This assignment will be a bout the equipment that I use and why I use some of the equipment.
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| Nikon D200 Digital S L R. |
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| Nikon D200 rear S L R. |
I have used this camera body for a number of years now, and I think this is an excellent body. It can hold a large memory card and can shoot in a few different file formats. I use the raw format the most, it is a 10.2 million pixel camera and as an ISO of 100 to 1600. It can fire at 5 frames per second which is slow compared with with some of the modern cameras of today. The picture quality is excellent and is easy to download from.
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| Sony 450 rear S L R. |
This the second system that I use the Sony system which used to be Minolta. I found myself with good quality lenses and not so good digital bodies until recently. This camera also as a few different file formats , again I shoot in raw file only. This camera as a an ISO 200 to 12800 which quite a lot more than the Nikon. This is called a fast camera it can shoot at 8 frames a second and is a 14 .2 million pixel camera. this also is easy to download from the body and the picture quality is excellent. Both the bodies that I use are of good quality I use the Sony 450 more for wildlife photograph and the Nikon for landscape photograph. Both these cameras give me the quality that I aspect and both excellent.
The Lens to go with these cameras for Macro work:
The Nikon D200 lens are 50mm Macro Lens and a 150mm Macro lens.
SLD glass and Super Multi Layer Coating
Three SLD (Special Low Dispersion) glass elements provide excellent correction of all types of aberrations and the Super Multi-Layer Coating reduces flare and ghosting. This lens has superior peripheral brightness and provides sharp, high contrast images even at the maximum apertures.
F2.8 large aperture tele-macro lens
Tele macro lenses have a greater working distance. It is possible to enjoy Macro photography, even when you are far from subject. This enables you to capture the small animals and insects without disturbing them. Very narrow depth-of-field allows selective focusing and less distracting backgrounds. Large aperture of F2.8 is ideal for sports, action and indoor photography.
Hyper Sonic Motor (HSM) with full time manual focus override
The HSM (Hyper Sonic Motor) ensures quiet and high speed autofocus as well as full-time manual focus capability.
Rounded 9 blade aperture ring
This lens has a rounded 9 blade diaphragm creating a smooth blur to the out of focus areas of the image. It is also possible to use this lens with Sigma’s optional APO Tele Converters.
APO Tele-Converter EX compatibility
It is also possible to use this lens with Sigma 1.4x EX and 2x EX APO Tele-Converter. When this lens is used with the 1.4x EX or 2x EX Apo Tele Converters (optional), it becomes a 210mm F4 AF tele-macro lens or a 300mm F5.6 MF tele-macro lens respectively.
The very latest optical technology has been incorporated in the production of the new Macro 50mm F2.8 EX DG. This ideal standard lens sets the benchmark for digital SLR cameras. This standard macro lens enables you to enjoy the communication with subject. When viewing through the camera's finder, you are able to move your subject, and make precise adjustment. It has a close working distance and it is very convenient for taking close-up pictures of a fossil, or other inanimate things for example. The new advanced lens design corrects various aberrations. This macro lens is specially coated to get the best colour balance whilst cutting down ghost caused by reflections from the digital image sensor. This lens provides the utmost correction against lateral chromatic aberration which is a serious problem for digital SLR cameras.
Lens to with the Sony 450 70mm Macro 2.8 lens.
The advent of digital SLR's requires optimum lens performance and therefore the very latest optical technology has been incorporated in the production of this medium telephoto macro lens. The 70mm focal length gives an equivalent field of view as our popular 105mm macro lens when used on digital SLR cameras with an APS-C size image sensor. The design of this lens makes it suitable for taking pictures in all situations both with natural light conditions or flash.
An easy to use 70mm medium telephoto macro lens
This lens would have an equivalent field of view of a 105mm telephoto macro lens when used on digital SLR cameras with an APS-C size image sensor. The narrow angle of view is a great aid for simplifying backgrounds and shallow depth of field makes it easier to handle the composition.Compensate for colour aberration
A Special Low Dispersion (SLD) lens and two high refractive index SLD lenses provide excellent correction for all types of aberrations and produce an exceptional level of optical performance.
Reduce Ghosting and Flare
Sigma’s super multi-layer lens coating reduces flare and ghosting, and helps create a natural colour balance.
Floating Focus System
The floating focus system provides extremely high optical performance from infinity to 1:1 Macro.
Focus Limiter Switch
A ‘Focus Limiter Switch’ in incorporated on the lens, improving the speed and accuracy of autofocus by limiting the focus range from 25.7cm to 48cm and 55cm to infinity.
A screw-in lens hood
A screw-in lens hood is included for convenient use of circular polarising filters. The included hood (LH620-01) is designed so a 77mm lens front cap can be attached whilst the hood is in place.
Magnification scale
A magnification scale is displayed on the lens barrel, ensuring ease of use.
Tripods and Monopods that I use:
The manfrotto tripod 055, this is the tripod that I use. They are very stable and easy to use they can have tilt heads attached to them and easy to carry.
The most popular and most imitated, and yet unrivalled family of pro tripods in the market, the 055 is the best option for size, weight and stability. The 055 is ideal for both indoor and outdoor applications according to the model, and is available in different configurations and in two versions: aluminium and carbon fibre. Besides the carbon fibre tubes. The CX versions are made of ultra light magnesium casting, and in the Pro version the column is in carbon fibre. The 055 range is designed to offer the best performance not only to the keen amateur and pro users, but also to make available Manfrotto’s top quality and precision to advanced hobbyists particularly the aluminium version.
The Manfrotto Monopods that I use:
The Manfrotto 808RC4 streamlines our range of 3-way heads by incorporating new elements while maintaining all the features you loved. The 8-8RC4 features two balance springs in the vertical tilt (forward/backward) and horizontal tilt (left/right) movements. These springs enable you to more comfortably handle heavier camera loads (such as very long lenses) with minimal effort. Both springs can be turned off in case normal head operation is required. The head is comprised of aluminium and designed in a manner to support up to 8kg, yet lightweight and small enough to pack in any camera kit. The standard quick release system is used to accommodate larger camera platforms which incorporates dual axis bubble levels to achieve level shots.
Filters for the camera that I use:
Cokin Filters Explained
Filters for creative photography
Cokin Filter Systems
There are numerous manufacturers of lens filters such as Hoya, Tiffen and Cokin, plus the likes of Canon, Nikon and Sony. Cokin Systems are however the most well known.
This consists of a range of square filters of various functionality which are held into place in front of the lens by a holder attached to a threaded adapter ring.
The holder allows the user to slide various filters into place and even stack filters together. This holder is then attached to the lens via a threaded ring with a diameter to match the filter thread of the lens.
The major benefit of this system is that the holder, along with the collection of filters can be attached to different lenses by changing only the adapter ring.
This works out to be far cheaper than having traditional screw in filters which need to be bought specifically for each lens size.
Filter ranges
The 4 different classes of filters
The filters are manufactured from high quality CR39 organic glass. Cokin produce 4 different sizes of filter known as 'A series', 'P series', 'Z-pro' and 'X-pro'.
The A series are primarily for use on compact cameras and camcorders.
The most popular range is the P series which are suitable for 35mm SLR photography, both film and digital.
the P series are intrended for lenses down to about 20mm or 24m. Any wide than this and the edge of the filter tends to creep into the shot.
The Z-Pro range measure up to 100 x 150mm and are designed for use on medium format cameras as well as 35mm SLRs with lenses wider than 20mm to cover the greater field of view. Obviously intended for landscape shots and wider more panoramic vistas.
The X-Pro range is larger still, 170 x 130 mm and is designed for medium and large format cameras.
The Manfrotto Compact series is a range of extremely compact and intuitive all-in-one supports for small cameras and camcorders. Offering excellent value for money, the aim of Compact is to help the occasional photographer get better results.
Filters for the camera that I use:
Cokin Filters Explained
Filters for creative photography
Cokin Filter Systems
There are numerous manufacturers of lens filters such as Hoya, Tiffen and Cokin, plus the likes of Canon, Nikon and Sony. Cokin Systems are however the most well known.
This consists of a range of square filters of various functionality which are held into place in front of the lens by a holder attached to a threaded adapter ring.
The holder allows the user to slide various filters into place and even stack filters together. This holder is then attached to the lens via a threaded ring with a diameter to match the filter thread of the lens.
The major benefit of this system is that the holder, along with the collection of filters can be attached to different lenses by changing only the adapter ring.
This works out to be far cheaper than having traditional screw in filters which need to be bought specifically for each lens size.
Filter ranges
The 4 different classes of filters
The filters are manufactured from high quality CR39 organic glass. Cokin produce 4 different sizes of filter known as 'A series', 'P series', 'Z-pro' and 'X-pro'.
The A series are primarily for use on compact cameras and camcorders.
The most popular range is the P series which are suitable for 35mm SLR photography, both film and digital.
the P series are intrended for lenses down to about 20mm or 24m. Any wide than this and the edge of the filter tends to creep into the shot.
The Z-Pro range measure up to 100 x 150mm and are designed for use on medium format cameras as well as 35mm SLRs with lenses wider than 20mm to cover the greater field of view. Obviously intended for landscape shots and wider more panoramic vistas.
The X-Pro range is larger still, 170 x 130 mm and is designed for medium and large format cameras.
Lens filters in the digital age
How has Adobe Photoshop effected the use of filters
With the advent of digital photography and the use of photo manipulation software many traditional filters have fallen out of favour. In particular coloured filters, commonly yellow, orange and red, as well as warming and cooling filters are less popular than with film as these effects can easily be replicated via software. There are still plenty of filters that are useful with digital cameras. The most popular are probably, Neutral Density, Graduated Neutral Density and Polarisers.
Neutral Density Filters
Cutting down on exposure
These filters have a neutral grey tone to them and are designed very simply to cut the amount of light that passes through the lens. A photographer would use them when they want to use a longer shutter speed than is ordinarily possible due to the brightness of the conditions. For example, if you wanted to photograph a river during the day, you may wish to use a shutter speed of a second or more to achieve the effect of flowing water. During the day this may not be possible. If you are shooting at the lowest ISO setting available and are at minimum aperture you still may not be able to achieve a suitably long exposure. By adding a neutral density filter you can reduce the light transmitting to the camera and lengthen your shutter speed. ND filters are available in a range of strengths depending on how much you wish to cut out the light. A good quality ND filter shouldn't affect the colour of the light as it passes through, only the intensity.
Graduated Neutral Density
Gradual changes in exposure
Similar to ND filters above, GND filters are designed to reduce the light passing through the lens. The difference here is that the filter is not uniformly dark. One half of the filter will be clear with the other half darker. You can have a 'hard edge' where the transition is a solid line across the middle or a 'soft edge' where the transition from clear to dark is gradual. The reason for these filters is that you can balance the light across a scene to record more detail when the dynamic range would ordinarily be too great for the camera to record in a single exposure. For example, you may have a landscape where the sky is bright and the foreground relatively dark. If you expose the foreground correctly then this may result in the sky being 'blown out' with no detail recorded and just a mass of white sky. By using a GND, you could position the dark portion over the sky with the transition to clear falling over the horizon. This will reduce the brightness of the sky so that it more closely matches the foreground and can be recorded in a single exposure. It is of course possible to take two photographs with different exposures and then blend them during post production but this can be time consuming and I personally feel it is more satisfying to get the image right at the time of taking the photograph.
Polarising Filters
cutting down reflections from non metallic surfaces
There are two types of polariser; Linea and Circular.
Linear polarisers are cheaper to manufacture but they can affect a camera's metering so circular polarisers are a more popular option. Both types are used for the same two puroses: to increase saturation of colours, specifically blue skies and green foliage in a landscape, and to cut reflections from non-metallic surfaces such as glass and water.
If you are shooting a lake or river then a polariser would mean you can shoot through the surface of the water and see beneath the water. If you were shooting interiors or architecture then a polariser would allow you to shoot through glass windows and tables. A photographer may be wanting to shoot the exterior of a shop's display and the polariser would allow them to do so by removing the reflections of the street outside and indeed the photographer himself from appearing on the glass of the window. This is an effect that can't be replicated throughsoftware. Below are a couple of examples of polarisers in use:
Holder and Adapter rings
Using filters together
As mentioned above, the main advantage of this system over screw-in filters is the ability to use the same set of filters with more than one lens size.
If we take the P series as an example then there are two common types of holder, the regular holder and the wide-angle holder.
The regular holder can take 2 square/rectangular filters as well as a circular filter such as a polariser so that you can stack filters for different effects.
The wide angle holder has only a single slot but the holder is lower in profile which means it is suitable for use on wider angle lenses by minimising vignetting. If you are using lenses wider than about 24mm in 35mm format then the wide angle holder is recommended.
These holders attach to the lens with the relevant adapter ring. The rings come in a range of sizes from 48 to 82mm in diameter and are named logically. A77mm ring is called a P477, a 62mm ring is called P462 and so on.
Cable release switch that I use:
Photoshop CS6 that I use:
Enhance your creativity and boost your productivity with Adobe Photoshop CS6, a powerful imaging tool that delivers even more imaging magic, new creative options, and the Adobe Mercury Graphics Engine for lightning speed performance. With Adobe Photoshop CS6 you can bring your creative vision to life quicker and with greater control than ever before. Adobe Photoshop CS6 includes a variety of new features and includes 60% more feature changes than CS5. Some of the new features include the Content-Aware Patch, Mercury Graphics Engine, Reengineered Design Tools, Blur Gallery, a new Crop Tool, and Intuitive Video Creation.
This is most of the equipment that use to do the sort of photography for this course which is Macro. There are other lenses that I have, but do not use for this course.
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