DPC | Digital Photography Courses

Camera Equipment, Buyer’s Mini Guide

A telegram style photography buyer’s guide by the nimble Trompie van der Berg. An ex-student of Digital Photography Courses, and budding semi-professional photographer…

 

Starting out…

Just starting out with photography? Then don’t waste your hard earned cash by buying the wrong equipment, or ending up spending your lollies on unneccesary photographic stuff. Here’s a few tips that will save your lollies…

 

Tip no 1. Buy an SLR camera rather than a compact / bridge camera

 

Advantages of SLR cameras over compacts…

1. Interchangeable lenses: You will be able to use specialized lenses such as ultra-wide angle lenses, extreme telephoto, fisheye etc. The potential to take better quality images are vastly increased as you are using a lens designed for the specific job at hand. It will also allow you to use wider lens apertures.
2. Faster focus: This is even more apparent in low-light conditions.
3. Manual zoom: Speed and precision of zoom is a factor when using manual zoom against the motorized version of a compact camera.
4. Faster frame rates: This is the number of frames per second your camera is able to take. Some compacts have a “burst” mode which I no way compares to SLR’s who also have the advantage of being able to keep on re-focusing as the object moves.
5. Quicker start-up speed: This is the time it takes the camera to switch on. For many of the modern SLR’s this action is almost instantaneous, so a must have if you want to capture the moment and not miss it.
6. Larger sensors: This means better low-light capabilities, greater Dynamic Range, and shallower depth of field.
7. Shutter lag: This is the time between the moment pressing the shutter button and the camera actually recording the image. Compact cameras suffer from this quite substantially.
8. Superior High Definition (HD) video capture mode: Many independent film studios now use Digital SLR’s to create their movies because of the exceptional quality and wide array of lenses that lends that “movie-feel” to video and also the depth of field advantages.
9. Greater flexibility: Access to a much broader range of accessories, including powerful external flashes, alternate power sources, wireless transmitters, and remote triggering devices.
10. Better and more intuitive handling: Some designs are better than others, but digital SLR’s tend to have easily accessible thumb and forefinger wheels for exposure settings, discrete buttons for other critical features (exposure compensation, white balance), vertical position shutter releases, and just less menu surfing overall.

 

Tip no 2. Start small and build your system up…

The bare minimum you should be looking at is…

1. Digital SLR of your choice
2. A good all-rounder zoom lens, 18-55mm/18-105mm etc.
3. Sturdy and good quality carry case or bag for your camera. One that allows enough room for you to leave your lens on the camera frame.
4. Good quality memory card, at least 8GB where possible

 

Remember. Buy the best kit you can afford at the time. If you have to wait a month to get the better lens, then that would be the better thing to do.

 

Tip no 3. Watch out for “Value for Money” kits/bundles…

1. Do not let cheap accessories included in a bundle fool you into a purchase!
2. The tripods, memory cards, printers, flashes and all the rest is put together by the supplier and is included for “free” as they are inferior products and used to entice you into buying a certain product for whatever reason.
3. See these additional “free” items as just that, your main consideration should be the camera and kit lens it comes with.
4. There are a few fantastic kit lenses out there. The most important factors to look for here is a good zoom range  as well as acceptable aperture range, something in the region of  f/3.5 -5.6 and then also image stabilization if possible.
5. The optimal option would off course be to buy the body only and then spend the money you save towards a lens of your choice.

 

Tip no 4. Do a photography Course…

If you are planning to do a photographic course, wait until after the course before spending thousands of rands on kit. You will learn a lot about yourself and the type of photography genre that suits you during the course, and what you perceive to be your style and passion can be worlds apart from when you finish. When I started my course at Digital Photography Courses almost 2-years ago, I felt that I had a passion for Macro photography and was not interested in portrait or any other work. I wanted to go out and buy the best and most expensive macro lens out there, Danie advised me to wait. By the end of the course I was hooked on people and portrait photography and I have not looked back. Buying that super-dooper Macro lens would have been a mistake and a waste at the time. Instead I was advised to buy the 50mm f/.4, an affordable, professional lens that has truly helped me grow in the field I now know is my passion and future.

 

Which Digital SLR Camera to buy?

The advice is to stick to the most popular and trusted brands like Nikon or Canon. Sony also made some serious inroads over the past few years, but perhaps not quite there when it comes to the availability of lenses, and accesories.

 

Here’s a breakdown in terms of current models available. Please note that the prices is relative and it is best to shop around before taking our word for it…

 

Entry level SLR Cameras

 

Canon EOS 1100D

• 12MP CMOS sensor
• 9-point AF system
• 63-area iFCL colour-sensitive metering (from EOS 7D)
• 720p movie recording at 30 or 25fps (H.264 compression)
• 2.7″ LCD, 230,000 dots
• ISO 100-6400 (no expansion)
• Basic+ creative point-and-shoot mode
• Eye-Fi wireless SD card compatible menu options
• R4700 (Body ONLY)

 

Nikon D3100

• 14.2 mega pixel DX-format CMOS sensor
• 3.0″ LCD monitor (230,000 dots)
• Image sensor cleaning (sensor shake)
• 11 AF points (with 3D tracking)
• IS0 100-3200 range (12,800 expanded
• HD movies (1080p, 720p or WVGA)
• Unfortunately no auto focus drive in the camera, so be careful when considering buying more lenses
• Does not support High Speed Flash if you’re thinking to use it for Outdoor Portraiture with a Speedlight
• Does not support Auto Exposure Bracketing..
• R5200 (Body ONLY)

 

 

Advanced Entry Level…

 

Canon EOS 550D

• 18 MP APS-C CMOS sensor
• DIGIC 4
• ISO 100-6400, H:12800
• 3.7fps shooting
• Full HD movies
• 7.7cm (3.0”) 3:2 Clear View LCD with 1,040k dots
• R7500 (Body ONLY)

 

Canon EOS 600D

• 18-megapixel CMOS sensor
• Scene Intelligent Auto mode
• Full-HD EOS Movie
• On-screen Feature Guide
• 3.7fps continuous shooting
• Wide-area 9-point AF
• 1,040k-dot vari-angle 7.7cm (3.0”) screen
• Basic+ and Creative Filters
• Built-in wireless flash control
• R8394 (Body ONLY)

 

 

 

Nikon D5100

• 16.2 megapixel DX-format CMOS image sensor
• ISO 100 – 6400 (manually extendable to  up to 25600 using Hi2 setting)
• Expeed 2 image processing engine
• 7.5cm (3inch) 921k-dot vari-angle LCD monitor with wide viewing angle, side articulated
• Full HD (1080p) movie clips
• 11-point Autofocus system
• 4 frames per second continuous shooting
• HDTV compatibility
• Infrared front and back receiver
• Stereo sound
• 14-bit (NEF) RAW mode
• R7800 (Body ONLY)

 

 

Midrange Level… 

 

Canon EOS 60D

• 18MP APS-C CMOS sensor
• ISO 100-3200 (expandable to 12,800)
• 5.3 fps continuous shooting
• 1080p HD video recording with manual controls
• SD / SDHC / SDXC storage
• In-camera raw development
• Subject modes with ‘Ambience Selection’ (Standard, Vivid, Soft, Warm, Intense, Cool, Brighter, Darker and Monochrome)
• In-camera Creative Filters (special effects)
• Fully articulated 3.0″ screen (3:2)
• R9200 (Body ONLY)

 

Nikon D7000

• 16.2MP CMOS sensor
• 1080p HD video recording with mic jack for external microphone
• ISO 100-6400 (plus H1 and H2 equivalent to ISO 12,800/25,600)
• 39-point AF system with 3D tracking
• New 2016 pixel metering sensor
• Scene Recognition System (see 2016 pixel sensor, above) aids WB/metering + focus accuracy
• Twin SD card slots
• 3.0 inch 921k dot LCD screen
• New Live View/movie shooting switch
• Full-time AF in Live View/movie modes
• Up to 6fps continuous shooting
• Lockable drive mode dial
• Built-in intervalometer
• Electronic virtual horizon
• Shutter tested to 150K actuations
• R12900 (Body ONLY)

 

 

High-end / Semi Pro

 

Canon EOS 7D

• 18MP APS-C CMOS sensor
• frames per second continuous shooting
• 1080p HD video recording with manual controls
• 3.0 inch Clear View II LCD screen with 920,000 dots
• 19-point AF system (all cross-type)
• IS0 100-6400 range (ISO 12800 expandeable)
• 1.0x magnification and 100% coverage viewfinder
• Wireless flash control
• Environmental weather sealing
• R15300 (Body ONLY)

 

Nikon D300s

• 13.1 megapixel DX-format CMOS sensor (effective pixels: 12.3 million)
• 720p HD video
• 3.0″ LCD monitor (920,000 dots)
• 51 AF points (with 3D tracking)
• IS0 200-3200 range (6400 expanded)
• 7 frames per second continuous shooting (buffer: 17 RAW, 44 JPEG fine, 100 JPEG Normal)
• Multi-CAM3500DX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
• Auto-focus tracking by colour (using information from 1005-pixel AE sensor)
• Auto-focus calibration (fine-tuning) now available (fixed body or up to 20 separate lens settings)
• Dual card slot: Compact Flash and SD card
• Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
• Buttons sealed against moisture
• R16400 (Body ONLY)

 

 

High End / Pro

 

Canon 5D Mark II

• 21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III)
• ISO 100 – 6400 calibrated range, ISO 50 – 25600 expansion (1Ds Mark III & 5D max ISO 3200)
• 3.9 frames per second continuous shooting
• 98% coverage viewfinder (0.71x magnification)
• 3.0″ 920,000 dot LCD monitor with ‘Clear View’ cover / coatings, 170° viewing angle
• Movie recording in live view (1080p H.264 up to 12 minutes, VGA H.264 up to 24 mins per clip)
• Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI)
• UDMA Compact Flash support
• Water resistance: 10 mm rain in 3 minutes
• 9 AF points + 6 Assist AF points
• R21200 (Body ONLY)

 

Nikon D700

• 12.1 megapixel full-frame sensor (8.45µm pixel pitch)
• ISO 200 – 6400 (with boost up to ISO 25600 and down to ISO 100)
• 14-bit A/D conversion, 12 channel readout
• New Kevlar / carbon fibre composite shutter with 150,000 exposure durability *
• Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
• 95% coverage, 0.72x magnification viewfinder
• Auto-focus calibration (fine-tuning), fixed body or up to 20 separate lens settings
• 5 frames per second continuous with auto-focus tracking
• UDMA compatible single CF card slot
• 3.0″ 922,000 pixel LCD monitor
• Live View with either phase detect (mirror up/down) or contrast detect Auto Focus
• Magnesium alloy body with connections and buttons sealed against moisture
• R26900 (Body ONLY)

 

Canon EOS 1D Mark  IV

• 16.1 MP APS-H CMOS sensor
• 10 frames per second at up to 121 JPEG burst
• 45-point AF system with 39 cross type sensors
• Full HD (1080p) movies with manual control
• High ISO up to 102400
• 3.0” Clear View II LCD with Live View mode
• Dual “DIGIC 4”
• EOS Integrated Cleaning System
• R41300 (Body ONLY)

 

Canon EOS 1DS Mark  III

• 21 Megapixel full frame (35mm) CMOS sensor
• 5 fps continuous shooting for up to 56 frames
• Dual “DIGIC III” processors
• Highlight Tone Priority
• Auto focus system with 19 cross type sensors and 26 focus assist points
• EOS Integrated Cleaning System
• ISO 100-1600 (expandable to L:50 H:3200)
• 3.0” 230K pixel LCD with Live View mode
• Redesigned viewfinder now wider and brighter
• R61400 (Body ONLY)

 

Canon EOS 1Dx

• 18.1 Megapixel full frame CMOS sensor
• 12-14 fps continuous shooting
• Dual DIGIC 5, +/– 17 Times The Processing Power of DIGIC 4
• ISO 100-51200 Native
• 100,000 Pixel RGB Metering Sensor
• 61 Point AF: 21 f/5.6 Cross Type Sensors, 20 f/4 Cross Type Sensors, 5 f/2.8 Cross Type Senors
• EOS iTR AF (Intelligent Tracking & Recognition Auto Focus)
• Ethernet Connection
• Price TBC

 

Nikon D3s

• 12.1 megapixel FX (full-frame) CMOS sensor with high signal-to-noise ratio
• ISO 200 – 12800: extendable up to 102,400
• 9fps consecutive shooting (11fps in DX Crop mode)
• D-Movie records high-definition (HD) movie clips in stereo sound
• Multi-CAM3500FX 51-point AF system
• EXPEED image processing engine with 14-bit A/D conversion and 16-bit image processing for superb tonal gradation
• 920,000 dot 3-inch VGA LCD monitor with wide, 170-degree viewing angle
• Three Crop Modes: DX format 5:4 ratio and 1.2x
• Highly accurate, durable Kevlar/carbon fibre-composite shutter unit
• HDMI video output interface enables connection to high-definition video systems
• Durable Magnesium alloy body built to withstand the rigors of the harshest of environments
• Wireless LAN and Ethernet support via optional Wireless Transmitter WT-4
• R52700

 

Nikon D3x

• 24.5 megapixel Full-Frame (36 x 24 mm) sensor
• ISO 100 – 1600 (ISO 50 – 6400 in Boost mode)
• Kevlar / carbon fibre composite shutter with 300,000 exposure durability
• Multi-CAM3500FX Auto Focus sensor (51-point, 15 cross-type, more vertical coverage)
• Dual Compact Flash card slots (overflow, back-up, RAW on 1 / JPEG on 2, copy)
• 3.0″ 922,000 pixel LCD monitor
• Buttons sealed against moisture
• Dual battery charger as standard
• 5 frames per second
• R73900

 

Nikon D4

• 16.2 megapixel FX (full-frame) CMOS sensor
• 10fps shooting with AF and AE, 11fps with focus and exposure locked, 24fps 2.5MP grabs
• ISO Range 100-12,800 (extendable from 50 – 204,800)
• MultiCAM 3500FX Autofocus sensor works in lower light and with smaller apertures
• 91,000 pixel ‘metering’ sensor
• 1080p30 HD video at up to 24Mbps with uncompressed video output
• Three Crop Modes: DX format 5:4 ratio and 1.2x
• Twin card slots – one Compact Flash and one XQD
• Price TBC

 

What is this thing about Full Frame and APS-C Size cameras?

 

This is simple. Full frame cameras have larger sensors than APS-C cameras. Here’s a quick breakdown of the advantages of both…

 

Advantages of Full Frame sensor size camera:

1. Full Frame cameras have superior sharpness, noise handling and colour differentiation because they have larger pixels which gather more light and information.
2. Better large-format printing capabilities
3. Full frame cameras excel in landscape, portrait and macro photography and provide more detail, allowing for impressive large-format prints.
4. Examples of Full frame cameras follow in the camera section below. They are the Nikon D700, Nikon D3x, Canon 5D Mark II and Canon EOS 1DS Mark III, Sony Alpha 900

 

Advantages of APS-C sensor size camera:

1. Less expensive than full frame
2. Greater speed
3. Greater zoom. With a crop factor of approximately 1.6 x it means that a 300mm lens on a full frame will render a 450mm field of view on a full frame camera. So in other words you get more zoom out of it. This is especially handy if you are a wildlife or sports photographer.
4. Does not obtain the same shallow depth of field than full frame cameras

 

 

A word of advice when buying a camera…

“My advice here would be that if you are planning to make photography anything more than a hobby, do not go for anything less than a Midrange model. I started out with the Nikon D90 and this was a fantastic camera, but I grew out of it very quickly. Soon I needed to upgrade to the D300s to provide those much needed professional functions and features.

(“As a final word of advice, Do NOT listen the salesperson at the retailer shop, unless you have done your own research. A good place to read more about camera equipment, that will also provide you with well researched, in-depth reviews is DPREVIEW.COM. As a final step, after you’ve done your research, go to your local camera shop, or if a friend has the same you’re interested in, then try “on” the camera / equipment you’re after. Hold it in your own hands. See if you really like the look, feel and ergonomics before you commit your fortune” – Danie Bester)

 

Which Lenses to buy?

It is better to start with a single general use lens and then later add on extra lenses. So if buying a camera that includes a kit lens, make sure it is of a good quality. It should have a large zoom range, something in the region of 18-105mm, 15-85, 24-70  and have a large enough aperture range, between 3.5-5.6. Go for the more expensive kit lens bundle rather than the “2-lens bundles” as they normally include two inferior lenses. Also look for image stabilization on the kit lens which will help you a great deal in the early days. If buying a body only camera and you need to decide between the myriad of lenses out there, have a look at the suggestions below.

 

Recommended brands

Canon, Nikon, Sony, Sigma , Tamron

 

The type of lenses and the difference between them…

 

The General Zoom Lens

These are the lenses with variable focal lengths, i.e. a 18-105mm can be used at either ends of the focal range and everything in between.
They also have variable apertures meaning that if you’re zoomed out at the wide angle, the maximum aperture is f/3.5.
If you’re zoomed in to the telephoto side of the zoom, the maximum available aperture is f/5.6. They are good walk around lenses for everyday general use.

Pro’s

• Cheaper
• Lighter, smaller and more user friendly

Con’s

• Smaller apertures when zoomed in causes slow shutter speeds. In low light you have to pack up or use a tripod.
• Slower focus
• Dimmer viewfinders

 

The Prime Lens

Prime lenses has no zoom but normally comes with wide apertures which means shallow depth of field and better low light capabilities.
Since prime lenses have no zoom it means they have fewer lens elements and “normally” offers better image quality, sharpness and colour than zooms.
These lenses are generally used for high quality portrait and studio work.

Pro’s

• Offers great quality and good “corner-to-corner” sharpness
• Normally offers wide apertures which means fast focus and bright viewfinders
• Some offerings are really affordable

Con’s

• Has no zoom which means a fixed angle of view and a fixed set of achievable photographic properties possible with this lens.
• Some offerings like the 200mm F.2, the 85mm F1.4, and 50mm F1.2 are very expensive.

 

The Constant/Fixed Aperture Zoom Lens

These lenses are generally used to take photographs from a distance.
Has large “fixed” aperture i.e. 70-200mm F2.8 which means that whether you are zoomed out at the widest focal range (70mm) or at the longest zoom (200mm) the maximum available aperture remains F2.8

Pro’s

• Also called fast/money lenses for it’s capability to work in low light
• Larger apertures allows you to keep on working in low light (ensures faster shutter speeds)
• Faster focus
• Brighter viewfinders

Con’s

• More expensive
• Larger and heavier

 

The Wide Angle and Ultra-Wide angle Lens

This allows you to take shots with a very wide perspective.
These lenses are mainly used for landscape and architectural photography.
The Fisheye lens also falls into this category and can be used very creatively.

Pro’s

• The lens is great for panorama style shots
• These lenses can fit wider images into the same focal length
• You can get nice and close to your subject and still fit the whole scene in
• A lot of these lenses also come with zoom capability

Con’s

• There is a possibility for image distortion around the sides of the image
• They are generally more expensive than prime lenses
• Because of their construction they are quite heavy for their size
• Not a versatile every day use lens

 

The Macro Lens

The lens are designed to do close-up photography like flower, insects etc.
Many lenses comes with a “macro” setting but true Macro lenses produce images that are life size and that enable you to get in very close to the subject you are shooting.

Pro’s

• Magnification ratio of 1:1
• Greater depth of field to throw subject behind the object out of focus
• Generally bright and fast lenses which means they can be used in low light conditions

Con’s

• Lens is designed to photograph subjects at extremely close range
• They are not very versatile lenses
• Some of these lenses are quite expensive.
• They are normally quite big lenses so are bulky and not always easy to handle

 

About third party lenses…

There is a lot of opinions and urban legend when it comes to third party lenses. Some third party lenses are better than “real deal” offerings and most of the time, third party lenses are more affordable. Most professional photographers is of the opinion that if money is no object, buy the real deal and do not go for third party lenses. However, there are many professional photographers who swears by pro third party lenses.

Pro’s

• They are generally much cheaper than the camera manufacturer lenses like Nikon or Canon, especially when ti comes to faster and telephoto lenses.
  Many of these lenses are known for their excellent image quality compared to the price you pay, in some cases even outdoing the manufacturer lenses.
  Sometime you can buy a generic brand lens that isn’t available in the manufacturer models like the Sigma 70mm Macro for Nikon.

Con’s

• Third party lenses are optimized for price so optical quality is normally not as good as Nikon or Canon.
  Third party lenses do not hold their price as well for Nikon or Canon lenses for resale.
  Some of the options like Canon’s USM for fast focusing are not found on these lenses.

 

 

Specialized lenses for different uses… 

 

General walk around/travel lens

• Canon EF-S 18-200mm F3.5-5.6 IS     R5405 *
• Nikon 18-200mm F3.5-5.6G VRII DX     R8499 *
• Sigma 18-200mm F3.5-6.3 DC OS     R3770 *
• Canon EF 24-105mm F4 L IS USM     R11270 *
• Nikon 24-120mm F4 VRII AF-S      R11626 *
• Sigma 50-150mm F2.8 APO EX DC     R8799 *
• Canon EF 24-70mm F2.8 L USM     R11999 *
• Nikon 24-70mm F2.8 AF-S     R17699 *
• Sigma 24-70mm F2.8 EX DG HSM     R9999 *

 

Landscape

• Canon EF 15mm F2.8 Fisheye     R6916 *
• Nikon 10.5mm F2.8G Fisheye     R8900 *
• Sigma 10mm F2.8 EX DC Fisheye     R6899 *
• Canon EF-S 10-22mm F3.5-4.5 USM     R8050 *
• Nikon 10-24mm F3.5-4.5G AF-S     R9499 *
• Sigma 10-20mm F3.5 EX DC HSM     R6999 *
• Canon EF 14mm F2.8 L II USM     R22419 *
• Nikon 14mm F2.8D AF-S     R21399 *

 

Portraits

• Canon EF 50mm F1.4 USM     R3398 *
• Nikon 50mm F1.4D AF     R3599 *
• Sigma 50mm F1.4 EX DG HSM     R5899 *
• Canon EF 24-70mm F2.8 L USM    R11999 *
• Nikon 24-70mm F2.8 AF-S     R17699 *
• Sigma 24-70mm F2.8 EX DG HSM     R9999 *
• Canon EF 70-200mm F2.8 L IS USM Mk II     R23141 *
• Nikon 70-200mm F2.8 ED-IF VR II     R23499 *
• Sigma 70-200mm F2.8 APO II EX OS     R16299 *

 

Macro

• Canon EF 60mm F2.8 USM     R4382 *
• Nikon 60mm F2.8G ED     R5899 *
• Sigma 70mm F2.8 EX DG     R5099 *
• Canon EF 100mm F2.8 L IS USM    R9210 *
• Nikon 105mm F2.8 AF-S VRII     R9018 *
• Sigma 105mm F2.8 EX DG     R5699 *
• Canon EF 180mm F3.5 L USM     R13706 *
• Nikon 200mm F4D AF     R17799 *
• Sigma 150mm F2.8 APO EG DG     R8199  *

 

Wildlife & Sports

• Canon EF 70-300mm F4-5.6 L IS USM     R14839 *
• Canon EF 100-400mm F4.5-5.6 L IS USM     R14999 *
• Nikon 80-400mm F4.5-5.6D ED AF VR     R17499 *
• Sigma 120-400mm F4.5.5.6 APO DG OS     R9599 *
• Canon 600mm F4 L IS USM     R84800 *
• Nikon 600mm F4G ED VR     R93570 *
• Sigma 500mm F4.5 APO EX DG     R47399  *

 

“There is a saying in the hunting industry, always use enough gun which means do not try and shoot a lion with a air gun. This is the same for lenses. Use the right lens for the job, which is why you bought an SLR for its ability to change lenses. I know that we cannot all have an array of lenses for every situation but know the limits of your lenses. Do not try and shoot wildlife with your ultra wide angle lens, it is not the correct tool for the job at hand.”

 

Lens Glossary for the popular lens manufacturers…

Nikon

• VR = Vibration Reduction: Enables handheld shooting at shutter speeds slower than would normally be possible.
• ED = Extra low dispersion glass: developed to enhance optical performance by reducing chromatic aberrations.
• DX = Lenses are specifically engineered for DX cameras.
• SWM = Silent Wave Motor Technology: Allows for smoother, quicker and more accurate focusing.
• N = Nano Crystal Coat: This is exclusive to Nikon and help to prevent ghosting and flaring.
• IF = Internal Focus: Provides fast and quite auto focus without changing the length of the lens.

Canon

• EF = Electro Focus: Shows it is an electronic lens mount.
• EF-S = Shows lens is designed for the smaller APS-C size cameras.
• USM = Ultra Sonic Motor: Technology pioneered by Canon that uses sound waves to position the lens elements when focusing to produce highly responsive, fast and silent focusing with excellent holding torque.
• IS = Image Stabilizer: The lens senses movement and applies optical correction by moving a group of lens elements.
• L = Designates Canon’s top of the range professional models.

Sigma

• EX = Sigma’s professional lenses offering their highest optical quality.
• DG = Like Canons EF lenses, DG lenses can be used with full frame and cropped sensor cameras. They have more coatings to reduce reflection.
• APO = Apochromatic lens: Using low dispersion glass limit chromatic aberration.
• OS = Optical Stabilisation: As Canon IS or Nikon VR lenses.
• HSM = Hypersonic Motor: As Canon’s USM system.
• IF = Inner focus lenses: It moves the middle lens elements, ensuring the lens remains the same length throughout its focal range. This is useful on longer shots as it reduces hand shake.

 

 

Which External Flashes (Speedlights) to buy?

This is one area where I and most photographers I know, strongly recommend to avoid third party flashes/speedlights. Most cameras with a built-in flash deliver harsh, straight-on light that produces unflattering, flat and amateur looking photographs. You can better control the lighting of your subject with an off-camera flash, so this should be quite high on your list of “must have” equipment.

 

Nikon

SB-910

• Multi-step auto zoom covers wide 17-200mm zoom range.
• Three illumination patterns (standard, center-weighted and even) are available to match each shooting environment
• Automatically detects Nikon FX and Nikon DX formats and selects suitable light distribution
• Improved booster circuit for high-speed recycle time: Recycle time using four AA-size batteries is almost equal to the SB-800 with five AA-size batteries
• New AF-Assist illumination covers a wide 20-105 mm focal range compatible with the new Multi-CAM3500 FX/DX AF sensor
• Firmware update via Nikon D3 and D700 is possible
• Thermal Cut-out function limits the number of flashes to avoid deterioration of light emitting parts caused by continuous flash firing
• Automatically detects color filters (fluorescent or incandescent), enabling camera to control color temperature according to filter information from SB-900
• Improved switch panel for enhanced usability
• Improved GUI using a large-size LCD dot panel
• Bounce capability: tilts up to 90o, down to -7o, rotates horizontally 180o to right and left
• Advanced Wireless Lighting and versatile functions for up to three remote groups of SB-900s or other compatible Speedlight controlled through the master SB-900
• A big plus is that Nikon includes a Dome Diffuser, gel color filter set (which is micro-chipped so your camera recognizes them) and a color filter holder with the flash.
• R4700 *

 

SB-700

• LCD and layout of controls designed for easy and intuitive operation
• Multi-step auto zoom covers wide 24-120 mm zoom range
• Three illumination patterns–standard, center-weighted and even–available to match every shooting environment
• Automatically detects Nikon FX and Nikon DX formats and selects suitable light distribution angle
• Short recycling time
• AF-assist illumination for multi-point AF, with wide 24-135 mm focal range
• Quick wireless control mode allows control of remote flash unit groups A and B flash output level ratios
• Firmware updates via Nikon digital SLR cameras
• Automatically delays recycling time if temperature of flash head rises in order to avoid deterioration of flash head
• Automatically detects type of hard-type color compensation filter (fluorescent and incandescent) and automatically transmits filter information to camera for optimum white balance setting
• Nikon includes a Dome Diffuser, gel color filter set (which is micro-chipped so your camera recognizes them) and a color filter holder with the flash.
• R3400 *

 

Canon

580 EX Mk II

• E-TTL flash metering
• 24-105 mm zoom head with 14mm diffuser
• Guide Number of 58
• Wireless master or slave
• Fast and near silent recycling
• Stroboscopic flash
• Improved reliability through weather & dust sealing to the same standard as 1 series bodies
• Redesigned hotshoe on camera and flash making the connection stronger and weather proof
• New metal foot design
• New lockable battery door to prevent accidental opening
• Speedlight controlled though camera including custom functions
• Backwards compatible on older bodies
• External metering sensor
• PC terminal to allow wired shooting
• 20% faster recycling time (0.9sec with battery pack and Ni-Mh)
• New oscillator motor has stopped recharge ‘whistle’
• R4700 *

 

430 EX Mk II

• Superior build quality, including a metal foot for added strength
• Approx. 20% faster recycling time, compared to previous 430EX
• One-touch, quick-lock mechanism for easy attaching/detaching flash from camera
• Full flash control possible on camera menu, with compatible EOS Digital SLR cameras
• Virtually silent flash recycle
• The flash head can be moved up from 0 – 90° (5 settings), left from 0 – 180° (7 settings) and right from 0 – 90° (4 settings)
• Zoom flash head covers range of 24-105mm; maximum guide number 141 ft./43m at ISO 100
• AF Assist Beam built-in and covers all focus points in EOS cameras up to 9 AF points
• Six user-selectable Custom Functions built-in and set on Speedlite’s LCD panel
• R2500

 

“It is my opinion that a decent flash should be one of your top priorities in terms of “must have” kit. Being able to use off-camera flash, bounce the flash of walls and ceilings and using it as a fill flash in difficult lighting situations are invaluable. It will lift the quality of your photographs dramatically and provide artistic options not possible with available light only.”

 

 

Which Tripod to buy…

Use the heaviest tripod you can afford, financially and physically. Do NOT buy a tripod from a retail shop like Makro, Dion’s or Game.
A good tripod will ensure sharp and consistent images on long exposures and when bracketing.
A good and sturdy tripod will also be worth its weight in gold when you find yourself in a difficult location where the ground is uneven and the wind is blowing for instance.

 

Recommended Tripod brands / models…

Here’s a breakdown of some of the available and favourite models in South Africa

 

• Manfrotto 055XPROB/322RC2 + MBAG80P     R4100 *
• SLIK Pro 700 DX     R2300 *
• Vanguard, Tracker 4     R2100 *
• Gitzo,  GK2580TQR Series 2 Traveler Kit Tripod     R12901 *

 

A word of advice about Tripods…

“Do not be like the typical golfer who spends thousands of rands on the best driver out there, but when it comes to his putter he buys the cheapest one out there, even though he uses it 5 times more than any other club in his bag. You are possibly going to be putting tens of thousands or rands of equipment on your tripod, make sure you buy the best where possible. Do not let that R20 000 camera and R15 000 lens sit on something that you picked up from your local retailer on special for R899. Furthermore a sturdy and good tripod will open the door of long exposures and HDR’s for you, it is as much an investment as your lens.”

 

 

Choosing the right Memory Card…

Always check your manufacturer documentation for approved and tested memory cards and try to stick to these. About memory cards…

• Compact Flash (CF): This is the standard for high-end DSLR cameras. Because of DSLR’s faster shooting capability (burst mode), you should look for high-speed CF cards to ensure top performance.
• Secure Digital High Capacity (SDHC): This format is used in many of today’s newer DSLR’s. To achieve maximum performance from your DSLR, use a high-speed SDHC card.
• Eye-Fi Memory Cards: Eye-Fi Wireless Secure Digital Media Cards allow you to wirelessly upload photos to your computer. This means you can back up your photographs as you walk into your office without having to remove the card and connect it physically to a computer. This is especially handy when doing a Studio shoot and shooting tethered via Lightroom. They are compatible with most digital cameras with a Secure Digital (SD) memory card slot, and they are both PC- and Mac-compatible.

 

A word of advice about Memory Cards…

“As with the tripod, buy the fastest memory card you can afford. You have spent all that money on a camera that can take 8fps, now you skimped on the memory card and cannot even use that super fast function to its fullest extent”

 

 

Which Camera Bags/Cases?

1. The main things to focus on when deciding on a bag/rucksack is firstly how much protection it provides your equipment and secondly how comfortable it is to carry for hours on end.
2. When you start going on jobs you will soon start to curse that uncomfortable bag you bought because it looks good. It needs to absolutely be practical. Easy and quick to access and easy to carry.
3. If you are an outdoor photographer and are likely to spend long hours walking with your camera, a backpack style bag is the answer. If you are a wedding photographer where you need access to your lenses often and quickly then look at a shoulder or sling bag.

 

Recommended brands…

Lowepro

• Pro Runner 300 AW (Backpack)     R999 *
• Classified Sling 180 AW (Sling bag)     R1399 *
• Classified 299 AW (Shoulder bag)     R2690 *

 

Tamrac

• Expedition 3 (Backpack)     R796 *
• Velocity 10x (Sling Bag)     R1450 *

 

Think Tank

• Antidote Airport (Travel Bag)     R2218 *

 

A word of advice about Camera Bags…

“It is very important to find the right bag that works for you and the type of photography you do. If you are a wedding photographer or someone that has to quickly change lenses all the time, do not even look at a backpack. If you will be spending a lot of time walking around with the one lens then get a backpack, a shoulder bag will slowly and mercilessly kill you”

 

 

What to do with Reflectors?

Reflectors are an excellent and cheap way to achieve a professional lighting effect without professional equipment.

It can be used as a fill light reflecting any available light onto your subject.

Some reflectors also include a diffuser which you can use on a very sunny day to diffuse the light on your subject.

 

Examples are…

• Hylow 105cm 5-in-1 Reflector Diffuser     R279 *
• Cowboy Studio 2-in-1 White/Silver Triangular     R418 *

 

 

Where to find more information about camera equipment and where to buy from…

Click HERE for Digital Photography Courses’ link about most popular photography brands and gear, and where to buy from…

 

 

About Trompie van der Berg…

Photography as a passion only came late in my life. Within a week of buying my first DSLR I did a course with Danie Bester and never looked back. Photography has since grown from a hobby to a planned career change, hopefully in the not too distant future. As I am currently in IT and have been my whole life, I am a gadget junky and like to stay on top of current technologies. I love to work with off-camera flash and my style is dramatic and dark.

 

Featured Photographer: Bernard Pieterse

Bernard Pieterse and his friend Herly Greeff did a photography course with me just about a year back. He was barely 15 years old at the time. Over the past year we got used to amazing images by this talented young photographer. Bernard recently won the Visual School’s award for “Upcoming Photographer of the Year”. Five of his eight images came on tops in various categories…   Some of these images were taken during a trip he did with his family to Namibia. I asked him to send me a few of his favourite images in blog post format. Not every 16 year get their first photographic assignment at 16! Here’s his story and some of his favourite images…

“I’m currently in high school Grade 10 and 16 years old.. Born in Krugersdorp 1995 and started with photography from a young age.  I did my basic photography course a year ago with Danie.  So far only two of my photographs have been published in the Pix Magazine, but hopefully there’s lots to come.  My biggest dream is to become a Civil Engineer while I live out my passion for photography. During the October school holiday, my family and I went to Namibia for a 4X4 trip through the desert.  We visited a lot of places like Sossusvlei, the Fish River Canyon and some Ghost Towns in the Namib desert.”

"Old Truck" by Bernard Pieterse. HDR shot (Canon 7d, 10-20mm lens, f/8, 1/400sec, ISO-250) used polarizer filter. This photo was taken at the Canyon Roadhouse on our way to The Fish River Canyon.

“The Fish River Canyon” by Bernard Pieterse. Panoramic shot, merged 5 photos in Photoshop. This is almost a 180 degree view of the Canyon. Unfortunately that nasty shadow got in my photograph. (Canon 7d, 10-20mm lens, f/22, 1/10sec, ISO-100) used tripod and polarizer filter.

“The Fish River Canyon” (From another viewpoint) by Bernard Pieterse. Another panoramic shot, merged 4 photos in Photoshop. (Canon 7d, 10-20mm lens, f/22, 1/25sec, ISO-100) used tripod and polarizer filter.

“Sossusvlei” by Bernard Pieterse. Photograph was taken about 3PM to get that awesome shadow. (Canon 7d, 10-20mm lens, f/22, 1/25sec, ISO-100) used tripod and polarizer filter.

“Kokerboom” by Bernard Pieterse. Shot from a low angle to get some clouds. (Canon 7d, 10-20mm lens, f/6.3, 1/200sec, ISO-100)

“B&W – Sossusvlei” This image was also taken at the Deadvlei. (Canon 7d, 10-20mm lens, f/22, 1/15sec, ISO-100) used tripod and polarizer filter.

“Green Desert” by Bernard Pieterse. Also some grass growing on the sand dunes because of good rain in the beginning of the year. (Canon 7d, 18-135mm lens, f/8, 1/1250sec, ISO-100)

“Sand Patterns” by Bernard Pieterse. Taken just before sunset with the Kuiseb Canyon in the background. (Canon 7d, 10-20mm lens, f/16, 1/100sec, ISO-200)

“Sand Dunes” by Bernard Pieterse. Another late afternoon shot before the sun went down. This was taken in the middle of the desert on our 4X4 trip.(Canon 7d, 10-20mm lens, f/14, 1/50sec, ISO-250) Polarizer used.

“Toyota Prado” by Bernard Pieterse. I snapped this shot of my Dad in the Prado while he was driving on the dunes. (Canon 7d, 18-135mm lens, f/8, 1/1000sec, ISO-250)

“Old House” by Bernard Pieterse. Took this at a Ghost Town named Holsazia. (Canon 7d, 18-135mm lens, f/10, 1/800sec, ISO-200)

“Ghost Town (Holsazia)” by Bernard Pieterse. HDR shot. (Canon 7d, 18-135mm lens, f/16, 1/500sec, ISO-400)

“Ghost Town (2)” by Bernard Pieterse HDR shot. (Canon 7d, 18-135mm lens, f/16, 1/500sec, ISO-400)

“Holsazia” by Bernard Pieterse. The inside of one of the standing houses. (Canon 7d, 18-135mm lens, f/16, 1/30sec, ISO-400) Photo by Bernard Pieterse

“Holsazia (2)” by Bernard Pieterse. Inside one if the old houses. (Canon 7d, 18-135mm lens, f/10, 1/20sec, ISO-400)

Shot of the Month: October 2011

 

October month’s Photo Critic photography competition is shared between two winners; Peter John Martin with his image “Planted Alley Wall“,  and Deirdre Botha with her image “Don’t like this weather!“. They both win free one (1) day workshops from Digital Photography Courses. Click on their images below to view it on Photo Critic…

"Planted Alley Wall" by Peter John Martin

“Don’t like this Weather” by Deidre Botha

About Photo Critic… Enrolling for a photography course / workshop at DPC entitles you to free membership on our Photo Critic network. Members may upload up to two images per week for straightforward, constructive critique. Click HERE to visit Photo Critic

Shot of the Year 2011

We got to Photo Critic’s first Shot of the Year Competition. The winning shot went to Pietman Muller with his image “Klikbek”. This was really an outstanding shot; a once in a lifetime moment captured by him.

Elsje Wiid, one of the five judges, wrote, “Incomparable moment!  There is a great amount of different textures with different focuses in the picture and this creates and interesting effect on the eye with a lot of focused detail, especially on the squirrel.  The picture silently whispers an atmosphere of ‘awe.’   Perfect timing of capturing both animals in the right place -  the space between the two contributes to the composition.   The bug is amazingly frozen in the most perfect spot in the picture plane, with a fast shutter speed – the effect on the wings adds a bit of blur to the picture. Words can’t describe it.  People have to view it to believe it”  Elsje Wiid

Photo Critic's Shot of the year.... Pietman Muller's Image "Klikbek"

Click HERE to view Pietman Muller’s image on the Photo Critic network and read more about his winning shot.

After adding the judges scores we got a tie for second place. For this reason, there’s no third place, but 2 second places…. Well done to Leon Pelser, with his image, “Dancing Ladybird” and Ewald Sadie with his image “Fairytale Descent“. They will be sharing the honours for second place. Here’s their respective images…

Joined Second place goes to Leon Pelser, with his image, "Dancing Ladybird"

Joined Runner-up, Ewald Sadie with his image, "Fairytale Descend"

Prizes

Winner… Pietman Muller wins a framed, large format fine art print to the value of R4,800 and 3 three x one (1) Day Photography Workshops  by Digital Photography Courses to the value of R4,050. Total Value is R8,850.00 *   Second Place Winners… Each of the second place winners qualify for 2 Two x one (1) Day Photography Workshops  by Digital Photography Courses to the value of R 2,700.   Conditions… * Please take note that the prizes on offer is non refundable and non exchangeable and the photography workshops will be valid for the whole of 2012.

About Photo Critic… Enrolling for a photography course / workshop at DPC entitles you to free membership on our Photo Critic network. Members may upload up to two images per week for straightforward, constructive critique. Click HERE to visit Photo Critic

Standard Print Sizes

Photographers are often confused when it come to standard paper sizes. Few people know that we are using two different systems. Firstly, the standard print lab sizes provided by local print shops i.e. the local Fujifilm, Kodak, Foto First etc. Then there is the standard iso sizes offered by modern ink-jet printers. Here’s a breakdown of the various print sizes available…

 

Popular LAB Sizes   i.e. local lab Fuji Lab, Foto First, Kodak…
Inches	CM Referred to as…	MM Actual size…
4 x 6 (jumbo) *	10  x  15	102  x  152
5 x 7 (mega) *	13  x 18	127  x  178
6 x 8 *	15   x  20	152  x  203
8 x 10	20  x  25	203  x  254
8 x 12 *	20  x  30	203  x  305
10 x 12	25  x  30	254  x  305
10 x 15	25  x  38	254  x  381
11 x 14	28  x  35	279  x  354
12 x 16	30  x  40	305  x  406
12 x 18	30  x  45	305  x  457
16 x 20	40  x  50	406  x  508
20 x 24	50  x  60

 

ISO Sizes   i.e. inkjet printer papers…
Size	MM
A0	841 × 1189
A1	594 × 841
A2	420 × 594
A3+	483 x 329
A3	297 × 420
A4	210 × 297
A5	148 × 210
A6	105 × 148
A7	74 × 105
A8	52 × 74

Shot of the Month: September 2011

September month’s Photo Critic photography competition goes to Gustav Brandt for his image “Remembered”. You have to read his comments below, to understand what exactly happened when he got this shot.   Since Gustav won the shot-of-the-month competition he was appointed as an admin for Photo Critic. Unfortunately, he wouldn’t qualify for any other awards. However, his appointment as an administrator allows him to do any course offered by DPC for free, which currently add up to over R25,000.   View Gutav’s image on Photo Critic by clicking HERE…

"Remembered" by Gustav Brand

Photographers Comments…Now this shot turned out to be very lucky and the last shot taken with my legendary best friend, the 350D… 2 sec after the shutters closed and opened again, and without paying close attention to my surroundings, both my trusty old friend and I got ambushed by an unsuspected wave, which drenched me and at the same time pulled my tripod and camera with it back into the ocean… …I managed to catch 1 of the legs of the tripod and pull back what belonged to me, but I was too late. My old 350D has seen its day. Luckily it blessed me with this stunning shot and the splashes on the lens explain clearly what hit us straight afterwards! Danie is my witness.. Settings… Canon 350D, Lens: 18mm, F/22, 1.6 sec, ISO: 100, Touched up in Photoshop, with brightness and Contrast, Levels, and Curves for the final touch.

About Photo Critic… Enrolling for a photography course / workshop at DPC entitles you to free membership on our Photo Critic network. Members may upload up to two images per week for straightforward, constructive critique. Click HERE to visit Photo Critic

Photoshop Elements 10

Article by Danie Bester…

Adobe Photoshop Elements 10 has been launched less than a week ago.

Elements is a “cut down” version of proper Photoshop. Even though Elements lacks a few features, it does not come with the insane pricetag of Photoshop CS5. Even though it is cheaper (Far Cheaper), Elements still has enough tools and power to satisfy most photographers needs. That is, if you’re not running a large commercial studio etc…

Elements also comes with a photo organizer, but in all honesty, Iv’e always disliked it and find it too elementary. Elements, as an organizional tool, is not nearly as powerful compared to other applications like Adobe Photoshop Lightroom, or Mac’s Aperture. For this reason, I’ve always been advocating that you rather start out with Lightroom, which, as an organizational tool, can not be beaten by anything on the market today. Lightroom offers some nifty editing tools too. More importantly, you can edit numerous images at a time by using the “sync” tool. Lightroom can do “everything” when it comes to organizing your images and “almost everything” when it comes to editing. However, on a few occassions one needs to do some editing on pixel level.This is where Elements comes in handy. Elements takes you to pixel level and allows you to work with layers, masks etc…

Apart from missing the wonderful patch tool, there’s not much Elements does not offer compared to proper Photoshop. Elements has nearly all the other professional tools that Photoshop offers, Spot Healing, Marquee Tool, Dodge, Burn…. The list goes on and on. If you just started out with photography, you will find some helpful tools like one button smart fixes and slider controls. There is also a guided edit menu, which guides you step by step through various editing processes. Therefore, as a retouching tool, I can honestly recommend Elements to any budding, or even some professional photographers.

If you’re anything serious aboout photography, get both Lightroom and Elements. Use Lightroom for the hard lifting, like organizing your photo libraries, creating slideshows and websites, basic editing, and mass editing. Then use Elements for those images where you need to move some pixels around… Even if you buy both these packages it will still cost you far less money than buying proper Photoshop.

Visit Adobe’s website to learn more about Elements at http://www.adobe.com/products/photoshop-elements.html Want to download a trial edition of Elements then visit http://www.adobe.com/cfusion/tdrc/index.cfm?product=photoshop_elements&loc=en_us

Interested in doing a Photoshop or Lightroom course? then click on any of the following links…

Photoshop / Elements for Photographers Adobe Photoshop Lightroom

 

Portrait Photographer, Michael Tarasov….

Article by Trompie van der Berg…

This week we are featuring portrait photograher, Michael Tarasov. I first came across his portraits on the aclaimed European portrait website, http://www.portrait-photos.org/.

To view more of Michael’s work, visit his website at http://www.michaeltarasov.com/