Equipment
January 5th, 2010 by D-Photo
Pro photographer Gary Baildon slips a new MacBook into his workflow
Apple Mac is the computer brand of choice for many photographers. In my own studio I use a 13-inch MacBook, chosen for its light, compact and travel-friendly yet powerful attributes. However, the new 15-inch MacBook Pro has a little more screen real estate, and the advantage of a faster processor and a FireWire 800 port (13-inch MacBooks are USB 2.0 only). It was going to be an interesting test, and a great opportunity to compare two of the best portable computers available, particularly when tethered to my recently purchased 24-inch LED display.
My workflow is already 100 per cent Apple-based, so the MacBook Pro slotted in quickly and easily. A simple transfer of my vital settings and applications from the 13-inch machine (wirelessly via OSX’s built in utilities) and we were ready to go.
STABILITY
OSX Leopard is the onboard operating system and it’s solid, stable and intuitive; and, in true Apple fashion, you needn’t spend any time messing with the software.
From the moment you fire up the Mac it does what it’s supposed to do and keeps on doing it without fuss, crashes or hard-to-find device drivers. The bundled software is excellent, too. With iPhoto, iMovie, iDVD, iTunes, Garage Band, Photo Booth, iWeb, iSync and much more on the hard drive, you already have a very capable machine without spending an extra cent.
Those who need or wish to use Windows can load Microsoft’s operating system to this Intel-based Mac and run it either in dual boot format or inside OSX as a virtual machine.
PROGRAMS
Of course, the cornerstone of any pro photographer’s workflow is a program from neither Microsoft nor Apple, but Adobe’s Photoshop, and more and more photographers are now partnering it with Adobe’s Lightroom. It’s the subject of another review altogether (see the final instalment of Hans Weichselbaum’s in-depth series from p58) but I can put my hand on my heart and say I now couldn’t live without Lightroom.
But while these applications are powerful, they also require lots of processing grunt and memory. Many a computer has suffered under the strain of these mega-apps that increase demands on resources with every subsequent release. The fact that cameras are upping the megapixel count with almost every new model just adds to the pressure.
The MacBook Pro, which in the base configuration supplied for review had a 2.53GHz processor and 4GB RAM, didn’t flinch at running several Adobe CS4 apps at the same time, and did everything it was asked of without complaint. Whether capturing live from the camera, editing in Lightroom or processing in Photoshop, it never missed a beat.
MIX ’N’ MATCH
I also use a 2.8GHz 24-inch iMac in the studio, and I’d have to say that the combination of the MacBook Pro and the Apple display offer virtually the same performance while giving you the flexibility to disengage the two and take the MacBook out on the road at a moment’s notice. In daily use the 15-inch machine didn’t feel much bigger or heavier in my bag than the 13, but the extra screen size, FW800 port and the significantly improved speakers were most welcome. The 15-inch screen made life easier on location, too, without the need to lug another monitor along.
CONCLUSION
Would I consider changing my 13-inch MacBook for a 15, despite the new range starting at $3499 and going all the way up to $4998? Yes. For all the reasons above — and also the less tangible ones such as pride of ownership, aesthetics and a cool factor of 11 (on a scale of 10).
APPLE MACBOOK PRO – SPECS AS TESTED
Manufacturer: Apple
Model: MacBook Pro 15-inch
Processor: 2.53GHz Intel Core 2 Duo
Storage: 320GB HDD
RAM: 4GB
Disc Drive: DVD+/-R DL/DVD+/-RW/CD-RW
Graphics: NVIDIA GeForce 9400M, 256MB DDR3 SRAM
Connectivity: Gigabit Ethernet, FireWire, USB2.0 x 2, SD card slot, audio in/out
Dimensions: 364 x 24.1 x 249mm (W/H/D)
Weight: 2.49kg
CONTACT
www.apple.co.nz
Pros
- Stylish
- Durable
- Sizzling performance
- Excellent battery life
- Relatively cool running
Cons
- Cons? What cons? This thing rocks!
Design 18
Performance 18
Features 19
Image Quality 18
Value for money 17
TOTAL 90/100
This article if from D-Photo issue 31.
December 17th, 2009 by D-Photo
Gary Pearce examines Leica’s top-of-the-line digital projector
Diversity, it seems, is key to business survival. McDonald’s has added chicken salads and flat whites to its menu of burgers and fries, while giant Korean electronics company LG has teamed up with the Italian fashion gurus at Prada to develop a new range of mobile phones.
And now the pioneer of photography has entered the large-format display sector with a projector designed for photographic exhibitions.
The new Leica Pradovit D-1200 is a DLP design, a technology well regarded for image quality and the ability to produce better than average black-level performance compared with LCD.
The Pradovit D-1200 made its debut at last year’s Photokina trade fair and provided a major talking point. Essentially, the D-1200 is a slide projector with state-of-the-art optics and outstanding image quality, combined with high-resolution digital video capability. No wonder tongues were wagging following its introduction.
Resolution is a handy 1920 x 1200, giving an aspect ratio of 16:10 that is close to the 35mm format invented by Leica. Texas Instruments developed the single-chip DarkChip DLP light engine specifically for the Pradovit, while Leica’s Vario-Elmarit-P f2.8-3.1/33-42mm high-speed lens promises image widths of up to 9.5 m. With projection distances of one to 15 metres, the D-1200 is perfectly formed for large-scale photographic duties.
Brightness is a claimed 2000 ANSI lumen (1400 in photo mode), so it will work well in most situations where ambient light is present.
Getting Connected
There is a raft of connectivity options, too. HDMI 1.3a and DVI-D are on board, as well as two VGA (allowing up to WUXGA resolution), while the mandatory composite/YPbPR and YCbCR
Component/S-Video make up the video connectivity numbers. Both LAN and USB inputs complete the computer options, while separate RS232 input and output and a handy 12v trigger make the Pradovit a cinch for custom installation.
Lightweight magnesium casework has been used for maximum durability, and while the Pradovit won’t win any awards for beauty, the quality of componentry and Leica’s superior optics produced images that upheld the company’s fine reputation.
On The Screen
After connecting the Pradovit to my Mac, it was fed a consistent diet of high-resolution TIFF and RAW image files. After a small amount of tweaking in the image menu (in the search for a neutral grey), I was quite amazed by the resolution and natural quality of the files I saw on screen.
The greens and autumnal oranges in landscape shots were extremely realistic, while the 16 x 10 resolution of the Pradovit made each image jump off the screen, but not in an artificial or enhanced manner. Digital noise was pretty much non-existent, making the Pradovit a class leader compared with any of the DLP displays I have experienced to date.
Moving to HD video produced similar results, with content from Blu-ray disc proving a satisfying experience. However, the D-1200 is not to be lumped in with the cheaper hi-res home theatre projectors; it is a serious exhibition projector first and foremost — with a price tag to match.
CONCLUSION
Leica’s new Pradovit D-1200 should be on the shopping list for any photographer wishing to display his or her work on a massive scale. The quality of its imagery will not fail to impress, and although expensive, it provides a window into the photographer’s subject without even breaking sweat.
LEICA PRADOVIT D-1200 DIGITAL PROJECTOR – SPECS
Type: DLP
Lens: Leica Vario-Elmarit-P
Aspect Ratio: 16:10
Resolution: 1920 x 1200
Engine: DMD single chip with Texas Instruments DarkChip
Contrast Ratio: 2500:1
Brightness: 2000 ANSI Lumen (1400 ANSI lumen in photo mode)
Operation Noise: 28dB (low lamp mode)
Connections: HDMI 1.3A, DVI-D, component, S-Video, Composite, VGA x 2 (max WUXGA resolution), RS232 in/out, 12v trigger
Lamp Life: 3000 hours
Dimensions: 300 x 104 x 268mm (W/H/D)
Weight: 3.6kg
CONTACT:
info@lacklands.co.nz
Pros
- Beautiful image quality
- Ruggedly built for durability
- Good light output for a typical exhibition installation
Cons
- It is a serious investment
Design 16
Performance 18
Features 20
Image Quality 19
Value for money 16
TOTAL 89/100
This article if from D-Photo issue 31.
October 8th, 2009 by D-Photo
Harley Ogier looks at the options for people who don’t want to take their all-singing, all-dancing expensive notebook computer on the road.
Computers are essential tools for the modern photographer. However, while a notebook PC is a bulky accessory that can really weigh you down when travelling, newer ‘netbooks’ are small and lightweight.
Not only are they lighter to carry, they are also cheaper than their bigger brothers. And while they may not have the power and speed of heavier notebooks, they can give you plenty of options for storing photos and connecting wirelessly to the internet.
What are they?
Netbooks, or sub-notebooks, are miniaturised notebook (laptop) computers. There has been a surge of them in the market, with most manufacturers dipping their toes in the water to give consumers a cheaper way to get a computer.
To cut down on cost, weight and size, netbooks exclude luxuries such as CD or DVD drives — some don’t even have a hard drive. Instead, they generally include at least one card reader, several USB ports and an inbuilt memory card to replace the hard drive.
Netbooks typically feature low-powered (slow) processors that are unsuitable for games or particularly taxing applications that need plenty of grunt. This is a trade-off for battery life — a good netbook will generally give you at least four hours of running time before a recharge is required.
Why you need one
Despite their limited facilities, most netbooks are capable of running applications such as Photoshop. You’ll find that although Photoshop’s stated minimum requirements do exceed the capabilities of many netbooks, they’ll still manage common photo editing tasks such as cropping, resizing and retouching. But there are plenty of other photo software programs around that don’t need the power Photoshop demands.
Where you will run into trouble is screen real estate. A tiny computer means a tiny screen, and you’re looking at something between eight and 12 inches diagonally. The majority of netbooks run screen resolutions of 1024 x 600, not quite the 1024 x 768 minimum that modern applications are designed for. This means you’ll be doing a lot of scrolling, which can be tricky when all you have is a miniature touchpad.
For serious photo editing, a mouse is a necessity. There is a range of miniature mice designed for notebooks, both wired and wireless. Alternatively, you could invest in a small graphics tablet. One the size of your netbook or smaller would be easy to transport, and could even be perched on the keyboard for laptop use. Watch out for touchscreen netbooks in the near future, which will offer all the advantages of a graphics tablet with a computer built in.
Like full-sized notebooks, netbooks usually feature a standard VGA connector for an external screen or projector. If you have access to a screen or a television (perhaps in your hotel room) then you can do some serious editing without being restrained by screen size. Beware those few netbooks that require a special proprietary cable to connect to a screen, especially where those cables aren’t included in the box.
Photo editing aside, netbooks are just tiny computers. They’ll run any application that’s not too resource intensive. This includes office suites, content management systems for hardcore photographers, and the usual gamut of web browsers, email clients and media players.
Most models are available with a choice of Microsoft Windows or Linux operating systems. The Linux versions often come at a lower price, and are a good option if you’re already familiar with Linux or don’t mind learning some new tricks.
Storage
Instead of a hard disk drive, netbooks typically feature a solid state drive (SSD). Essentially this is just a big, fast memory card. Like your camera card, SSDs have no moving parts and so won’t be damaged if you haul your netbook around while it’s turned on, or use it in a moving vehicle. SSDs also use less power, which contributes to that increased battery life.
As always there’s a trade-off. Solid state drives are more expensive than hard disks, and are generally an order of magnitude smaller for a similar price. For example, a particular netbook might be available with a 16GB SSD, or a 160GB hard disk drive.
Which is better depends on you. If you’re looking for a storage unit to dump memory card after memory card full of photos onto, the hard drive option gives you that ability. If you’re just after an editing tool or a way to copy photographs from one memory card to another, the SSD option may fit the bill.
Getting connected
Good netbooks support both wired and wireless networking, so you can get online anywhere there’s a network: home, office or in many hotels and cafés. You can also use any wireless broadband product that supports USB, such as Vodafone’s Vodem or Telecom’s T-Stick.
Netbooks are a great way to email your photos home or to upload them to photo sharing websites. Professionals can use online file storage services to backup their photos while travelling — this could be particularly valuable for people worried about losing essential shots.
Conclusion
Netbooks are the new must-have in the roving digital photographer’s toolbox. If you do choose to invest in a netbook, finding a model that best suits your existing methods and kit will ensure you get the most in return. As always, get the most expensive one you can afford, look out for storage capacity, processing power and battery life. Also consider buying a portable charger so you can give your battery a boost in the car.
This article if from D-Photo issue 29.
October 1st, 2009 by D-Photo
Harley Ogier says the HyperDrive Colorspace is a fast and robust unit that can be easily upgraded
Sanho is responsible for the HyperDrive range of photo backup devices, an award-winning line of hand-held units that allow you to back up your digital photographs quickly and easily on the road.
The Colorspace Ultra Direct Memory Access (UDMA) is the latest addition to its line-up.
Strictly utilitarian
The casing is made up of a black plastic front and a black metal back, with open slots for memory cards and a power cable. You won’t find plastic or rubber flaps for dust protection, nor will you find anything ergonomic. However, it’s a solid machine that’ll transfer files from your card at blistering speeds.
The model I reviewed came with a 120-gigabyte hard drive, which could easily hold tens of thousands of 12 megapixel JPEGs or several thousand RAW files; other versions are available up to 500 gigabytes. The drive is easily user-replaceable and a case-only version is available for people who want to install the drive themselves.
Quick save
The Colorspace UDMA provides extremely quick back-up of memory cards, at up to 40 megabits per second (depending on the speed your card allows). This means you can back up a two-gigabyte memory card in a minute.
Incremental back-up is supported so you can copy just those images that have been added or changed since your last back-up. This is a great time saver if you’re keeping your photographs on both your memory card and the back-up device.
Transfer from the UDMA to a computer is also reasonably fast when using a high-speed USB port on your PC. The unit appears as a removable hard drive on your computer, so there’s no software to install — just plug and play.
Sanho claims the battery will last for 250GB worth of back-ups between charges. However, that assumes you won’t view your photos on the screen, because — as you’d expect — doing so will put extra pressure on the life of the battery.
Usability issues
The Colorspace UDMA features an extremely bare user interface that looks like something out of MS-DOS days.
Browsing images is awkward using the inbuilt screen, especially when you have a few hundred in one folder (as most cameras tend to store their photos).
You can’t hold buttons down to scroll, so you end up pressing a button a few hundred times to get through
a list.
However, there is a particularly nifty calendar view in which you can see a thumbnail for each day you’ve taken photographs, but it’s impossible to browse more than one month at a time.
But you can view picture histograms layered over the photo shown on the computer’s screen, which is really nifty.
Conclusion
The Colorspace UDMA is brilliant as a portable back-up device, but rather limited as a media viewer. It offers a lot of storage, can be upgraded and has a fast and powerful back-up system. However, its awkward user interface may limit its appeal for those who want more than a fast, solid, back-up unit.
Sanho Hyperdrive Colourspace UDMA Specs
- Manufacturer: Sanho Corporation
- Model: HyperDrive Colorspace UDMA
- Display: 3.2-inch LCD, 320 x 240 pixels
- Hard disk drive: 2.5-inch SATA, 120GB, user replaceable
- Memory card support: CompactFlash (Type I/II), MicroDrive, SD, SDHC, MMC, Memory Stick, MS MagicGate, MS Select, MS PRO, MS PRO MagicGate, xD, xD Type H/M
- Image Formats: JPEG, RAW (Canon CR2/CRW, Nikon NEF, Olympus ORF, Panasonic RAW, Pentax PEF)
- Weight: 298g (including battery)
Contact
www.hyperdrive.com
PROS
- Powerful back-up features
CONS
Dated user interface
Design 14
Performance 15
Features 17
Image Quality 14
Value for money 15
TOTAL 75/100
This article if from D-Photo issue 29.
September 23rd, 2009 by D-Photo
Taking your camera on the road is all well and good until your memory card fills up. Starting with Epson’s P-3000, Harley Ogier tests two portable storage devices that can free up your memory card and let you carry on shooting.
The P-3000 is the entry-level model in Epson’s range of multimedia storage viewers, targeted at the “professional photographer and advanced amateur”. Half backup device, half media player, it does a pretty good job of both but doesn’t push the boundaries of either.
Strangely familiar
Users of digital cameras will find the P-3000 extremely familiar: it’s shaped so like a compact camera, I can’t hold it without my index finger reaching for an imaginary shutter button. The controls are set to the right of the screen, just as you find on most digital cameras, with nice anatomical grips on each side.
The menus are like those of most cameras combined with those of a media player. You’ll find options such as My Photos and My Videos, all of which are pretty clear. The fonts are smooth, the icons simple yet sharp and the whole thing has a slick feel that really flattens the learning curve.
Backup
Being an entry-level model the P-3000 only features a 40GB hard drive that could store perhaps 10,000 12 megapixel JPEG photos or a few thousand RAW files. It’s not going to last you a month-long world tour if you shoot 500 RAW images a day, but it’s still a decent capacity for selective photographers or short trips.
The backup process is simple: just pop in your card and select ‘Memory Card Backup’. It’s not the fastest process, taking 10 minutes to back up my two-gigabyte card. Memory card support is also limited to the industry standards — if your camera uses a proprietary format such as xD or Sony’s Memory Stick, you’ll need an optional adapter.
Restoring your backups to a memory card or USB drive is simple, though connecting the P-3000 to a computer requires Epson’s proprietary software. Once the software is installed all’s well, but one wonders why it doesn’t just appear on the desktop as a normal USB device.
Playback
Avoid copying unfocussed or noisy images across to the P-3000 because its brilliantly perfect 4-inch LCD is going to show you just how bad they are. With four dots per pixel (instead of the usual three), colours are stunning.Your average LCD computer monitor just can’t compare — Epson’s top-end P-7000 viewer can actually be used as a second computer screen to check your image colours.
The P-3000 supports RAW files from a wide range of camera manufacturers and JPEGs up to 30 megapixels. A good range of video formats are also supported, along with MP3 and WMA audio files. You can’t play music in the background while working with images or anything so fancy, but the P-3000 could happily replace a basic MP3 player.
Conclusion
The P-3000 lacks any advanced backup features and suffers from limited storage. However, the display quality is superb and the model a good choice for reviewing images and making short-term backups. For megapixel-hungry professionals or longer term storage, look at the P-7000, which features a 160GB hard drive for four times the capacity.
Specs
- Display: 4-inch LCD, 640 x 480 pixels, 16.7 million colours
- Memory Card Support: CompactFlash (Type I/II), Microdrive, SD, MMC, MMCplus
- Image Formats: JPEG (up to 30MP), RAW (Epson, Nikon, Canon, Konica Minolta, Pentax, Sony, Olympus, FujiFilm, Adobe DNG)
- Video Formats: MPEG-1/2/4, DivX, Motion JPEG, WMV
- Audio Formats: MP3, MPEG4-AAC, WMA
- Size: 150 x 88.7 x 33.1mm
Contact
www.epson.co.nz
PROS
- Extensive file format support
CONS
- Check that your memory card is supported
Design 18
Performance 16
Features 17
Image Quality 20
Value for money 14
TOTAL 85/100
This article if from D-Photo issue 29.
August 13th, 2009 by D-Photo
As a light modifier, the orbis ring flash punches above its weight, says professional photographer Gary Baildon
Originally designed for macro photography to push light into the small space between a macro lens and its subject, the ring flash was ‘borrowed’ by fashion and beauty shooters for the quality of its soft wrap-around light.
But these units don’t come cheap — until now, that is.
Designed in New Zealand, the orbis ring flash is an impressive piece of kit. It offers similar functionality to a standard light ring, but this unit uses your existing flash gun for the light it emits. Hence, the price is a lot less that you might expect.
As soon as you open the box you know you have a quality product on your hands. The build is superb, the feel solid, and the bright yellow carry bag will ensure it’s not easily misplaced. A detachable neck strap and instruction booklet complete the box’s contents.
Does it work?
The orbis is intended to be handheld (or tripod mounted) independently of the camera.
The head on your flash unit is first tilted into the vertical position, then attached to your camera with a remote TTL cable or wireless trigger. The flash unit itself is then inserted into the orbis ring flash unit. While holding the flash unit and the orbis in one hand, you manhandle the camera with the other. I have to admit that prior to using the orbis I was sceptical about this, but it’s nowhere near as difficult as I’ve just made it sound. In practice it becomes natural very quickly and leaves you to concentrate on the shot.
While the obvious thing to do with a ringflash is to put the lens through the middle, it’s by no means the rule. The orbis can be held off to the side, above or anywhere you desire. Think small portable softbox.
Caveat emptor
There is one minor issue shooting handheld with the orbis and that is that you can’t manually focus or zoom the lens. In practice I’d normally use auto-focus on this kind of shoot anyway, and it’s a simple matter to set a zoom lens to a pre-determined focal length before shooting. In any case, the release of a collection of adapter rings that will attach the unit to your lenses via the filter thread will be out any day now.
Beauty light
The almost shadowless wrap-around light brings out the beauty in a way that only a ring flash can. Ideally suited to shooting close and fast, the ring flash look is instantly recognisable by circular highlights that run around the subject’s pupils.
Dig out those old fashion mags and look closely at the eyes, you’ll soon see what I mean. That said, the orbis is no slouch when it comes to getting up close with interesting small things. It is a ring flash, after all.
Conclusion
Previously the domain of pros, there really was no affordable ring flash option. That just changed. The cost of entry to this exclusive club is now within the reach of anybody who loves photography.
The results achieved by the orbis are certainly of commercial quality and well exceeded this shooter’s expectations.
SPECS – ENLIGHT PHOTO ENL-ORB1-A
- Manufacturer: Enlight Photo
- Flash Strobe Sizes: Compatible with all commonly available flash/strobe units – see website for details
- Lens Compatibility: Internal lens aperture diameter 85mm – see website for details
- Ships With: Instruction manual, protective bag, shoulder strap
- Dimensions: 280 x 220 x 55mm (H/W/D – depth at lens 55mm)
Contact
www.orbisflash.com
NZ Distributor: Pro Gear
PROS
- Competitively priced
- Easy to use
- Excellent results
CONS
- Handholding takes a little practice
| Design |
16 |
| Performance |
18 |
| Features |
16 |
| Image Quality |
15 |
| Value for money |
17 |
|
|
| Total |
82/100 |
This review is from D-Photo issue #028.
April 20th, 2009 by D-Photo
We all know monitor profiling is an essential part of the workflow for graphics professionals; the problem has been knowing which monitor optimiser to use. The last five years have seen a number of new products released, with a bewildering range of features and prices.
When considering the options you need to weigh up the benefits of purchasing your own monitor optimiser versus hiring someone to profile your monitor for you. For this column I have made the assumption you have decided to purchase your own optimiser and I will give you a brief overview of the new DataColor Spyder3Elite. For more detailed information about this and other monitor optimisers, please visit www.colourmanagement.co.nz and go to the Knowledge page.
The Spyder3Elite and Spyder3Pro are the latest generation of the well-known Spyder brand and come with a larger aperture and more colour sensors than the previous Spyder2Pro and Spyder2express units. The main benefit of the Spyder3 units are their handling of the new LED-backlit LCD monitors – they do a better job with these monitors than either the Spyder2s or the venerable X-Rite Eye-One Display 2 (which is being phased out in favour of the ColorMunki).
The Spyder3Elite is a monitor optimiser only – if you want to create printer profiles you need to purchase a separate unit called a Spyder3Print – or you can buy both units in a bundle called the Spyder3Studio™. It is also possible to create data projector profiles with the Spyder3Elite and I will be reviewing this for an upcoming column. The Spyder3Elite is a nice-looking unit with a cradle for storage. There is a removable suction cup which I took off for profiling my two LEDs (and don’t forget when making monitor profiles to tip the screen back and turn the lights out to avoid any ambient light sneaking in). Installation was from CD and went smoothly on my Mac, although I did experience some strange warning messages when launching the application subsequently.
I initially used the standard settings of 6500 Kelvin and 2.2 Gamma and did not specify a black or white luminance. I liked the profiles that it made, and it did a good job of matching the Eizo L768 to the Mac LED-lit laptop. The profiles were a little cold but were closer to the result from my profiled Epson R2880 printer than those made by the ColorMunki (I will be reviewing the ColorMunki next month).
The Spyder3Elite is a whole lot of optimiser; there are features in there that would never normally be used in many studios, but for those who like to experiment it is a good tool. You have the option of using the familiar step-by-step assistant or selecting an Expert window with all the options in one place. If you are unfamiliar with monitor profile creation then just stick with the standard settings in the assistant window as this will give you a good result to begin with.
I think this is a unit worth considering, particularly if you don’t require printer profiling. There are a number of extra features which I will describe in more detail on my website but for basic monitor profiling the Spyder3Elite does a good job and most users will never need to venture into the extra features. However, a couple of features that are worth noting here are:
Ambient light reading
There is the option to have the Spyder3Elite plugged in all day and be adjusting the monitor as the ambient light changes. I am not a fan of this approach as computer-based graphics work should not be done in a room with changing ambient light – and the flashing blue light became annoying after a while too. Install sun-shade blinds to cut out changing light (while keeping the view) and unplug your Spyder.
Spyder Certification
This is worth testing to see if it works for you – the Spyder3Utility keeps an eye on things like how long it’s been since the last profile and whether the monitor has been on long enough to have a stable light-source, and displays an icon to let you know if your monitor is ‘certified’ or not. This would be a good option for PC users as many things can go wrong so having the Utility looking out for the monitor is a good idea.
SpyderProof
Similar to the Before and After window which is usually the last stage of the profiling process, this gives you a variety of coloured and greyscale images which are available for use in analysing the monitor and its profile. You can click on them to enlarge and you can access this feature at any time – not just at the end of the profiling process.
Linda Holman
March 22nd, 2009 by D-Photo
If you are in the market for a 6 to 8-megapixel digicam and have read any of the reviews published on the internet (or contained within the pages of magazines such as D-Photo), you will undoubtedly have come across the reviewer’s assessment of the camera’s ‘noise’.
Noise is electronic ‘static’ in a digital camera and appears as darker spots (similar to film grain) in a photograph. This static is amplified at higher ISO settings and is especially obvious in flat areas of colour (like the sky).
In many cases, noise can become ‘excessive’ and even make a picture un-useable.
To The Rescue
Fortunately, help is at hand for those of us who like to shoot at high ISO ratings (400 to 3200) in the form of some pretty nifty software. Now when you have to photograph at high ISOs because of fading light, and image noise becomes inevitable, simply reach for Noise Ninja (cool name, eh!).
Available as a download off the internet (go to www.picturecode.com), Noise Ninja is being used by professionals and serious amateurs the world over to control noise in their images.
After it’s downloaded (it’s only 5 to 6 megabytes), you receive a trial version that overlays a grid pattern on your photographs. However, you can use your credit card to purchase a ‘key’ (serial number) that will ‘unlock’ the program ready for use.
What A Difference!
The software is very reasonably priced for such a powerful and incredibly useful program – it starts at US$35 (approx NZ$48) for the Home version and up to US$80 (approx NZ$111) for the Pro version.
Once you use it and see the difference it makes to your prints, you’ll wonder how you managed without it.
Noise Ninja can be used as a stand-alone product, or as a plug-in from within Photoshop. Both ways work exceptionally well and are intuitive.
To ‘fix’ an image, sliders are moved and the changes are previewed in ‘real time’ (you see it happening as you do it). Enlarge the image in the window to at least 100 per cent, so you can gauge more precisely the amount of correction you are applying, and ‘hey presto’!
Then it’s a simple matter of clicking the Apply button and those noisy specks just melt away.
A nifty little ‘before and after’ button also lets you marvel at the improvements made to your digital image.
The Right Profile
Noise ‘profiles’ specific to your camera are the key to superior results with Noise Ninja and these can also be downloaded (for free) at the Picturecode website. Don’t worry if your camera isn’t listed (although a good many of the popular models are) as you can create your own profiles, which is as painless as a couple of mouse clicks.
Five-Minute Fix
The ‘Five-minute Guide To Noise Ninja’ contained under ‘Help’ will have you producing noise-free images in… well, five minutes! It really is that easy and the results are superb.
Whereas before I was too apprehensive to ‘push’ a digicam anywhere past ISO 100 because of noise quality issues, now I know I can ‘fix’ anything in Noise Ninja later on. No matter whether I’m shooting with an 8MP digicam, or a dSLR set to ISO 1600, Noise Ninja is at the top of the list in my post-production workflow.
My recommendation is: what are you waiting for? Go download it – now!
Noise Ninja
Pros: Easy to follow yet powerful software, use as a stand alone or plug-in for Photoshop, transforms images quickly, makes noisy digicams useable, choose either PC or Mac versions
Cons: Only available over the internet in New Zealand
March 8th, 2009 by D-Photo
Although it has been a long time since I’ve worked with tungsten lights, it didn’t take me long to get used to the quality of light produced by these high-end Pro X lamps.
Strong, lightweight, portable and versatile, they are ideal for illuminating still, video or digital images in the studio.
Use With Care
One of the advantages of these lights is that they are simple to set up and move.
However, although the strong filament inside the light bulb allows for easy movement, you must avoid bumps. The filament is white hot and very brittle when it is switched on, so moving these around is a bit like walking with a cup of coffee filled to the edge!
To prolong the life of your bulb, you need to take extra care.
Special Effects
Working with these Pro X lamps is simple; a bayonet fitting exchanges a host of accessories to obtain different lighting effects.
Without adjustment the light is directional, high contrast and provides strong shadows. This can be modified with different reflectors, barn doors, soft boxes and umbrellas.
The standard reflector provides a hard directional light that is similar to the headlight on your car, or you can use a diffuser to make the light soft and suitable for portraits.
Barn doors are an option that allow you to play with the light, to direct it where you want and in the shape you need. However, I forgot that these get very hot when the lights are on for a while, leading me to voice a very strong opinion when I tried to rotate them with unprotected hands!
Getting The Right Light
An elongated elliptical cone can be used on these lamps and is a great background shaper in the studio, providing effective lighting for portraits and product shots.
It’s also possible to place filters, colour or diffusion material in front of both the barn doors and elliptical cones. But just remember to use nonflammable materials!
And if you want to create a soft, but slightly directional light, try a soft box with a honeycomb filter – this is my preferred attachment for portraits.
Package Deal
The Pro X lights stand at a minimum height of 85cm and a maximum of 180cm. The long-life halogen tubes are either 650, 1000 or 1250W, with a colour temperature of 3200K. Each lamp is fan cooled and has a separate on/off switch that is lit from the inside by a green light – very handy if you work in the dark! They also have a generous long lead for easy movement around your workspace.
For obvious safety reasons, there is a (removable) glass shield in front of the bulb to prevent accidents. The standard Pro X kit comes with two quality Manfrotto stands, two heads and two sets of four-flap barn doors.
I also recommend that you invest in an umbrella or soft box, so you can create different qualities of light in the studio.
Quick Tips
You should never touch a professional lamp (bulb) with your fingers. If natural oils from your fingers are left on the surface of the glass this will cause the lamp to burst (in the future, not at the moment you touch it). Always use a cloth to hold the lamp.
Do not use halogen (tungsten) bulbs for too long as the colour temperature will decline and affect the colour quality in your image.
Tungsten light needs relatively long shutter speeds compared to flash, so use a tripod for best results.
Pro X Lamps
Pros: Well built, lightweight, high powered, versatile, adaptable.
Cons: No dimmer.
Design: 5/5
Features: 5/5
Performance: 4/5
Value for Money4/5
OVERALL RATING: 4/5
February 18th, 2009 by D-Photo
Ask any professional photographer what goes into the making of a great image and you may be surprised by their reply. Things like composition, framing, good technique, great light, bold colour and strong subject matter are all important. But, all of these factors come to nothing if you don’t have the single most important ingredient – good, fast, glass.
Let The Light In
A pro-quality lens with an aperture of f2.8 (or even lower) opens up to let through a lot of light – making them ideal for using in dark environments or to create beautifully soft backgrounds for portraiture. Most consumer-grade lenses for digital SLRs are at least two stops slower, making them less than ideal in low light and susceptible to the dreaded ‘camera shake’, which ruins many a good image. Image stabilising comes to the rescue to some degree with these slower lenses, but it’s not ideal and they still can’t compete with the faster glass when it comes to blurring out the background for a classic portrait.
A Bit Rich
So, if good fast glass is so desirable, how come everyone isn’t using it? Well, the kicker comes with the price. They are usually bigger, brutally heavy and much, much more expensive to make than their consumer-grade cousins. How does two grand for a lens strike you? No, I thought not. Me neither. That being the case, the search for a fast zoom lens at a great price has always been one of compromise.
A New Contender
However, the days of compromise may well be over. The digital age has ushered in a new breed of ‘digitally designed’ lenses, using space-age materials and manufacturing that offer superb quality at an affordable price. Don’t believe me? Well, ladies and gentlemen, let’s get ready to rumble. Introducing, in the red corner, the Tamron SP AF28–75mm f2.8 XR Di lens. Weighing in at an incredibly light 510 grams and measuring only 125mm when fully extended (without the supplied lens hood attached), this amazing little lens is a true contender. It’s a constant f2.8 at all focal lengths, making it fast, light and compact – truly unbelievable in the world of fast glass. But wait – just like a Ginsu steak-knife ad – there’s more! All this can be had for less that $700. Now that, my friends, is truly unbelievable. Hey, it’s such a good deal, I’d buy two.
Portrait Precision
Optically, this lens easily impresses. It’s sharp, especially on a digital SLR (although it can be used on a film camera) with only slight edge softening wide open. On my Nikon D70 the 28–75mm focal length becomes a 42–112mm (approx) f2.8 zoom lens – ideal portrait range in anyone’s language.
A large rubber ring allows for smooth zooming through the full range in about a quarter of a turn and the auto-focus is precise and pretty quick. Use of a standard screw-driven focus system means there is a little noise while the lens focuses, but it’s nothing objectionable. The front focusing ring does rotate during use, so keep your fingers away. Unless, of course, you switch to manual focus – in which case you’ll be rewarded with a silky smooth focusing action.
Conclusion
Really, I can’t speak highly enough about this gem of a lens. Although it’s not quite built to professional standards, it is a lens that will easily give professional results at a third of the price! If you’re looking for a fast portrait zoom lens at a price that won’t break the bank, then run – don’t walk – to your nearest camera retailer and order one today!
Quickview
- Manufacturer: Tamron
- Model: SP AF28-75mm f2.8 XR Di
- RRP: Canon and Nikon: $799 Minolta, Sony and Pentax: $899
- Focal length: 28-75mm (42-112mm on Nikon digital)
- Maximum Aperture: f2.8
- Lens Construction: 14/16
- Minimum Focusing: 33cm
- Filter Size: 67mm
- Length: 92mm
- Diameter: 73mm
- Weight: 510g
Profile
Other Options
- Sigma AF17-70mm f2.8-4.5 DC
Contact
Rating
- Pros: Light, compact and very sharp mid-range zoom with a constant f2.8 aperture at an incredible price
- Cons; Not as solid as the top pro models, screw driven auto-focus with rotating front focus ring
| Design |
17 |
| Performance |
18 |
| Features |
17 |
| Image Quality |
19 |
| Value for Money |
20 |
|
|
Total
|
91/100
|
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