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“Got Sensor Dust? Here’s How to Check.” plus 1 more Digital Photography…

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Got Sensor Dust? Here’s How to Check.

Posted: 27 Oct 2013 12:37 PM PDT

We all know that dust on a dslr sensor can range anywhere from the mildly annoying to downright problematic. You can try avoiding it, but the simple, unfortunate truth about sensor dust is that regardless of how careful you are, onto every sensor some dust will fall at some time. The closest you might come to avoiding it would be if you were to put a prime lens on your camera when it’s brand new and never change it or take it off. Ever. We all know that’s not about to happen, so dealing with dust becomes a critical part of regular camera maintenance. Part of eradicating any enemy, however, first requires some knowledge of where he’s hiding and how he got there.


The fact is that our cameras spend a great deal of time in dusty environments. Regardless of how clean your studio is or how lint-free your camera bags are, those microscopic makers of mayhem are going to settle on your camera at some point. And that’s before we even think about taking our cameras outside or changing lenses. When using lower-end or budget zoom lenses, the simple act of repeatedly zooming the lens in and out can “inhale” dust particles into the lens, which can then over time work their way into your camera. Once inside, they can settle on the mirror or sensor. Once you start changing lenses, the likelihood of dust finding its way to your sensor skyrockets. There are steps you can take to minimize the dust (holding the camera with lens mount facing down while changing, not changing lenses outside, etc.), but sooner or later it’s going to find you.

Mirror or Sensor?

The first important difference between the dust that settles on your sensor and that which settles on the mirror is that only one of them will appear in your photos. While the mirror is essential to viewing the scene and taking the photo, mirror dust will have absolutely no impact at all on your images. It also differs from sensor dust in that you can often actually see mirror dust with the naked eye when you look through the viewfinder. It can be annoying, but it is also usually a pretty easy fix with an air blower. Sensor dust, on the other hand, won’t show itself until it’s left dark spots of varying sizes on your photos. If you see it in the viewfinder, it’s not on the sensor.

Spotting the Spots

For starters, you’ll be able to recognize a dust spot on your photos if it appears in the same place in multiple images, particularly in images taken at small apertures like f/8 or smaller. If you are generally a “wide open” photographer, you need to know that most dust particles will not show up at very wide apertures like f/1.8 against bright backgrounds. Dust may also be less noticeable in images with a lot of detail, but that doesn’t mean it’s gone. If a dust spot is visible with just a quick glance at the image, chances are that you’re looking at a pretty bad spot on your sensor– one that’s not going to leave just because you squeeze a little bit of air at it. You may need a thorough sensor cleaning to get rid of your worst offenders. But regardless of whether you pay to have your sensor professionally cleaned or you are comfortable enough doing it yourself, it is possible to overdo it. Sensors have a delicate coating that can be damaged by over-cleaning, not to mention the fact that you increase the odds of damaging your sensor the more often you clean it. So, how do you do a quick and easy evaluation to see if your sensor really does need a cleaning?

Test Shot

You can run this test against a clear sky, a white sheet of paper, or even your computer screen. Start by switching your camera into Aperture Priority mode, as well as matrix/evaluative metering, and the lowest possible ISO. Then turn off auto-focus and dial in the smallest aperture possible (remember– higher number = smaller aperture). Fill the frame with your blank target area, manually dial the lens completely out of focus, and click off a frame. When you open the image on your computer, look for dark spots– those are your culprits.

Making Sure

No system is perfect, and this one is no different. There is, however, a neat little trick you can run in Photoshop as an added layer of detection. By holding down Command + I (CTRL in Windows), you will invert the image, basically creating a negative.  The dark spots (if any) will now appear white against a dark background, making them easier to see. In the example below, certain spots were plainly visible in the original photo. It wasn’t until I inverted the image, however, that I was able to see several additional trouble spots on my sensor.

In the original image, some dust spots are obvious on the right side of the sky.

In the original image, some dust spots are obvious on the right side of the sky.

By inverting the photo and creating a negative, several additional problem areas are revealed.

By inverting the photo and creating a negative, several additional problem areas are revealed.

Saving Time in Post

Obviously, this is one of those things that can be fixed in Lightroom or Photoshop without too much of a hassle, but why spend extra time in front of the computer when you don’t have to? If you are a photographer who strives to get things right in the camera (and you should be), this is absolutely one of those things to keep on a semi-regular checklist. There are a lot of do-it-yourself sensor-cleaning options available. If you are comfortable doing this task on your own, great. If not– and I don’t blame you– local camera shops provide sensor-cleaning services for a nominal fee. Either way, by knowing how to quickly identify the problem, you’re in a much better position to do something about it and get back to taking clean, crisp, dust-free photos.

Post originally from: digital photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Got Sensor Dust? Here’s How to Check.

The post Got Sensor Dust? Here’s How to Check. by Jeff Guyer appeared first on Digital Photography School.

Choosing the Right Color Reflector for Your Photography

Posted: 27 Oct 2013 07:37 AM PDT

Of all the portrait lighting tools at our disposal, none are quite as versatile as the the five-in-one reflector. The concept itself is extremely basic. In the hands of a photographer comfortable with common lighting principles, the reflector helps us bounce light into or onto those areas that aren’t getting enough light, regardless of whether we are using natural, ambient, or studio/strobe lighting.  A reflector placed directly opposite a main light can act as a hair light, creating separation between the subject and background. Placed in front of a back-lit subject, we can negate the silhouette effect, using available, natural light to balance the exposure between our subject and background. Held at a ninety-degree angle to a subject’s chest, we can toss some light up on the subject’s face and neck, eliminating troublesome shadows caused by foreheads and chins when using overhead or mid-day lighting.

The possibilities really are nearly endless, and– just as importantly– affordable. While there are many options available, at about $40.00, The Westcott 40″ 5-in-1 Reflector meets (and often exceeds) my needs, in terms of price, size, durability, and versatility. But dropping $40 on a reflector and adding it to your bag of tricks is only half the battle. Like the name says, you’ve got five-in-one. While technically not all five are actually reflectors, knowing which of the five to use and under what circumstances is essential to successful photographs.


5-in-1 Reflector surfaces are attached to or removed from the outer ring with zippers.


The silver panel is one of the most useful, and is best for beginners first getting their bearings with reflectors. Since the silver reflects the most amount of light of the five, it is a great choice for low-light situations or those scenarios where you need a strong fill light. Since it  doesn’t change the color of white-balanced flash or studio lights, it is perfect for both indoor and outdoor portraits. Another reason it works so well for beginners is that most first-timers make the mistake of not placing the reflector close enough to their subject. The silver reflector’s ability to shine more light than the gold, for instance, allows it to be placed further away from the subject than we typically want, without sacrificing results. One word of caution, though– the fact that the silver is the strongest of the five is an advantage, but it can also be too strong in already bright light unless it’s feathered. Take some time to experiment with proper and effective placement.


The gold reflector is great for outdoor portraits because it matches the warm color tones of sunlight. The gold reflector is actually at its best when it is reflecting sunlight, casting a warm glow on the subject. It’s easy to turn normal skin tones overly yellow, however, if you aren’t careful. This is also why the gold reflector is also not recommended for studio or flash work. It not only changes the color of the white light that hits it, but can cast uneven color tones on the subject.


Under most circumstances, this one is my favorite. The white panel may not reflect quite as much light as the silver or gold, but when used properly it can still bounce just enough light onto the subject to overcome shadows and add subtle dimension opposite larger light sources. Since it is soft, clean light, it works well both in the studio and outside when there is ample light. While effective, the white reflector won’t do you much good at all in low-light situations.  It is also important to remember, though, that for the white reflector to do its job, you’re doing to have to get it very close to your subject. Wedding photographers love the white reflector because it doesn’t change the color of the light– or the dress.


In the outdoor portrait on the left, a white reflector adds just enough light to open up the shadows, while a silver reflector casts some dramatic light across the boxer on the right.


This one is pretty much the “anti-reflector.” Black, as we know, absorbs light, which helps to cut down on the reflections from shiny, reflective surfaces– one of the reasons it is used so often in jewelry photography. When placed properly, the black panel also creates shadows when light falls too evenly across the subject. The benefit of this “negative fill” is that it allows you to create shadows rather than overcome them.


Using the black “reflector” in a small space helped me achieve split lighting, which I usually create with a silver reflector in a larger area.


When all of the other reflection panels have been removed, the translucent is left. While technically not a reflector, this panel works great as a shoot-through diffuser for flash or location lighting, or as a diffusion panel between the sun and your subject. Since larger light sources provide softer light, using the translucent panel as a large diffuser gives you a very large, easily portable light source. While a large enough translucent reflector can also be used as an impromptu background for a head shot, the translucent panel will almost always be between your subject and the light source.


Using the translucent panel above the subject’s head, we spread the light and softened it.


The 5-in-1 Reflector can one of the most versatile lighting tools in your entire workflow. Taking full advantage of its capabilities, though, won’t be possible until you know what color reflector to use for which lighting scenario. Remember, though, that photography rules were made to be broken once you’ve learned them, so be sure to experiment with color and placement.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Choosing the Right Color Reflector for Your Photography

The post Choosing the Right Color Reflector for Your Photography by Jeff Guyer appeared first on Digital Photography School.

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Photography is made easy: My photo sharing secrets

In the last few decades advancement all over modern technology has not only transformed the meaning of photography and also turned into digital photography . The pictures engaged with conventional camera appeared to be time consuming and had blur picture quality, but due to technology upgrading it has been refined and made better and at last turned to digicam photographs. The photographs clicked while using digital camera have first class presents and amazing clarity.

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If you are unknowledgeable with the technology and neither genuinely invest time in learning about particular computers, softwares and memory card yet still want to click your favorite instances using camera, then your interest is resolved just by using the guidelines of learning digicam photography is made easy and you can study simple ways to use your canon eos digital rebel xsi. Ap art from the fact that canon eos digital rebel xsi is user friendly and electronic media devices enough to be carried of your pockets. Another beneficial having access to digital camera is that they are moment in time saving and provide us while using instant feedback of our taps of. The option of review button provides you to look back to what you ‘ve got clicked and enables you to select the right ones and save customers. At the same time it also gives you a choice of deleting photographs which you don´ t like. digital cameras have become certainly handy to carry as well it you can click reliable photographs anytime and can treasure those moments forever. You can find out the use of digital camera just by admitting with us and we teach you regular step by step process to learn digicam photography basics for beginners. You

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Canon IXUS 950 IS Digital Camera Review

The IXUS 950 is an ideal choice for the digital camera user who wants a high quality compact in a small and stylishly designed body.

Canon IXUS 950 IS Specifications: Canon IXUS 950 IS front

  • Sensor: CCD: 8Mp
  • Image Size: 3264×2448 pixels
  • Optical zoom: 4x
  • Lens range: 35-140mm f/2.8 – 5.5mm
  • Focus: TTL Auto
  • Macro mode: 2cm
  • White Balance: Auto, Daylight, Cloudy, Tungsten, Florescent, Florescent H, Custom.
  • Exposure: Program AE
  • Metering: Evaluative, Centre-Weighted, Spot.
  • Shutter speed: 15-1/1600 sec
  • ISO range: ISO80-1600
  • Monitor: 2.5in. LCD (230k pixels)
  • Movie mode: Yes
  • Scene Modes: Portrait / Night Snapshot / Kids and Pets / Indoor / Creative Light Effect / Foliage / Snow / Beach / Fireworks / Aquarium / Underwater
  • Storage: SD, SDHC, MMC, no internal.
  • Batteries: Li-Ion battery pack
  • AF modes: Face Detect / 9-point AiAF / 1-point AF (fixed to centre)
  • Video output: Yes
  • Size/weight: 90x57x26mm/165g
  • Transfer: USB

Competitors within a similar price are the Nikon Coolpix S510 , Olympus mju 780 and Samsung NV11.

Canon IXUS 950 IS Modes and features
Canon IXUS 950 IS Angle The IXUS 950 has features in abundance. Firstly, there is the inclusion of Canon’s Image Stabilizer, which uses a lens shift-type system to detect and correct slight camera shakes, reducing image blur often caused by low light levels or slow shutter speeds. This is activated by halfway pressing the shutter release to lock the stabilizing system. There is also Canon’s Advanced Digic III Processor, which analyses the scene prior to the image, optimising key camera settings for the best possible result in that situation and for super fast responses. Face Detection technology is also a feature here, designed to detect human faces within the frame and ensure these areas are brought into sharp focus, as opposed to the camera focusing on another object within the frame and missing the main subject.

Buttons and functions are well set out and easy to use. On the top of the camera is the shutter release/zoom rocker function, which is smooth functioning and easy to use. On the back of the camera there is the power on/off switch, viewfinder, and 2.5in pure colour LCD, mode wheel, menu dial and three smaller buttons for printing, display options and menus. On the bottom of the camera is the tripod bush and card/battery compartment, which houses the Li-Ion rechargeable battery and SD memory card.

Metering modes offered here are Evaluative, Centre Weighted Average and Spot metering and the ISO optioCanon IXUS 950 IS LCD panel ns range from 80–1600. White balance options are comprised of Auto, Daylight, Cloudy, Tungsten, Florescent, Florescent_H and Custom and the selection of scene modes is vast comprising Portrait, Night Snapshot, Kids and Pets, Indoor, Creative Light Effect, Foliage, Snow, Beach, Fireworks, Aquarium and Underwater. Additional modes offered in the manual menus include Stitch Assist (for the creation of panoramic images), Colour Swap, Colour Accent, Digital Macro. Two shooting modes are offered including single shot and continuous shooting mode, and there are several self-timer options including 10secs, two seconds and custom timer.

Canon IXUS 950 IS Build and handling

The IXUS 950 is a sturdy and well-built camera which actually feels a lot heavier than it looks. While it looks extremely compact from the front, it is a quite bulky and wide on further inspection. As is consistent with the IXUS range, the 950 is finished in shiny three-tone metal and stylishly designed, if a little fatter than some of the previous IXUS models.

The 950 is extremely easy to use. Buttons and menus are well laid out, and there is the inclusion of a viewfinder as well as the LCD screen. The zoom function is smooth and easy to use, and there is the inclusion of an unusual mode wheel on side of camera, which makes it easy to select a shooting mode or playback function. Graphics in the menu are high standard and the quality of images in playback is exceptionally good.

Canon IXUS 950 IS side Canon IXUS 950 IS Flash options
The flash options of the IXUS 950 are limited, offering only a selection of either auto flash, flash on, or flash off, and this is one of the only factors that let the camera down. While most digital cameras today have an option for flash with red-eye reduction, with the 950 red-eye reduction is built in, and, once activated in the set-up menu, the red eye reduction will focus which ever mode you choose to shoot in, firing a red beam of light to reduce the pupil size before the actual flash is omitted. There is also a red eye correction function in the menu which allows you to correct any red eye present in images during playback.

Canon IXUS 950 IS Performance
The Macro mode of the IXUS 950 gives good results, functioning as close as 2cm and still retaining an impressive amount of detail and sharpness. In the colour checker test, the blues are rendered lighter and brighter than they actually are, as is the case with most digital compacts, and the skin tones appear slightly warmer than they are, but apart from these mixes, the colours of the chart are extremely accurate. Portrait tests taken using portrait mode give a soft skin tone with a slightly warmer glow than the same shot taken in auto, and any imperfections have also been smoothed out. The landscape shot shows only very mild colour fringing in the area around the steps, which is generally expected in areas of high contrast where darker colours meet lighter areas.

When activating the shutter release, there is a very slight lag before the picture is taken, but all in all the 950 is quite responsive. In the 10 second burst mode test, the IXUS 950 performed remarkably well, firing out 14 successive shots within the time period and still managing to keep on firing afterwards. The LCD screen, which features Canon’s Pure Colour technology displays high quality images and is easy to see even in bright and sunny conditions. Zoom functions are also good, activated by a small zoom rocker besides the shutter release and providing a fast and smooth transition between wide angle and telephoto shots and zoom quality is also reasonably good.

IXUS 950 Colour Chart
While the skin tones are slightly lighter, and
the blues lighter and brighter, the rest of
the mixes in the colour chart test are
extremely accurate.
Canon IXIS 950 Macro Mode
This shot of a flower, taken in Macro
mode, shows excellent detail in the petals at
a very close distance.
Canon IXUS 950 Portrait Shot
The portrait shot taken in auto mode
retains a good amount of detail in all areas of
the face.
Canon IXUS 950 Portrait Shot
Portrait shot taken in portrait mode has softened the skin slightly, smoothing out
imperfections and given a
warmer glow to the face.
Canon IXUS 950 Landscape
The landscape shot shows some mild
colour fringing around the edges of the steps
but generally gives a very impressive

Canon IXUS 950 Noise tests
With the ISO tests the Canon 950 really excels. ISO80 to ISO200 have no visible noise, and at ISO400 there is only a small amount visible on close inspection. At ISO800 a little more digital noise is starting to appear, and at ISO1600 there is pixelation in many areas of the picture, but nowhere near as much as you would expect for an image taken on such a high ISO setting.

Canon IXUS 950 ISO80
The IS080 test

Canon IXUS 950 ISO100

The ISO100 test

Canon IXUS 950 ISO200
The ISO200 test
Canon IXUS 950 ISO400
The ISO400 test
Canon IXUS 950 ISO800
The ISO800 test
Canon IXUS 950 ISO1600 TheISO1600 test

Canon IXUS 950 Verdict
Canon IXUS 950 IS bottom view Combining style with substance, the IXUS 950 performed extremely well in all parts of the test. Stylish, compact and easy to use, the camera provided good results throughout all tests. ISO results were excellent, as were performances in burst mode, and the Macro mode gave super sharp and detailed pictures from as close as 2cm. Features such as Image Stabilization, Advanced Digic III Processor and Face Detection all contribute to giving high quality results and make taking high quality photographs a doddle. Simple enough to use, even for newcomers to digital, the IXUS 950 is a good all rounder that comes highly recommended.

Plus points:
Positive ratingEasy to use
Positive ratingStylish and compact
Positive ratingMinimal noise in ISO tests
Positive ratingExcellent Macro mode

Negative points:
Negative ratingLimited flash options
Negative ratingSlight colour fringing in landscape test
Negative ratingOverly bright blues

Highly recommended

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The Canon IXUS 950 is available to purchase from the ePHOTOzine shop here.

All products images in this review were taken with the Canon EOS 400D.

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Ricoh Caplio GX100 Digital Camera Review

Ricoh have always been one of those companies that should be taken more seriously than they are. The top end cameras they produce are good, the digital cameras have always had inspiring features and looking at the GX100, it doesn’t look like it will fail on this occasion.

Ricoh Caplio GX100 Specification

  • Sensor: CCD – 10.3 Mp
  • Image Size: 3648 x 2736 pixels
  • Lens: 5.1-15.3mm (3x Optical Zoom)
  • Focus: Auto, Manual, Snap, Infinity
  • Metering : Multi, Centre, Spot
  • Monitor: 2.5in. TFT LCD
  • Movie Mode: Yes
  • Storage: SD(HC)/MMC, 26Mb Internal
  • Batteries: DB-60 Li-Ion, 2 x AAA
  • AC Adaptor: Optional
  • Video Output: Yes
  • Size/Weight: 112x58x25mm, 220g
  • Transfer: USB

The GX100 is at the top end of the market with the body setting you back £349 or you can opt for the pack which includes the removable LCD viewfinder at £399. Competitors are few and far between. Panasonic have the FX100 with 12Mp, 3x optical zoom and Leica lens for £289 whilst imaging giants Leica have the D-Lux 3 at £490 which will give you 10Mp, a 4x optical zoom and the swollen head that comes with owning one.

Ricoh Caplio GX100 Modes and features
Upon opening the box of the GX100, I was amused to discover a camera that looked like it had been designed by someone using Sticklebricks. However, that amusement was short lived as the camera grows on you like fungus on an old tree.

The top of the camera shows the Power button, Mode dial which has Auto, Program, Aperture Priority, Manual, Scene mode, Video, and two favourites. Noticeably, there is a lack of Shutter priority. The Flash switch enables the flash to pop up and be used and when down, the flash functions cannot be accessed, so Auto flash does not pop the flash up for you. The Function button lets you choose a setting to have at your fingertip. These are Manual Focus, Auto exposure lock, Exposure compensation , White balance, ISO , Quality rating, Focus, Image set which is a picture quality setting for sharpness, colour depth and contrast, AE meter, Continuous mode for continuous shooting, Auto Bracketing and Sound. There is also the obligatory Shutter release button and a selector dial which is normally found on Digital SLR’s and can be used for scrolling through the menu or setting the aperture value in Aperture priority.

Manual mode allows the Shutter speed and Aperture to be changed and to do this, the selector dial changes the aperture, whilst the Adjustment switch amends the shutter speed. The viewfinder will adjust the exposure to let you know when it is bright enough which is a nice touch and there is also a meter on the screen to use. The Scene button allows the Mode button to come into play and this is used to choose the Mode desired between Portrait, Sports, Landscape, Perspective correction, Text, Zoom macro which uses the digital zoom so expect loss of quality and High sensitivity for low light shooting. To set the My1 and My2 settings (favourites), the set up screen on the menu has to be accessed.

The back of the camera has a VF/LCD button for switching between the screen and viewfinder if you buy it. The Adjustment rocker allows the shutter speed to be altered in Manual and scrolling left and right through the menu to work with the selector dial.
One thing I don’t like is the zoom button. It is too small and doesn’t feel well made. The Menu has three pages to picture taking which gives options like Picture quality which is an impressive 10Mp and even more impressive is the possibility of shooting in RAW, focusing, metering, Bracketing, ISO setting and Image stabiliser to name a few. There are also another six pages to the set up. These are relatively advanced features to be included on the auto mode, however the same functions are available in Manual mode, so it seems that Ricoh have decided that we are grown up enough to make our own choices about whether we want to use these functions. Saying that, though, the camera is advanced enough to be used by the type of people that are fluent in these options to make a concious decision about using them. Other options on the reverse of the camera are the Display button which will scroll through Info on screen, Histogram, rule of thirds and no info, Flash options, Macro , Quick review which will only review the previous picture taken and Mode. These buttons double up as a secondary navigation to the menu and the Mode button can only be used to select modes in the Scene mode on the Mode dial.

The front of the camera bears a button which allows the lens ring to be removed and lens attachments fitted which is nothing new but adds to the overall features available.

Ricoh Caplio GX100 Build and handling
The camera feels strong and solid as you’d expect from Ricoh at the price it is. The camera is metal with a rubber grip on the front for fingers and the back for thumb.

The lens is a 24mm wide angle lens which is unique in a digital compact at this time and gives an outstanding field of view. Given this excellent feature, Ricoh have only put a 3x optical zoom on which i assume is done purposefully. I think Ricoh know who this camera is for and that sort of consumer won’t be flattered by huge zooms as they do have the technology available to stick a large zoom in the camera. I think a massive zoom would have also brought the prestige feel of the camera down to a more commercial level. That being said, they could have put maybe 4x optical in and still held their edge.

Macro mode enables the camera to get down to a staggering 1cm which is great for businesses that have a small product or if you have an interest in insect photography.

The card and battery are housed together in the bottom of the camera and both are snared in to prevent falling out but the battery door has a lock which is not spring loaded and has to be clicked over intentionally. The battery is Lithium Ion for maximum usage but in a bizarre twist, Ricoh have fitted the battery bay with AAA capability which is a good idea and AAA was obviously chosen over AA because of size issues.

Ricoh Caplio GX100 Flash options
The Flash is only available once it has been opened and the Flash mode button will give options of Auto, Red-eye reduction, Flash on, Slow flash synch, Soft flash and Flash off which is a waste of a feature as you can just push the flash back down. The power rating is approx. 0.2 – 5.0 m at wide angle and 0.15 – 3.0 m at telephoto which is a good performance. This can be enhanced by fitting the hotshoe with an external flash.

Ricoh Caplio GX100 Performance
The GX100 can start up in about 1.5sec. Which is nothing to shake a stick at and the burst mode managed an astonishing 16 images in the 10sec test not including download time. It starts off on a high speed burst then slows down to just under 1fps after the first two shots.

Portrait mode warms the picture up a little too much judging by our test and the colour chart saturated the blues and warmer colours whilst more earthy pastel colours were more bland. The Macro mode stood up to its claim of 1cm close focusing which is only in the wide-angle. This does have the drawback of the shadow from the camera getting in the picture. The lock gave good results on an overcast day with a balanced image in low and high key areas, no noise in shadows indicates a low ISO rating thanks to the bright lens and what little sky we got that day has come out a nice colour.

Warm and cool colours are saturated.

The lock image came out well

In manual mode, the image came out nicely balanced.

Portrait mode boosted the warmer tones.

Macro can reach a space invading 1cm


Ricoh Caplio GX100 Noise test
The noise test gave out standard results in the lower ISO stages with ISO80 and ISO100 showing little or no noise. Sadly, the noise does start to show at ISO200 and ISO400, but doesn’t get really bad until ISO1600, but that doesn’t mean that it isn’t bad at ISO800 and the colour of the petals really flourished, but then dropped off again.

The ISO80 test
The ISO80 test.

The ISO100 test
The ISO100 test.

The ISO200 test
The ISO200 test.

The ISO400 test
The ISO400 test.

The ISO800 test
The ISO800 test.

The ISO1600 test
The ISO1600 test.

Ricoh Caplio GX100 Verdict
The GX100 is a great camera and more suited to someone with a small business or a keen amateur who needs a wide angle compact with the features of an SLR. The picture quality is good and the build quality is superb. I don’t like the viewfinder being an optional accessory and their are other viewfinders available that will work on the GX100 so why not let the owner use a genuine Ricoh part as standard? I think it is down to money.

It is trying to rub shoulders with the top brass and specification wise it is up there although I cannot understand the lack of shutter priority or the small zoom. If they had fit a 4x optical to it, it would be nearer the spec of the D-Lux 3. The GX100 will suit those who can’t quite stretch to a Leica as it gives good specification and will also be good for those of you who don’t care what a camera looks like.

Ricoh Caplio GX100 Plus points
Wide angle lens
1cm Macro
SLR features

Ricoh Caplio GX100 Minus points
Viewfinder is an optional extra
Exhaustive menu list
Only a 3x optical zoom





The Ricoh Caplio GX100 costs from £294 and is available from Warehouse Express:

The Ricoh Caplio GX100.

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…Better Photos with Digital Photography Tips and Tricks | V-kool

The article provides using useful digital photography tips and tricks as well as some common photography mistakes it photographers should know to take their very own skills to the next level.

Seattle, Wa (PRWEB) October 21, 2013

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Sony DSC-T200 Digital Camera Review

The follow up to the high specification Sony DSC T100 digital camera , the T200 offers a larger 3.5in LCD touch screen, faster fps, backtrack key on the menu and a slightly larger 31Mb internal memory.

Sony DSC T200 Sony DSC T200 Specification

  • Sensor: CCD – 8.1Mp
  • Image Size: 3264 x 2448 pixels
  • Lens: 35-175mm f/3.5-4.4 (5x zoom)
  • Focus: 9 Area Multi-Point AF, 5 Step Manual Pre-set, Face Detection
  • Exposure: Program AE / 9 modes
  • Metering : Multi-Pattern/Centre
  • Monitor: 3.5in Touch screen LCD
  • Movie Mode: Yes
  • Storage: 31Mb Internal, Memory Stick Duo and Pro Duo Media
  • Batteries: InfoLithium Rechargeable
  • AC Adaptor: Optional
  • Video Output: Yes via Multi Connector- HD 1080
  • Size/Weight: 94x60x21mm – 160g
  • Transfer: USB 2.0

Comparable to the T200 at £269 is, again, the Canon IXUS 950IS also with 8Mp, only a 4x optical zoom and image stabiliser for £209. Alternatively, the Nikon Coolpix P50 offers 8Mp, 3.6x zoom and 28mm wide angle lens for £199. Both cameras are cheaper than the Sony, but it is worth taking into account that they are also older.

Sony DSC T200 Modes and features
Looking straight on at the camera, it is identical to the T100 with its sliding power switch that also acts as the lens cover. The top of the camera has the usual Power and Shutter release buttons, but then the surprise sets in that the top of the camera is also accommodating the Playback button and the very small zoom switch. Flipping the camera over to see the back explains the reason behind this. The back of the camera houses a behemoth of a screen. It’s only half an inch more than the previous screen, but is enough to take up the entire back of the camera.

Sony DSC T200 So with a gargantuan screen selfishly taking up the entire reverse of the camera and the buttons are all on the touch screen. The reason I think Sony has done this is because the T200 is so similar in every other way, that they had to make it look different in a visible way.

The screen has several options sprouting off, most noticeable are the three main options of Home, Menu and Display which all occupy a corner of the screen with the fourth corner left blank until a menu or multi choice screen is accessed, then that corner gives the option of going back.

The quick access options available on the left of the screen are the Resolution, Self timer and Record modes which in turn gives the option of Auto, Scene which has pre-set options of High ISO, Smile shutter which seems to have replaced the Portrait mode, Soft snap, Twilight portrait, Twilight, Landscape, Hi speed shutter, Beach, Snow and Fireworks. Program and Video are the final options in the Record mode. The right of the screen only offers two options of Flash and Macro modes.

The Home button is top left and is similar to the Home menu on the T100 with five tabs for Shooting, Playback, Print and Music, Memory and Settings. Each of the five tabs have at least four of their own options with the Shooting tab giving an Auto adjustment, Program auto, Scene selection and Movie mode which is exactly the same as the quick access Record mode.

The Playback tab gives the options of viewing your images as single images, thumbnails or as a slideshow whilst the Print tab only has two options of Print and Music tool which is used to download music for your slideshow.

The Memory tab has a button called Memory tool and then a button that says Format. No other options in this tab, so why have to go through two screens to format the card? Seems like a waste of time.

The final tab is for the main settings and when selected, four more tabs come up giving Sony DSC T200 options for Main settings, Clock settings, Shooting settings and Language settings. The Main settings tab is ridiculously long as it has six pages with four independent tabs each. The first simply changes the Beep, there is a Function guide which is the option of turning off the system that explains what everything does for you, Initialise is like a reset all button but it retains any images on the internal memory, Calibration of the touch screen can be performed here and the Housing option changes the function buttons for use in the Underwater housing pack.

Scrolling down to the second page brings up four more options and they are the USB connection options to set between Auto which should do the job, Pictbridge and Mass storage and are only really there for if the camera has a serious problem knowing what is connected to it, Component allows changes of the camera settings for use with a HD Television and the last two options are for the Video out and the TV screen size to ensure compatibility.

The third page allows changes to the AF illuminator, put grid lines on the page, change the AF mode to Single or Monitor and change the Digital zoom options. Halfway through and page four has only three sub menus for Auto orientation, Auto review and Smile level for the Smile shutter feature of the T200 whilst pages five and six only have one option each for the Clock and Language respectively.

Laughably, these could all be compacted down. The first page has five sub menus on it, so six can easily be fitted on. With a total of 18 sub menus, this charade of a menu could be reduced to three pages.

The great thing about the Main settings is that it is the comprehensive menu for the set up tab and the three Shooting, Clock and Language tabs are just repeats of the third, fifth and sixth pages. This is probably the reason that the list on the main setting is separated so much, but that doesn’t stop me thinking it unnecessary.

Sony DSC T200 For those that read the review for the T100, you will know my disdain of the Home and Menu button as Sony have simply separated some of the same systems and even doubled some up. This does nothing but confuses people. They have carried on with the Menu again though and this has three pages of options with three options per page. The first page has the Shooting mode for Single, Continuous shooting and bracketing to pre-set values, the White balance override and the Colour mode for Vivid colour, Neutral, Sepia or Black & white. The second page has Flash compensation, red-eye reduction and Image stabiliser whilst the third page only has one option of the Set-up and this is the double up of going to the Shooting settings in the Home menu.

As mentioned previously, there is a noticable absence of the Portrait mode and this has been replaced with the Smile shutter. This feature is intended to reduce the chances of missing smiles as the camera not only detects a face, but prioritises a smile and even takes a picture without the button needing to be pressed. This is a great feature which does take some getting used to, which is why when we tried it, I started laughing which made the camera take even more pictures.

When the camera is set to Auto, the amount of options are reduced in the Menu and also changed. The Bracketing is not available and Face detection has been added to the list and a whole page of options has been removed.

Sony DSC T200 Build and handling
The build is the same as its predecessor with a metal body, 5x optical zoom and Carl Zeiss Vario-Tessar lens. Therefore, everything that was wrong with the T100 should, in theory, be wrong with the T200. The only problem that I had with the T100 was the grip being too small and the possibility of the lens cover closing mid shot. However, fitting a huge screen has forced a change in the way the camera is held and because of all the controls on the top including the tiny zoom switch, not as much pressure is applied to the slider.

Sony DSC T200 I am proud to say that I reported on the T100 that there was a lack of a Back button in the menus and this has now appeared as the option in the fourth corner. Could this be because of my Review? (I wouldn’t bet on it – Ed)

The zoom is still a little too slow and they have made the button even smaller and I cannot help but think that shunting the other buttons to the left a bit could have remedied the problem. I cannot help but think back to the early Cybershot models and the zoom that was so fast you needed the reactions of a computer to work it effectively, so maybe they are correcting their mistakes these days. Some people are never happy.

The touch sensitivity of the screen is not good enough in my opinion. Sometimes using it, the buttons had to be hit quite hard which in the long run could damage the screen or the touch screen sensors.

Sony say that the screen is 3.5in and it is. But you only use 3in of it, so there is a bit of spin going on there as it is misleading the consumer into thinking they have a larger workspace. Why make a 3.5in screen which is touch sensitive and only use 3in of it? What’s the point? That’s the beauty of it, it doesn’t need one but if it did have one, it would be to make the camera more cosmetically different from its predecessor.

Sony DSC T200 Flash options
The flash options for the Sony DSC T200 are Auto, Flash on, Slow synchro and Flash off. The Red-eye reduction options are amended in the Menu. The distance range of the T200 is 10cm – 3.7m at wide angle and 80cm – 2.9m at telephoto and are no different to the disappointing results of the T100 as the performance range of the flash is quite low for a camera of this specification.

The flash does have a tendency to fire of its own accord, the portrait shots had to be overridden even though it was a relatively bright day.

Sony DSC T200 Performance
The 10se test was interesting. The T200 can shoot at approximately 2fps and using the internal memory even though the camera gave a figure of 10 shots available, I managed fourteen after it amended the figure.

The screen suffers from a little blur, but I think this is down to the Image stabiliser trying hard to settle everything, it thinks that any movement at all should be settled. The screen is bright, but the black bars down the side with the menus are distracting at least at first and suggests that the large screen is merely for boasting purposes about having a 3.5in screen and the touch screen is for show as it is only necessary due to the large screen.

The colour chart image gave a good result in the primary colours as it has boosted those, but the skin tone colour is flat and pale. Macro is as good as before getting into an eye watering 1cm.

Centre-weighted metering gave a balanced image throughout, but that meant a lot of detail lost in the sky. Changing to Spot metering and metering from the strip of trees on the horizon gave a more contrasty punchier image with cloud detail in the overcast sky.

The Lock test image was set to landscape mode and the result is dreadful. The sky is way over exposed thanks to the automatic controls and this has affected the whole image with flare showing in all low key areas. The day wasn’t too bright so to get a result like this, I am truly surprised. However, on a lighter note, fringing is to a minimum with only a small green band on the building roof line and minor purple edges to the white bars leading into the canal.

The portrait shots were great fun as I managed to collar Pete to take them of me. We tried a shot with face detection and it even follows the face in the screen if the subject moves. It is unfortunate, that even on the bright day, it still fired the flash, this is something to look out for. The Smile shutter feature will take a picture as soon as it detects a smiling face in the frame and this is great for those candid moments of the kids as the button doesn’t even have to be pressed. Interestingly, the camera will keep taking pictures until it runs out of space, there is no feature for stopping it other than the power switch. The Program mode gave a far more bland image with an exposure similar to the face detection shot, but that used flash. I prefer the punchier colours and contrast in the Smile shutter shot as it looks cleaner.

Sony DSC T200
The Landscape mode has been let down a lot. The sky has over exposed way too much.

Sony DSC T200 Noise test
The noise results from the T200 are truly astonishing. ISO80 shows amazing detail reproduction with all detail shown a smooth finish to the grey card and ISO100 has little difference. Being really critical, ISO200 shows a minor change in noise on the black square and this has started to sharpen on ISO400. The results by this stage are what the average ISO200 would be showing on other cameras. ISO800 shows more of the same sharpening of what noise is apparent, but I am having to be really brutal in looking for it.

Skipping onto ISO1600 and the amount of noise showing now is the equivalent of ISO400 and whilst ISO3200 has definite noise in the low key areas, the results are astounding. Purple blotches are only just starting to show yet on any other camera, this high rating would have a proverbial snow storm swirling over the image.

The noise shots were taken in daylight with the White balance set to daylight as the AWB was not coping and a blue cast was appearing.

Sony DSC T200 Verdict
As a direct replacement to the T100 which I reviewed, there is little significant differences between the two. The screen size is the most apparent, but even that is not strictly true. The biggest difference between the T200 and the T100 is the noise which is virtually undetectable on the T200 even at its highest rating and the brilliant Smile shutter feature. To reiterate, the flash can have a tendency to fire even when it is not necessary

If you are looking for a decent camera with vast options available to you, a good lens and excellent noise performance, then this is the camera for you.

Sony DSC T200 Plus points
Excellent lens
Good build
Brilliant noise results
Close macro for uber-close ups

Sony DSC T200 Minus points
Misleading screen size
Touch screen is not sensitive enough
Zoom button is way too small





The Sony DSC T200 costs around £269 and is available from the ePHOTOzine shop here.

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“DISCUSS What Would It Take to Get You To Swap to a New Camera System/Brand?”…

“DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand?” plus 1 more: digital photography School

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DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand?

Posted: 20 Oct 2013 12:37 PM PDT

switch camera system brandThis last week Sony released a couple of cameras that caused a big stir around the online photography community – the Sony A7 and A7R cameras (pictured right). These full frame, interchangeable cameras come in a compact body with lots of features and the initial hands on reviews being published from around the web say that they are going to be really popular.

I’ve seen a lot of dslr owners say that they’re pre-ordering these cameras already and it has made me wonder – what would it take for me to switch from one camera system to another?

The thing that stops most dslr owners from switching brands is their investment in lenses and accessories that tie them into a brand. But increasingly we’re seeing adapters released that allow using lenses with one lens mount on other brands. For example these new Sony cameras can be fitted with an adapter that allows for my Canon lenses to be used.

The barriers to switching are slowly being removed.

I’m not yet ready to make a switch but I’m seeing more and more people do so. For some reason I’m particularly seeing disillusioned Canon dslr users make the switch – maybe its just that there are more of them but quite a few feel frustrated by the lack of development by Canon of late.

So here’s my Question

What would it take for you to switch from one camera system to another?

Are you tempted to do so by some of the new cameras announced in the last year?

Or have you already made the switch and do you have any regrets?

Post originally from: digital photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand?

The post DISCUSS: What Would It Take to Get You To Swap to a New Camera System/Brand? by Darren Rowse appeared first on Digital Photography School.

How to Harness the Power of Lightroom Print Collections

Posted: 20 Oct 2013 08:37 AM PDT

LR print collection opener

In a post last year I explained a process for exporting images from Lightroom ( sized and all ready for posting to a blog. Since then I discovered a more robust solution to the problem of outputting images using a custom print layout from Lightroom. This can be used when printing images or saving them as jpeg files.

The process of preparing and outputting images can be simplified by taking advantage of the Single Image/Contact Sheet Layout in Photoshop and combining this with a print collection. The result is that printing to a specific layout is as easy as dropping the image into a collection and switching to the Print module and clicking to print – it’s a simple process once it is all setup.

To do so, start out by selecting an image to use to configure your print layout and click to launch the Print module. In the top right panel select Layout Style: Single Image/Contact Sheet. The image which appears on the page is the one selected in the filmstrip.

LR print collection 1

Set up this image so that it looks the way you want to print all images of this type. If you plan to print the image to paper, click Page Setup and select your printer and the page size and orientation.

LR print collection 2

To print to a file, open the Print Job panel and from the Print to dropdown list select JPEG file. Deselect the Draft Mode Printing checkbox, select Custom File Dimension and set the output dimensions and file resolution.

LR print collection 3

Adjust the image size and placement on the page using the Image Settings and Layout panel options. You can also add an Identity Plate and/or Watermark as desired.

Once you are done, click the Create Saved Print button at the top right of the screen above the print layout and type a name for your new collection. This saves the image and the layout as a special Print collection in the Collections panel.

LR print collection 4

In future to set up images ready to print them, add them to this collection in the Library module, double click the collection in the Collections panel and it will automatically launch the Print module.

Click on any image in the filmstrip and the image will be assembled ready to print or save to a jpeg file.

LR print collection 5

A number of readers have asked me for solutions to outputting images with watermarks in different positions and using different text colors from Lightroom. If you’re outputting to jpeg files or printing images you can do this using this process. Set up a print collection for each of the watermark options. You can then drop the images into the appropriate collection and they’ll be automatically laid out ready for printing. The layouts are saved in the collection so simply selecting the collection automatically recreates your layout.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Harness the Power of Lightroom Print Collections

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