autofocus features 425 collimators, there is no dedicated joystick to move (you have to use the joypad, in my less practical advice). A touch screen to quickly select a focus area would sense. We also regret the absence of a second control wheel on the front of the handle, the absence tropicalisation or embedded stabilization. Anyway, we are very eager to try this newcomer in the field!

Saturday, March 19, 2016

5 Tips to take good picture at Zoo

Visits to the zoo are a good source of inspiration for photographers, but can be frustrating as there are many obstacles: windows, cold and artificial lighting, fencing, crowd, little natural scenery, etc. Many of you ask me questions about the photograph at the zoo. So I'm going to reveal my little personal techniques to circumvent these problems or to accommodate. I'll even show you what not to do Here are 5 tips from my experience.;)

1. How to snap through the bars and fences?
Here is "my recipe", the technique I use to remove the bars or mesh. It is necessary :

1. Approach the bar or wire mesh,
and try to place the lens maximum between the bars.

2. Favor a low depth of field
so that the bars can be found as far as possible in the gray area, and therefore almost invisible. To reduce the depth of field, select the mode Priority Aperture. This mode is called A or Av depending on the brand. Then select a big opening when choosing a figure F / that is as small as possible. Example: F.3.5, F / 2.8, F / 1.4, etc.

3. Choose a long lens
In other words, "zoom". Indeed, the focal length also affects the depth of field and therefore the importance of vagueness.

4. Choose the animal's position
If possible, shoot an animal that is away from the fence. Obviously, you have little leverage to dictate to an animal laying that would suit you ;) but sometimes it is simply to spot repetitive motion of the beast (back-and-forth for example) to photograph when she is far from the bars.

The purpose of these 4 maneuvers is to place as much as possible the fence in the gray area to make it as invisible as possible.

Proof by example

Toucan yolk Beauval Zoo © Clement Racineux / Tonton Photo
The Toco Toucan was very close to the fence, in front and behind him. Result, even by placing the fence in the dark, it remains visible and forms a frame that blurs vision. 
Fujinon 55-200mm F / 3.5-4.8 at 95mm (140mm equivalent) - 1/400 - F / 4-800 ISO. 
Beauval Zoo © Clement Racineux / Tonton Photo
Toucan yolk Beauval Zoo © Clement Racineux / Tonton Photo
This Toucan yolk was further from the fence. By applying the technique described above, I put away most of the fence. It remains a small part, to the right in the foreground, but it forms a green fuzzy task which no doubt that this is a fence. Rather we believe in a leaf or grass placed in the foreground. 
Fujinon 55-200mm F / 3.5-4.8 to 105mm (160mm equivalent) - 1/250 - F / 4.2 - 800 ISO. 
Beauval Zoo © Clement Racineux / Tonton Photo

2. How to snap through the windows?
Obviously, photographed through glass is easier than through the bars or mesh. But there are two big pitfalls: the tasks on the glass, and above all the reflections!

How to remove stains on the glass?
The problem of tasks is that they act as a filter on the image, which appears blurred. The first thing to do is of course to move to try to find a place without a job, or with less duties. If you do not have another way to photograph through a dirty glass, then use the same technique as for the bars that of the shallow depth of field: put yourself in priority fashion to the opening ( a or Av) and zoom (to use a long focal length).

How to work around the problem of reflections in the glass?
The reflections can come from the sun or lighting but also (most actually), other visitors passing by the window. If you have at your disposal a polarizing filter, use it, because it significantly reduces the effects of reflection. If you do not, then aim at your subject, and in your sight, watch the highlights. It is now a waiting game: do not move, and wait for visitors in your back go their way, or so expect a visitor dressed in dark. The reflection will make it much less visible.

Finally, if really it is impossible to eliminate glare, so make sure you integrate your framing! It's easier than it sounds.

Proof by example
Here's an example, photographed at Beauval zoo. The crowd was so dense that it was impossible to avoid reflections of the visitors, despite my patience. So I chose to integrate these reflections, provided they do not spoil me: a beautiful green snake. So we see the reflection of a busy dressed in white, but is positioned so that it fits the decor. If you do not know, we do not notice:

Green tree python, Beauval Zoo © Clement Racineux / Tonton Photo
The white coat of a visitor is reflected in the branch located in the top of the image. Result: this branch already more exposed to light as the rest of the picture is made ​​even whiter by the reflection (I can of course edit the problem in post-processing, but I wanted to show you the effect of reflection ). This reflection is also the head of the snake, but when one is not aware, it is interpreted rather as an effect of light piercing the foliage. 
Fujinon 55-200mm F / 3.5-4.8 to 135mm (200mm equivalent) - 1/125 - F / 5 - ISO 800. 
Python arboreal green, Beauval zoo © Clement Racineux / Tonton Photo

Here is a second example, where will you find the reflections on the glass in this picture are? ;)

Nile Crocodile Beauval Zoo © Clement Racineux / Tonton Photo
Remaining patiently positioned in the release position, I waited for the right time to the reflections of the visitors do not cover my subject a Nile crocodile. Where are the highlights? In the lower part of the image: that could be taken for weeds in the foreground blur is actually fingerprints and reflections of visitors passing in my back. My technique has helped to create an effective illusion Fujinon 55-200mm F / 3.5-4.8 to 165mm (250mm equivalent) - 1/125 - F / 5 -. 800 ISO Beauval Zoo © Clement Racineux / Tonton Photo:)
Also, remember to use the aforementioned technical (shallow depth of field + long focal length) in order to blur the reflection maximum.

3. How to arrange with the decor? / What you should not do
In zoos, the decor is not always very credible nor flattering. The decor of the enclosure itself, but sometimes the surrounding landscape.

All played at framing
Do well around your viewfinder, and do not integrate as part (even in the background) elements such as the door of the enclosure, a poorly imitated rock fences, visitors, a bowl food, or the houses in the distance, the sandwich of the zoo, the service door to the bottom of the enclosure, etc. Here are some examples of what not to do:

Silverback gorilla, zoo Beauval © Clement Racineux / Tonton Photo
Unless you want to just witness the living conditions of the animal in its enclosure, this photo is the perfect example not to follow, that of an uninteresting picture.

1. Include the decor completely out of the viewer animal atmosphere (fake jungle in the background, grid ceiling, wood modules, cables, etc.). The more we will focus only on the animal's beauty because its environment takes an important place in the image. But even if the zoo has made ​​efforts to make a beautiful decor, picture it still gives an artificial tone to the image. Unless expressly desire to show this setting, it is better to avoid as much to include in the frame.

2. Reflections visitors in the window superimposed on the animal (one distinguishes especially yellow and red spots).

3. Right bottom, there are in the foreground blur the white hair of a visitor. Fujinon 55-200mm F / 3.5-4.8 75mm (110mm equivalent) - 1/125 - F / 3.7 - 500 ISO. Gorilla silverback, Beauval zoo © Clement Racineux / Tonton Photo ;)
Moorhen, zoo Bourbansais © Clement Racineux / Tonton Photo
The reflection in the water of a timber module imitating a tree in the compound monkeys totally disrupts the composition of the image (by the effect of a big stain on the image). He would simply move to avoid this pitfall Sigma 70-200mm F / 2.8 at 200mm - 1/1600 - F / 4.5 - 500 ISO. Moorhen, zoo Bourbansais © Clement Racineux / Tonton Photo ;)
Capuchin (or "Sapajou"), zoo Bourbansais © Clement Racineux / Tonton Photo
The position of the monkey is interesting, the framing is good, except for a big detail: visitors staying in the background, behind the Capuchin, which totally out of the viewer the animal atmosphere. 
Sigma 70-200mm F /2.8 to 200mm - 1/1600 - F / 6.3 - 320 ISO. 
Zoo Bourbansais © Clement Racineux / Tonton Photo
These examples you may seem obvious, but unfortunately a lot of people do not pay attention to these details. Sometimes attention you lose a little and concentrate on animals, we forget to check the environment, including the background.

But when they appear in the image, these elements completely out of the viewer animal atmosphere and make the difference between a good photo and a totally banal picture.

4. What focal priority for the photo at the zoo?
You'll understand when reading the above lines, I suggest you long focal lengths , to isolate your subject from the surrounding scenery, and minimize the visual impact of windows or bars. Opt therefore of focal lengths from 100mm and more: 150mm, 200mm or 300mm if you can when I go to the zoo, I photograph personally with: > a Sigma 70-200mm F / 2.8 when using my Nikon D3s DSLR, > with a 55-200mm Fujinon F / 3.5-4.8 (82-300mm equivalent on full frame sensor ) when using my hybrid Fuji X-E1 .

5. How to photograph animals?
Attitudes. It is important to be patient not to randomly shoot an animal. Not until an interesting attitude: a movement, a look, a funny or touching expression. This is a key point to get interesting pictures. Here are some examples :

White rhinos Beauval Zoo © Clement Racineux / Tonton Photo
Two white rhinos seemed to cause the Beauval Zoo. I waited a quarter of an hour, and indeed the two giants clashed. When one started to load the other, I had to react quickly. The attack was not particularly dramatic, but instead it was brief ;) The framing is tight to avoid seeing the decor, including a background in catering kiosk Fujinon 55-200mm F / 3.5-4.8 to 180mm ( 270mm equivalent) - 1/250 - F / 4.7 - 200 ISO. © Clement Racineux / Tonton Photo ;)
Maki Lemur Kata, zoo Champrepus © Clement Racineux / Tonton Photo
By observing the many well-maki kata together in a pen (only limited by a rope that one ;)), I noticed this individual to the very funny posture. He cleaned his tail, but by the time operated breaks by freezing, thus giving the impression that he blew his nose in his tail ;) Or he was holding a cuddly toy as a child ;) I waited a few minutes he resumes this position to take my picture. 
Sigma 70-200mm F / 2.8 at 135mm - 1/1250 - F / 8-500 ISO. 
lemur Maki Kata, zoo Champrepus © Clement Racineux / Tonton Photo
Loup, reserve Nordens Ark, Sweden © Clement Racineux / Tonton Photo
In the darkness of a huge wolf pens, late in the day, a wolf stealthily happening repeatedly. So I set my goal between the bars of the fence, and I wait for the right time, a few minutes later, the animal returns and sets me straight in the goal: it is a good time to start! 
Sigma 70-200mm F / 2.8 at 170mm - F.2.8 - 1/160 - ISO 800 
Reserve Nordens Ark, Sweden © Clement Racineux / Tonton Photo
Cheetah, Zoo Champrepus © Clement Racineux / Tonton Photo
Photographing animals yawn is not very difficult, and the result is always breathtaking. Big cats often yawn. Just prepare your camera to a fast shutter speed to freeze the motion (for example by choosing the "Shutter Priority" mode (S or TV)), and to be observant! 
Sigma 70-200mm F / 2.8 - 1/640 - F / 6.3 -. 500 ISO 
Cheetah, zoo Champrepus © Clement Racineux / Tonton Photo

The details
For a pleasant change, consider talking photograph or graphic detail. Two examples:

The powerful hand of a silverback gorilla, Beauval Zoo © Clement Racineux / Tonton Photo
Focus on massive hand of a silverback gorilla, Beauval Zoo. We guess the power of the animal. 
Fujinon 55-200mm F / 3.5-4.8 to 150mm (225mm equivalent) - 1 / 125- F / 4.5 -. 500 ISO 
© Clement Racineux / Tonton Photo
5 Tips to get good photograph at Zoo
Focus on very graphic patterns of plumage of a brahma chicken mesh silver partridge. Zoo Champrepus. 
Sigma 70-200mm F / 2.8 - 1/1600 - F / 4.5 - 500 ISO © Clement Racineux / Tonton Photo

Be creative
If the decor or crowd you being able to take the animal as you'd hoped, operate your creativity by imagining other possibilities. One example of original framing:

5 Tips to get good photograph at Zoo
This cheetah came to stick to the glass and stared at something in the distance, beautifully ignorant visitors glued to 3cm him on the other side of the glass. 3 elements bothered me: the background whose decor was unnatural, fingerprints on the glass, and visitors clustered around me. So I applied my technique to circumvent problems of the decor and the glass (but I was so close that all is not obscured), and I especially chose to try a different framing, suggesting symmetry face and "drawings" of the coat of this magnificent animal. Finally, I have of course made ​​the setting-in point on the eye because her look is striking. 

Note the lovely bokeh in the background Sigma 70-200mm F / 2.8 - 1/1640 - F / 5.0 - 500 ISO © Clement Racineux / Tonton Photo Cheetah, zoo Champrepus © Clement Racineux / Tonton Photo
Think of the post-processing from the view-to-grip can sometimes be more creative and come out different images:

5 Tips to get good photograph at Zoo
This leopard was in a ray of sunshine at the bottom of its cage. Three problems: the fence in the foreground, the unprepossessing decor (we saw the enclosure wall and the bottom of the back door), and the big difference in brightness between light and shadow. So I decided to underexpose voluntarily so that the shaded area becomes very dark. This will hide in the dark decor and "remnants" of fence in the foreground. Finally, I corrected a little exposure in animals at post-treatment, so that it is correctly exposed. 
Sigma 70-200mm F / 2.8 at 200mm - 1/1600 - F / 5.6 - 320 ISO. 
Leopard , zoo Bourbansais © Clement Racineux / Tonton Photo
And of course, also consider photographing the details to circumvent a complicated situation ! (I mentioned earlier)

In summary
In summary, out of pretty pictures from your visits to the zoo: > review it well your understanding of the depth of field , and the impact of focal thereon (by reading this article ), > prefer long lenses, > Think "animal photo" in tracking attitudes, looks, >, and the most important advice: treat your framing! Do not include items annoying reading the image, especially in the background .

I hope these tips will have you informed and even inspired! If you have any plans this weekend, so-programming a small photographic trip to the zoo! If you have other tips learned from your experience, share them in the comments! If you have any questions, ask them in comments also. Source and image by; http://tontonphoto.fr/

Monday, March 14, 2016

Choose the right memory card for your camera
Faced with the plethora of memory cards available in the market and technical jargon manufacturers, it is not always easy to know how to choose the perfect card. Being myself regularly confronted with the need to buy a new card, I decided to clear the jungle for you. The card format that accepts your photo package depends on each brand and camera model, so these information you will not be helpful at the time of purchase of the device, but rather when you will need to purchase an extra memory card for your needs well established (both can be done at the same time you will tell me and I will answer you, you're not wrong ;)).

1. The memory card
When you trigger the photo, the data is first stored in the buffer memory of your device, while your memory card can record. This requires that your memory card has a fast writing speed, so that the memory plug your device is encumbered as little as possible. Indeed, if the buffer is full during this time of writing, then you can not take another picture. The phenomenon is particularly evident when one burst photography.

2. Memory card formats: SD or Compact Flash?
CF, SD, mini SD, micro SD, xD, MMC, SDHC, MS, MS, MS Duo, MS Pro, MS Pro Duo, MS Micro, RS-MMC, this is not the memory card formats that are missing! in this article I will address only the two most used on cameras currently models: Compact Flash and especially the SD (the most common).

Compact Flash (CF)
CF cards have larger dimensions than the SD (42.6 × 36,4x5mm), which is not found in the small devices. We can also consider that they are more cumbersome, even if it does not exaggerate: an object 4cm thick 5mm is relatively easy to store in a camera bag These cards are very reliable and offer faster write speeds. They are mostly used on the SLR, say semi-pro to pro.

Secure Digital (SD)
SD cards are smaller objects (24x32x2,1mm). This compactness has led to their popularity, and is now the most common format in all compact, bridges, hybrid and entry SLR / midrange. Their performances are less than CF cards However, we must increasingly moderate this assertion, as technical advances are to approach the performance of two types of cards, including SDXC.
  
3. The storage capacity
Regarding the jargon, you will find 3 mysterious acronyms on SD cards, designating it the storage capacity: 
> SD for a capacity up to 2GB 
> SDHC (HC = High Capacity, "High Capacity") for a capacity between 4 and 32GB 
> SDXC (Extended capacity for XC = "extended capacity") for more than 32GB up to 128GB or more in the future! the capacity of a memory card is expressed in GB (gigabytes) or gb (Giga bytes). Capacity is exactly the same, just the second term is English. To calculate the number of storable pictures on your memory card, observe the average weight of your images. If on average each photo weighs 10MB, then you will be able to register 100 on a 1GB card, 200 on a 2GB card, 1600 on a 16GB card, etc. Before you buy a new memory card, check well in your manual types of cards compatible with your camera (in fact, a case which is not new can very well accept the SD format, but not the SDHC or SDXC ).

4. Speed
It measures the transfer rate maximum and is expressed in megabytes per second. Example: 45MB/s means your memory card can save your images to the maximum speed of 45MB/s. Thus, if the weight of your RAW files is averaging 15Mb, your card will be able to save three per second.

Warning: please note that this index expresses the maximum speed. This rate may be lower in reality (rather weak battery, very cold or very hot environment, use burst mode, etc., etc.)

5. Speed ​​"X"
It's the same principle as the index of maximum speed, expressed differently in multiplications ;).  From a Reference writing speed 0,15Mo/s, that is said card is "x200" when will 200 times faster than the base unit, or 30MB/s.

6. Class
SD cards are classified by minimum write speeds, thanks to notes from class 1 to class 10 (10 being the best). Example: a Class 10 card has a minimum write speed of 10MB per second. A Class 4 card has a minimum write speed of 4MB/s. You will therefore noted that unlike the maximum speed rating, the class reflects the minimum speed.

Easy, right Yes, but it's not all, the names have evolved to classify the most recent card formats that are faster (SDHC and SDXC): there are now ranked the UHS (Ultra High Speed ​​= "Ultra High Speed ") from U1 to U3 . the U1 class equivalent to the previous class 10 (10MB / s))

7. How many photos your memory card can save?
Here is a table approximate number of pictures you can record on a memory card. The weight of a picture depends on the file format (JPEG or RAW), JPEG compression, ISO sensitivity, but also the number of details in the image (a photo of a blue cloudless sky will be lighter than a photo of crowd or forest). The figures below are therefore given that indication to give you an order of ideas of the storage capacity of a memory card:

INDICATIVE NUMBER OF STORABLE PICTURES ON A MEMORY CARD
RESOLUTION 
SENSOR CARD 
8GB CARD 
16GB CARD 
32GB CARD 
64GB
10MP JPEG 288 2 
228 RAW JPEG 577 4 
457 RAW JPEG 155 9 
915 RAW 18310 JPEG 
1830 RAW
12MP JPEG 907 1 
190 RAW JPEG 814 3 
381 RAW JPEG 629 7 
762 RAW 15258 JPEG 
1524 RAW
16MP JPEG 430 1 
143 RAW JPEG 861 2 
286 RAW JPEG 722 5 
572 RAW 11444 JPEG 
1144 RAW
22MP JPEG 040 1 
104 RAW JPEG 080 2 
208 RAW JPEG 161 4 
416 RAW JPEG 322 8 
832 RAW

(Source: © Sandisk Calculated from a JPEG 100% quality = visually lossless JPEG compression with 1:10 ratio of RAW image.)

8. What brand to choose?
There are many brands of memory cards on the market. Honestly, I have only tested the two most renowned for their reliability: SanDisk and Lexar. I am in no position to give a critical review of other brands. Already lived Having the (very) bad experience of seeing a bugger memory card and thus losing all my photos, I advise you to choose the reliability, even spend 10 € Furthermore. A reliable memory card will accompany you in effect for several years.

9. Good practices: my advice
Just a few years back from a trip to Bangkok, Thailand, I plug my memory card on the card reader and Zmmm, nothing, all photos were erased in a second flash ("It's Bestel, he wanted to try something, he plugged the sensor on the Cibie and it made ​​pffffft "little challenge, if you have recognized what movie comes this replica, say so in the comments ). Enough of tall stories, I can assure you that this is a very disappointing moment to pass. So to avoid this kind of inconvenience, here are my tips::(

Avoid too much capacity cards
Rather than buying a 64GB card, take four 16GB. Certainly you spend fifteen euros more. But let's be logical, what, compared to the expensive price forrrt your device? If you had to lose a memory card or to be bypassed when transferring images, you lose and the 16GB maximum which is always less badly than lose 64GB of photos!

Treat your memory cards
These small electronic devices are fragile: therefore avoid exposing them to dust, liquids, in short, everything that could oxidize or alter the electronic components of your card. Keep them well away in their little plastic box of origin, or in a small specialized storage bag.

Do not turn off too quickly
When you have taken a picture, allow time for your device to save the image to your memory card before you turn everything off. It's safer. On some devices, a set of lights indicates that recording is in progress (that is for example the case on my Fuji X-E1, with two LEDs located next to the viewfinder). Most devices now have a security system that prevents power from being cut as the writing process on memory card is completed, even if you think you have turned off the device. It is reassuring but does not prevent you to be careful. Finally, this seems obvious, but stay patient and be sure that the unit has had time to save your photo before removing the battery or memory card!

Empty your memory cards regularly
Once you have the opportunity, upload your photos on computer. Thus, in case of bug later, you will have already saved the maximum of images. Furthermore, it is important to work your photos from the hard drive of your computer, especially not directly from the memory card! It's best to have problems.

Is it sometimes need to format memory cards?
Yes. It is good to format your card from time to time (rather than simply delete the photos one by one) because, strength, fragmentation of recorded data can result in slower read / write speeds of your memory card. Some also think that this reduces the risk of file corruption, that is to say the risk of bugs on your photo files (yes, I too have trouble getting me to this computer term "corruption" Yet it meets the definition of the word)

The higher the resolution of your sensor, the greater the weight of your photo files will be heavy. It is therefore necessary to provide a large storage capacity, but also a faster write speed to prevent your device freezes time to record each! photo on the memory card the photo size you choose, JPG or RAW, also involves large differences in weight files: RAW files weigh heavy!

My advice: 
• Select directly a class 10 card (U1), with a minimum write speed of 45MB/s. You should thus be quiet for a few years, even in changing aircraft in the future.

• Consider choosing a number from 8 to 16GB cards, rather than a single 32GB card.

Take care of your equipment that your memory cards are reliable as long as possible.


I hope this article has helped you brighten the subject of camera memory cards. If you have comments or questions, post them in the comments below!

Friday, January 29, 2016

CC 2015.4 update Lightroom / Camera Raw 6.4 and 9.4 with a new option for panoramic

Adobe has updated its tool editing / photo cataloging and Raw developer. Adobe Lightroom CC goes to version 2015.4, Lightroom to 6.4 and Adobe Camera Raw to 9.4. The main innovation in terms of the tools is the improvement taking place in the process of creating panoramic , now the preview is faster, it promises to lower the processing time in half and "Boundary Warp" tool or "deformation is created limit "that is, as has been the Spanish translation.

Regarding the latter making tool is the panoramic stretch obtained deforming up to the edges of it. Thus a broader image in the normal mode, which normally have to cut the image is obtained.

With the usual error handling , this new version are also accompanied by new cameras and supported targets . Among the cameras include new releases of Fujifilm few days ago X-Pro2 , X70X and X-E2S . And in the objectives, user demand brand Samyang (along with their brands and Rokinon Bowen), who see most of their manual lenses are now included. The complete list of all material updated can see in the link page end.

In parallel, an updated developer files Raw Camera Raw to version 9.4, which is available only from Adobe Photoshop CC. It also includes the new "Boundary Warp" tool or "deformation limit."

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