A Look at the Benro S-Series

The tripod is an accessory no photographer or filmographer should do without. If you are having difficulty choosing which is best, consider the Benro S-Series, a new collection here at Super Digital City. Already a trusted name among professionals, Benro has been creating advanced tripods and heads since 2002. Within the collection we have the Video Tripod Kits, Video Monopod Kits, and Video Heads. What sets this collection apart from other tripods and monopods is the focus on video shooting as opposed to photography--thanks to fully adjustable heads, sturdy pan and tilt lock levers, and integral leveling platforms for smooth shooting.

The S-Series Tripod and Monopod Kits mark the "eighth-generation design of single leg tubes and flip lever lock mechanisms." The kits are available in aluminum alloy and carbon fiber, both providing rigidity and excellent torque resistance. The kits come in multiple sizes, and adjustable leg angles offer extra flexibility--even in tight spaces. Quick-lock leg levers allow for fast height adjustment, no fumbling required. How securely will it hold your camera? With several lock levers for adjustments, there is no need to worry about the safety of the camera.

As for the S-Series Video Heads, expect a compact and light-weight performance. They are built on a magnesium alloy flat base which is compatible with almost any tripod, monopod, ball adapter, or slider. But of course they are the perfect addition to a Benro product. A pan drag-lock lever allows the user to adjust tension and lock the head on a 360 degree pan movement, while a tilt lever allows for a full front to rear axis.

The Benro S-Series provides videographers with equipment ideal for any shoot. With quality products that offer smooth filming and easy adjustments, the hardest part will be deciding which model to choose.  

Protecting Your Photographs

We spend a lot of time talking about photography lighting equipment, shooting techniques, and buying advice. But now that you have taken hundreds of photographs, how can you protect them against copyright infringement? In an online, digital world, stealing photographs has become even easier. What steps can you take to protect your work?

• First, copyright your photos. In the U.S., no action is even required. It happens automatically when the photo is created. But, if you want extra protection, photographers can file photos with the U.S. Copyright Office.
• Photographers who have their own website can make photocopying more difficult with either hidden layers or tiling. Both require changes to your website's HTML code. To create hidden layers, place the image behind a transparent foreground image. The online image will appear normal, but when a user tries to save it, the file will be the blank foreground image instead. To tile, break the image into smaller image tiles. It will look like a continuous picture, but when a user tries to save, they will save one tile image at a time.
• Create a watermark to increase copyright protection and to receive credit even when someone uses your photograph. The only downside is that it can distract from the image, and if it is too subtle, it can be easily covered up.
• A watermark alternative is to create a frame around the photo with your name and other details.
• Store copyright information in the image file's metadata. This can be done through most picture editing software programs.

The best action is to quickly identify infringement and take action. You can search for your image on the web using Google's image search, TinEye, or Digimarc.  

Which Camera Is Right for Me? Continued

Last week we began getting into the specifics of DSLR cameras, dependent upon photography needs. Today we will continue with more expectations for professionals. In general, pro photographers spend around $2,500 or more. Both the Canon EOS 7D and EOS 5D Mark III are great examples of more affordable cameras that still provide features to meet your expectations. Many photographers end up spending more on lenses than the body. Balance your budget between both and remember you do not need to spend $8,000 on a camera.

• Documentary/travel/wildlife: All three have their pictures printed in high quality, either in magazines, books, or printed for large displays in exhibits, etc. Resolution should be 12 megapixels or more, preferably with a full-frame sensor. The frame rate should be at least 5fps and a 20-shot burst depth. Video is not as important but a 30fps for video can come in handy—if you think you will use it. Wildlife photographers will want a lightweight body as they trek across terrain.
• Studio/landscape/fine art: Portraits, fashion, products, ads, abstract—you need a camera that can handle it all. 12 megapixels is the minimum but 14 or more is preferred. The frame rate need only be 3fps or more with a burst depth of 6 or more. Again, video not entirely important. Instead look for great raw-conversion software, flash-control features, and a range of color modes.
• Wedding/events: A camera with at least 12 megapixels and a full-frame sensor is good place to start. 3fps or more for the frame rate is ideal with a 6-shot burst depth. If you plan on taking video, 30fps with manual controls for shutter and aperture is ideal, but not the only option. Also look for excellent flash control features, white-balance controls, and a solid battery.

Do not feel confined by these recommendations. Even without an expensive camera full of feature after feature, photographers can still take amazing shots. Equipment is important, but skill reigns supreme.

Which Camera Is Right for Me?

A few weeks ago we delved into the different types of DSLR cameras available on the market. You feel a bit more confident, but you are still not sure which features to look for or how much to spend on a camera. It all depends on your purpose. Are you an amateur or a student? Are you interested in sports or news photography? Let's go over the features each type of photographer needs.

• Hobbyists: Not ready to make an expensive plunge? Do not spend more than $600 for the body and starter lens. Resolution can be anywhere from 6-15 megapixels with a frame rate of 2fps to 5fps and a burst depth of 5 to 6 shots. Also look for a compact body and a lightweight zoom lens.
• Students: Students who are seriously considering photography as a career should spend less than $1,000 on a body and starter lens. 12-18 megapixels offers great resolution. The frame rate should be 5fps to 8fps or faster with a burst depth of 10 shots or more. AF speed and tracking should be the best you can afford and video should be 24 or 30fps. The DSLR should have a comprehensive viewfinder, good raw-conversion software, and comprehensive flash-control features.
• News/sports/action: Whether your pictures are printed in magazines, newspaper, or on the Internet, a DSLR for you is a serious investment. Expect to pay $1,000 and up for the body. Resolution needs to be 10 megapixels or more while the body all metal and weather-resistant. The frame rate should be 8fps to 10fps and a burst depth of 40 shots or more. Video should also be 30fps or faster. Purchase an extensive telephoto lens and look for simultaneous raw-plus-JPEG capture, flexible white-balance, and good battery life.

Check back next week when we dive into other types of photography and the best features to have.

A Look at the Sigma DP2 Merrill Digital Camera

Photographers in the market for a high-end point-and-shoot with all the latest advancements, need look no farther than the Sigma DP2 Merrill digital camera. Foveon devotees will flock to this camera which boasts 46 megapixels thanks to a Foveon X3 Direct Image Sensor. For those who are unaware, the Foveon X3 Sensor features three layers of pixels, each made up of slightly more than 15 megapixels and each layer sensitive to a different color --hence why Sigma can say it is a 46-megapixel camera. The result is vibrant and detailed photographs.

Readers might recognize the technology from the SD1, a DSLR. However, this digital camera features a high-performance fixed lens, a 32mm F2.8 lens to be more precise. Unlike a DSLR, this camera is lightweight and compact, making it easy to tote around on your photography adventures. It also has the ability to shoot in both RAW and JPEG, simultaneously too, giving photographers greater flexibility. Manual focus is available for use and there is even a focus ring just like on an SLR –a feature you do not often find on a compact camera. Also like a DSLR, the DP2 has a 3.0'' TFT LCD to quickly change menu options.

The DP2 Merrill is ideal not just for serious hobbyists and amateurs, but professionals who may not be able to tote a large camera and equipment.

The Heart of a Digital SLR: The Sensor

The sensor is an important part of your camera. And while it should never be the “be all and end all” when making a camera purchase, you should put thought and consideration into the type and size.

The CCD (charged-coupled device) is the most common type of sensor in a digital SLR. Every manufacturer offers at least one model with a CCD. They offer the highest image quality, hands down, but they are of course, the most expensive and use a lot of power.

CMOS (complementary metal-oxide semiconductor) strip away extra circuits on the chip to increase a pixel's light-collecting area while reducing costs and using less power than a CCD. The only con is they are bigger and therefore, the cameras are bigger.

What about sensor size? There are three standard sizes. The first is called Four Thirds, found on Olympus and Panasonic cameras. It's a standard size that was created by Olympus and Kodak, measuring 17.3mm by 13mm. Most other DSLRs use an APS sized sensor, the second standard size. It is a fairly loose term for a sensor the size of an APS-C or APS-H film format. Finally, we have the 35mm-film format, also called a full-frame because it is the size of a standard frame on a roll of 35mm film. These sensors are big and expensive to build. You'll find them on the Canon EOS 5D and the Nikon D3.

We can thank large sensors for giving us better photos with less noise, a greater dynamic range, and better performance at high ISO settings.  

Battle of the Cameras: DSLR vs. Interchangeable-Lens Camera

Last week we saw a digital SLR do battle with a high-end point-and-shoot—today the DSLR faces its hybrid challenger, the interchangeable-lens camera. The main difference between these two cameras is that the latter does not have a mirror to bounce the image to the viewfinder.

The major difference between these two cameras lends itself to the main advantage of a DSLR over an ILC. The viewfinder on a DSLR is superior and ensures there is no update lag. The mirror allows the photographer to see what is currently happening in the viewfinder, while an ILC can only show you what has already happened. The advantage to the EVF, however, is that it accurately displays exposure and white balance. Some optical viewfinders on DSLRs can do this, but it comes at a greater cost.

While there are certainly plenty of digital camera lenses to choose from for ILCs, the selection is still larger for digital SLRs. DSLRs also have the ability to use older film-camera lenses without an adapter. But with better technology and bulky lenses, DSLRs tend to be bigger and heavier than ILCs (though there are compact DSLRs, as well as large ILCs on the market).

The bottom line is that the ILC is a good stepping stone for consumers who want a step above their point-and-shoot but without the bulk and the high cost.