Studio equipment rental @ Camerarental

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noreply@blogger.com (Studio) — Sat, 25 Jul 2009 00:54:00 +0800

SuperValue Saturday Deal !

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 25th July 2009:

Canon Camera Bodies
Canon 5D II * NEW *
Canon 5D

Canon Lenses (Primes)
Canon 24mm Tilt-shift lens
Canon 35mm f1.4
Canon 85mm f1.2 II
Canon 300mm f2.8

Canon Lenses (Zoom)
Canon EF 16-35mm f2.8 II
Canon EF 24-70mm f2.8
Canon EF 24-105mm f4

Canon Flashes
Canon 580EX II

Nikon Lenses (Primes)
Nikon AFS 35mm f1.8 * NEW *
Nikon AFS 60mm f2.8 Macro

Nikon Lenses (Zoom)
Nikon AFS 12-24mm f4
Nikon AFS 14-24mm f2.8
Nikon AFS 24-70mm f2.8
Sigma 10-22mm
Tokina 10-17mm f2.8 fisheye * NEW *
Tokina 11-16mm f2.8 * NEW *

Nikon Flashes
Nikon SB800

noreply@blogger.com (Studio) — Sat, 18 Jul 2009 00:46:00 +0800

SuperValue Saturday Deal !

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 18th July 2009:

Canon Camera Bodies
Canon 5D II * NEW *
Canon 5D

Canon Lenses (Primes)
Canon 50mm f1.2
Canon 85mm f1.2 II
Canon 300mm f2.8 IS

Canon Lenses (Zoom)
Canon EF 16-35mm f2.8
Canon EF 24-70mm f2.8
Canon EF 24-105mm f4
Canon EF 70-200mm f2.8
Canon EF 70-200mm f2.8 IS

Nikon Lenses (Primes)
Nikon AFD 10.5mm f2.8
Nikon AFS 60mm f2.8 Macro
Nikon AFS 105mm f2.8 VR Macro

Nikon Lenses (Zoom)
Nikon AFS 18-200mm VR
Nikon AFS 24-70mm f2.8
Sigma 10-22mm
Tokina 10-17mm f2.8 fisheye * NEW *
Tokina 11-16mm f2.8 * NEW *

Nikon Flashes
Nikon SB900

For more information, please visit our website.

noreply@blogger.com (Studio) — Sat, 18 Jul 2009 00:46:00 +0800

SuperValue Saturday Deal !

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 18th July 2009:

Canon Camera Bodies
Canon 5D II * NEW *
Canon 5D

Canon Lenses (Primes)
Canon 50mm f1.2
Canon 85mm f1.2 II
Canon 300mm f2.8 IS

Canon Lenses (Zoom)
Canon EF 16-35mm f2.8
Canon EF 24-70mm f2.8
Canon EF 24-105mm f4
Canon EF 70-200mm f2.8
Canon EF 70-200mm f2.8 IS

Nikon Lenses (Primes)
Nikon AFD 10.5mm f2.8
Nikon AFS 60mm f2.8 Macro
Nikon AFS 105mm f2.8 VR Macro

Nikon Lenses (Zoom)
Nikon AFS 18-200mm VR
Nikon AFS 24-70mm f2.8
Sigma 10-22mm
Tokina 10-17mm f2.8 fisheye * NEW *
Tokina 11-16mm f2.8 * NEW *

Nikon Flashes
Nikon SB900

For more information, please visit our website.
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noreply@blogger.com (Studio) — Fri, 17 Jul 2009 08:10:00 +0800

How to control digital noise

noreply@blogger.com (Studio) — Sat, 11 Jul 2009 09:53:00 +0800

We first mentioned about digital noise a couple of weeks ago in this blog.

We were discussing ISO, and how the higher the number the more the noise in digital images.

And the longer the exposure, the more the sensor heats up. It is this heat that is responsible for most of the noise in digital photography.

Most of the time the heat issue is out of the photographer's control - especially in the warmer months.

All digital cameras produce noise - even the high end ones, especially at higher ISO settings.

So what is a photographer to do?

Once again, technology comes to the rescue, this time in the processing of the image on the computer instead of in the camera itself.

There are programs and plug-ins for programs that work with your photo processing software that can help remove this blasted noise that plagues us photographers.

Some of them let you isolate certain areas, and some of them will handle the entire image.

The one I use is Noise Ninja, a photoshop plug-in, and I would be so lost without it.

I evaluate my image several times during the processing of it so I can track the noise level each time I do something.

One reason I do this - processing the image too much can also add noise.

Sharpening is notorious for adding noise, both in the camera and in the computer processing too.

So, the less you manipulate the image, the less the noise.

But suppose there is noise that needs to be removed.

These programs work their magic, but as you know, if something seems too good to be true, it usually is.

Using too much noise removal will leave you with lost details and soft edges. Image quality can suffer when it is used too heavily.

Once again, a light hand and sometimes just using it in areas that are prone to noise - skies, shadows, and some textures, will yield great results.

It is all just a matter of experimenting and learning what works.

Basic Digital Photography: Taking Action Shots

noreply@blogger.com (Studio) — Sat, 11 Jul 2009 09:42:00 +0800

Personal photography has gone through a sort of mini evolution in the past 20 years as digital cameras have become popular. With the ability to take huge numbers of pictures, save them on computer, and share them over the internet, the cost of film and developing are no longer limiting factors. Although group photographs, portraits, celebrations, and vacations are still common images, personal photography now captures more impromptu and daily types of events. Photographs of fast moving action are more common as well as people are able to experiment to obtain the type of images they want without fear of "ruining" a shot that requires more skill to take. Capturing action can be challenging for a beginning photographer and requires quite a bit of practice to master. The following outlines a few pointers that can get the novice started off on the right foot.

1. When trying to obtain shots of action, the photographer can use one of two approaches:

* Follow subjects with the camera as they wait for action to happen.

* Focus the camera on a particular spot where action is anticipated and wait for it to happen. An example would be focusing on the basketball goal or 1st base. When using this method it is often best to observe through the Optical Viewfinder and keep both eyes open so that it is easy to anticipate shots as action approaches.

2. Reduce lag time and latency:

* Shutter lag is the delay between the time the shutter button is pressed and the time when the camera actually takes the picture. During this lag time the camera is setting the exposure and focus. Shutter lag is particularly problematic when trying to capture action shots. One way of decreasing shutter lag is to press the shutter button halfway down, hold it, and then press the button down completely when ready to take the shot. This process allows the camera to perform some of the focusing function prior to taking the shot thereby reducing the shutter lag time.

* Latency is the time it takes the digital camera to write/store images before the next shot can be taken. To reduce latency, a photographer should use flash cards with fast write times. In some instances, a lower resolution setting can be used for the shot so that the camera has less information to process and store, but this technique of reducing latency must be used carefully as image quality can be compromised.

3. Follow the action; this is known as "panning". Panning involves tracking the motion of the subject horizontally to capture the movement as it goes side to side. As the photographer moves in the same direction as the motion, a slower shutter speed is often used to allow the subject to be focused and the background to blur demonstrating the action that is occurring. Panning is not necessary for all action shots but is one method of demonstrating the movement while keeping the subject in focus. The process of panning involves the following:

* Tracking is initiated prior to taking the shot.

* The shot is taken by squeezing the shutter button to avoid any downward movement of the camera.

* Tracking of the movement continues for 1-2 seconds after the shot is taken.

4. Use Burst Mode when wanting to capture a series of movements. Many digital cameras offer a Burst Mode which allows the user to capture a sequence of shots. The camera tends to set the focus and exposure on the first shot and then take remaining shots with these same settings. This allows the camera to take the shots in a more rapid sequence.

5. Action shots can be taken from any angle. However, staying parallel to the action generally produces the best demonstration of movement and allows the photographer to pan if desired.

6. Shutter speed reminder. A faster shutter speed generally freezes action to help eliminate blurring, however a somewhat slower shutter speed can better demonstrate movement by allowing some blurring of the arms, legs, and feet as the subject moves. The type of shot desired is what dictates the appropriate shutter speed to use.

7. Practice, practice, practice. Beginners can anticipate their action shots will not meet their expectations initially. Practice is necessary and will require many shots to be taken. However, with the ability to delete images on digital cameras, practice is only an investment in time.

SuperValue Saturday Deal !

noreply@blogger.com (Studio) — Sat, 11 Jul 2009 00:15:00 +0800

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 11th July 2009:

Canon Camera Bodies
Canon 1D II
Canon 50D * NEW *

Canon Lenses (Primes)
Canon 15mm f2.8
Canon 35mm f1.4
Canon 85mm f1.2 II
Canon 300mm f4 IS

Canon Lenses (Zoom)
Canon EF 16-35mm f2.8 II
Canon EF 24-70mm f2.8
Canon EF 24-105mm f4
Canon EF 70-200mm f2.8 IS
Canon EF 70-200mm f4 IS

Canon Flashes
Canon 580EX II

Nikon Camera Bodies
Nikon D3
Nikon D700

Nikon Lenses (Primes)
Nikon AFD 16mm f2.8 Fisheye * NEW *
Nikon AFS 60mm f2.8
Nikon AFS 105mm f2.8 VR

Nikon Lenses (Zoom)
Nikon AFS 14-24mm f2.8
Nikon AFS 17-55mm f2.8
Nikon AFS 24-70mm f2.8

Nikon Flashes
Nikon SB900

For more information, please visit our website.

Creative Photography – Unusual Angles

noreply@blogger.com (Studio) — Fri, 10 Jul 2009 00:51:00 +0800

At first time, I thought photography is all about taking pictures and capture the best moments and all that kind of things. Yes, that is the basic thing; without taking into account the importance of composition, lighting and angles.
I was keen to take pictures about everything, from scenery to scale model. After a while, I thought it was boring – sooner I realized I’ve lost interest in taking pictures. I let the camera stay in the box, and take it out sometimes to clean up the dust.

A couple of weeks ago, I got this email from Dave Peterson, a professional photographer because I subscribed to his website newsletter. He was talking about taking pictures from unusual angles. He realized most photos are shot at eye level. Come to think of it, this is because traditionally, you needed to have the viewfinder up to your eye to ensure you get everyone in the shot.

So this is his tips:
1.Hold your camera at waist height and click while walking around. Some photos will be blurred, but you can usually find some that are very good. This works particularly well in sunlight when walking around a tourist area.
2.When shooting any subject with a lot of straight lines (like someone on a fence), turn the camera 45 degrees to give a diagonal look to your image that enhances the mood of the picture.
3.Sometimes the best images need to be taken from unusual locations such as from the top of a building (for a birds eye shot) or right down on the ground. Also point the camera different ways .including straight up or straight down. Don’t be afraid to try different angles. Placing your camera at angles of 30 degrees from the horizontal or vertical lines work well.
4.When finding that great angle, don’t worry about looking the fool! Being self-conscious will affect your ability to find great angles, your concentration, and maybe even the quality of your photographs.
5.You don’t need to go to extremes to find a great angle – even standing on a step, or getting down onto one knee can make a lot of difference.
6.To make small things look large, lie on the ground and hold your camera towards the sky. This will make your small subject look like a giant! This also works well for tall buildings such as lighthouses.

SuperValue Saturday Deal !

noreply@blogger.com (Studio) — Sat, 4 Jul 2009 08:25:00 +0800

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 4th July 2009:

Canon Camera Bodies
Canon 5D II * NEW *
Canon 30D

Canon Lenses (Primes)
Canon 15mm fisheye
Canon 24mm tilt shift
Canon 300mm f4 IS
Canon MP-E65 f2.8 (5X macro) * NEW *

Canon Lenses (Zoom)
Tokina 10-17mm fisheye * NEW *
Canon EF 16-35mm f2.8 II
Canon EF 24-105mm f4
Canon EF 70-200mm f4 IS

Nikon Camera Bodies
Nikon D3
Nikon D300

Nikon Lenses (Zoom)
Tokina 11-16mm f2.8 * NEW *
Nikon AFS 10-24mm * NEW *
Nikon AFS 12-24mm f4
Nikon AFS 17-55mm f2.8
Nikon AFS 24-70mm f2.8

Nikon Flashes
Nikon SB800
Nikon SB900

For more information, please visit our website.

Filters and Photography

noreply@blogger.com (Studio) — Wed, 1 Jul 2009 20:45:00 +0800

Filters can add special effects or abilities to your camera lens. Understanding how filters work will give you an extra arsenal of equipment to create that magical shot you’ve been looking for.

Most lenses have the ability to add filters, primarily by screwing them on in front of the lens while some lenses require the filters to be attached at the rear end of the lens. Filters are used for several different reasons: increasing contrast, changing the exposure, capturing invisible light or minimizing reflections are just a few to name.

The use of filters has gone downhill in this age of digital photography. These days it’s simply easier to make these changes in post-production instead of using a filter during the photo shoot.

While that might be true, there are still some things we can’t change in post-production, and filters can become a necessity.

UV Filters

UV stands for Ultraviolet, which is light that is invisible to the human eye. UV filters were used to cut down on haziness, such as in mountains and around coastal areas, but the digital sensor isn’t as sensitive to this as 35mm film was. However the UV filters are still around, mainly because these filters are used for lens protection.

Having a UV filter attached to the lens at all times makes the lens more protected from scratches, dust, weather and accidentally dropping the lens. There are debates among photographers about the use of UV filters; some argue that they visually affect the outcome of the photograph while others argue that they don’t affect it and that the filter is a great insurance.

I personally always have a UV filter screwed onto every single one of my lenses, and I’ve had one of my lenses saved thanks to the attached filter. However, if you are going to use a UV filter, don’t buy the cheapest one you can find. If you have a good lens, buy something like a high-end B+W filter.
ND Filters

ND filters, or Neutral Density filters, are a great way to take control over exposure time. These filters are used to reduce the amount of light that reaches the sensor, which makes it possible for the photographer to use a larger aperture for a longer period of time then what would be normal under given circumstances.

An example of this would be the ability to photograph a waterfall with a slow shutter speed during a bright day. Without a ND filter most lenses would not be able to use an aperture small enough for long exposures but with an ND filter attached the photographer can mix and match just how he wants it.

Graduated ND Filters

These filters have the same principle as the regular ND filters but with one important distinction, they do not have the ND effect on the whole glass. The ND effect is gradual and is perfect if you want to have the sky darkened but not the foreground for example. These filters have their limits, such as the gradual transition is a straight line, which might not always be the case with nature… oh, and they are also rather expensive. Most of these filters are rectangular and uses a special holder to place them in.

Polarizing Filters

These polarizing filters have many uses, and are one of my favorite filters to use. Most of them are circular, often called Pol-Cir or CPL filters, and you change the level of polarization by rotating the outer layer of the filter. The polarizer filter affects the photographs in such a way that cannot be reproduced in post-production, which makes it a very useful tool even today.

What it does is reduces reflections on non-metallic surfaces, such as water and glass. Removing reflections can be very useful in both urban and wild life situations and have the ability to totally alter the outcome of the photograph.

Another effect the polarizing filter has is that it increases contrast and color saturation while at the same time reducing haze. This effect can clearly be seen in skies, in which the sky can be darkened and more colorful but keeping the clouds white.

A quick word of advice though is that a polarizing filter will, depending on brand and quality, not let 100% light through — which will affect the exposure. With most brands you will loose one full-stop.

Macro Filters

Macro filters, close-up filters or diopters, are not ordinary filters — they are more like an extra lens you place in front of another lens. This makes close-ups possible even with normal or telephoto lenses, although the result is often not true 1:1 macro. Several filters can be stacked on top of each other to intensify the effect.

I personally would recommend people look into getting an extension tube instead. Extension tubes change the closest possible focus length, without affecting the image quality as badly as macro filters do. The best option is obviously a true macro lens, but an extension tube is much cheaper and might be a good first step into the world of macro photography, and the extension tube can be used together with a macro lens to enhance the magnification.

Macro filters have many drawbacks such as softening up the image considerably, and these filters often produce lacking quality. Use with caution.

Color Filters

Color filters are rarely used anymore; they were primarily used for black & white photography to manipulate the contrast. An example is using a yellow, orange or red filter, which will increase the contrast between skies and clouds, making the clouds really stand out. These days the effects can quite easily be reproduced digitally with the help of levels and channels.

IR Filters

IR stands for Infrared, and these wavelengths are on the opposite side of the light spectrum from UV. To photograph in IR you need a filter that only lets through IR light, however there are some problems with modern cameras. The sensor is constructed to not record IR light, and unless you want to permanently modify your camera (or purchase specially designed cameras such as Canon’s 20Da) there are some restrictions. This technique is so unique and odd that I will dedicate an entire article about IR photography later on instead of writing how it all works in this one.

SuperValue Saturday Deal !

noreply@blogger.com (Studio) — Sat, 20 Jun 2009 09:32:00 +0800

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 20th June 2009:

Canon Camera Bodies
Canon 1D III
Canon 5D
Canon 50D

Canon Lenses (Primes)
Canon 50mm f2.5 MACRO * NEW *
Canon 85mm f1.2 II
Canon 90mm tilt shift
Canon 300mm f2.8 IS

Canon Lenses (Zoom)
Canon EF 17-40mm f4
Canon EF 18-200mm IS
Canon EF 24-70mm f2.8

Nikon Camera Bodies
Nikon D3

Nikon Lenses (Prime)
Nikon AF 16mm f2.8 fisheye * NEW *
Nikon AFD 85mm f1.4

Nikon Lenses (Zoom)
Nikon AFS 12-24mm f4
Nikon AFS 14-24mm f2.8
Nikon AFS 24-70mm f2.8

Nikon Flashes
Nikon SB900

SuperValue Saturday Deal !

noreply@blogger.com (Studio) — Sat, 13 Jun 2009 10:08:00 +0800

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 13th June 2009:

Canon Camera Bodies
Canon 5D II * NEW *
Canon 40D

Canon Lenses (Primes)
Canon 35mm f1.4
Canon 50mm f2.5 MACRO * NEW *
Canon 85mm f1.2 II

Canon Lenses (Zoom)
Canon EF 18-200mm IS
Canon EF 24-70mm f2.8
Canon EF 70-200mm f2.8 IS

Nikon Camera Bodies
Nikon D3
Nikon D300

Nikon Lenses (Prime)
Nikon AF 16mm f2.8 fisheye * NEW *
Nikon AFD 85mm f1.4
Nikon AFS 105mm VR MACRO

Nikon Lenses (Zoom)
Nikon AFS 10-24mm * NEW *
Nikon AFS 17-55mm f2.8
Nikon AFS 24-70mm f2.8
Nikon AFD 80-400mm VR

Nikon Flashes
Nikon SB900

For more information, please visit our website.

How To Choose A Tripod

noreply@blogger.com (Studio) — Tue, 2 Jun 2009 17:18:00 +0800

Choosing a tripod is always a compromise. No matter how much research is done, you are never quite sure that the choice you are about to make is the correct one. And even after you've used your tripod for over a year, you might still be uncertain of your choice. Whatever decision you finally make will be fine since you will learn to adapt to the few compromises that you knew you had to make. Don't start second guessing yourself and read more reviews after you have made your decision as other models will always arrive the day after your purchase. It's up to you to decide which feature is the most important, second important, etc. There is a rating list at the end of this article to help you come to the right tripod choice. Now, what are the features that you should look for?

Construction Material:
The carbon-fiber tripod offers the greatest weight to stability ratio against the more common aluminum tripod. The carbon-fiber model will also be easier to hold during those cold, winter days. Unfortunately, the carbon-fiber tripod will come with a much higher price tag. If you can afford the price tag, it is an item that you won't be replacing and won't regret using. If you cost average the price against how many years you will be using it, it might become the one to think about after you realize all the compromises that you had to consider on similar models. If you end up replacing a tripod that didn't fit your needs, the extra cost of eventually purchasing another tripod might cost you the same price.

Tripod Height:
There are 3 heights that you should be concerned with:
1) The maximum height
2) The minimum height
3) The folded height
You have 2 options regarding the maximum height. The tripod with camera can be at eye level to you or the tripod and camera combination can be less than eye level. The tripod that is less than eye level is generally referred to as mini or compact tripod. The tripod that is less than eye level is generally lighter as long as equal construction materials are compared against one another. This tripod tends to fold up into a shorter unit for carrying or packing. You will generally regret choosing a shorter model as you will constantly be bending over or lowering your body to photograph. Do not get confused and add the height of the centerpost into the height of the tripod as it is meant for minor adjustments, and when raised too high, it tends to make the tripod less stable. Usually the choice of a shorter tripod is considered when weight and cost becomes a factor. Obviously, with a lightweight carbon fiber construction, the weight decreases and the price increases. The tripod that is right for you is the one that does not stay at home due to the tripod's weight or the size.

Centerpost:
There are 2 options available for the centerpost:
1) smoothed
2) geared.
The smooth centerpost is extended by holding the centerpost and raising it. The geared version has a small crank on the side, and when turned, raises or lowers the centerpost. The geared version allows you to raise or lower the tripod with one hand which is for some, and advantage. There is also an option with the smooth centerpost. Some manufacturers allow the centerpost to be removed and turned upside down so that the camera can be closer to the ground... upside down. This feature comes in handy some times. If you feel that this might be of value, then consider the smooth centerpost.

Legs:
There are two choices of type of tripod legs:
1) tubular
2) channels.
Tubular models are almost always heavier, resulting in a longer life span and a more stable support. The legs usually have 2, 3, 4 or 5 sections. The tripod becomes less stable with more sections added while the tripod's folded height becomes much shorter. The sections of the legs are adjusted by means of a leg brace, the more common types being either a flip-lock or clamp lever or the threaded twist lock. Threaded twist locks offer good strength and rigidity, but take longer set-up and breakdown time. They are also subject to over tightening and can pick up sand and grit. Flip-lock or clamp levers are generally the most satisfactory overall because of quick set-up, trouble-free operation (easy to use with gloves), and long term durability. The type of locking device is usually a personal decision since there are many pros and cons for each type of locking device.

Feet:
The tripod might have a combination of two types of feet:
1) outdoor use
2) indoor use.
Some tripods allow you to unscrew the bottom of the legs to produce a pointed end for outdoor use. When the feet are set to normal, the legs have a rubber bottom for indoor use.

Head:
Check the specifications on the maximum weight that the head can handle to make sure that it will work properly with the tripod since the choice of head is even more important than the tripod choice. Also be sure to check the maximum weight that the tripod and head in combination can handle. Pan-tilt heads are excellent for landscape and macro work. There are 2 types of pan-and-tilt heads
1) Two handle
2) One handle
The single handle head was originally for movie and video cameras that required horizontal positioning only. The two handle head has the ability to adjust both horizontal and vertically so that you can position your camera at the exact position necessary. They also make good general purpose heads.

The other choice is the ball head. Frequently, ball heads are used for bird and wildlife photography. A ball head will perform well under these shooting conditions where photographers sometimes leave the controls slightly loose with the friction set just tight enough to hold the camera steady, but loose enough to make smooth adjustments to moving subjects. This allows unprecedented ease of following a rapidly moving target. Some manufacturers also have "tensioning" devices to control the ease with which the ball can be rotated. This is desirable as once the weight of your camera/lens combination increases it can be awkward if the ball is completely loose. The bigger the ball, the more likely it will be to behave this way. Check the diameter of the top of the tripod to make sure that the ball head will fit properly on top of the tripod. Some heads have a larger diameter and overlap the top of the tripod. If in doubt of your choice, check with the manufacturer of the tripod or numerous retail stores to receive advice.

A common mistake is to not allow enough room for your lens to clear the platform on the tripod. Be sure that your all the lens that you own or intend to purchase will not interfere with the extended platform. The lens may not be able to be adjusted to all positions. A platform that is about 2x2 or 2x3 should work properly. Test this out in advance before purchasing a tripod. I believe that the head, camera and tripod should be tested as a complete unit before a purchasing decision is made. It has been my experience that this is the only way to prove the utility of the tripod and head with the actual camera(s) being used. I think you would be surprised that some systems that you think are "solid" with one camera system, are wobbly with another.

The quick-release system should be added to your tripod. This allows you to quickly and efficiently remove or mount your camera on your tripod.

Stability Test:
If possible, mount your camera on the tripod that you are considering. Stomp on the ground next to your tripod and watch the camera lens move. Then, jiggle the leg of the tripod and watch the camera lens. You are looking for the least amount of lens movement and the quickest recovery (how long does it take the lens to stop jiggling). The smaller or lighter the tripod, the harder it will stand up to this stability test.

Questions:
What type of photography do you want to use the tripod for?
How are you going to be transporting your tripod?
How far are you going to be transporting your tripod?
How heavy is my camera and will lens be added?
How much do I want to spend for the tripod?
How much do I really want to spend for sharp photographs?
What is the order of the most important feature to the least?
Can I buy it and try it from the inside of my house?
Can I take it back if it doesn't meet my needs?

SuperValue Sat

noreply@blogger.com (Studio) — Sat, 30 May 2009 08:56:00 +0800

SuperValue Saturday Deal !

Enjoy the following equipment at 50% discount this Saturday :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 30th May 2009:

Canon Camera Bodies
Canon 1D III
Canon 5D II * NEW *
Canon 50D

Canon Lenses (Primes)
Canon 15mm Fisheye
Canon 24mm tilt shift
Canon 300mm f2.8 IS

Canon Lenses (Zoom)
Canon EF 24-70mm f2.8
Canon EF 70-200mm f2.8 IS
Canon EF 70-200mm f4 IS

Canon Flashes
Canon 580EX
Canon 580EX II

Nikon Camera Bodies
Nikon D3
Nikon D700

Nikon Lenses (Prime)
Nikon AF 10.5mm f2.8 fisheye
Nikon AF 16mm f2.8 fisheye * NEW *
Nikon AFS 60mm f2.8 Macro
Nikon AFD 85mm f1.4

Nikon Lenses (Zoom)
Nikon AFS 10-24mm f3.5-4.5 * NEW *
Nikon AFS 17-35mm f2.8
Nikon AFS 24-70mm f2.8
Nikon AFS 70-200mm f2.8 VR

Nikon Flashes
Nikon SB800

For more information, please visit our website.
__________________
Camera Rental Centre - Premier Rental House in Singapore!
Phone: 9650 4158 | www.camerarental.biz

Studio Photography Essentials: Tools and Equipment

noreply@blogger.com (Studio) — Tue, 26 May 2009 22:59:00 +0800

Shooting indoors can be very challenging due to the limitations of indoor lighting. But indoor photography is one kind which allows you to explore your creativity to the maximum given that mostly the light sources are artificial and you can exercise complete control over them. While photography is all about light, indoor photography is also about the equipment you employ and how creatively you put them to use. In this two-part article lets get familiar with the equipment and why we need them.

Flash
The on-camera built-in flash is a generic-purpose do-everything light. While flash is not recommended for the kind of photography we are talking about, investing is an external flash-gun is highly recommended. Using it with a Sto-Fen diffuser will provide you with a secondary source of usable light.

Light
Photographers prefer to work in soft-light unless they have specific requirements for hard-light. Soft-light keeps the shadows and highlights in control while illuminating the subject uniformly. You need a soft-box for this purpose which diffuses the light and softens it. I’d recommend you to use a home-made soft-box unless your photography work is fetching you good returns in which case you should go for a commercially available soft-box with a strobe light which you can fire with a wireless trigger fitted on the camera’s hot-shoe.

Backdrops
This can be plain or elaborate and made from any number of items, from sheets to fake fur and plain walls to professional backdrops from a photography shop. A plain backdrop is often preferable to a print one. You want the focus of your picture to be on your subject, not your backdrop. Keep in mind that flash may bounce off your backdrop and reflect onto your subject. When choosing your backdrop, find a color that will enhance your subject if this happens. A white backdrop will provide an additional light source because of this bouncing effect.

For a textured backdrop, try hanging fake fur or satin. A sheet

Reflectors
When budget is a consideration, full-size thermocol sheets are the answer. Acrylic sheets also come in handy to build up a make-shift light-tent to photograph small objects. The purpose of these reflectors is to illuminate the areas which fall opposite to the light falling on the subject. In day-light these are often not a problem as the light source is larger than the subject and the shadows are negligible or soft. But for our purpose investing in two thermocol sheets and 3-4 acrylic pieces (about 12 x 12 inches) is economical and does the job. Now all you need is a an assistant to hold them in place or find a make-shift stand - the results are the same in either case - they are at par with commercial photographs.

Light-meter
Even as a hobbyist if you are serious about photography, invest in a light-meter. Not that the in-built exposure-meter of the camera is any less useful but there’s a fundamental difference. The inbuilt camera meter gives you the reading based on the light reflected off the subject while a hand-held light-meter gives you the reading based on the incident light or the light hitting the subject. A light-meter is thus more accurate and usable for serious photography. More on metering in my post on metering modes in your camera.

Flash Trigger
Just in case you choose to invest in a strobe light the flash-trigger will enable you to fire the slave flash. Get a wireless one and you won’t tri over the wires and multiply your camera into pieces.

Tripod
Due to the low-light conditions indoors, even at maximum aperture, the shutter-speed has to be way low. This warrants the use of a tripod. Even a table or a similar placement will do but tripod is recommended.

Lens
While a zoom provides a lot of flexibility is terms of subject distance and framing, a fixed focal-length lens provides you with better quality images. But that’s not the consideration here. When you are shooting indoors, you are shooting small subjects from a close distance. You have to keep the perspective correct and also need the ability to really zoom-in close. Go for anything above 70mm (ideally 100mm and above) and you shall be fine.

Miscellaneous
So far so good. But indoor photography and especially table-top photography is pretty much based on makeshift arrangements. When you have to splash liquid off a glass you won’t count on the ice-cubes but use transparent plastic cubes which do a better job being shot as ice-cubes and never melt away. Some glycerin mixed with plain water can be sprayed onto things to make them shine with highlights and add gloss.

So much of it is exploring, experimenting, getting creative and learning. But guess what, we’ll come back in part-two of this post to show you how to put all this equipment to use and get started with it in a “hands-on” post.

Choosing the right lenses

noreply@blogger.com (Studio) — Thu, 21 May 2009 18:17:00 +0800

A whole universe of camera lenses exists out there, but choosing which lens type to use for a shoot depends on factors such as the camera's distance from the subject and amount of the scene you want to capture. The 5 most common choices of lenses you can swap are the wide-angle lens, zoom lens, telephoto lens, macro lens, and fisheye lens. Each one offers its own unique visual perspective to a photograph.

Things You'll Need:
Camera that allows lens swapping
Wide-angle lens
Zoom lens
Telephoto lens
Macro lens
Fisheye lens

Step 1
Begin by assessing these factors: Is the subject very large (an expansive landscape), or is it very small almost microscopic? Is you subject far away from the camera? Or are you looking for a unique or different perspective in a normal photo?

Step 2
In the case of a very large expansive subject, such as a wide landscape or building, you will want to use a wide-angle lens. This lens has a wider field of vision than the human eye and can capture large, dynamic landscapes with the background and foreground of the photo in sharp clarity.

Step 3
If you are trying to capture upclose details or magnify a very small object you will need a macro lens. Its short focal length allows the photographer to take extreme close ups of objects without distortions.

Step 4
Is your subject far away from the camera? A zoom lens or telephoto lens should be able to help you shorten the distance between you and the subject. Use a zoom lens to actually zoom in and magnify like a telescope or use a telephoto lens to make distant objects appear closer to the camera and any objects in the near foreground.

Step 5
Looking for a creative perspective to experiment with? Try a fisheye lens. Fisheye camera lenses distort the subject image, producing photos with a distinctive and oddly curved appearance. Made famous by album covers and band pictures in the 1960s and 1970s for its surreal effect.

Tips & Warnings
Still looking for a creative perspective? Try using all of the lenses above on your subject, and experiment with the distortions each lens creates.

Good Wedding lenses:

noreply@blogger.com (Studio) — Wed, 20 May 2009 00:08:00 +0800

Good Wedding lenses:

Nikon/Canon 50mm f1.4

Nikon/Canon 85mm f/1.4

Considered by some to be the best portrait lens. It’s an extremely sharp lens, for both your photos and on your wallet.

Nikon 105mm f/2.8

This lens provides a great portrait focal length and has the added ability of taking stunning macro (close-up) shots such as wedding rings, cakes and bouquets.

Nikon/Canon 70-200mm f/2.8

Probably the only telephoto-zoom you’ll ever need. Aside from portraits, for events where you can’t get up close and personal a 200mm lens is crucial.

Choosing your walk-around lens for Wedding Photography
As nice as it would be to shoot with only prime lenses, having 3 cameras around my neck with 3 more lenses attached to my belt isn’t really practical and will only serve to intimidate partygoers. Having a high quality zoom lens makes life much easier and you wont miss any shots messing with your gear. Wide-angle zoom lenses, sometimes also called standard zooms, to the rescue.

I find the best lens for wedding photography to be a lens that covers somewhere around the 20-70mm focal length range with an aperture of f/2.8. This ideal range lets you get wide enough to avoid constantly reaching for a dedicated wide-angle lens and close enough to capture facial emotions in your candid shots. It also doubles as a good lens for portraits. In the end, this type of lens is on my main camera 80% of the day. It’s compact, very sharp and has a good focal range.

Nikon/Canon 24-70mm f/2.8

The previous standard for this type of lens. Built like a tank, but almost as heavy as one too. Not quite as wide as the newer Nikon lens above, but a great lens.

Nikon/Canon 17-55mm - f/2.8

Wedding Photography Tips

noreply@blogger.com (Studio) — Tue, 19 May 2009 06:40:00 +0800

Wedding Photography Tips

1. Create a ‘Shot List’
Get the couple to think ahead about the shots that they’d like you to capture on the day and compile a list so that you can check them off. This is particularly helpful in the family shots. There’s nothing worse than getting the photos back and realizing you didn’t photograph the happy couple with grandma!

2. Family Photo Coordinator
I find the family photo part of the day can be quite stressful. People are going everywhere, you’re unaware of the different family dynamics at play and people are in a ‘festive spirit’ (and have often been drinking a few spirits) to the point where it can be quite chaotic. Get the couple to nominate a family member (or one for each side of the family) who can be the ‘director’ of the shoot. They can round everyone up, help get them in the shot and keep things moving so that the couple can get back to the party.

3. Scout the Location
Visit the locations of the different places that you’ll be shooting before the big day. While I’m sure most Pros don’t do this - I find it really helpful to know where we’re going, have an idea of a few positions for shots and to know how the light might come into play. On one or two weddings I even visited locations with the couples and took a few test shots (these made nice ‘engagement photos’).

4. Preparation is key
So much can go wrong on the day - so you need to be well prepared. Have a backup plan (in case of bad weather), have batteries charged, memory cards blank, think about routes and time to get to places and get an itinerary of the full day so you know what’s happening next. If you can, attend the rehearsal of the ceremony where you’ll gather a lot of great information about possible positions to shoot from, the lighting, the order of the ceremony etc

5. Set expectations with the Couple
Show them your work/style. Find out what they are wanting to achieve, how many shots they want, what key things they want to be recorded, how the shots will be used (print etc). If you’re charging them for the event, make sure you have the agreement of price in place up front.

6. Turn off the sound on your camera
Beeps during speeches, the kiss and vows don’t add to the event. Switch off sound before hand and keep it off.

7. Shoot the small details
Photograph rings, backs of dresses, shoes, flowers, table settings, menus etc - these help give the end album an extra dimension. Flick through a wedding magazine in a news stand for a little inspiration.

8. Use Two Cameras
Beg, borrow, hire or steal an extra camera for the day - set it up with a different lens. I try to shoot with one wide angle lens (great for candid shots and in tight spaces (particularly before the ceremony in the preparation stage of the day) and one longer lens (it can be handy to have something as large as 200mm if you can get your hands on one - I use a 70-200mm).

9. Consider a Second Photographer
Having a second backup photographer can be a great strategy. It means less moving around during ceremony and speeches, allows for one to capture the formal shots and the other to get candid shots. It also takes a little pressure off you being ‘the one’ to have to get every shot!

10. Be Bold but Not Obtrusive
Sometimes you need to be bold to capture a moment. However timing is everything and thinking ahead to get in the right position for key moments are important so as not to disrupt the event. In a ceremony I try to move around at least 4-5 times but try to time this to coincide with songs, sermons or longer readings. During the formal shots be bold, know what you want and ask for it from the couple and their party. You’re driving the show at this point of the day and need to keep things moving.

11. Learn how to Use Diffused Light
The ability to bounce a flash or to diffuse it is key. You’ll find that in many churches that light is very low. If you’re allowed to use a flash (and some churches don’t allow it) think about whether bouncing the flash will work (remember if you bounce off a colored surface it will add a colored cast to the picture) or whether you might want to buy a flash diffuser to soften the light. If you can’t use a flash you’ll need to either use a fast lens at wide apertures and/or bump up the ISO. A lens with image stabilization might also help. Learn more about Using Flash Diffusers and Reflectors.

12. Shoot in RAW
I know that many readers feel that they don’t have the time for shooting in RAW (due to extra processing) but a wedding is one time that it can be particularly useful as it gives so much more flexibility to manipulate shots after taking them. Weddings can present photographers with tricky lighting which result in the need to manipulate exposure and white balance after the fact - RAW will help with this considerably.

13. Display Your Shots at the Reception
One of the great things about digital photography is the immediacy of it as a medium. One of the fun things I’ve seen more and more photographers doing recently is taking a computer to the reception, uploading shots taken earlier in the day and letting them rotate as a slideshow during the evening. This adds a fun element to the night.

14. Consider Your Backgrounds
One of the challenges of weddings is that there are often people going everywhere - including the backgrounds of your shots. Particularly with the formal shots scope out the area where they’ll be taken ahead of time looking for good backgrounds. Ideally you’ll be wanting uncluttered areas and shaded spots out of direct sunlight where there’s unlikely to be a wandering great aunt wander into the back of the shot. Read more on getting backgrounds right.

15. Don’t Discard Your ‘Mistakes’
The temptation with digital is to check images as you go and to delete those that don’t work immediately. The problem with this is that you might just be getting rid of some of the more interesting and useable images. Keep in mind that images can be cropped or manipulated later to give you some more arty/abstract looking shots that can add real interest to the end album.

16. Change Your Perspective
Get a little creative with your shots. While the majority of the images in the end album will probably be fairly ‘normal’ or formal poses - make sure you mix things up a little by taking shots from down low, up high, at wide angles etc.

17. Group Shots.
Table shots might not be the most attractive of pictures to add to your wedding album. The tables are generally cluttered. The Photographer will need to reposition the guests in order to capture everyone for posterity without the unwanted items spoiling the photo.

The other obstacle standing in the way of a good table shot is the fact that many couples are choosing a more casual approach to seating arrangements. Guests are encouraged to sit where they feel most comfortable and with the members of the party whose company they enjoy most. The 10-22 range is recommended for the table shots.

18. Fill Flash
When shooting outside after a ceremony or during the posed shots you’ll probably want to keep your flash attached to give a little fill in flash. I tend to dial it back a little (a stop or two) so that shots are not blown out - but particularly in backlit or midday shooting conditions where there can be a lot of shadow, fill in flash is a must. Read more about using Fill Flash.

19. Continuous Shooting Mode
Having the ability to shoot a lot of images fast is very handy on a wedding day so switch your camera to continuous shooting mode and use it. Sometimes it’s the shot you take a second after the formal or posed shot when everyone is relaxing that really captures the moment!

20. Expect the Unexpected
One more piece of advice that someone gave me on my own wedding day. ‘Things will Go Wrong - But They Can be the Best Parts of the Day’. In every wedding that I’ve participated in something tends to go wrong with the day. The best man can’t find the ring, the rain pours down just as the ceremony ends, the groom forgets to do up his fly, the flower girl decides to sit down in the middle of the aisle or the bride can’t remember her vows….

These moments can feel a little panicky at the time - but it’s these moments that can actually make a day and give the bride and groom memories. Attempt to capture them and you could end up with some fun images that sum up the day really well.

I still remember the first wedding I photographed where the bride and grooms car crashed into a Tram on the way to the park where we were going to take photos. The bride was in tears, the groom stressed out - but after we’d all calmed down people began to see some of the funny side of the moment and we even took a couple of shots before driving on to the park. They were among everyone’s favorites.

21. Have Fun
Weddings are about celebrating - they should be fun. The more fun you have as the photographer the more relaxed those you are photographing will be. Perhaps the best way to loosen people up is to smile as the photographer (warning: I always come home from photographing weddings with sore jaws and cheeks because of of my smiling strategy).

Wanna try before buying ?

noreply@blogger.com (Studio) — Mon, 18 May 2009 09:41:00 +0800

SuperValue Saturday Deal !

noreply@blogger.com (Studio) — Sat, 16 May 2009 08:08:00 +0800

Enjoy the following equipment at 50% discount this Saturday (16th May 2009) :
(no reservation, strictly first-come-first-serve, from 1:30pm to 3:00pm)

Available on 16th May 2009:

Canon Camera Bodies
Canon 40D
Canon 5D II * NEW *

Canon Lenses (Primes)
Canon 24mm f3.5 tilt shift
Canon 135mm f2
Canon 300mm f4 IS * NEW *

Canon Lenses (Zoom)
Canon EFS 17-55mm f2.8
Canon EF 18-200mm IS * NEW *
Canon EF 24-105mm f4
Canon EF 70-200mm f4 IS

Nikon Camera Bodies
Nikon D3
Nikon D300
Nikon D5000 * NEW *

Nikon Lenses (Prime)
Nikon AF 16mm f2.8 Fisheye * NEW *
Nikon AFS 50mm f1.4 * NEW *
Nikon AFS 60mm f2.8 Macro * NEW *

Nikon Lenses (Zoom)
Nikon AFS 10-24mm f2.8 * NEW *
Nikon AFS 12-24mm f4
Nikon AFS 18-200mm VR

Nikon Flashes
Nikon SB800
Nikon SB900

For more information, please visit our website.

7 Photography Tips for Better Children’s Portraits

noreply@blogger.com (Studio) — Fri, 15 May 2009 10:06:00 +0800

How do you approach portraiture for children so that you get great images AND make a ton of money doing it?

1. Treat the child as your client. Your first task is to create a great rapport with the child. They won’t work with you if you don’t talk to them in their mannerism. Find what they like and share in their excitement. Get down to their level. You don’t want them to see you as an adult. You want them to see you as a friend.

2. Treat the mom (dad, grandparent, or whoever is there and paying for the portrait) as your client. Yes, this is the person paying for the portrait session, and any packages and prints they purchase in the future. But remember, they will be happy if their child stays happy, and if the child has a smile on his or her face as they are leaving your studio.

3. Educate. Most mom’s call up wanting a photograph of their smiling, looking at the camera. It’s your job to educate her that you can get gorgeous images that show the child’s true personality without the full face smile. You will sell what you show in your studio and your marketing. Show them what you ultimately have the desire to sell.

4. Think natural. A child isn’t going to have the patients for heavy posing, clothes changes, or boring props. The younger the child, the more you should rely on keeping things natural. Spend your time focusing in on the expressions of the child, not the nuances of the background.

5. Have fun. Kids are curious by nature. So it’s easy to play with them. Make your props curious, and you can have fun for a long period of time. Tell them there’s a bug at the bottom of the bucket. Or you’ve hidden a piece of candy in the toy box. Ask them a question about their favorite toy. The idea is to get their mind off taking pictures, and focusing in on what they love.

6. Concentrate on expressions. Expressions will sell the image every time. No mom can resist a photograph showcasing her child’s innocence, beauty, or sometimes his or her spunk. One of my favorite images of my daughter when she was 2 was with her nose wrinkled, ready to run out of the room (which she did an instant after the picture was taken). It showcased her personality at that point in time, and I’ll treasure that image forever.

7. Shoot with the end in mind. What do you want to sell your client? Is it a large framed image? Or a collage of prints in a frame? Or maybe an album filled with photojournalistic style images? Have samples ready to sell the client before you start the photo shoot. Then take the images that will fill out what you’ll ultimately sell. This helps you know how many images you need to take, how many poses to concentrate on, and the general layout of each image.