Sunday, March 31, 2013

Composition tips

One of the most common mistakes made by budding photographers is that they do not fill the frame with their subject or the major elements of the image. Get in closer and exclude the parts that you don’t want. Open space serves no purpose when the subject is too small or cannot be identified.
Camera manufacturers are to blame for this dilemma because all cameras are designed to be held in a horizontal format. It shouldn’t be an ‘either or’ situation but rather a ‘both and’. Try to shoot 50% of the time in both formats. There is no rule which is best and the key is to experiment.
Shoot from high up or low down. Use your feet and move around the subject looking for an optimum angle. Don’t be afraid to get down on your stomach or climb a tree. Look for different and dramatic angles that will make your images more striking.
This means that you shouldn’t cut off part of your subject unless it is intentional to create an effect. Missing parts of people or objects irritate the viewer and create an incomplete image. It distracts the eye. So watch the edges of your image.
Imagine a tic tac toe grid or noughts and crosses lines running across your image dividing it into thirds horizontally and vertically. Where the lines cross or intersect are the best placement points for your subjects or objects. Never place the horizon of a landscape image in the centre of your image. Always place it on a horizontal two thirds line. Subjects like lighthouses would be placed along one of the vertical two thirds lines.
These come in two types, natural or man-made. Natural would be an opening in trees or a rock formation with a hole in it. Man-made frames are doorways, windows or arches. All of these help contain the subject or scene in a form that is very pleasing to the eye.
Trying to include too much in an image often spoils it. An image that is cluttered causes the eye of the viewer to dart around the image trying to make sense of it. Less is more as the old adage goes. Eliminate anything that would distract the eye or is unnecessary to the memory you are attempting to create. 
Make sure that there is nothing there that would detract from your subject. Things like chimneys growing out of heads and other subjects diverting the eye from the main subject. You want balance by not going in too close but including enough of the environment of the subject or object to contextualise it.
Look for interesting patterns, lines and shapes. Lines lead the eye to focal points. A river, road, fence or path in a classic ‘s’ shape draws the eye along the route into your image. Strong verticals give height to your image and diagonals add depth. Turn your viewfinder allowing straight lines to travel from corner to corner in the image.
Key to great composing is thought. Think before your press the shutter button and consider all of these points. Create a mental check list to help you add these elements and create that great composition.

Wednesday, March 6, 2013

Did you Hear ANSI Super 35 , DIN Super 35 what is that?

The American National Standards Institute (ANSI) is a private non-profit organization that oversees the development of voluntary consensus standards for products, services, processes, systems, and personnel in the United States. The organization also coordinates U.S. standards with international standards so that American products can be used worldwide. For example, standards ensure that people who own cameras can find the film they need for that camera anywhere around the globe.

Deutsches Institut für Normung e.V. (DIN; in the German Institute for Standardization) is the Germannational organization for standardization and is that country's ISO member body. DIN is a Registered German Association (e.V.) headquartered in Berlin. There are currently around thirty thousand DIN Standards, covering nearly every field of technology.

Tuesday, March 5, 2013

MPEG vs AVCHD vs H.264

Hi ,Do you know this thing?users of new digital cameras like 5d ,c100,and some other cameras must know this..
avchd-- advanced video coding high definition .everybody know this but the bit rate of avchd is 24mbps that means 3MBps .
some cameras like c100 this camera is high cost but u can consider bit rate also...
in H.264 its a simple mpeg compression  which all digital high end cameras you know what is bit rate? approximately  50 to 24mbps..
 in my experience i am suggest that use compact flash cards for 5d and other..more bit rate of creates more greadiants that will enhance the picture quality..
in mpeg technology all cameras uses H.264 compression in this there is heavy loss and small loss parts ..and thats why some cameras uses heavy loss compression like avchd,H.264,other uses only 5dmark ii and ii..  

A miniature car chase.

Sunday, March 3, 2013


Time for some history. Steven J. Sasson is an American electrical engineer and the inventor of the digital camera in 1975. This first digital camera above recorded a black-and-white image on a digital cassette tape! Commodore modified the cassette tape recorder as well and called it the Datasette. Commodore sold them under the model designations C2N or VIC 1530, designed for use with the VIC-20, C64 and PET and CBM 2000/3000/4000/8000/9000 models.
OK, back to the camera … this 8-pound monster captured the black-and-white image at a resolution of .01 megapixels, took 23 seconds to record onto a digital cassette tape and another 23 seconds to read off a playback unit onto a television. Then it popped up on the screen, yeah!
“You could see the silhouette of her hair,” Sasson said. But her face was a blur of static. She was less than happy with the photograph and left, saying “You need work,” he said. But Sasson already knew the solution: reversing a set of wires, the assistant’s face was restored.
Sasson still works at Eastman Kodak Company and now works to protect the intellectual capital of his employer. Wikipedia writes, “On November 17, 2010, US President Barack Obama awarded Sasson the National Medal of Technology and Innovation at a ceremony in the East Room of the White House. This is the highest honor awarded by the US government to scientists, engineers, and inventors.”


Louis Daguerre (Louis Jacques Mande Daguerre) was born near Paris, France on November 18, 1789. A professional scene painter for the opera with an interest in lighting effects, Daguerre began experimenting with the effects of light upon translucent paintings in the 1820s.
Louis Daguerre regularly used a camera obscura as an aid to painting in perspective, and this led him think about ways to keep the image still. In 1826, he discovered the work of Joseph Niepce, and in 1829 began a partnership with him.
He formed a partnership with Joseph Niepce to improve upon the photography process Niepce had invented. Niepce, who died in 1833, produced the first photographic image, however, Niepce's photographs quickly faded.
After several years of experimentation, Louis Daguerre developed a more convenient and effective method of photography, naming it after himself - the daguerreotype.
According to writer Robert Leggat,"Louis Daguerre made an important discovery by accident. In 1835, he put an exposed plate in his chemical cupboard, and some days later found, to his surprise, that the latent image had developed. Daguerre eventually concluded that this was due to the presence of mercury vapour from a broken thermometer. This important discovery that a latent image could be developed made it possible to reduce the exposure time from some eight hours to thirty minutes.
Louis Daguerre introduced the daguerreotype process to the public on August 19, 1839 at a meeting of the French Academy of Sciences in Paris.
In 1839, Louis Daguerre and Niépce's son sold the rights for the daguerreotype to the French government and published a booklet describing the process.

Saturday, March 2, 2013

Best cinematography Theory
5 C?s of Cinematography   ...Mascelli
Cinematography, Theory and Practice ..Blain Brown
The Negative.......Ansel Adams
Film Form: Essays in Film Theory.....Sergei Eisenstein

The ASC Manual   ....ASC (The daddy-o)
The Camera Assistant......Douglas Hart
The Camera Assistant Manual............David Elkins
Cinematographer's Pocket Reference....Blain Brown
Cinematographer's field guide...............Kodak

Painting with Light...........John Alton
Matters of Light and Depth...............Ross Lowell
Film Lighting..............Kris Malkiewicz
Motion Picture & Video Lightin........ Blain Brown
Interior Color by Design????????Jonathan Poore

Movement & Blocking
Cinematic Motion..............Steven Katz
Grammar of the Film Language..........Daniel Arijon
Shot by Shot.....................Steven Katz

Cinemtography.......................... Peter Ettedgui

Con #1: Proprietary… incredibly proprietary

One of the things about Sony that really bothers me is their reluctance to embrace open standards.  Canon and Nikon own so much of the market share that they can produce proprietary file formats and lens mounts and still know that there will be plenty of products available for their customers.  On the other hand, Sony is tremendously proprietary even though they are the small fish in the DSLR pond.
For many years, Sony created its own memory cards (Memory Stick brand) that were the only memory cards that would work in their cameras.  That means if you had a point-and-shoot from another company and switched to Sony, you’d have to buy a bunch of new Memory Sticks that were then useless when you switched brands.  Also, their Memory Sticks were usually more expensive.
Sony has continued their proprietary regime with file formats.  Their cameras shoot their own proprietary file format (like Canon and Nikon).  Unfortunately, they are smaller than Canon and Nikon, so when you get a new Sony DSLR, you may find yourself unable to edit the RAW files with popular digital image editing programs until the companies update the software, which can take quite a bit longer than the updates for Canon and Nikon.
That’s not it!  Sony has recently released the NEX line of cameras.  The 4/3 lens mount was an open standard followed by Panasonic and Olympus.  Did they follow the open standard so that we could use the lenses from one manufacturer on the camera of another?   No.  This divided the market and made things tougher for photographers.  They had an opportunity to follow the standard and chose not to.  Unfortunately, Nikon has chosen to follow their lead with a proprietary lens mount on the V1 and J1.
But there’s more!  At least Canon and Nikon have stuck with the same hotshoe mount for flashes.  Sony…. chose a different route.  Ugh!  That means the third party flashes like the YN-560 won’t work with the Sony unless you buy the special YN-560 Sony version.  That’s all fine and dandy, but it means that Sony users also don’t have access to the multiplicity of cheaper flash triggers and other flash goodies that their Nikon and Canon buddies can use.  If you’re interested in flash photography, this is a HUGE drawback in my opinion.
In short, Canon and Nikon are into the proprietary thing, but Sony is proprietary to the extreme.  This problem is compounded by the fact that they are a smaller market and so third party manufacturers are less apt to design for them.  This may not seem like a big deal until you’re ready to get into flash photography, and then you’ll hate yourself for buying into Sony’s walled garden.

Con #2: Dramatically reduced lens options

I know I’ll draw comments on this one because Sony shooters love their Zeiss and Zuiko lenses.  I’m NOT saying that Sony has no good glass available, but it would be absolutely impossible to argue that there is as much good glass available for Sony DSLRs as there is for Canon and Nikon cameras.  It’s simply not true.
Sony has worked quickly to make more lenses available, but it is still way behind the 8 ball.  Also, many of the “Sony” lenses are simply re-branded lenses from other manufacturers such as Tamron.
The lens selection is a major drawback to moving to the Sony system.

Con #3: Fewer resources available for learning

I have taught dozens of in-person photography workshops and have taught photography through this website to hundreds of thousands of people.  One thing I hear CONSTANTLY from people who purchase Sony DSLRs as their first camera is that they are frustrated that few learning resources are available to them.  Photography bloggers simply cannot write articles that only apply to the 5% of the audience who use Sony DSLRs.  It doesn’t make sense.
While there are some learning resources available, it is much easier to find content on using Canon and Nikon cameras.
Camera manufacturers are always bickering about who is better. Canon and Nikon against Sony... cage match!

Con #4: Fewer available accessories

As I mentioned previously in the section on how proprietary Sony is, it is difficult to buy accessories for Sony cameras.  If you want a battery grip for your Nikon D7000 or Canon 60D, it is simple to find one for $50 made by a third-party manufacturer on  If you shoot Sony, it is much more difficult.  In fact, even Sony doesn’t produce battery grips for all of its cameras.  Battery grips are only one example, but it can be a major headache.  If you want to get into flash photography, I would strongly suggest staying away from Sony.

Con #5: Electronic Viewfinders

This is a personal preference, but I just can’t stand electronic viewfinders.  I do not like that they never seem to show the highlights accurately, which is a big deal for landscape photographers especially.  The new AMOLED electronic viewfinders are a significant improvement, but they still don’t compare to the traditional prism and mirror schemes in DSLRs from Canon, Nikon, or any other manufacturer.

Con #6:  Unavailability of full-frame cameras

For photographers who wish to go full frame, you will find a dramatically reduced set of options.  Sony is coming out with another full frame camera in 2012 if all of the rumors are true, but the options are slim now.
watch the sony and nikon comparison and decide which is best

Thursday, February 28, 2013

 Claudio Miranda is a Chilean-born American cinematographer best known as the Academy Award winning director of cinematography on Ang Lee's film Life of pie.

Wednesday, February 27, 2013

VDSLR(Video Digital Single-Lens Reflex) is especially designed for filming and video purpose with DSLR cameras and professional camcorders with corresponding mounts. Characteristic features of VDSLR include toothed gears compatible with follow focus systems and fluid aperture rings available in the film industry. Such modifications allow for extremely precise control over focus and aperture for video shooting. The Samyang VDSLR lenses offer the best optics with memorable experience and exceptional value to every videographer or photographer.
8mm V-DSLR   
Aperture Range (T-STOP) T3.8 ~T22
Exclusive Mount Canon EOS, Nikon, Sony, Sony-E,
Four-thirds, Samsung NX
14mm V-DSLR   
Aperture Range (T-STOP) T3.1 ~T22
Exclusive Mount Canon EOS, Nikon, Sony, Sony-E,
Four-thirds, Samsung NX
35mm V-DSLR   
Aperture Range (T-STOP) T1.5 ~T22
Exclusive Mont Canon EOS, Nikon, Sony, Sony-E,
Four-thirds, Samsung NX
24mm V-DSLR   
Aperture Range (T-STOP) T1.5 ~ T22
Exclusive Mont Canon EOS, Nikon , Sony, Sony-E,
Four-thirds, Samsung NX
The Ultimate EOS.
Canon has brought the best of the EOS-1D Series of digital cameras into one phenomenal model: the new flagship of the EOS line, the EOS-1D X. Its full-frame 18.1 Megapixel CMOS sensor and all-new Dual DIGIC 5+ Image Processors deliver high quality image capture at up to 12 fps (14 fps in Super High Speed Mode) and a powerful ISO range of 100 - 51200 (up to 204800 in H2 mode) provides sharp, low-noise images even in the dimmest low-light conditions. An all-new, 61-Point High-Density Reticular AF and 100,000-pixel RGB Metering Sensor that uses a dedicated DIGIC 4 Image Processor, makes the EOS-1D X reach new levels of focus speed and accuracy delivering advanced tracking even for the most challenging shooting situations. Taken all together, the EOS-1D X's improved HD video capture, numerous connectivity options, combination of processing power and durable construction, including shutter durability tested to 400,000 cycles, make it the ultimate EOS. 

In response to user requests, Canon has expanded the autofocus versatility of the EOS-1D X DSLR with Firmware Update Ver. 1.1.1. This update greatly enhances the sophisticated 61-point High Density Reticular AF System of the EOS-1D X DSLR. This firmware update adds two important autofocus capabilities: AF point illumination during AI Servo AF and cross-type AF support at f/8.

Definition: Setting of lens diaphragm that determines amount of light transmitted by lens. * Equal to focal length of lens divided by diameter of entrance pupil. * f/numbers are, for convenience and by convention, placed on a scale in which each standard f/number step (f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32, f/45, f/64 and so on) represents a doubling in the amount of light transmitted e.g. f/4 transmits twice as much light as f/5.6; conversely, f/16 transmits a quarter of f/8. * Since f/number is usually calculated from simple physical dimensions, different lens designs, varying focus and the use of accessories may all affect the actual amount of light projected: one lens set to e.g. f/8 may not give quite the same exposure as another lens set to f/8.


Definition: f/number of a lens corrected for the light loss during transmission through the lens. * f/number of a perfectly transmitting lens which would give the same illuminance on the axis as that produced by the test lens. * Equals the f/number divided by the square root of transmittance (assuming a circular aperture) e.g. if transmittance is 50% (only half light entering system exits the system), square root of a half is 1/C2, so T-number is one stop more than the f/number, so a relative aperture of f/4 with transmittance 50% is a T/5.6 lens. * Also known as T-stop. Assuming the ideal The f/number of a lens is defined by simple geometry (one length divided by another) so it assumes that the lens passes all of the light entering it. But no lens does: each interface between media of different refractive indexes causes a loss. Modern lenses are amazingly efficient so losses are in practice very small and, at any rate, losses are automatically compensated by through-the-lens metering. T-numbers are important in film industry, where TTL metering is not common. 
Lines guide the viewer’s eye from one point to another through the photo. Look for lines that lead towards your main subject. Avoid lines that lead the viewer’s eye out of the photo. Remember, lines can be curved as well as straight

Don’t neglect the foreground in your photos. Make the foreground work for you. How do you do this? The best way is to make sure that there is something interesting to look at. The tricky part is finding something that’s interesting, but doesn’t compete with or distract attention from your main subject.
Your subject is the visual centre of your photo (it may not be positioned physically in the centre of the photo, but it’s the most important part of it). The elements around your subject, such as the foreground, should play a supporting role.
Negative space is the area around your subject. If this area is empty, like in the photo of the shell below, it’s called negative space because there’s very little in it. Negative space gives the subject room to breathe. It can also convey a sense of the subject’s environment.

Flickr - almost certainly the best online photo management and sharing application in the world - has two main goals:

1. We want to help people make their photos available to the people who matter to them.

Maybe they want to keep a blog of moments captured on their cameraphone, or maybe they want to show off their best pictures or video to the whole world in a bid for web celebrity. Or maybe they want to securely and privately share photos of their kids with their family across the country. Flickr makes all these things possible and more!
To do this, we want to get photos and video into and out of the system in as many ways as we can: from the web, from mobile devices, from the users' home computers and from whatever software they are using to manage their content. And we want to be able to push them out in as many ways as possible: on the Flickr website, in RSS feeds, by email, by posting to outside blogs or ways we haven't thought of yet. What else are we going to use those smart refrigerators for?

2. We want to enable new ways of organizing photos and video.

Once you make the switch to digital, it is all too easy to get overwhelmed with the sheer number of photos you take or videos you shoot with that itchy trigger finger. Albums, the principal way people go about organizing things today, are great -- until you get to 20 or 30 or 50 of them. They worked in the days of getting rolls of film developed, but the "album" metaphor is in desperate need of a Florida condo and full retirement.
Part of the solution is to make the process of organizing photos or videos collaborative. In Flickr, you can give your friends, family, and other contacts permission to organize your stuff - not just to add comments, but also notes and tags. People like to ooh and ahh, laugh and cry, make wisecracks when sharing photos and videos. Why not give them the ability to do this when they look at them over the internet? And as all this info accretes as metadata, you can find things so much easier later on, since all this info is also searchable.

What is Zenfolio?

Zenfolio is the best all-in-one solution for photographers to display, share, and sell their work online.
We became the best by making it our business to display every photograph with the same precision and attention to detail that went into making them. By channeling our passion to do this, we’ve created a viewing experience that is as impressive as the beautiful photographs displayed on our site.
As digital artists, our mission from the start was to build an online photography service that we would want to use ourselves. Now, nearly a decade later and with tens of thousands of photographers using Zenfolio every day to run their sites, we're still as passionate about what we do.
Every Zenfolio account includes unique organizational tools, an easy to use e-commerce platform, and customizable websites that let you store, sell, and show your photos in the best possible light. Our goal is to let you focus on what you love most… creating great photos. We'll take care of the rest.

A Trusted, Experienced Team

Zenfolio is part of the Inc. family of brands. Together we’re making art accessible to all by transforming the way the world discovers, personalizes, shares and purchases art. Though our team at Zenfolio has many years of experience developing Web and desktop software, it’s our shared commitment to photography and delivering the premier photo website service that binds us together. That and our daily ritual of having coffee together, just like we did in the beginning.

Tuesday, February 26, 2013

The cinematographer, Claudio Miranda, had always wanted to work with Lee, and he jumped at the chance to join Life of Pi. No stranger to the ambitious production, having shot TRON: Legacy and The Curious Case of Benjamin Button, Miranda was excited. “Ang came to me because I do a lot of jobs that are kind of complicated,” Miranda says. But he only found out after he’d agreed to do it that Lee wanted to shoot the entire film in 3-D.”
“Miranda remembers the day well. They were trying to capture Pi landing in the water while the ship is sinking. A camera was supposed to circle around him as he fell. “It was a lot of coordination,” Miranda says, adding later that the scene didn’t even make it in the movie. In retrospect, Miranda can now pinpoint why things went so wrong that day. One of them was simple: The water in the tank was too hot. But he counts that day among many when things didn’t go as planned with the equipment. Everyone was still learning.

When shooting kids, we sometimes use distractions to direct their attention towards the camera or towards the light. For some, a squeaky toy does the trick, but with the younger generation being introduced to gadgets so early, it pays to have some photos, videos or apps ready. The Look Lock can help you provide some entertainment to give you a better opportunity to shoot.

Some models work better when they can see themselves in the camera, so by using your phone as a mirror, they can pose more easily and comfortably.