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Helpful Articles
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Friday, 08 December 2006 |
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Nikon D50 £325 Body Only
 Nikon D50
Nikon and photography go together like ham and mustard and for a long time the Nikon name has been associated with real quality and the D50 is no exception. It's a tough piece of kit compared to other offerings, and if your camera is likely to take a few knocks then this model might just be right up your alley.
With the D50 the beauty of the design doesn't stop with the exterior of the camera it boasts an impressive set of results. Using the camera couldn't be easier it's layout is not only approachable but logical also, and the autofocus and metering systems both perform brilliantly.
Picture quality is impressive too with 6.1 true megapixels delivering sharp, colourful images. Noise is strongly limited all the way up to the D50's highest ISO speed setting of 1600.
The Nikon D50 is a great little camera to get you started in D-SLR photography but as you gain experience you may find that you'll be wanting to upgrade to a higher spec model sooner rather than later.
Specifications
| Price (US) |
• Kit (Body + 18-55 mm DX lens): US$ 899
• Body only: US $?? |
| Body colors |
Black and Silver * |
| Sensor |
• 6.24 megapixel (total) CCD
• 6.1 million effective pixels
• 23.7 x 15.6 mm
• Nikon DX format (1.5x FOV crop)
• RGB Color Filter Array
• 12-bit A/D converter |
| Image sizes |
• 3008 x 2000 [L] (6.01 million)
• 2256 x 1496 [M] *
• 1504 x 1000 [S] |
| File formats |
• NEF (12-bit uncompressed RAW)
• JPEG (EXIF 2.21)
• NEF+JPEG (Basic) |
| Color space |
• IIIa (sRGB - more green for colourful landscapes) default *
• Ia (sRGB)
• II (Adobe RGB) |
| Lens mount |
Nikon F mount (with AF coupling & AF contacts) |
| Lens compatibility |
• DX Nikkor: All functions supported
• Type G or D AF Nikkor: All functions supported
• Micro Nikkor 85 mm F2.8D: All functions supported except autofocus and some exposure modes
• Other AF Nikkor: All functions supported except 3D Color Matrix Metering II
• AI-P Nikkor: All functions supported except 3D Color Matrix Metering II and autofocus
• Non-CPU: Can be used in exposure mode M, but exposure meter does not function; electronic range finder can be used if maximum aperture is f/5.6 or faster
Note: IX Nikkor lenses cannot be used.
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| Autofocus |
• TTL phase detection
• Nikon Multi-CAM900 autofocus module
• Detection range: EV -1 to +19 (ISO 100 equivalent, at normal temperature) |
| Lens servo |
• Single Servo AF (AF-S)
• Continuous Servo AF (AF-C)
• Auto selection (AF-A) *
• Manual focus (M) |
| AF Area mode |
• Single Area AF
• Dynamic Area AF
• Closest Subject Priority Dynamic Area AF |
| Focus area |
One of five areas can be selected |
| Focus lock |
Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button |
| AF Assist |
White light lamp |
| Exposure mode |
• Digital Vari-program
- Auto, Portrait, Landscape, Child *, Sports, Close up, Night portrait
• Programmed auto (P) with flexible program
• Shutter-priority auto (S)
• Aperture priority auto (A)
• Manual (M) |
| Metering |
TTL full-aperture exposure metering system
• 3D color matrix metering II *
• 420 segment RGB sensor *
• Center-weighted: Weight of 75%(8mm circle) given to 6, 8, 10, or 13-mm circle in center of frame, or weighting based on average of entire frame
• Spot: Meters 3.5 mm circle (about 2.5% of frame) centered on active focus area * |
| Metering range |
• EV 0 to 20 (3D color matrix or center-weighted metering)
• EV 2 to 20 (spot metering) (ISO 100 equivalent, f/1.4 lens, 20 °C) |
| Meter coupling |
CPU coupling |
| Exposure compen. |
• +/- 5.0 EV
• 1/3 or 1/2 EV steps |
| AE Lock |
Detected exposure value locked by pressing AE-L/AF-L button |
| AE Bracketing |
• 3 frames *
• +/- 2 EV
• 1/3 or 1/2 EV steps |
| Sensitivity |
• Auto
• ISO 200 - 1600
• 1 EV steps * |
| Shutter speed |
• Combined mechanical and CCD electronic shutter
• 30 to 1/4000 sec *
• Steps of 1/3 or 1/2 EV
• Flash X-Sync: up to 1/500 sec
• Bulb |
| White balance |
• Auto (TTL white-balance with 420 segment RGB sensor *)
• Six manual modes
• Preset white balance
• White balance bracketing possible |
| WB fine tuning |
No * |
| Image parameters |
• Sharpening
• Tone
• Color
• Hue |
| Viewfinder |
• Optical fixed eye-level
• Penta-dach-mirror type
• Built-in diopter adjustment (-1.6 to +0.5 m-1)
• Eyepoint: 18 mm (at -1.0 m-1)
• Frame coverage 95% (approx.)
• Viewfinder eyecup DK-20 *
• Viewfinder magnification approx. 0.75x with 50mm lens at infinity; -1.0 m-1
• Focusing screen: Type B BriteView clear matte screen Mark V * with superimposed focus brackets |
| LCD monitor |
• 2.0" TFT LCD *
• 130,000 pixel |
| Flash control |
• TTL: TTL flash control by 420-pixel RGB sensor *
o Built-in Speedlight: i-TTL Balanced Fill-Flash or standard i-TTL flash (spot metering)
o SB-800 or 600: i-TTL Balanced Fill-Flash or standard i-TTL flash (spot metering)
• Auto aperture: Available with SB-800 with CPU lens
• Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s
• Distance-priority manual available with SB-800
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| Flash Sync Mode |
• Front-Curtain Sync (normal sync)
• Red-Eye Reduction
• Red-Eye Reduction with Slow Sync
• Slow Sync
• Rear-Curtain Sync |
| Built-in Speedlight |
• Auto flash with auto pop-up
• [P], [S], [A], [M]: manual pop-up with button release Auto flash with auto pop-up
• Guide number (ISO 200/ISO 100, m): approx. 15/11 (manual full 17/12) |
| Flash compensation |
• -3 to +1 EV
• 1/3 or 1/2 EV steps |
| Accessory shoe |
• ISO standard hot-shoe with safety lock |
| Flash Sync Terminal |
No |
| Shooting modes |
• Single frame shooting (S) mode
• Continuous shooting (C) mode: approx. 2.5 frame per second * (up to 12 consecutive shots with JPEG format, 4 shot with RAW format)
• Self-timer/remote control mode. |
| Self-timer |
• 2 to 20 sec |
| Playback functions |
• 1 frame: Thumbnail (4 or 9 segments)
• Magnifying playback
• Slide show
• Histogram indication
• Highlight point display
• Auto image rotation |
| Orientation sensor |
Yes |
| Storage |
• Secure Digital (SD) card *
• No card supplied |
| Text input |
Up to 36 characters of alphanumeric text input is available with LCD monitor and multi-selector; stored in Exif header |
| Video output |
NTSC or PAL selectable |
| Remote control |
ML-L3 wireless remote controller (optional) |
| Connectivity |
• USB 2.0 (Hi-Speed) *
• Mass storage / PTP selectable
• Video out
• DC-IN (optional AC adapter) |
| Languages |
Chinese (simplified), Dutch, English, French, German, Italian, Japanese, Korean, Spanish, Swedish, Russian, Portuguese
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| Power |
• Lithium-Ion battery pack EN-EL3
• AC Adapter EH-5 (optional) |
| Dimensions |
133 x 102 x 76 mm (5.2 x 4.0 x 3.0 in) |
| Weight (no battery) |
540 g (1.2 lb) |
| Weight (inc. batt) |
620 g (1.4 lb) |
| Box contents |
• Rechargeable Li-ion Battery EN-EL3
• Quick Charger MH-18a
• Video Cable
• USB Cable UC-E4
• Strap
• Body cap
• Eyepiece Cap DK-5
• Rubber Eyecup DK-20
• Accessory shoe cover
• PictureProject CD-ROM |
| Optional accessories |
• Rechargeable Li-ion Battery EN-EL3(a)
• Multi Charger MH-19
• Quick Charger MH-18(a)
• AC Adapter EH-5
• Speedlight SB-800/600
• Eyepiece Magnifier DG-2
• Angle Finder DR-6
• Nikon Capture 4 (Ver.4.3) Software
• Wireless Remote Control ML-L3
• Semi-Soft Case CF-D50 |
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Last Updated ( Thursday, 27 December 2007 )
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Friday, 08 December 2006 |
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Sony a100 £550 body only
 Sony Alpha 100
Sony's Alpha100 is their first attempt at creating a D-SLR since taking over Konica Minolta. The a100 is not a completely new design, instead they have remained with the minolta lens mount and kept a lot of the styling from the discontinued Dynax 5D. On the design side of things Sony could have tried to learn a few tricks from the other manufacturers. The general appearence and feel of the camera is not all that fantastic but look past the exterior and and you will know you are getting much more camera for your money than meets the eye. The Alpha's specs are really quite good with a built in dust protection system and stabilisation that reduces the chances of your photos being spoilt by camera movement, especially when using larger lens configurations.
The jewel in the Alpha's crown is the image quality, which is superb. This is due to the fact the camera has a 10.2 megapixel resolution, which considerable makes up for it's shortfalls in handling.
Specifications
| Format |
SLR |
| Price (street) |
UK £550 body only |
| Also known as |
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| Release Status |
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Max resolution |
3872 x 2592 |
Low resolution |
3896 x 1936, 1920 x 1280 |
Image ratio w:h |
3:2 |
Effective pixels |
10.0 million |
Sensor photo detectors |
10.8 million |
Sensor size |
23.6 x 15.8 mm |
Sensor type |
CCD |
Colour filter array |
RGB |
Sensor manufacturer |
Sony |
ISO rating |
Auto, 100, 200, 400, 800, 1600 |
Zoom wide (W) |
n/a |
Zoom tele (T) |
n/a |
Digital zoom |
No |
Image stabilization |
Yes, Sensor shift |
Auto Focus |
Yes |
Manual Focus |
Yes |
Auto focus type |
Yes, 9 area |
Normal focus range |
n/a |
Macro focus range |
n/a |
White balance override |
7 positions, plus manual |
Aperture range |
n/a |
Min shutter |
30 sec + Bulb |
Max shutter |
1/4000 sec |
| Built-in Flash |
Yes, pop-up |
| Flash guide no. |
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| External flash |
Yes, hot-shoe (Minolta) |
| Flash modes |
Auto, Fill-in, Red-Eye reduction, Slow Sync, Off |
Exposure compensation |
-2 to +2 EV in 1/3 EV steps |
Metering |
40 segment, Center weighted average, Spot |
Aperture priority |
Yes |
Shutter priority |
Yes |
Focal length multiplier |
1.5 |
| Lens thread |
Sony Alpha mount, Minolta A-type mount |
Continuous Drive |
Yes, 3 fps |
| Movie Clips |
No |
| Remote control |
Wire (Optional) |
| Self-timer |
2 or 10 sec |
Timelapse recording |
No |
| Orientation sensor |
Yes |
Storage types |
Compact Flash (Type I or II) |
Storage included |
None |
Uncompressed format |
RAW |
Compressed format |
JPEG (EXIF 2.2) |
Quality Levels |
Fine, Standard |
Viewfinder |
TTL |
LCD |
2.5 " |
LCD Pixels |
230,000 |
Video out |
Yes |
USB |
Yes, 2.0 |
Firewire (IEEE 1394) |
No |
Battery / Charger |
Yes |
Battery |
Lithium-Ion (NP-FM55H) & charger |
| Weight (inc. batteries) |
638 g (22.5 oz) |
| Dimensions |
133 x 95 x 71 mm (5.2 x 3.7 x 2.8 in) |
| Notes |
Sony's first digital SLR |
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Last Updated ( Thursday, 27 December 2007 )
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Friday, 06 October 2006 |

Most of us have a few pieces of art tucked away, waiting for us to find them a proper home. Getting the right effect takes a bit of forethought. Consider balance, mood, color, groupings, and lighting. Oh, and then there’s the hanging itself. To simplify the process, here’s a quick guide to displaying and hanging your art.
Step 1: Have a Plan
Before you poke that first hole in your wall, audition your art posters in various spots. This trial and error process is key to proper placement. The center of your artwork should be at eye level or about 5’6”. Choose art with colors that complement wall color or furniture while considering balance, scale, and mood or theme.
Step 2: Create a Grouping
Hang posters of various sizes as one group - you instantly create a powerful focal point. Lay your grouping on the floor and view it as a single unit. Keep the area between the posters roughly equal. Odd numbered groupings create asymmetry while even numbers can lend balance. Scale is an important consideration for groupings. 18” x 24” and 12” x 16” prints tend to work well in a loft, hallway or stairwell, while smaller sizes of 5”x7” or 8”x10” work well in areas with less wall space or smaller rooms like kitchens or bathrooms.
Step 3: Seek Balance
Is one area too crowded and heavy while another is spare and lackluster? Keep the weight of your composition well-distributed and maintain a general sense of scale and balance. For example, a large horizontal print such as a landscape or panoramic usually works well over a sofa or other large furniture, while smaller prints add the perfect accent above a chair or end table.
Step 4: Take Action
To hang your art at your chosen height, measure how far from the top of the picture the hanging wire will hit when hanging on a nail. If the top of your picture should hang 72" from the floor, and the hanging wire hits 4” below, your nail will have to be 68" from the floor centered with your picture. (Use a light pencil mark on your wall!) Find your art inspiration here, to create a unique look.
Step 5: Add Lighting
Proper lighting works magic, instantly giving your poster art more attention. The best lighting to use is track lighting with 50 watt halogen flood light. Subdued lighting creates the best effect.
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Tuesday, 08 August 2006 |
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Computer Animation Tips
Computer animation isn't just about diving into the software and getting right to work; there are many little external tricks to make the process easier, less expensive, and more enjoyable. These articles provide helpful information on just where to look, and a few tricky little shortcuts that I've discovered over the years.
Animation Tip: Tools of the Trade: Light Tables
Whether you're drawing 2D animation for cel painting or doing the preliminary pencil work to be scanned in for a computer animation, a light table is one of the most important tools for frame-by-frame animation that you'll ever own.
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Optimizing Video Files for the Web: Codecs
When saving your 2D or 3D animations into video format, don't forget to check your video compression settings and remember that not everyone has the same codec sets as you do.
Cutting Your Test Render Time
Are you tired of waiting hours just to view a test of your animated motion, only to tweak it and render it again over and over again? There's an wasy way to avoid that.
Saving Your Files While Still Saving Computer Space
Anyone who's ever worked in computer animation can tell you that you're going to use a lot of system resources. The programs alone will eat up your hard drive and CPU resources, and your working files can be anywhere from 15 Kb to 150 MB. But there are ways to save your hard drive without purging your files, and they're not as complicated as you might think.
Avoiding the System Resource Bog
We've all experienced slowdowns and lockups while working on our computers. This can be a real pain when you're animating, so let's look at ways to clear up your system resources.
Flash MX Keyboard Shortcuts
When working in Flash, one thing that can save a lot of time is knowledge of the various keyboard shortcuts.
Flash Tip: Alternate Website for Non-Flash Users
While designing a website in Flash, it's easy to assume that your viewers will not have some version of the Macromedia Flash player. However, you may find that a large percentage of your users either have an older version of the Flash player or none at all. For these users, it's helpful to have a non-Flash version of your website available.
Flash Tip: Maximizing Workspace in Flash MX
Working in Flash MX can get pretty crowded, but there are ways to maximize your stage's work area. The easiest way to do this is to use your keyboard shortcuts to remove panels when you don't need them.
Flash Tip: Exporting a Preview
With a work-in-progress, it's always good to be able to stop and check how the overall project is coming along--especially in Flash.
Flash Tip: Onion-Skinning Animation
Frame-by-frame animation can be difficult when you're working on one frame at a time with no reference for the previous or next frames. Flash has a solution for this dilemma--known as onion-skinning, an option that you can turn on that shows a range of frames both before and after your current frame.
Flash Tip: The Trace Bitmap Function
In case you missed when it was covered in Lesson 5, here's a quick tip on how to use the trace bitmap function in Flash to turn bitmap art into vector images.
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Last Updated ( Thursday, 10 August 2006 )
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Tuesday, 08 August 2006 |
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Photographing Silhouettes
Photographing silhouettes can be both challenging and rewarding. A subject in silhouette is viewed in its most simple and elegant form, and distracting details are eliminated. The difficulty that many photographers face when shooting silhouettes is arriving at the proper exposure. When shooting with the camera set on automatic, the camera's light meter may arrive at an undesirable exposure that underexposes the image. This results when bright horizons give false cues to the light meter.
My technique for shooting silhouettes is to set the camera on manual exposure mode; then using a center-weighted exposure reading, I aim the center of my frame toward the middle tone of the composition. In this photograph, for instance, I took an exposure reading off the sky just in front of the photographer's head.
“In otherwise impossible lighting conditions, you can often look around and find something that is being lit indirectly and get very usable images that way”
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Last Updated ( Thursday, 27 December 2007 )
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