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Helpful Articles
Nikon D50 Print E-mail
Friday, 08 December 2006

Nikon D50 £325 Body Only

 

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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.

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

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

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
Last Updated ( Thursday, 27 December 2007 )
 
Sony a100 Print E-mail
Friday, 08 December 2006

Sony a100 £550 body only

Image
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       
 Release Status       
Click for help Max resolution      3872 x 2592
Click for help Low resolution      3896 x 1936, 1920 x 1280
Click for help Image ratio w:h      3:2
Click for help Effective pixels      10.0 million
Click for help Sensor photo detectors      10.8 million
Click for help Sensor size      23.6 x 15.8 mm
Click for help Sensor type      CCD
Click for help Colour filter array      RGB
Click for help Sensor manufacturer      Sony
Click for help ISO rating      Auto, 100, 200, 400, 800, 1600
Click for help Zoom wide (W)      n/a
Click for help Zoom tele (T)      n/a
Click for help Digital zoom      No
Click for help Image stabilization      Yes, Sensor shift
Click for help Auto Focus      Yes
Click for help Manual Focus      Yes
Click for help Auto focus type      Yes, 9 area
Click for help Normal focus range      n/a
Click for help Macro focus range      n/a
Click for help White balance override      7 positions, plus manual
Click for help Aperture range      n/a
Click for help Min shutter      30 sec + Bulb
Click for help Max shutter      1/4000 sec
 Built-in Flash      Yes, pop-up
 Flash guide no.       
 External flash      Yes, hot-shoe (Minolta)
 Flash modes      Auto, Fill-in, Red-Eye reduction, Slow Sync, Off
Click for help Exposure compensation      -2 to +2 EV in 1/3 EV steps
Click for help Metering      40 segment, Center weighted average, Spot
Click for help Aperture priority      Yes
Click for help Shutter priority      Yes
Click for help Focal length multiplier      1.5
 Lens thread      Sony Alpha mount, Minolta A-type mount
Click for help Continuous Drive      Yes, 3 fps
 Movie Clips      No
 Remote control      Wire (Optional)
 Self-timer      2 or 10 sec
Click for help Timelapse recording      No
 Orientation sensor      Yes
Click for help Storage types      Compact Flash (Type I or II)
Click for help Storage included      None
Click for help Uncompressed format      RAW
Click for help Compressed format      JPEG (EXIF 2.2)
Click for help Quality Levels      Fine, Standard
Click for help Viewfinder      TTL
Click for help LCD      2.5 "
Click for help LCD Pixels      230,000
Click for help Video out      Yes
Click for help USB      Yes, 2.0
Click for help Firewire (IEEE 1394)      No
Click for help Battery / Charger      Yes
Click for help 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

Last Updated ( Thursday, 27 December 2007 )
 
Easy Steps For Displaying Your Art Print E-mail
Friday, 06 October 2006
Hung Up on Hanging?

5 Easy Steps for Displaying Your Art
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.

 
Animation Tips Print E-mail
Tuesday, 08 August 2006

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.
Articles & Resources
10 Essential Art Supplies for the Traditional Animator
If you're less of a digital animator and lean more towards the traditional, you've probably got a studio as cluttered as mine--and there are some supplies that you just can't live without.
Animation Planning Tip: Storyboarding
Using a storyboard will help you organize your animation, and match you mental visualizations of scenes with the written script.
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.
Keeping Up With the Studios: Breaking into Computer Animation Without Breaking the Bank
Computer animation can be be fun, but it can also be quite costly. If you know where to look and how to shop, it's not that hard to compete with the big boys without spending the big bucks.
How to be Seen: What it Takes to Get Your Animation on Television
It seems a farfetched dream, doesn't it: the idea of something that you worked on being played on broadcast television for all the world to see. If you're an individual or a small company, it's not that easy.
Advertisement
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: Enabling Simple Buttons
Enabling simple buttons in Flash lets you view how your buttons work without having to render/preview a movie.
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.
Flash Tip: Motion Tweening Expanded: Rotation
In the first Flash lesson, we covered motion tweening as a basic "Point A to Point B" process but you can also use motion tweens to rotate your symbols.
Flash Tip: Tools of the Trade: Drawing in Flash With a Graphics Tablet
Save yourself some time and effort in your frame-by-frame vector animation
Last Updated ( Thursday, 10 August 2006 )
 
Silhouettes by Art Wolfe Print E-mail
Tuesday, 08 August 2006
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”

Last Updated ( Thursday, 27 December 2007 )
 
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