Canon has announced it has developed a 120 megapixel 29.2 x 20.2mm APS-H CMOS sensor.

The rest of the announcement you can find it to this link: http://www.dpreview.com/news/1008/10082410canon120mpsensor.asp

Nikkor DX 18-200mm VR II, an 11.1x super-zoom lens for Nikon DX-format DSLRs, by Gordon Laing, Editor of Camera Labs.

This video 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.

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This video is a brief hands-on review on Nikon's fastest wide angle prime (single fixed focal length) lens of Nikon 24mm ƒ/1.4G AF-S ED N. 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.

This video is a brief hands-on review on one of Nikon's wide angle prime (fixed focal length) lenses of Nikon 20mm ƒ/2.8D AF. 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.

The use of flash.
As we have seen, often natural light is vastly more than enough to run a very wide range of portraits, with very different results and effects, adequate for many situations; the fact remains that the possibility of better control of light offers different possibilities of expression and, above all, solve problems with relative ease that would otherwise require complex systems of size light panels and banners.

Here we examine the use of a single flash, defined as "a snake", to be mounted in the flash shoe of your camera or those built on top of the pentaprism.

Before starting to describe its use, it is important to understand how to use the modern TTL flash and the older manual flash. Flash does nothing but accumulate, being charged, a certain amount of current in a capacitor; at the time of this current release is issued immediately and is used to start the flash that will illuminate the scene. The secret to use flash is in the dosage of that light. Meanwhile, let's be clear about one thing: the lightning flash is always so fast that the exposure time does not affect the recorded amount of light flash; a flash at full power with an exposure time of 1/250 at f/8 or 1/60 f/8 give a lighted object in the same way (unless the subject is not illuminated by other sources). However, the aperture is the first instrument for the determination of the light flash. To shoot at 1/250 f/8 or 1/250 f/2.8 will give radically different results.

Furthermore, since the aperture value of the optics used, an exposure flash there will always indicate the correct working aperture optics used regardless. Finally, using a flash, we can avoid worrying about the risk of blur into our shots. The flash is so quick to freeze the motion of our subject, so unless other sources of light, a slow shutter speed in the order of 1/60 or 1/90 (required in some cameras) will not be a problem even with fast-moving subjects.
In daily use and non-specialist, modern TTL flash used in automation solve many problems. We do not have to calculate anything and flash will read the light through the lens used and interrupt the emission when the right lighting has been reached. With a more dated and not TTL flash, that doesn’t happen; the best way to adjust the light will be the use of an external exposure meter for flash light: the flash starts and you read the working aperture on the exposure meter, then set aperture optics and shooting.

All of this has certainly not claiming to exhaust the technical argument relating to flash, but may be simplistic enough to go figure out how to use the flash in our portraits.
The primary use of the single flash of light in the picture is filling. In a situation of natural light, direct or indirect, outdoors or indoors, the flash can go to fill the gray areas, those that would too dark and difficult to read, or too marked contrasts between light and shadow. What we need to pay attention, however, are the shadows that the flash generates and flattening that may cause direct light flash.

As we have seen, a flash in automation is going to regulate themselves according to the reading of the correct exposure as if the flash was the only source of light and will overwrite any other light, undermining all our research for a good ambient light shooting, also the shadows generated by the flash will be hard and sharp, creating a halo of shadow behind your subject. To avoid all these problems with the flash the first step is the compensation of the light flash: what we want for our release is to maintain the measured exposure to natural light and keep this; for the flash instead we set lighting to deal only to fill the shadows. Any flash or camera can adjust the intensity even without knowing the power used; talking in terms of EV values more or less, in our case the step is that of a negative compensation, that we will lower the emissions that the correct flash will consider a number of stops. The amount usually depends on the environmental conditions of increased or decreased by various factors such as brightness and color of clothing, in line maximum compensation between I-1EV and 2EV-values that allow you to effectively lighten the shadows and at the same time to keep the tonal differences primary lighting, giving dimension to the subject; also a set-off these values makes the shadows generated by flash very light and not unpleasant, often imperceptible. In principle, as I said then the variables are many, the greater the situation and against the smaller shall be the compensation, reaching the exposure not compensated when backlit.

To soften the light emitted many are equipped with a flash diffuser, as well as in trade there are many models of speakers adaptable to almost any flash. They are effective in better control of the shadows, but their use does not prevent the compensation; in fact the TTL reading registers light that actually reaches the film or sensor so if the diffuser that absorbs the power of the flash, the flash will emit more light to compensate for the loss due to the diffuser.

If you're shooting indoors, and the walls and ceiling of the dining room dedicated to pose are white, with a flash cobra we can also adjust the dish in order to direct it towards up or down a wall, so that we do nothing use the ceiling or wall as a reflector for the light flash, spreading it and making it softer. Adding that light to our shooting once again we're going to lighten the shadows caused by the primary natural light that we are using for our portrait. The flash in this case, however, involves a greater care in the dosage of lightning; it’s not said that the flash power is sufficient to obtain lighting that reflected properly fill the shadows as we would like. Having a digital camera and the ability to do some test certainly proves a winning strategy in these cases, unless we cannot have the usual external exposure to light flash incident that will allow us, according to the aperture chosen, to see if the light flash is enough and what will eventually be compensated.

One of the features that I appreciate in the use of flash is the light that is reflected in the eyes of the subject. A spot lighting in the eyes of the person gives these a vitality that would otherwise not as easily, but not always easy to obtain, in the case in which the parable was directed laterally or on the subject. In fact, the light source would disappear: in this case it is necessary to use a white card inserted after the flash reflector. Some flashes have a series of pull-out but in the absence of this it’s easily remedied with a Bristol board shaped to size of the flash. Do not underestimate this, the eyes are the key to a successful portrait and know how to value is essential.

The single flash can also be used for purposes more "creative". To start using it, it is essential to be able to disengage from the fixed position above the pentaprism. To do what systems are manifold: if we have a machine with a built-in flash we can safely release the flash cobra provided to equip it with a simple servo-cell. There are some very cheap starting from 20 € and perform beautifully for the purpose. If we do not have a flash we will have to equip ourselves with a built-in extension cable; every camera manufacturer has different models in the catalog with the ability to transmit more or less automatic. In the latest cameras we'll also be able to remotely control multiple flash, consistent with extreme simplicity and without buying anything.

To work with a flash away from the camera will allow us to have it in a more functional effect that wish to achieve; assuming to have a primary natural light coming from above and right, place the flash at the bottom left allow us to control the shadows very effectively and the right dosage of the flash will still retain the tonal changes that will give body to the subject. In addition, separate from the camera flash will be the first step to think of taking portraits with one light flash, being able to steer we eliminate the problem of rendering a flat front light. Use a single flash as the only light source is an idea less strange than we might think and often used by professionals to achieve interesting effects. The single flash of light, in fact, is a very directional light and hard, which creates sharp shadows and contrasts marked, very good if we get a dramatic effect on our open shots. The use of a panel as opposed to fill flash will soften the yield while maintaining a good dose of "drama"; there are even patterns of light classics, like light "Rembrandt", which include its use of a single flash and often not even softened.

Of course we always have the usual range of options to fill and the reflection of the flash that will allow us to adopt a softer light and fascinating to get portraits with sweeter features. I often shot with a single flash side bet, rather than against the person , against two polystyrene panels arranged in V taking their job to bounce light toward the subject. So the light reflected from the panels will be softer and the shadows will be much less pronounced, approaching or moving away from the subject panels we can increase or reduce the power of light and change the hardness (the closer they are and the more light will be tough and powerful). Also by changing the opening of the two panels will achieve the effect of further softening or less the yield, a more V open returns a softer light, a more closed V will offer a harsher light. About the exposure, the system allows, put the flash in TTL compensated -1/2 EV is the best and fastest, conversely we have to use the external flash with incent light or in relation to the calculations flash guide number and distance, bearing in mind that we will always have an approximate result and in this case to use more shots fork is essential, a digital camera will allow us to immediately see the result operand appropriate adjustments.

Finally, without claiming to exhaust such a vast subject, a simple note on the color temperature: the light flash has a color temperature equal to that of the sun in the middle of the day and easily exploitable with daylight film, those who normally buy. However, if you shoot at sunrise or sunset and use the flash as fill light we must keep in mind that sunlight will be much warmer and the light will flash but very cold on our subject, although in some cases this effect can be exploited creative purposes. The rule sees the light flash filtered from special gels that show the right temperature; in principle we can take the filters to the light "tungsten", that the light emitted from light bulbs at home. There are on the market filters for the flash gels calibrated (to bring to light the precise color temperature) and colorful. Try them, the effects are not always pleasant, indeed, rarely, but occasionally a touch of color, even projected on the background when the main light has done by the sun, could provide the extra touch to a shot.

Once we have removed the flash from the camera and we started exploring the world of lighting flash, the limit to our possibilities will be determined only by our imagination, and desire to experiment, not least, by the financial resources we have to buy all the Flash that we need. What is certain is that we must begin to change attitudes towards mental picture, not just a creative vision to extrapolate from the world a step that tells something, but a true imaging to communicate what we want. As I always say, but the phrase is not mine, there are photographers who are looking for photographs and they found them and others that create them, both are reputable and valuable, but they are two different things.
Finally two examples of using flash as an aid to enlightenment. In the first case the flash actually delivers the illumination of the subject while natural sunlight is responsible for defining the boundary; the choice to shoot at sunset has allowed a golden hue in her hair.


By having more than one flash the possibilities that open up in portrait photography are virtually infinite. There is no situation cannot be reproduced in the studio with the appropriate flash power and the necessary arrangements; equipment, as usual, must be only that part of the instrumentation, well known and understood in its operation, which will best express our potential and our subject.

The first basic thing to understand multi-flash lighting is that the normal exposure parameters with which we work must be entirely forgotten.
We introduce a new piece of information: the flash, almost all at least, can emit flashes at different power-adjustable, most of the time adjustable manually or with a set of parameters, adjusting the power actually affect the duration of the emitted light. A flash will have a full power flash duration of approximately twice the flash emitted by the same flash to half power, the duration of the flash, in general, is usually very short; an old flash, powerful and full power could have a duration of lightning the order of 1/500 of a second; a modern flash with good power has a duration of the flash at full power even shorter. From here you can easily understand that in exposure to light flash drive set the time variable has no influence on the exposure of the frame. Holding the shutter open for 1/30 or 1/250 of a second when the duration of illumination which sets the scene is dramatically shorter does not change anything. It's worth setting the quickest time possible to sync to avoid contamination bright flash of light environment and ensure a greater noise in the case of digital cameras.
The second variable that we usually consider in assessing the value of the exposure aperture is the value of aperture opening. The aperture affects exposure flash really but our hands are tied: if we get a sharp focus blur or all focused we have to set the aperture to a precise value and not variable.

In essence, our camera becomes a carton containing the sensitive medium with a forum for precise entry of light, without any possibility to change anything, then how to expose correctly? The only parameter on which we can act is the ISO sensitivity, again with several limitations; if we want a high quality selection of film or sensor sensitivity will stop soon to very low values.
The road ahead is another, vary the intensity of light flash on the individual to obtain the correct exposure and all the desired effects.
How to make is non-trivial, but not impossible to deal with. The procedure explained will be valid for any type of camera but if we have the opportunity to work in digital, with a compact camera with flash can be set manually, and maybe just to make the lighting tests, all will be much easier and free of many calculations.
Meanwhile we will have various flash media panels and according to the scheme that we deem appropriate, the flash should be able to communicate with each other, whether via cell or servo-sync cable does not change anything. Modern systems have a number of remote controls and remote controls that synchronize the flash via radio frequency or short bursts of subtle communication according to their own proprietary code, all dependent on our camera's shutter button. Fixed the flash then we’ll set them to the type of lighting we want to achieve; for simplicity we assume a master unit to the right at full power and a second left to fill 1/4 power.

At this point enters the scene the incident light meter for light flash and this type of exposure has the ability to read just the flash light that strikes the subject at various points (one point each reading) and a sync socket for control of the first flash used, assuming that the other depend via servocellule or via cable from the main flash. Set the ISO on the exposure meter, we will put it near the area of the face we want to read display; suppose the area illuminated by the flash of the right, the main one, and we take the flash. The exposure we will return an aperture, the aperture which in theory should be set in the camera for a proper exposure, but we said that our aperture is not variable, and how? We are going to vary the flash output according to the value that has been given. Returning to our example, suppose you set an aperture of f/2.8 to get a nice blur and that the meter will give us a reading of f/5.6, being 2 stops of difference between the aperture set and the one we need, we must go to vary the power of the flash of two stops, that will bring the main flash from full power to 1/4 and the secondary 1/4 to 1/16. If you want to read about the area even more certain we can repeat the fill by placing the meter in the vicinity of the second zone of the face, into darkness, triggering the flash again verify that the aperture is set two stops more open to work (ie the reading area is two stops more closed than the target exposure indicates that the meter).
Done that, we will be ready to take a beautiful series of pictures of which we are the architects in all respects.

The advantages working in digital? Meanwhile we can do without external exposure meter, we will take a first image and we will control on the monitor lights, as it was once, as some do still, with Polaroid, adjust the powers of light and shoot again, as they not achieve the desired result.

On the market today we can find flash very complex management systems and complete systems starting with the Canon and Nikon, which can be controlled remotely from a master flash the power of all others, use them to groups with different settings and adjustable power in TTL with various degrees of compensation, or even directly from the back of your camera, and studio system controlled by special software from your laptop. However the concept behind all these systems is always the manual adjustment of flash to individual determination the light in order to attain enlightenment sought.
What can we do with a multi-flash lighting system? Basically all the real criteria is the power in the game, with a cobra flash installed on a sled usually we have just enough power to properly illuminate a face if we want to soften the lighting and reflected by a series of panels. The fact remains that it is a great way to begin to master the technique, certainly not expect to use them if we decide to work in aperture very closed. Already thinking of working at f/5.6 ISO 100 might not be so simple, the next step is to implement a pair of studio flash with adequate power; there are starter kits on the market with the states and reflective umbrellas including compacts with 400W and prices are not entirely out of the world. Even here, however, do not think we have arrived, if we think that to each stop closing the aperture in the light of the flash player is doubled and a bank speaker can steal a couple of stops, we discover quickly that the shots that we see in fashion magazines made f/11 f/16 easily require power in order thousands and thousands of watts.

Despite all these disadvantages, economic and in management of the light power, why using only the light flash when you take a picture? Because the light flash is under control, in power, direction, color, size and hardness; we can decide the exact angle at which the light hits our subject to have a raking light to show and hide every detail we want. We can decide tones that give birth, if a particular show with a tight spot or cast a significant shadow at a certain point, we can go with a few adjustments by the diffused light similar to that found in outdoor lighting direction and decided to. In essence we will have the real control over our image, regardless of time and weather conditions. It must be said that usually the flash is used to obtain results for the impact, with a strong emotional charge, decided shadows and lights wide open, but only the style that custom has imposed in recent years, no one forbids us to use our flash to achieve a soft and delicate. You just know how to do, but this can only be learned through experience.

As for me and my portrait photographs, some three years have passed almost entirely to shoot digitally with Nikon systems, which I have easily led to take their CLS system where, all things considered, with a small number of flash SB600 and SB800 is possible to obtain good results with the advantage of a very practical management of individual flash directly from the back of my machines or an SB800 mounted on a sled, all without wires and without the time and preparation of a complete set with the advantage of being able to easily carry around everywhere, even in a plowed field. Conversely I use systems compacts with studio flash, umbrellas and bank for still-life where aperture are usually very closed and higher powers of illumination, where c ' are people around the set and where the light changes to be made are more limited since the subject is absolutely static.

The features are:

- Sensor Cmos da 14 megapixel
- live view
- ISO Sensitivity from 100 to 12800
- HD video 1080p
- Expeed2 processor

Wildlife Photography tips

Advice on how to take better wildlife photos from What Digital Camera magazine.

Mantoani speaks little on technical or on equipment, dwells more on inspiration and on his experience. how to display the photos you want and how we can achieve it.

Time Fugit is an application that turns you mobile phone into an intervalometer. Yes, a real intervalometer you can use to control your DSLR camera and make great Time Laps movies! All you need are the Time Fugit App and the FBox. Connect your mobile phone through the earphones jack to the FBox and the FBox to the remote control jack on you DSLR camera.