See how and why Tamron’s latest kit lens may change the way you pack your gear bag!

In a crowded market of kit lenses all claiming to be the best, the Tamron 18-270mm f/3.5-6.3 Di II VC PZD brings a lot to the table. We took this ambitious kit lens on a wild ride across North America and Australia for a test run, and were more than happy to have the Tamron in the gear bag and along for the ride. Potential flaws are addressed by a some convenient features. What’s best about this lens is being able to shoot wide landscapes and zoom in close to capture distance subjects, all without having to change lenses. Read on to see how and why this lens may change the way you pack your gear bag for a day out.

First off, we clear out the cloud of confusion and address the basics. The full title of this les is the Tamron 18-270mm f/3.5-6.3 Di II VC PZD. The suffix letters indicate the key features of this lens.

Di – “Digitally Integrated” – This feature means that the lens is designed to reduce unwanted darkening of the corners (otherwise known as vignetting) and minimize flare and imaging ghosting in bright scenes. The Di also works to reduce unwanted purple tinting (chromatic aberrations) that normally occurs between light and dark colours in the image. Di lenses are appropriate for Full Frame Cameras as well as APS-C sized sensors that are used in most DSLRs on the market.

VC – “Vibration Compensation” – This feature can be turned on and off with a simple switch. It allows the lens to reduce “wobbling” and “shaking” that may become noticeable at slower shutter speeds. Later, we will go into detail about how well this works in this lens.

PZD – “Piezo Drive” – This feature means that this lens makes use of Tamron’s latest ultrasonic motors. This ensures the lens is quick, quite, and accurate to focus.

It’s In The Bag

How does the 18-270mm f/3.5-6.3 Di II VC PZD measure up exactly? At its smallest length, the Tamron isn’t too much longer than similar lenses. However, when fully extended and zoomed in, the lens more than doubles its length.

On The Field

By packing the Tamron 18-270mm f/3.5-6.3 Di II VC PZD, we were able to carry one less lens in our gear bag. At its widest viewing angle, the Di technology really comes into play. Images are nice and bright from corner to corner. Being able to zoom up to 270mm is a fantastic treat. Whether out in the city or hiking out on the trails, the versatility of this lens allows it to play many roles.

The 18-270mm f/3.5-6.3 Di II VC PZD makes an excellent lens for capturing animals from a distance. On our Nikon D90, the VC (vibration compensation) seemed a bit difficult to use for still photos. This is because while focusing, the VC tries to stabilize the image, causing the actual frame to shift around. If this proves to be a problem, the VC can be turned on and off easily via a simple switch on the side of the lens.

However, when using this lens for filming video, the VC becomes an invaluable tool. Use of the VC vastly improves hand held filming, especially when panning and zooming. Check out this video to see the different between filming with and without VC.

When compared to a Sigma 18-200, the Tamron performs ideally, with less vignetting, and being able to zoom closer in to a target. Colour, Contrast and dynamic is fantastic in the Tamron, especially when compared to mirror lenses such as the Rokinon 500mm. While mirror lenses do provide superior reach and zoom, they lack the versatility, autofocus, and convenience of the Tamron kit.

Getting in Close

While the zooming capabilities of the Tamron 18-270mm allows you to capture subjects from afar, the lens is by no means afraid of getting in close. The lens performs quickly with auto focus and captures sharp images even in low light. VC works great and allows lower shutter speeds while handheld, even in low light environments.

Use the features

One issue we had while using this lens was a sneaky, subtle lens creepy. The lens could be resting quietly at our side, and after a few steps, the barrel might have fully extended itself. This can prove to be a bit of a nuisance, as the lens may end up bumping or knocking into something. Fortunately, the lens is designed intuitively and includes a locking switch that keeps the lens from creeping and ‘zooming out’ all by itself.

Wrap Up

The 18-270mm f/3.5-6.3 Di II VC PZD is a solid lens that any photographer would be happy to have in the gear bag. It is most appropriate for situations where photographers need to be able to shoot wide angles and zoom in close, without having to switch lenses. It’s perfect for a day out in the city, out hiking in the bush, or spontaneous gatherings, events, and parties. Intuitive design addresses the few issues that arise when using a lens with such a wide viewing angle range. Superior sharpness, colour, contrast, and minimal vignetting make this lens a sure fire winner. When it comes to filming video, a filmographer could hardly ask for more.

iDigital Darwin gives the Tamron 18-270mm f/3.5-6.3 Di II VC PZD a big thumbs up, and a Seal of Survival.

Happy Hunting,

Jerrel Dulay

iDigital Darwin

Mobile phone cases have become a great part of everyday life as both a guardian force to our phones, as well as a fashion accessory to character. Nothing says ‘Princess’ quite like a pink case encrusted with rhinestones. Express yourself with style, or put a bit of laughter into someone’s day with a clever phone case.

At iDigital Darwin, we don’t like to mull over what’s already popular and well known. We like to find the obscure, somewhat exotic gems of technology. Here are the Top 10 Coolest iPhone cases we’ve seen in 2011. As always, click the images to find these items for sale in online shops.

Gameboy Silicone iPhone 4s

No classic gamer can be without the clever Gameboy case and its humbling charm. There are  a myriad of colours and alternate designs for the iPhone 4 and 3G. The buttons are even beveled, so it feels as if they can be pressed. This way, you can pretend you are playing an actual classic Gameboy with the contrast turned all the way down.

Slipper Thong iPhone 4 Case

Heading out for a day at the beach? You wouldn’t leave home not properly dressed for the occasion, and neither should your phone! Sadly, this case does not improve the iPhone’s resistance to sand or water.

Pastry iPhone 4 Case

Looking to lose weight for the summer? Try confusion therapy. Blur the line between delicious snack and communication device to prevent impulsive munching.

Tape Cassette

What better way to say, “I’m a child of the 80s and 90s” than by rocking this surprisingly articulated tape cassette case? The answer; there is no better way.

Chocolate iPhone 4 case

The only thing that could make this Chocolate iPhone 4 case any better would be if the case itself was scented. And perhaps even flavored. Yum.

NES controller iPhone 4 case

Relive those magical 8-bit moments of your childhood with this sweet NES controller themed hard case.  We guarantee it will be much more comfortable in the hand than the old controller.

Calculator iPhone 4 Case

 Love the built-in iPhone calculator app? Take that love one step further and slap on this calculator-wanna-be iPhone. If this case doesn’t win you the geek of the week award at your office, nothing will.

Camera iPhone Case

Are your an avid iPhone photographer? Your phone may as well look the part!

Retro Brick iPhone 4 Case

There’s no better was to end this awesome list of  phone cases than with this marvelous icon of  mobile technology. This huge, lumbering chunk of raw plastic mined from deep within the bowels of our mother planet completely envelops the iPhone like some sort of monstrous skin cancer. You won’t get any closer to time travelling than slapping this sucker on your iPhone.

Keep a camera in hand, and don’t be afraid to look back. You never know what photograph you may miss.

Happy Hunting!

Jerrel

Technology continues to sail forward into new waters on a faster ship with bigger sails. That ship’s name is the U.S.B 3.0! Here are the ins and outs of the this sleek new vessel. Finally, we’ll shine some light on exactly what is so great about USB 3.0 versus the old USB 2.0 that has already become so integrated in our lives.

The Speed
Pretty much every USB device around runs on USB 2.0. Why should we even care about USB 3.0? The answer is simple! The speed of USB 3.0 is blistering, rated at more then ten times faster than USB 2.0! However, in the real world, USB 3.0 finds its pace at about three times faster than USB 2.0.

Imagine if you will a USB monster. A USB 2.0 Monster can eat 50 cookies in one second. Impressive! However, the USB 3.0 Monster can eat a whopping 150 cookies a second! Staggering! On a standard, average speed PC, copying a 1gb file onto a normal USB flash drive can take about two and a half minutes. On USB 3.0, this would take less than a minute.

Where is it?
USB 3.0 is not yet widely distributed. Chances are, unless you bought your computer from the future, you most likely don’t have USB 3.0. However, you may be able to upgrade your existing computers with relative ease!

How do you use it?
In order to use USB 3.0, your computer needs to have the USB 3.0 hardware. If your PC motherboard has SATA interface, you can replace that ever so useful floppy drive with a few USB 3.0 ports. These are easy to find on online shops like eBay for around $30 USD.

If you are looking to upgrade a laptop, look for PCMCIA cards. These fantastic tidbits of technology provide a sleek and seamless upgrade to the hardware of your laptop, and can be found starting at $15 on online shops like eBay.

What does it do?
So you’ve upgraded your PC by retrofitting it with USB 3.0. Now what? For starters, plugging in your ordinary USB devices into a USB 3.0 port will not make it any faster. This means that your old external hard drives, memory card readers and flash drives will not benefit from the UDB 3.0 upgrade.

In order to take advantage of your PC’s USB 3.0 ports, you will need devices that are specifically built to use the new, high speed technology. You will know which devices make full use of the high speed as they will be labeled with “USB 3.0″. New USB 3.0 Flash Drives can be found on online shops like Ebay for about $15 USD.

Who is it for?
By picking up a USB 3.0 flash drive, you can really make use of these great transfer speeds. However, if you don’t do a lot of big file transfers often, there may not be much point in upgrading. For users who transfer many Gigabytes of photos, video, music and games, a USB 3.0 upgrade is well worth the effort.

No more massive waiting times for file transfers! As time goes on, we will begin to see more and more devices speed up as USB 3.0 becomes the new standard. Remember to stick around for more of the latest trends in technological developments!

Happy Hunting!
Jerrel Dulay

Everything you need to know about this creative secret weapon. Plus! Five tips to help you master the Composer Pro!

Why follow the rules of photography, when it’s so much more fun to break them? Lensbaby has the perfect range of tools for any photographer looking to break the artistic boundaries of the photographic world. For giving scenes that added edge of creativity, look no further than the Lensbaby Composer Pro.

Lensbaby optics are perfect for really putting a creative spin on things. With the ability to swap interchangeable optics in a lens, such as Soft Focus, Pinhole, and Plastic, the possibilities for creating unique scenes is endless. The Composer Pro is specifically built for creative photograhers who really like to make scenes their own with their own expressions.

We’ve given the Composer Pro with the standard Double Glass optic a place in our gear bag to see just how well this lens really works. Much like a Fisheye or Macro lens, the Composer Pro gives photographers a whole new perspective with which to view the world.

Who is it for?

The Composer Pro is perfect for photographers who love to have fun with their work. The lens appeals to those who love to change their perspective, snap unique captures, and see how far they can take their creative freedom. Whether you are professional, hobbyist, or anything in between, you can definitely enjoy the Composer Pro.

HARDWARE

The Composer Pro feels sturdy in hand, as the plastic body feels solid, and the two focal and locking rings are a nice, grippy rubber that makes adjustments easy to make. The focusing action, though strictly manual, is smooth. There may be a minute amount of fidgeting towards the nearest focusing distance and infinity, but this depends on the optic being used, and never posed any sort of issue for us.

The 2nd ring on the Composer Pro locks the focal plane into place. After unlocking the ring, the lens can be shifted and tilted in all directions. Tightening the ring will lock the lens in its position.

The Composer Pro, with metal mount, fits our Nikon D90 like a glove. The reference dot for lining up the lens is on the bottom of the Composer Pro, right on the metal mount. There are no reference points on the sides of the lens, which can make mounting the lens a bit difficult sometimes. The trade-off for this is that the Composer Pro does look more sleek and streamlined once it is mounted to the camera, as it is free of any extraneous markings and labels.

Lensbaby Optics make use of a specialized tool to change manual aperture rings. This may be a nuisance at first glance, but is actually one of Lensbaby’s strongest assets.

Lensbaby Optics use their own unique lens caps. These caps are solid, springy, and feel quite tough once they are in place. This is a blessing, since replacing a lost cap won’t be as easy as it would be for a standard cap.

Changing optics is actually quite easy, and with a few minutes practice, can be done in a just a few seconds. The Optics contain the glass through which the image passes, while the Composer Pro is the outer shell that mounts the Optic to the camera body. There are many Optics to play with, and many of those Optics allow the use of Creative Aperture Filters. We’ll cover more on that shortly!

PROs

Create your own, unique focal planes. Make grand scenes look like miniature play sets. Make every scene your own creative playground. The Composer Pro lets photographers stretch their wings of artistic expression and take their photography to a whole new level. Don’t just capture scenes. Create them!

The Composer Pro is solid, streamlined, and unique. It pushes creative boundaries and opens up a whole new playing field for photographers. While it may seem like a crazy, cooky concoction of a scientific experiment, it simply works wonders.

If you’re looking for a new way to have more fun with your photos, the Composer Pro fits the bill just right. Once we picked up this sweet lens, we couldn’t put it down. With a constantly growing selection of interchangeable Optics and Bokeh Filters, there’s enough to make a photographer feel like a kid in a candy store! Lensbaby’s selection of Optics and mounts literally lets photographers “do what they want”.

The rule bending focal circle of this optic allows for brilliantly unique photos that are simply not possible with any other lens. With miniaturizing and zooming effects, the Composer Pro is one hot customer. The possibilities for synthesizing creative effects is endless.

Lastly, one of the greatest yet immeasurable qualities of the Composer Pro is that it really does incite photographers to challenge themselves and extend his or her creative limits. The first time we took this lens into the field, we were excited yet a bit lost as to what we should do with the lens. However, on our third or fourth outing, we found ourselves really searching and framing some truly interesting scenes. Any tool that helps photographers improve their physical game, and their mental game as well, is a winner in our book.

CONs

One of the first things that really strikes an odd note with the Composer Pro with the standard Double Glass Optic is that this lens requires the user to manually change aperture rings. What does this mean? Simply put, instead of turning a dial on the camera body, or letting the camera automatically manage the Aperture, the user must use a magnetic tool to reach into the lens optic, pull the lens out, and replace it with a different one.

This can be rather frustrating and time consuming for new users. In fact, taking this lens straight out into the field, without practicing at home first, was one of the worst ideas we’ve ever had. We found ourselves fumbling around on a windy day, struggling to juggle a number of aperture rings and get them to stay in the optic properly.

With a bit of practice, within a week, we had the technique for swapping Aperture Rings down to an art- to some degree. However, the unforgiving nature of the manually changed aperture rings seemed to be a mere shadow at the feet of the Composer Pro’s roughest aspect.

The Composer Pro simply has a high learning curve, and all of our early experimental shots were about as pretty as Sunday night’s rubbish. The Composer Pro with Double Glass optic has a seemingly ever changing focal plane. Things out of focus tend to smear, and Point Light Sources come out with a decidedly undesireable bokeh.

However, the Composer Pro’s weaknesses actually turn out to be the most valuable creative assets! With patience and practice, the Composer Pro can easily become a vital tool in a photographer’s arsenal. After running around beaches, bushland, and soaring through the sky, we’ve compiled the best five tips to help you master shooting this lens!

Tip # 1 – Start Small

While it may be tempting to take a brand new Composer Pro straight out into the field, it’s a good idea to start at home. There is quite a bit of information to keep in mind when shooting the Composer Pro. The best way to figure out the characteristics and little tricks of any new lens is to start at home, and start small. Take your time to figure out how to adjust the focusing ring and focal plane adjustment without having to pull the camera away from your face to look at it. The biggest difference between the Composer Pro and a conventional optic is the shape and nature of the Focal Plane. Have a look at the following diagrams to see the differences.

A Conventional optic captures scenes with a linear focal plane. It flows horizontally flat from left to right with even distribution across the scene.

The Composer Pro makes use of a round focal plane. Due to the shape and nature of the Composer Pro, the area of focus in a scene is actually circular. This gives scenes a wonderfully unique perspective that dangerously teeters between fantastic and undesireable. The best way to avoid capturing blurry disasters is to gain a strong understanding of the nature of the Composer Pro.

To quickly get a hang of things, try setting up a few small subjects on a table with controlled lighting and a flat background. Set the camera on a tripod and maintain a consistent framing. Practice moving the focal circle around the scene by adjusting the Composer Pro optic. In the images below, the diagrams indicate how to attain each desired effect.

Controlling the focal circle is quite simple. To move the focal circle to the right of the frame, tilt the Composer Pro optic to the right. To move the focal circle upwards, tilt the Composer Pro optic upwards.

Check out these reference diagrams. To set the focal circle to the upper left of the frame, tilt the Composer Pro upwards and left.

To set the focal circle to the bottom right of the frame, tilt the Composer Pro downward and to the right.

Shift the focal circle to the top right corner of the frame by, you guessed it, tilting the Composer Pro upwards and to the right.

Sensing a pattern yet? Move the focal circle to the left by keeping the Composer Pro elevation level and tilting to the left.

The Composer Pro does not simply “blur” things out. It actually “stretches” the portion of the scene outside of the focusing range. This characteristic resembles a zooming effect and can be a blessing or a curse. This brings us to our next, and vital tip.

Tip # 2 – Watch Out For Point Light Sources

One of the Composer Pro’s most identifying qualities is the way the optics stretch and pull the areas of the scene outside the focal plane. What does this mean, exactly? In a conventional lens, something “out of focus” is simply blured. With the Composer Pro, parts of the scene outside of the focal circle are “stretched”. The farther from the focal circle we get, the more stretching we see.

This stretching can often lead to undesired distortions that seem to distract and detract from the subject of the scene. This is most apparent and important when Point Light Sources are caught outside the focal circle. Anything like a light bulb or a spot of light peaking in through tree branches can become an unwiedly streak of light.

For the most part, it would be wise to avoid Point Light Sources when framing a scene. At the very least, be aware of the point lights and keep in mind that it is vital to manage those lights in the scene. However, if those rascally stretchy light just won’t go away, zip on over to our next tip!

Tip # 3 – Use Aperture Rings

It’s common knowledge that when life gives you lemons, you should make lemonaid! And what happens when life gives you a lens which uses external aperture rings that must be manually changed? The answer is simple! Use special Creative Aperture Filters to kick your creative freedom up a notch!

Creative Aperture Rings are most commonly used to change the shape of out of focus Point Light Sources in a scene. Usually, obvious shapes such as hearts and stars are employed in this fashion. However, we can do much more than that! In the case of the Composer Pro’s smearing and stretching Point Light Sources, the use of just the right Aperture Filter can turn a distorted scene into an artistic one.

As a basic function, you can mask unsightly stretched bokeh with creative aperture filters. To add to that, you can also gain an enlightening level of control over the composition of the scene with these filters.

Creative Aperture Filter Rings can be used to infuse scenes with various effects, such as paint brush strokes or even a more natural looking branch-like pattern. There’s a wide range of Aperture Filters to try out, and even more interchangeable optics to combine with those filters to create some truly unique scenes.

Tip # 4 – Shoot From a Great Height

The Composer Pro stands in a class all on its own. However, it can be closely compared to Tilt Shift lenses. Tilt Shift lenses can move a scene’s focal plane while remaining linear (a straight line, as opposed to a circular area). Tilt Shift lenses are most notably used to make big scenes look like a miniature playset. The Composer Pro can achieve similar results with some thoughtful planning and favorable conditions!

The best way to achieve this miniaturizing effect is to gain height. Taking a shot through a window of a hotel room on the 24th floor, or through the window of a helicopter allows photographers to turn the world below them into a delightful playset of children’s figurines.

Again, it’s vital to make use of aperture rings to stop down and minimize stretching effects. It also helps to minimize shifting of the focal circle within the frame.

Tip # 5 – Use a Strong Subject

Captures taken with the Composer Pro entice viewers to focus their sights on one particular subject in the scene. The best way to take advantage of this characteristic is to frame a scene with a strong subject. The worst way to shoot the Composer Pro is to not place an obvious subject within the focal circle. Have a look at the follow examples.

If we are missing a subject to focus our eyes on, our scene falls apart

The focal shape of the Composer Pro with Double Glass Optic pushes the viewer’s eyes to look at one thing out of the whole scene. However, if there is nothing there, the viewer can be confused. “What am I supposed to look at?” “Is there something there?”

Scenes with a strong subject really allow the Composer Pro to shine.

By placing an obvious subject within the focal circle of the frame, photographers can make the most the Composer Pro’s focal plane shape. The best part about this is that the Composer Pro allows photographers to shift the focal circle to any position in the frame. Experiment and see what you can come up with!

To sum things up, we love Lensbaby’s Composer Pro. There is a distinct air of sophistication and artistic freedom that is difficult to find with any other optic. There is a steep learning curve when it comes to achieving satisfying results with the lens. Take this as a challenge, because once you get the hang of it, you will find yourself taking grand creative strides with your photos, and you will be rewarded.

Tune in next week, as we cover some great Lensbaby Optics to use with the Composer Pro, and more tips on taking your creativity to the next level!

Happy Hunting!
Jerrel Dulay

2011 saw the loudest, strongest, and most action-packed Photo Expo Sydney has ever seen. From an endless stream of brilliant workshops and talks, to the latest and greatest in photo imaging technologies, the Imaging & Entertainment Expo had it all. A positive surge of energy brought in by enthusiastic visitors brought the showroom floor to life, and we were lucky enough to be there to capture it! Take a look at some of the highlights from 2011′s Imaging & Entertainment Expo in Sydney.

The Hasseblad was never without a crowd, as experts shared tips on shooting models and mastering post production.

Print 2 Metal was just one of the many exhibitors showing off incredible new ways to create and share photo prints.

The number of visitors shattered records, and the show did not disappoint! There was plenty to do and see

Take your iPad and iPod for a swim with wicked new water pouches

The latest developments in creating wedding albums was simply stunning to say the least

There were no shortage of beautiful models (both male and female) for visitors to meet and photograph

Gadgets at the show ranged from necessary advancements in gear, to just plain good fun

World renowned photographers such as Ken Duncan share their expertise and advice with visitors

For all those who were able to make it to the show, we hope you enjoyed! We’ll see you next year in Melbourne, with a bigger, more exciting new show!

Happy Hunting,

Jerrel Dulay

Filed under: Communication, Fun for Everyone, Imaging ]]> http://idigitaldarwin.wordpress.com/2011/07/03/photo_expo_2011_highlights/feed/ 2 idigitaldarwin crowd_hasselblad-workshop print2metal interesting-cameras waterproof_gadgets wedding-album lovel_models mangetic_gorilla_light ken_duncan_speaks http://idigitaldarwin.wordpress.com/2011/06/24/entertainment_expo_roadmap/ http://idigitaldarwin.wordpress.com/2011/06/24/entertainment_expo_roadmap/#comments Fri, 24 Jun 2011 04:30:35 +0000 idigitaldarwin http://idigitaldarwin.wordpress.com/?p=1044 ]]>

Title image by Nathan Richter 

With so much to see this year, don’t get lost on the
information highway! Follow this roadmap to free photo prizes, contests, and
the coolest gear at the show!

This year’s Imaging & Entertainment Expo brings some serious fire to Sydney’s shores. With the latest in 3D
technology, printing, and creative gear, it’s easy to miss out on some of this year’s greatest gems. We’ve found some serious treasure and marked it on a map to help visitors find some sweet free gear, tips, and contests. With such a
bounty of prizes, everyone is bound to win!

Save this map to your phone to find your away around the showroom floor!

Swing by Nushots’ exhibit and sign up to with part of $50,000 in sweet prizes! Right off the bat, visitor’s are rewarded with $10 to spend on their printing services, and a quality cleaning kit bunbled a chance to win even more.

Need that extra bit of space for yourself? A  pit stop at the Camera House exhibit will net visitors a free 4GB SD memory  card! Stop by the stand, ask any questions you have, and grab a free SD card flier. Take the flier to a Camera House retail shop anywhere and score your free card!

Don’t forget to ask about the Camera House
facebook contest! You can win a wicked Canon Ixus 115 HS.

Try this on for size! Black Rapid straps are the ultimate in versatile camera straps. Check out the stand and try the Black Rapid gear for yourself!

Whether you are a full on digital graphic artist or spend time doing post production on your photos, Wacom tablets are the way to go. Comfortable, powerful, and dynamic, Wacom tablets make art and post much more streamlined. Try it for yourself!

Head down to the Fujiflm stand with your friends and family to snap a fully sick surfin’ magazine cover! Then borrow the latest and greatest camera for an hour, snag some killer shots, then enter them in the contest! You could win that awesome new camera! Just ask about The Pen Photo Competition!

Race on over to the World Photo Adventures theater for the greatest treasure of all; knowledge! Hear from industry leaders, such as Darran Leal, and learn how to shoot macro, making photo books, streamlining your processing workflow, and learn how to shoot professional portraits! Presentations start every hour.

Printing lab does more than allow your memories to last. They make those memories sparkle. Check out the brilliant new selection of printing services, right down to miniature albums, and timeless, elegant wedding albums. Don’t just share your memories. Live them again with a beautiful album.

Ever wanted to get into shooting portraits?
How about shooting sports? Take the dive, and head over to a wide range of
stands to get tips from the experts!  Free lessons and tips can be found around
exhibits like Nikon, Hasselblad the Photo Help Zone, and more! Hunt around and find them
all!

As you enjoy your trip to the expo, don’t miss the opportunity to meet brilliant industry leaders such as Ken Duncan and Shelton Mueller. These top artists will be sharing not just photo tips, but advice on how to get the most of life as a photography.

Words cannot describe the positive energy and excitement sparking through the showroom floor. Check out the show, learnsomething new, and score some free prizes!

Remember! If you spot something awesome,
snap a photo! Post it on facebook, or a tweet on twitter  with #pmaexpo2011 to share it with the rest of Sydney!

Seeya at the show!

Happy Hunting,

Jerrel Dulay

The southern hemisphere’s biggest photo expo unleashes the latest and greatest stage of the digital revolution. Jerrel Dulay reports.

Looking for the hottest trends in the latest photo technology? Need ideas on how to vault your creativity to the next level? Sydney’s Imaging & Entertainment Expo is just what the doctor ordered! An early sneak peak reveals an all-too-exciting show in store for this June 25-26. Here are some delicious samples, an appetizer to the grand main course being served this weekend!

Get ready to be astounded by revolutionary new ways to print and share your photos! This year’s expo boasts brilliant new services that allow photographers to have their photos printed onto acrylic, metal, glass, and more! It’s nigh impossible to do the beauty of these prints justice over the internet. The magnificence of this cutting edge style of artistic expression reaches deep into the creative soul of the viewer, gently tugging at the artist within to come out and play.

Search out your creative boundaries and obliterate them! Lensbaby’s latest  range of creative lenses makes a mean offer that no one can refuse. From affordable fisheye to tilt-shift lenses, Lensbaby’s got it all! Stop by the exhibit and try them on for size!

Looking to take your photography to the next stage of extreme sport? How about capturing majestic, rolling tidal waves from within! Explore the coral reefs and swim with majestic humpback whales. Check out the latest Aquatic Housing units, developed for the most popular Canon, Nikon, and Sony DSLRS.

Discover a whole new world, a new exciting point of view, by taking your photography underwater. With no one to tell you no, or where to go, or say you’re only dreaming, these aquatic housing cases allow you to take your photography to a whole new level.

The line between videographer and photography has been blurred beyond all recognition. With the latest and greatest DSLRs now coming equipped with brilliant video quality, these video body stabilizing units complete the videotransformation. There’s more than enough videography gear at the show to please videographers, and entice photographers to give the filming a go!

Never before has there been such an awe-inspiring collection of emotion-stirring artistic expression in just one place. The various galleries of award winning photos will be sure to enthrall, excite, and impress. This year’s photo gallery is one to remember.

Stay tuned for more updates and news as the show prepares to open its welcoming arms to the public. While you’re at the show, if you see something you truly find worthwhile, post it on twitter with the #pmaexpo2011 hashtag to share it with the rest of Sydney! Enjoy the show, and see you there!

Happy Hunting,

Jerrel Dulay

Take your photos through rose colored lenses! Read how to use Colored Light Filters!

Off-camera flash can be a great way to spread your creative wings when taking photos. However, photographers can take their game to the next level by using colored light filters. Follow these tips to turn your photographic scenes into your  own coloring canvass.

What You’ll Need -

At least 2 Off-Camera Flash Guns

If you’re working with only one flash gun, you are severely limiting your creative freedom. Most colour changes to the scene can be made via White Balance, or even in post production on the computer. However, having more than one light source, each with a different color, is something that cannot be replicated in post production.

Many flash guns have a built in honeycomb filter that slides out and snaps down into position. These are perfect for holding a color gel filter in place. These particular filters have been cut to fit.

Triggers for each Flash Gun (Wireless works best)

Many flashguns can use a “slave mode,” that allow them to fire at the same moment other flashes go off, without the need for wireless or wired triggers. However, this is not recommended. Slave mode works perfectly in most situations, but when using color filters, “slave mode” can often fail to trigger the flash.

A Set of Color Gel Filters

Having a wide range of colors really helps! Check out your local retail photo shops. However, these can often be difficult to track down. A set of about 20 or 30 different colours can be found on eBay for usually around $20 USD. They most likely will need to be cut to shape to fit your flash guns!

Tripods or stands for the Flash Guns

Having a bit of experience with Off-Camera Flash Guns really helps. The sport of photography revolves around using light to create exposures. Without light, we cannot take photos. When we use off-camera flash, we have to be acutely aware of a few things!

Reducing or eliminating ambient light is key to controlling the tone and temperature of a scene or model.

First off, all scenes have Ambient Light. It is vital for a photographer to fully understand the nature of the Ambient Light in a scene. What temperature is the Ambient Light? Is it cold or warm? Is it soft or harsh? What direction is the light coming from?

For example, if a photographer is standing on a beach at noon on a sunny, cloudless day, then the Ambient Light is most likely to be warm and harsh. However, if the photographer is sitting in a dining room at mid day with a few windows open, the light might be soft and cold.

The ambient light here is soft, thanks to the diffusion from the clouds, and cold in temperature. There are no other point light sources.

The other type of light to keep track of is Point Light. A scene can have any number of Point Lights. Each Point Light has its own intensity, temperature, and direction. A Point Light can be anything from a light bulb to a flash gun.

Taken in a dining room at night, the ambient light was soft and cold. The only light source here is a red flash gun creating a warm, harsh lighting.

Now that we’ve fleshed out the different type of lights we’ll be working with, it is also vital to note that Point Lights will most likely have a different color temperature than the Ambient Light. This is typically a bad thing and makes scenes tough to control. This is where colored filters come in useful!

When using flash guns, the rule of thumb is that the weaker the ambient light is, the more control you have over the scene. Keep in mind that every source of light changes the color and shadows of your scene and subject. Colored Filters can be used to help flashguns compliment the existing ambient light, or to control the scene all together!

The Setup

In the photos following, we used a Duck and some fruit as models to demonstration the effect of colored light filters on the scene. For these demonstrations, we used a Primary Light, Fill Light, and Back Light. In the bottom right corner of each example, you will see a diagram depicting which lights are using which colored filters, if any. But first, here’s what our setup looked like.

The camera sits with a flash gun on either side.

A backlight is used to banish shadows away from the backdrop.

Tip #1 – Manage Your Colors

The use of multiple flash guns and colored filters allows for an exciting level of creative freedom

The greatest advantage of using multiple flash guns is being able to control the color of both the shadows and highlights of the scene.

Cool colors like blue, green and purple tend to push things into the background, and are best used as backlights and soft fill light. Warm colors such as red, yellow, and orange draw the viewer’s focus and full subjects into the foreground. These colors are best used for highlights.

In the scene above, the primary and fill lights are yellow and pink respectively. They are warm colors. The backlight is a deep dark blue. This pushes the background out of focus, while yellow and pink pull the subject into focus. This is a good thing. It allows the photography to control the flow of the scene.This is a perfect example of a poorly managed scene. The subject is bathed in pale blue and mint green light. This pushes the subject out of focus in terms of what the view should be paying attention to. The backlight is yellow, which is a warmer color than the foreground lights. This makes the viewer pay more attention to the background instead of the subject. Warm colors in front, cold colors in back!

However, with more colors in the scene comes greater complexity, and an increases the chance of the viewer being confused by the flow and dynamic of the scene.

In this scene, we’ve left out the backlight, and moved the primary and fill lights in line with the subject. With neutral colored lights, the flow is easy to follow.

Here, we’ve used some color filters, but now the intensity of the light sources has changed. We must make sure to adjust to the various colors to control the flow of the scene. Blood red and dark blue offer an interesting contrast to each other, however, the scene feels a bit flat. What can we do about it?

Here, we’ve added yellow to the backlight to add more dimensionality to the subject. The backlight offers a golden rim light to the subjects, adding depth and compliment the red and blue lights.

Tip #2 – Manage Your Intensity

One very unique aspect of using Colored Light Filters is that color has a specific level of light intensity. For example, using a green light filter would result in a photo with a much brighter level of light,  but a blue or purple light filter may result in a much dimmer light.

In the first version of this scene, we can see the back light is a bit dim due to the nature of the color filter

Compare this shot to the previous one. We’ve kicked the backlight up a notch, and the dynamic has changed along with it. The subject pops out a bit more thanks to increased contrast.

Keep in mind that each particular color may need to be adjusted in order to avoid overpowering the other light sources in the scene.

If a scene or model appears to be flat, try lowering the intensity of fill and backlight. Move primary lights closer to increase the harshness of the light and strengthen shadows. To achieve softer shadows, increase the intensity of the primary light and move it farther from the subject.

Tip # 3 – Use Complimenting Colors

Every single color has an opposite, complimenting color. When placed side by side, the effect is rather pleasing.

The next trick is take into account the color of the subject. If the subject is red, don’t use red and blue lights. Instead, use a yellow purple filters. If the subject is blue, don’t use blue and red lights. Instead, use yellow and green.

Tip #4 – Use Colors As Accents

Going all out and filling a scene with all the shades of the rainbow can be great fun, and vital to gaining a stronger understanding of color. However, most of the time, we want a scene that doesn’t look like a freshly opened pack of fruit flavored candy. Using colored filters in a wider range of scenes is possible when we use the colors as  “accents”.

In this scene, we start with all neutral lights. There are no colored filters in use here.

Here, we’ve put a light blue filter on the fill light. This subtle change in the lighting makes the temperature quite a bit colder, while the overall tone remains similar to the original.

Using a red filter on the fill light has warmed up the shadows of this scene. Coloring fill lights is an excellent way to control the temperature of a scene without dramatic change to the overal tonality of the scene.

Light sources being used as “accents” can achieve a unique and pleasing effect. Intensity of accent lights should be much lower than primary and fill lights. In this role, colored accent lights offer subtle yet empowering depth to a model or scene.

When working with models, the use of a colored light filter can really add a greater level of depth and character to the final product.

Practice regularly to discover new applications and gain a better understanding for your tools. Try to develop your own techniques, and as always, happy hunting!

Looking for more expert tips and techniques? Check out the Imaging & Entertainment Expo in Sydney this June!

Jerrel Dulay

EVENING WITH AN ARTIST

Murray Fredericks

AWARD WINNING CINEMATOGRAPHER & CO-DIRECTOR OF SALT
5.30PM – SATURDAY 25TH JUNE
PARKSIDE 110 MEETING ROOM

Murray Fredericks, cinematographer and co-director of Salt, which won twelve major international awards, played over 50 festivals and was screened on the ABC and PBS in the USA, will be presenting a free talk at this year’s Imaging & Entertainment Expo in Sydney

Represented by Hamiltons Gallery in London and Arc One Gallery in Melbourne Murray’s work as a stills photographer has been exhibited internationally including at the Louvre, in Shanghai and around Australia. His work sits in major public and private and corporate collections including the National Gallery of Victoria, National Portrait Gallery, Elton John, Valentino, ABN Amro and Macquarie Bank Collections

Fredericks’s work is derived from a perspective that views culture as something that cannot be wholly accounted for through social construct. It’s a view that sees some values as derived from a ‘time-less essence’. The work attempts to represent the experience when thought is temporarily suspended and the mind encounters ‘other’.

From the start of his career Murray Fredericks’ process has involved prolonged solo journeys to remote and often extreme locations. Adventure and endurance have never been goals in themselves and neither have the journeys been ‘spiritual’ or ‘monastic’ undertakings. By their very nature, though, the locations are difficult to access and require large amounts time spent in them to move the compositions past the ‘surface exotic’.
His work as a fine arts photographer has earned him international acclaim as a great artist. The opportunity to meet with him, see his photos and hear his views will be a highlight of Imaging & Entertainment Expo event.

Murray is speaking at 5.30pm in the Parkside 110 meeting room on Saturday 25th June at the Sydney Convention and Exhibition Centre (South). Thanks to the Photo Marketing Association and the PIEA, there is no charge for this session and no reserved seating is required.

The theatre will hold over 500 people. However, preferential seating will be given to holders of an Imaging & Entertainment Expo show badge.

REGISTER HERE TO GAIN FREE ENTRY TO THE EXHIBITION AND TO ATTEND THIS VERY SPECIAL TALK

This Expo show badge will also avoid the need to pay $20 at the exhibition floor door.

All prgrams subject to change.

Heads up! Visit the Imaging & Entertainment Expo this month and you could walk away with a FREE Lowepro Factor Backpack!

Any fans of the Tamron Australia Facebook page (www.facebook.com/tamron.au) will have access to a form where they can be emailed a special coupon. This coupon will reward them with a Free Lowepro Factor Backpack (RRP $85) which can be redeemed at our stand (434) at the show.

Happy Hunting!

Jerrel Dulay