Nikon 16-35mm ƒ/4.0G AF-S ED-IF N VR (HD)

Thisvideo is a brief hands-on review on Nikon's newest super wide-angle lens of Nikon 16-35mm ƒ/4.0G AF-S ED-IF N VR. Enjoy. This video is available in High Definition (HD), hover the mouse above "360p" to extend out different video quality options, for HD (High Definition), click on 720p or 1080p. If you are having trouble watching the video smoothly, add this code, &fmt=22 to the end of this video's URL address then press Enter / Return to reload the video, it will play nicely in HD. Music: But Not For Me by John Coltrane

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REVIEW: Panasonic Lumix GF1

www.digitalhomethoughts.com Want to buy one? http [Affiliate] This is my review video of the Panasonic LUMIX GF1, easily the most unique camera I've ever had the opportunity to look at. It's similar to a DSLR in that you can change lenses, but the micro four-thirds system doesn't use a pentaprism or mirror, so it's not a DSLR. Panasonic calls it a DILC: Digital Interchangeable Lens Camera. I don't see "DILC" taking off as a term, but this camera is hot stuff...it's been selling out everywhere, and Panasonic is struggling to keep up with demand. It uses SD cards and supports SDHC. The GF1 has a 12.1 megapixel Live MOS sensor (17.3 x 13.0mm in size), capturing JPEG or raw images at a maximum resolution of 4000 x 3000 pixels. It's also capable of 720p video capture (1280 x 720) in either AVCHD Lite or MJPEG formats. It can shoot in burst mode, up to three frames per second. Like the video? Please rate, comment, and subscribe. Thanks!

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Mennon DC-s(w) 72 Screw Mount 72mm Wide Angle Flower Lens Hood, Black

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$9.99
Date Created :
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The main function of the lens hood is to shade the lens from stray light, improving your contrast and image quality. But it will also protects the front barrel from the inevitable impacts against walls, door frames, and other real-life obstacles and in inclement weather, it can assist in keeping moisture or wind-blown debris off the lens. The advantage of the petal shape design is, that it offers the same prevention of flare as the corresponding circular or rectangular design, but with a smaller size and a lighter weight.

Installation:

* Rotate lock-ring to expose the thread's mounting thread * Attach the hood by screwing it on the filter or lens thread. * Rotate lock-ring back to fix the hood on the thread. * While fixating the hood with the lock-ring, keep the " " symbol on the hood exactly at 12 o'clock position for the correct perpendicular orientation of the higher sides of the hood.

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How to Modify the Flip HD Video Camera

Here is how we put a wide angle lens on a mino flip HD video camera...enjoy...

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A Scratch Built RC Plane for HD FPV cameras

Another video from www.mikeysrc.com Little pet project of mine. I wanted to build a collapsible RC plane that I could take to remote locations to film interesting scenery. The first design was good but has some control issues I didn't like. It carried the weight well but required too much pilot input to fly.....probably because the fuselage was too short for the wings. So I scaled up my Sport Trainer mikeysrc.com design and put two motors on it on the sides so I could put the camera in the middle. Stay tuned for more videos from cameras on board this plane. Planes uses either one 2200mah 11.1V lopo or 2 1300mah 11.1V lipos. 2 1000KV motors, 2 10 X 6 GWS direct drive style props. 2 40 amp esc's 4 servos Music Burble Artist BL Underwood

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SSF4 New Camera Calibration MADNESS pt11

In an unexpeted move, I decided to purchase a new camera today because my original Sony is beginning to die. I purchased the Canon PowerShot SX210 IS because of its stereo sound, wide-angle lens, and amazing adjustability. IN THIS SERIES OF MATCHES, PLEASE BARE WITH ME! I am adjusting the camera constantly between matches and therefore the video quality will rise and dip, get brighter and darker, etc. By the final match, I believe I've found the optimal settings. Please comment and let me know what you think!

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Digital Cameras - Choosing the Right One

There are three basic types of digital camera, compact (type SLR or bridge "camera") and DSLR. DSLR and SLR-type look fairly similar, though DSLRs are larger and heavier. The most obvious difference between the two is that you can change the lens on a DSLR. However, there is much more to it than that. The dslr is fundamentally different and designed to operate in exactly the same way as a high-end photographic film. This makes it extremelyVersatile and unique type of digital camera capable of dealing equally well with any kind of photography.

If your budget does not run a camera, then you need to choose other types to which one suits your favorite type of photography better. The choice between compact and SLR camera is a bit 'more complicated in that both are equally suitable for many types of photography. For many people, the choice come down to convenience. Some simply prefer a camera that canslip into your pocket rather than the one they have to hang around his neck.

It 'true that high-end compact cameras on the market capable of producing images that are just as good as those from cameras. It is not the picture quality between these two types of camera, but rather the ease with which you can adjust the camera controls on them. Things like exposure compensation or manual focus are usually simple to adjust external controls on an SLR, butcan be buried at a depth between the menu of a compact camera.

Many cameras have "ways of program", for example, landscape, sports (or action) and the portrait and they set the camera so the best way for these types of photography. However, it is not the case that if the camera does not have either of these modes then you can not do this kind of photography. The only way that you really need are shutter priority and aperture priority. UntilThe camera comes with these two, then you can optimize the settings that the majority of photographic situations.

When choosing between the cameras best suited to a particular genre, you need to look a bit 'deeper into their specifications to find the best one for your favorite type of photography. There are four sets of numbers that count. It's about the goal, the number of ISO (defined as sensitive to light, the camera), aperture and shutter speed. It is those numbers that really matter when it comes to choosing the right tool for the job.

Portraits

This is the simplest case, because they are not really the particular needs of a camera for this genre. Most portrait photographers how to use depth of field (throwing the background out of focus), this requires a large opening. The size of the diaphragm is given as a number of F and the lower the number, the greater will be the opening. Ideally you want acamera> with the lowest number f, but in practice but, because there are other factors that influence the depth of field, it is not worth choosing a camera for portraiture in the number f alone. It would be better to choose a camera you find comfortable to use. Set the camera to aperture priority and use the maximum aperture, which will be the lowest number of f.

Landscape photography

Again, there is little to choose between cameras when comes to their suitability for shooting landscapes. The overall image quality will probably be your main concern. That said, a great zoom range (6x or more) is good because it will allow you to take a wider range of shots from the same point of view. A wide-angle lens is very useful in the work of landscape, but the zoom serial number does not help when comparing cameras to find out which one has the widest lens. The angle or field of view of aSlower is determined by its focal length, measured in millimeters. The smaller the number, the wider the lens. Unfortunately, it is not always possible to directly compare the number of cameras. What you need to find is the equivalent to 35 mm camera 's focal length. This is the only number you can use to make a direct comparison. A large depth of field is what most want to landscapes, to use aperture priority and set the minimum opening, which is the largest fnumber.

Night photography

You might think that a high maximum ISO value would be useful for night photography but it is not particularly. Much more useful is a long shutter speed. Of course you need a tripod (or some other media) for the camera, but setting a high ISO will create "noise" in photos. Usually you get a much better result with a normal setting ISO and shutter speed. You should try a longer shutter speed of at least 30 seconds,the longer the better. Set the camera to shutter priority and use the shutter speed longer than you have.

Close up (macro) photography

Most digital cameras have a built in macro structure, usually identified by a symbol of the flower. This allows you to focus on the subject from a few inches away. Even without that, you can still do the job by inserting a close-up macro lens. This is made easier to do if it 's camera lens has a thread to your filter.Working so close means that you will naturally have a very small depth of field. To contribute to this you should use Aperture priority and set the minimum aperture (largest f number).

Sports and action photography

Only digital SLR cameras are ideal for this kind of photography. This is because all the others have a certain amount of shutter lag so you can never be sure of catching the perfect moment in a fast-moving situation. Among other types, a reflex camera ismuch more practical for this type of work. If you want a camera with longer zoom range and shutter speed faster. Set the camera to shutter priority, use the shutter speed as fast as you can, zoom into action and start shooting.

There are some other types of photography, but not all requirements other than those mentioned above. For example, the phase (or group) has the job requirements are similar to sports photography and architectural photography islike shooting landscapes. No matter what type of photography you like, their is definitely a digital camera that is best suited. It 's just a matter of choosing the right tool for the job.

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.42x HD Super Wide Angle Panoramic Macro Fisheye Lens For The Canon T1i, XS, XSI, XT, XTI, 50D, 40D, 30D, 20D, 10D, 5D, 1DS MARK 2 & 3, 1D MARK 2 & 3 Digital SLR Cameras Which Have Any Of These (18-55mm, 75-300mm, 50mm 1.4 , 55-200) Canon Lenses

Buy .42x HD Super Wide Angle Panoramic Macro Fisheye Lens For The Canon T1i, XS, XSI, XT, XTI, 50D, 40D, 30D, 20D, 10D, 5D, 1DS MARK 2 & 3, 1D MARK 2 & 3 Digital SLR Cameras Which Have Any Of These (18-55mm, 75-300mm, 50mm 1.4 , 55-200) Canon Lenses Order Today!

Design by :
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Date Created :
Oct 08, 2010 01:00:05

.42x HD Super Wide Angle Panoramic Macro Fisheye Lens

-An essential tool for extreme sports and dramatic action shooters
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The High Definition² .42x Ultra Wide Angle Fisheye Converter Lens increases the versatility of your existing lens to provide breathtaking ultra wide angle views. And it's so easy to use! Additionally the built-in detachable macro lens allows you to take extreme high resolution close-up shots! Nothing changes the way you see the world like High Definition². Change the way you view the world. Enjoy outstanding detail, enjoy enhanced clarity.

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This adapter works great. I'm giving it 5 stars cauz it does the job and the price is reasonable.

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Canon Video T2i - because it is a revolutionary camera for Filmmakers

With the arrival of the rebel T2i Canon 550D DSLR camera, filmmakers are the joy of using video T2i fee with his ability to shoot 1080p great cinematic images. The question is whether more directors have with this camera DSLR may be sufficient to produce their independent projects. So, let's take a look.

First of all, this camera is versatile and compact. It allows you to place the camera in very tight spaces and cornerswould not be able to deal with a much larger camera like the Panasonic P2. - The camera has both 24p and 30p video mode which means you can use for many different purposes to make a film, a video of the wedding or a corporate event and create fantastic results. It also gives you full control to manipulate the image manna. The depth of field in this DSLR is what gives the camera its breathtaking images. You can also shoot in slow motion with its variable frame ratecapacity.

Secondly, do not use the zoom supplied with the camera (you can choose to buy the body only). Invest in some prime lenses that will allow you to get sharper, clearer images. Since the T2i does not have a full frame sensor (APS-C is a chip with a harvest of 1.6 x a full frame) lenses are also cheaper. The largest investment in T2i will be slow - the best of the lenses, the better the image. So make sure you have a goodnormal and wide angle lenses to get you on the package of the camera.

Finally, the video T2i Canon is not without its drawbacks. It does not have a great body what it feels like plastic in hand, in contrast to the magnesium construction of the more expensive Canon 7D. If you shoot in extreme weather conditions, the camera may close. In addition, the audio options are nothing to shout home. Instead of using the audio in the camera is much betterusing an external audio set up for better sound, especially if you are recording the dialogue.

Finally, you can use the T2i Canon and its 1080p video images to produce great for your short films and even feature length. It will be a better idea to get 2 of these cameras in the long run. You can use it as a camera A and B for the simultaneous recovery, given the cost. T2i The Canon is a revolution of sorts, as it brings the cinema to the consumer mass market in the context$ 1000. So forget the cameras and more expensive to invest in T2i Canon and its video, if you're just starting out.

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Picture Perfect - 10 Tips for Better take pictures Expedition

The rule of thirds

When composing a picture, there often are inclined to put the main subject - be it a peak, a person, or a flag of prayer - in the middle of the frame. Although this can work at times - as measured by Steve McCurry's iconic portraits - often leaves the image opaque. A quick and simple remedy for this that liven up your images and the composition is to use the rule of thirds. The technique is simple: share your fame into thirds, andplace the main subject on the left or right, up or down, one third of the image rather than the center. This simple technique - a minor change of location - create energy and movement in the image and a dynamic and engaging composition.

Leapfrog!

Let's face it - head shots just do not work. Sure, they are easy to create - see your friend to get over you, pull out my camera, and insert an image. What comes out, however, is more often than not withoutof emotion in the face of the climber - the part that shows their emotion and tells more about the scene - is hidden. So from now on remember that childhood game of leapfrog. As a photographer shipping - that is the summit ridge of Everest or Mount Rainier - are constantly playing leapfrog with my subjects. I start the day in front of them, arrive at a good location with a dramatic setting to take a picture, set, shoot as I pass, baggage, pass, and set up another shot higher onthe mountain. It is not easy, but it makes a difference. Are you the rope, do not worry, wait until you are sure (in a break or when someone is tied off safely) and take pictures like that. Just avoid the infamous head shots please!

More is not always better

Our eyes, working in tandem with our brains are amazing devices. In the blink of an eye, you can pan around a scene, choose the interesting parts, and zoom in on them in our brains while still seeing the wholeview. With still images, however, we often need to help our viewers do not get distracted and refine the best part of a scene. And he often does nothing for our image, but it takes away ... and we better get more from less. To do this, use a zoom lens to pull an interesting topic in its own right in the frame ... or use the old tried and true tool - the legs. Yup, it's true, if your goal is not close enough to the subject to make the frame visuallyattractive approach, compose and shoot. It 's all in perspective!

PANORAMA

Northeast Ridge of Everest Camp VI on the north wall. It is a vision of a place's iconic symbol, but one whose imposing size and nature can not be captured in a frame of film (or sensor). The solution? Shoot multiple frames and stitch them together with the software landscape. Shoot multiple frames of your soon-to-be-scene, overlapping the edges of each image byat least 25%. Later, you can use one of the many views stitching programs available through a Google search, or, if you have Adobe Photoshop, use their built-in program Photomerge to put pictures together - works like a charm! Here are a few tips to make your views even better:

1. Look for the distortion: Many wide angle lenses display some distortion at the edges of the frame, this is easily visible when a straight line is placed at the sides of the frameand is folded or bent. Make sure you use the lens has no distortion (not a fisheye for a fixed focal length) or larger is sufficient to eliminate any distortion on the telephoto.

2. Use a tripod: Shooting a scene - and then stitching together effectively - requires a precision that is difficult to achieve without a tripod, especially if we are standing on the rocks shaky and labored breathing. Then, use a tripod (or a rigid and immobileas a rock) to make sure that the plane of the scene remains constant through all frames.

3. Lock the exposure: As you move from shot to shot the scene, the lighting of the scene will inevitably change. If you leave the camera in program mode, you will find the best exposure for each frame, sometimes causing drastic changes in light from first to last frame ... and making it impossible to put together later. The solution is to first pot back and forthacross the landscape, noting the exposure recommended by 's your meter. Then, find a middle ground between the range of f / stop and aperture. Lock this setting in exposure by using the manual mode and fire away!

4. Locking the white balance: Just like the above exposure, white balance will adjust as you pan your camera through the shot and the results are sometimes annoying. Be sure to lock the white balance to the appropriate setting: the sun, cloud, on request,etc.

They Room ... Will Get Shot

It sounds simple, but you'd be surprised how often people either leave their camera behind - and of course miss the pictures - or have pulled it out of reach that is too hard (or too dangerous) to get it out when that perfect moment arise. For example, take May 1, 1999: I walked through the north face of Everest where Conrad Anker was standing on the remains of George Mallory. The scene I walked into stateperfect - I pulled out my camera, snapped a few frames, and within seconds Conrad was looking in a different direction and the moment was gone. He had my camera was not on hand, the moment would be lost forever .... My solution is to keep my camera in a fanny pack (I use a MountainSmith Aurora II), turned toward the front. This package is my camera, spare lenses, batteries, and cards, plus a couple of activities to keep handwarmerseverything works fine when I shoot.

Stop It Down!

As good as modern digital cameras are still lacking in some areas, especially in the realm of dispatch and outdoor photography. A common problem occurs when shooting in snow - lots of bright white contrasting sharply against the vivid blue sky and dark rocks. Basically tricks sensors and, if left to themselves, the cameras to create images with blown outpoints out, that is, the snow will be all white volume with little or no details. The solution is to manually set your exposure compensation to under-expose the image of 1 / 3 to 2 / 3 stop (-0.3 to -0.7 on most cameras.) Block in this setting the camera and shoot in any shooting modes and your pictures will come out with details in the highlights (snow), but is good in the darker areas.

'Fill Er Up!

Another common problem faced during the shootingof shipments is a climber on a snowy background or bright sky. Take a picture without backlight compensation and will most likely not end up with a properly exposed background and a dark, underexposed the main subject. To resolve this problem, use a little 'fill-flash. But, just insert the flash and shoot away ... Flash is calibrated to balance a person in daylight conditions, and in doing so splash too much light on the subject which gives an unnatural appearance. Goin your flash settings and, as with the exposure compensation mentioned above, manually shut down the flash output. I usually keep my flash stopped up to -0.7 to -1.0 (2 / 3 of a point), and sometimes go even lower depending on your situation. Play with it, and remember that film saying it is cheap - this truism is even more true with the digital!

Sun Star

One of my favorite techniques during the resumption of shipments is to shoot straight at the sun, but getting theexpected results can be frustrating. However, if done right, the result is a dramatic image with the sun (or any bright point-light source) was transformed into a dazzling star. To make it work, you must be able to set the aperture manually (it is not possible on many point-and-shoot cameras). Set the aperture to F-16 or higher - in general, the larger the aperture (the smaller the hole of light-input) the best for this output. Then, with the camera in manual mode, dial theimage and lead exposure ½ to 1 ½ stops under-exposed, adjusting shutter speed. Shoot a frame and make sure the sun is as it is to be interpreted and that the rest of your image is exposed correctly as well.

Zoom in or pull back

As I said before, the perspective is everything. You can turn an image into a monotone one star ... or transform what could be a shot in another shot. Then, try different perspective, and throughthe legs to move and with different lenses to change the view. Sometimes a shot requires a wide angle of view to show all the great view, while others may need to be really tight to emphasize the details. In my ship kit, I am always looking for a balance between flexibility and weight - not always an easy balance, but with modern equipment and a couple of dollars, is feasible. Being a Nikon shooter, I always go with Nikon lenses. My standard kitincludes my Nikon DX Fisheye 10.5 mm for wide angle and telephoto 18-200mm DX VR for a wide range of focal lengths. In my package is my big gun - a 80-400mm VR Nikon telephoto ... heavy, but very useful. With that combination of three lenses, I can get a large ultra-perspective fisheye incredibly close to the 400mm (which, on a Nikon DSLR sensor is equivalent to 600mm on a 35mm camera - powerful enough to bring the summit of Everest up closeand personal base camp!). In addition, we are able to create unique images by simply moving our cameras and our bodies. Lying on the ground and shoots toward the sky or climb up a bit 'higher and shoot a bird's eye view.

Try some 'all

Although today's equipment is amazing, the best photographs require a combination of equipment and personal vision. Rarely has a simple point-and-shoot image to the cover of National Geographic. So, try a bit 'ofeverything on your next outing or expedition. Have fun, play. Understand what I want to tell the story, and then decide what images will be better to tell that story. The best shot is often the one who decided not to take!

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