Better Photography India 2013-03

B E T T E R P H O T O G R A P H Y MARCH 201 3
5
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Editor K Madhavan Pillai
Published by Network18 Media & Investments Ltd
V O L U M E 1 6
I S S U E 1 0
M A R C H 2 0 1 3
GET PUBLISHED IN BETTER PHOTOGRAPHY
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EDITORIAL
Editor
K Madhavan Pillai
Executive Editor
Gurjender Singh Virdi
Deputy Editor - Technical
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Features Editor
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Senior Features Writers
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Features Writers
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DESIGN & PRODUCTION
Assistant Art Director
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6
E DI TORI AL
Recipe for a Gobsmacking Photo
Fill a baking
pan with a
long term plan.
Layer generously
with time and
conviction.
Pick a point of allure. Throw in a handful of fascination. A bunch
of appreciation. A lot of passion ripened almost to the point of
obsession. Do not forget a sprig of love. Whip them together and
add liberally to your muse.
Now take curiosity. Three times as much of concentrated
research and dedication. Some experimentation with some
more exploration. An equal measure of learning. An unequal
measure of observation, absorption and introspection. Round it off with a good deal
of imagination and speculation. To spice the whole thing up, add a touch of doubt,
a sprinkle of cynicism, a dash of haste, and a pinch of ambiguity. Blend it all into an
even consistency. Strain it twice through a muslin cloth to remove all particulate
distractions. This makes the perfect secret sauce.
For the broth... nely dice a large portion of patience. Saut this in life experience
that has been fermenting for a while. Pour in a disciplined stock of purpose. Add the
essence of soul for avour. On a low, reverent ame, bring the broth to a slow boil.
Let it simmer for a while.
Fill a baking pan with a long term plan. Layer generously with time and conviction.
Knead budget into dough. Divide it into as many portions as there would be servings,
and place small rolls of dough carefully into the conviction. Wait for the perfect light.
Set the colour temperature right. Bake until golden brown... until you notice a faint but
distinct aroma of excitement drifting across the kitchen. Needless to say, every element
is absolutely vital... the quality of ingredients, the quantities and proportions, the timing
and compositions. Once its done, lift the lid off the LCD and taste.
Finally, invite friends and critics to dinner. Spend time on plating to perfection.
Serve piping hot. Serve with pride.
K Madhavan Pillai
editor@betterphotography.in
Silent Observers
by Raghu Manikuppe
Shooting against the light
may seem daunting. Yet, it
becomes quite easy once
you learn how to divide
each backlighting situation
by the kind of picture
making possibilities it
allows. Beyond this, it is
just a matter of applying
simple techniques
pertinent to the image you
wish to create.
To read more about
techniques for backlighting,
Dare to Shoot
Against the Light
Turn to page 62
To read about
Julia Margaret Camerons
journey with portraiture,
Great Masters
Turn to page 106
SnapShots
March 2013
26
Book Review
Nude by
Ralph Gibson
32
Look Whos Shooting
Nikhil Patel
33
Visual Musings
by Chandan Gomes
GearGuide
64
BetterPictures
34
TEST
Nikon D5200
Is this the best entry
level DSLR yet?
48
Samsung NX1000
A mirrorless camera
that is connected, with
WiFi, nally!
52
BenQ LR100
Simple but misses out on
some vital features
54
Lensbaby Spark
A selective focus lens
with a spring in its step
56
MICRO TEST
Joby GorillaPod,
Vanguard Ballhead,
Lowepro Photo Traveler
Lowepro Vertebral
Shoulder Strap
62
SHOOTING TECHNIQUE
Dare to Shoot
Against The Light
Eight easy techniques for
great backlighting shots
64
Using Translucence
Use backlighting to bring
out textures and colours
66
Playing with Silhouettes
Emphasise on a subjects
gure and form
68
Lining with Light
Dene the edges of a
subject with light
70
Let the rays spread
Photograph rays of light
72
A Low Key Drama
Add dark tones for
dramatic pictures
80
ON THE COVER
PHOTOGRAPH: MARIO ALBERTO MAGALLANES TREJO
DESIGN: SANTOSH D KAMBLE
Chandan Gomes on the power
of images in shaping history
Julia Margaret Cameron's
incredible portraiture story
Pattabi Raman documents
displaced Tamilians in Lanka
Ghanshyam Kahar captures
beauty in the simplicity of life
Cha da Go es o the o e J lia Ma ga et Ca e o 's Pattabi Ra a doc e ts Gha sh a K
VISUAL MUSINGS GREAT MASTERS PHOTOFEATURE PROFILE
Better Technique. Better Insight. Better Pictures
www.betterphotography.in
F
R
E
E
100-pg POCKET BOOK
AN EASY
91-DAY PHOTOGRAPHY CRASH COURSE
CREATING A WORLD WITH TOYS AND FOOD THE PHOTO ALBUM'S UNUSUAL JOURNEY C
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How would you capture day
and night in a single frame?
<O:CLJ@M< K<JKJ
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Lensbaby Spark
Shoot silhouettes, trace outlines, make
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IS THIS THE BEST
ENTRY-LEVEL DSLR
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INDIAS BIGGEST
PHOTOGRAPHY AWARDS!
For more details, turn to page no 40
98
PROFILE
Ghanshyam Kahar
Captures the beauty
and joy in lifes most
simplest of situations
104
MY BEST SHOT
Anish Andheria
Speaks about the nal
moments that led to the
making of one of his
favourite photographs
106
GREAT MASTERS
Julia Margaret Cameron
The extraordinary life
of the earliest soft focus
female portraitist
114
PHOTOFEATURE
Pattabi Raman
Gives an insight into
the lives of displaced
Tamilians in Sri Lanka
InFocus
172
HISTORY
The Photo Albums
Unconventional
Journey
174
STORY BEHIND THE PICTURE
The Human
Statue of Liberty
by Arthur S Mole
and John D Thomas
ShowCase PhotoFinish
Regulars
FEEDBACK ............................................................10
PHOTOCRITIQUE .................................................. 88
Q & A .................................................................. 96
1000 WORDS ....................................................... 112
YOUR PICTURES .................................................. 118
BP BUYERS GUIDE .............................................. 164
PHOTOFINISH ......................................................171
74
Silence with High Key
Dominate the frame
with highlights
76
Flare Up Your Frame
Create are by using the
lens aw creatively
78
The Brilliance of Bokeh
Harness the magic of out
of focus points of lights
80
ON ASSIGNMENT
From Day to Night
Seamlessly combining
day and night within
a single photograph
84
A Small Wonder?
Create a unique world
with food and toys
92
TIPS & TRICKS
Shooting nightscapes,
couples and sports
98 106
BP had a special
poster of famous quotes
by photographers in the
February 2013 issue of
the magazine.
Feedback
Send your feedback to
The Editor, Better Photography, Network 18 Publishing,
Ruby House, A Wing, J K Sawant Marg, Dadar (W),
Mumbai-400 028, India
Email: feedback@betterphotography.in
Powerful Photofeature
Your photofeature The Unknown Citizen
in the February 2013 issue of BP was an
excellent showcase of images that portrayed
the situation in New Delhi after the gang
rape incident. I now see how a single image
can speak a thousand words. I have been
following the events on The Unknown
Citizen Facebook page since its inception.
However, your article was a more stronger
visual representation and does justice
not only to the images, but also the cause.
Thank you for sharing this with us.
Neha Varney, Gurgaon, via email
Be Professional or Be Good?
What are the factors on which you
decide if a person is really serious about
photography or not? Professional or
amateur are the only two terms that I
come across when people want judge the
capabilities of a photographer. Even in
your articles, you sometimes tend to
direct tips specically for professionals
or amateurs. However, I feel that people
should look beyond these two stereotypes
and judge a photographer by his skill.
Either he is a good photographer or a
bad photographer.
The word professional implies that
the person earns his livelihood by taking
pictures. But that does not tell us if he
creates great images or not. On the other
hand, a person can have great skills and can
make some stunning images, but he can
still be called an amateur because he does
not earn money out of it.
I think photographers should be dened
purely by their work. In any other kind of
occupation, the quality of work a person
does denes him or her. Chefs, barbers and
engineers are known by how good they
are... but not photographers. That needs
to change.
Gaurav Prabhu, Mumbai, via email
Opening Up Minds
There is joy everytime I receive a copy
of BP in my hands. When I rst picked
up Better Photography three years ago,
it changed the way I saw the world
around me. I immediately took to
photography and started experimenting
with various tips and techniques that
I learnt through the magazine. Over the
years, photography has become an
indispensable and integral part of my life.
However, I hit a photographers
block, if there is anything like that.
Since December 2012, I have been unable
to visualise or create images. This was
despite carrying my camera at all times
and often, actively looking out for subjects
and stories to capture.
It was only when I was browsing
through the February 2013 issue of the
magazine that I could think right again.
As I read each of the quotes from the
poster, I was inspired to pick up my
camera and shoot instantly. The poster
is now up in my room and is the rst
thing I see everyday when I get up. I hope
BP keeps coming up with more of such
inspirational posters.
Chetan Moitra, Kolkata, via email
The BP poster
from the February
2013 issue is now
put up on my wall
and is the rst
thing I see when I
wake up.
The Unknown Citizen
by Chandan Gomes
documents peoples
agitation after the Delhi
gang rape incident.
B E T T E R P H O T O G R A P H Y
10
BP reader Apeksha
Maker sent us this image
shot at Notre Dame,
in Paris.

FEEDBACK
I have been a BP reader for four years and have not
missed a single issue of the magazine. Every month
when I get the copy of the magazine, I immediately
jump to the Gear Guide section for the latest
reviews and microtests. I might not be buying new
equipment, but these tests help me understand the
latest technology in cameras and nd features that
I might have not explored on my own camera.
It is great to see a comprehensive break down
of every lens and camera as well as the thorough
tests it is put through. Through your reviews,
I feel like I have used the camera myself. I boast
to my friends about the merits and demerits of a
camera simply through what I learn about it in your
reviews. I can proudly say, I have never been wrong
till today.
The True Gear Guide
Write in to
Better Photography
with your feedback, and
if your letter wins the
Letter of the Month,
you will get a Envie
Speedster charger!
Twitter: twitter.com/betterphoto
Facebook: facebook.com/betterphotography
FIND US ONLINE!
Simple Yet Fantastic!
Every issue of Better Photography magazine
is an exhaustive resource of photographic
knowledge. I can see the BP teams efforts
to conjure up one great issue of the
magazine after another, every month.
The shooting technique in the February
2013 issue of the magazine stood out from
all other previous articles that I have
read. I will be frank and admit that I was
not very impressed when I read that the
lead story was on shooting monuments.
However, once I glanced through the
pages and read the article, I was stunned
by the sheer simplicity of creating
great pictures.
I immediately went back to the images
I had clicked during a recent trip to
France. Between several clichd images,
I managed to nd one good and unique
image. I only wish this article could have
come sometime earlier before my trip.
Apeksha Maker, Mumbai, via Facebook
Mobile Photography
Every person now-a-days has a camera on
them in their mobile phones. Easy access
to a camera has changed the way mobile
photography has been perceived in the past
few years. Instagram is the new Facebook.
Everyone is on Instagram! Even renowned
Magnum photographer like David Alan
Harvey are now on it.
I hope that Better Photography magazine
comes up with feature articles on
mobile photography in future issues.
The inclusion of Cell Phone Diaries theme
in BPs Photographer of the Year award was a
great move. I hope that in the coming few
months, BP also actively participates in this
medium. I am looking forward to seeing
Better Photography magazine on Instagram.
Laxmi Pujari, Chennai, via email
Less Photos, More Talk?
Every once in a while I feel like keeping my
camera down and discussing about the art
with my photographer friends. However, I
realised that most hobbyist photographers
only like to talk about cameras, lenses and
other equipment. Its mostly all jargon.
No one really asks questions as to why we
make images... or what photography really
means to them... or why a photographer
chose a particular subject.
Everyone is too busy in the process of
clicking pictures. We need to have more
weekend artist talks, panel discussions,
exhibitions, interactions and photography
festivals to be inspired to do better and
enjoy our images more.
Nihal Joseph, Kolkatta, via email
The microtest section is another segment
I really appreciate. It is very difcult to come
across any resources that offer such detailed
review of simple photography accessories.
Moreover, it is an easy way to know about all
the accessories available in India!
I was particularly impressed by the review
of the Indian-manufactured WellCrow PlugIn
Camera Insert. So much so that I went ahead
and purchased the bag without having a look
at it. After receiving it, I realised that it is
up to the same standards as mentioned in
the review. Kudos to the BP Team for doing an
excellent job! The reviews are, as the section
name suggests, indeed a gear guide!
Nachiket Goplani, Mumbai, via email
I am looking
forward to
seeing Better
Photography
magazine soon
on Instagram.
Apeksha Maker
12
Nikkor 800mm and 1835mm Lenses
The super
telephoto prime
lens from Nikon
which comes
with its own
exclusive and matched teleconverter is here.
The teleconverter takes the combination to
a 1000mm f/7.1 lens. Nikon also released the
Nikkor AF-S 1835mm f/3.5-4.5 full frame wide
angle lens.
Fujilm F900EXR
The latest compact travel zoom camera from Fujilm
which the company claims that this camera is the
fastest focusing
digital camera
to be released
yet. It even beats
the recently
announced X100S
by 0.01 seconds.
Despite its small size, it still packs a Fujinon 20x
optical zoom lens.
HAKO HY-9600 TTL Flash
It is the latest ashgun from HAKO now available in
the Indian market. The HY-9600 ashgun features
TTL autofocus, multiple trigger modes, 18180mm
zoom range, recycle time of 2.89sec and can be
reduced to 1/28th of the power. HAKO has also
announced a new full HD, LED-based projector
called the LED-82.
Timelapse Slider and Pan Head
Embrace
Video has
developed and
is now selling
the Timelapse
Slider and Pan
Head system.
It is designed to shoot timelapse images with
movement and motion control. They also announced
a rig for the recently launched Black Magic Cinema
Camera. The rig includes shooting accessories like
follow focus, a matte box, handling grips, a tripod
and body mounting solutions.
Andr Kertsz was a Hungarian photographer known for his contributions to composition techniques. He was a quiet but important inuence
on the coming of age of art photography in the US. In the early years of his career, his unorthodox camera angles and style prevented his
work from gaining wider recognition. Regardless, he went on to become a seminal gure in photojournalism.
WHAT S NEW
I do what I feel, thats all, I am an ordinary photographer working
for his own pleasure. Thats all Ive ever done.
ANDR KERTSZ (18941985)
Raghu Rai
Image source:
Wikimedia Commons
Indian Photographers Shine at Sony Photo Awards
Dilip Bhatia is the other Indian shortlisted
in the Professional category while
photographers Arup Ghosh, Dibyendu
Dey Choudhury, Anurag Kumar, Sandipan
Mukherjee, Abhijit Dey and Madhabendu
Hensh are shortlists in the Open category.
Anshul Mehrotra has been chosen as one of
the 10 nalists for the Student Focus Award.
S
ix Indian photographers made it
to the shortlist of the 2013 Sony
World Photography Awards along with
Danish Siddiqui, who is a nalist in the
Professional category under Arts and
Culture. Danish was selected for his series
that documents the insides of movie
theatres in Afghanistan.
I Dedicate This Award to My Father, says Pablo
R
enowned photojournalist Pablo
Bartholomew has been awarded the
Padma Shri by the Indian government.
When contacted, Pablo said, I accept this
award for my fathers work in the eld
of art in addition to my photography.
This award also goes to the entire Indian
photography industry.
We congratulate Pablo Bartholomew
on acheiving this feat and are glad that the
government has given credit where it is due.
Danish Siddiquis series Inside Kabuls Screens explores the rebirth of
cinema theatres in post-war Afghanistan.
An image from Dilip Bhatias series
on the sea link at Mumbai.
Danish Siddiqui Dilip Bhatia
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14
Updated Sigma 30mm f/1.8
The updated of the
30mm f/1.8 prime is the
latest addition to the
ART seroes pf lenses
for APS-C cameras
from Sigma. The new
conguration ensures
that the lens delivers
pleasing sharpness
and beautiful bokeh. The new 30mm f/1.4 is also
compatible with Sigmas USB Dock, which will
enable rmware updates and focusing adjustments.
New ezShare WiFi SD Card
The Chinese company, LZeals new WiFi SD cards
have an On/Off switch that
prevents the card from
draining the battery of your
camera. The class 10 cards will
be available in capacities of 4,
8, 16 and 32GB. You can access
the images wirelessly by using
a web browser or LZeals
ezShare mobile app.
Olympus Stylus XZ-10
The Stylus XZ-10 is
the latest enthusiast
compact camera
from Olympus.
It is built around a
26130mm equivalent
f/1.8-2.7 lens and
packs a 12MP 1/2.3-inch backlit CMOS sensor. It is
equipped with sensor-shift image stabilisation and
can record 1080p Full HD movies with stereo sound.
Transcend Copy-Protected Memory Cards
Transcend recently announced its plans to
manufacture its own copy-protected SD
and microSD cards. This is great news for
photographers who are always worried about
keeping their copyright images safe. The challenge
is that these cards will be fully accessible only using
the special USB 3.0 corresponding card reader with
it that acts as a key.
Nikon Image Space
The image sharing and storage service has been
relaunched and rebranded as Nikon Image Space.
This service will be open to non-Nikon users as well.
However, owners of Nikon cameras are eligible for
20GB of free storage space as compared to the
2GB of space offered to other, regular members.
WHAT S NEW
F
acing tough competition from
smartphones in the point-and-shoot
camera market, manufacturers are
continously improvising their cameras.
Nikon has released a list of new compact
cameras, which with a mix of WiFi and
GPS, are equipped to give smartphones
a tough ght.
The Nikon COOLPIX P520 offers
42x zoom coupled with an articulating
screen, built-in GPS and compatibility
with Nikons WiFi adapter. The S9500 on
the other hand comes with inbuilt WiFi,
GPS and 22x zoom. Nikon has also extended
WiFi and GPS capabilities to its rugged
series of cameras with the AW110.
An Overhaul of Compact Cameras by Nikon
T
ired of being spammed by Instagram
users taking pictures of what they
eat for breakfast, lunch
and dinner all the time?
Restaurants are changing
their photography
policies to bring a
respite to all those who
are plagued with the
same problem.
Upscale restaurants in the US are
turning camera shy. While a few of them
only restrict the use of
ash, a few others have
completely banned their
patrons from taking any
pictures of the food they
serve. It might be not long
before such laws come to
India as well.
Restaurants Ban Patrons From Taking Pictures
T
he winners of the 56th annual World
Press Photo contest were announced
on 15 February 2013 in Amsterdam.
The jury, chaired by Santiago Lyon, Vice
President and Director of Photography,
Associated Press, selected Swedish
photographer Paul Hansens image as
the World Press Photo of the Year 2012.
His image shows a group of men marching
with dead bodies of two children and
their father through a narrow street in
Gaza City, Palestine.
World Press Photo, one of the most
prestigious photo competitions,
issued awards in nine categories to 54
photographers of 32 nationalities. Indian
photographer Altaf Qadri was awarded an
Honorable Mention in the Contemporary
Issues category for his series on slum
schools in New Delhi.
2013 World Press Photo Awards Announced
Ketan Kundargi
Paul Hansens award winning image invokes a sense
of sorrow and anger at the same time.
One of the images from Altaf Qadris series on slum
schools in Delhi.
Altaf Qadri
Paul Hansen
SNAPSHOTS
16
CALL FOR ENTRI ES
The HCB Award
The competition: Organised by the Henri-Cartier
Bresson Fondation, the HCB Award is intended
for photographers who have already completed a
signicant body of work. The photographer should
be in the emerging phase of his career and has an
approach close to that of documentary. It is open to
photographers across all nationalities and age.
Categories: Documentary
Prizes: The winning photographer will be awarded a
grant of 35,000 euros (approx. Rs. 25,00,000) to be
used for carrying out their photography project.
Website: www.henricartierbresson.org
Deadline: 15 April 2013
Humanity Photo Awards 2013
The competition: The competition is open to
photographers worldwide. The competition
welcomes entries from photographers who want to
explore and rescue endangered folk cultures.
Categories: Portrait & Costume, Architecture, Living and
Production Custom, Festivities, Education, Recreation,
Sports & Technology and Traditional Rites.
Prizes: Each catergory winner will receive a prize of
USD 2000 (approx. Rs. 1,08,000).
Website: www.hpa.org.cn
The Inge Morath Award 2013
The competition: The Magnum Foundation and the Inge
Morath Foundation have announced the 12th annual
Inge Morath Award. The award is given to a female
photographers under the age of 30 to support the
completion of a long-term documentary project.
Categories: Documentary
Prizes: The winner will get a prize money of
USD 5000 (approx. Rs. 27,000).
Website: www.ingemorath.org
Red Bull Illume Image Quest 2013
The competition: Red Bull Illume is the worlds premier
international photography competition dedicated to
the world of action and adventure sports.
Categories: Lifestyle, Playground, Energy, Spirit, Close
up, Wings, Sequence, New Creativity and Experimental
and Illumination.
Prizes: The overall winner gets a Leica S camera.
Each category winner gets a Leica X2.
Website: www.redbullillume.com
Digital IS is not truly
IS. Unlike sensor-
shift and optical
stabilisation,
Digital IS only
increases the ISO
to avoid shakes.
This results in a
lot of noise and
soft image.
PRO TALK
The HCB Award
is a great platform
to showcase your
documentary project.
Micro Four Thirds Lenses Aplenty at CP+
T
he Micro Four Thirds system received
a lot of love from lens manufacturers
at CP+. Tamron showed off its latest
1450mm f/3.5-5.8 image stabilised
superzoom lens while Olympus displayed
a revised version of its 75300mm f/4.8-
6.7 telephoto lens. Sigma added the
30mm f/2.8, 19mm f/2.8 and 60mm f/2.8
to its ART product line for Micro Four
Thirds. Lastly, Panasonic announced the
affordable Lumix G Vario 1442mm f/3.5-
5.6 image stabilised lens.
At the same time, Kodak manufacturer
JK Imaging announced its new MFT
camera, the S1. Built around a backlit
CMOS sensor from Sony, the camera
promises good image quality. With three
other lesser known camera manufacturers
planning to join the fray, things seem to be
getting interesting for the MFT system.
110 March
Divine Moments
NID, Ahmedabad
Renowned street
photographer Raghu Rai
will be displaying some
of his best images from
over the years in this
exhibition. This series
captures a number of
magical moments that
he has photographed
when travelling across
the country. The images
will be on display at
the Paldi campus
of National Institute
of Design.
13 March
Wildlife Expo
Celebrations Hall, Thane
Glimpses of Nature
will be showcasing
wildlife images made
by Girish Vaze, Kishor
Gumaste and Swapneel
Kore. Besides, there
will also be a trade
expo of wildlife tours,
equipment, workshops
and more for wildlife
enthusiast to explore.
3 March
Constructive
Review Session
TFAC Studio, Mumbai
In this review session,
veteran photographer
Nrupen Madhvani will
provide constructive
review of participants
work. The event
is organised by
Photo Caddy and
prior registration
is necessary.
817 March
FAITHfully Yours?
Arpana Caur Academy, New Delhi
CAMERAunLIMITED is
featuring the work of
seven photographers.
The group exhibition
is curated around a
single theme, faith.
Each photographer will
be showcasing a series
of images that explore
what the term faith
means to them.
EVENTS
MARCH 201 3
20
Floating Lens
Technology is a
proprietary term
by Nokia for the
optical image
stabilisation built
into its Lumia 920
mobile phone.
PRO TALK

Dawn Upon Delhi: Rise Of A Capital
The National Gallery of Modern Art, Bangalore
and Ministry of Culture, Government of India
together presented an exhibition of photographs
taken around Delhi. The images take you back to
the golden era of the city. Initiated as part of the
centenary celebrations around Delhi, the exhibition
was on display from 1628 February 2013.

Footprint of Lord Buddha
The All-India Fine Arts and Crafts Society in
New Delhi held an exhibition of 75 photographs
by J P Sharma till 17 February. The collection of
images, titled Footprint of Lord Buddha, document
monuments and places across India that bear
testimony to the visit of Buddha and his family. J P
Sharma is a retired Uttar Pradesh Government
ofcial who spent his free time over the last 25
years travelling across the country and taking
photographs of places in stories of Buddha.
Professions Of The World
The exhibition showcases images of people in the
extraordinary diversity of jobs around the world.
The exhibition was held between 1723 February at
Kalakriti Art Gallery in Hyderabad. It featured the
work of select hobbyist photographers selected
through a photography competition.
Shivri-The Heaven
A selection of images by nature photographer
Sureshchandra Tarkar were displayed at the
Terrace Gallery, Jehangir Art Gallery. On display
between 714 February, the images capture the
several species of birds that ock to Shivri creek
in Mumbai. This exhibition is the culmination of
over ve years of dedicated shooting at the Shivri
mudats and an attempt to nd environmental
beauty in the urban city.
Over The Rainbows
Inspired by the travelling tent cinemas of
Maharashtra, Over The Rainbows was a
collaborative project by photographer Amit
Madheshiya and lmmaker Shirley Abraham.
A combination of images and conversations, the
installation at Max Mueller Bhavan in Delhi was
on display from 1625 February 2013. It was an
experience in seeing the world of travelling cinemas.

EVENTS
President of the
Indian Council for
Cultural Relations,
Dr. Karan Singh at
Footprint of Lord
Buddha exhibition.
Better Photography Covers the Action at CP+
J
apan was host to the Camera and
Photo Imaging Show, CP+ 2013, from
31 January3 February 2013. Held in the
heart of the photo imaging industry, the
trade show presented
the latest products and
technologies in the world of
photography. BP was in the
thick of the action for the
duration of the trade show.
From rsthand previews
of the recently launched
Canon PowerShot N to the showcase of the
Nikkor 800mm f/5.6, you can catch up on
all the action on Better Photographys website
and the YouTube page.
1319 March
3 Hours
Academy of Fine Arts, Kolkatta
A collection of black
and white photographs
by photographer
Hari Mahidar will be
on display in the city.
The images capture the
urry of events that
take place in the short
duration of a single
circus show.
1328 March
A Fantastic
Legacy: Bombay
Photographs from
the 19th Century
Max Mueller Bhawan, Mumbai
The exhibition is
organised by Mumbai
Art Room and hosted
by Max Mueller
Bhavan and will display
images from some
never-seen-before
images of Mumbai.
It is being curated by
Susan Hapgood and
showcase images of
19th century Mumbai.
2224 March
Asha
The Art Gallery, Gurgaon
Curated by Sangeeta
Malhotra, Art for Stray
& Helpless Animals
exhibits photographs of
artists from across the
country. The exhibition
is being held to
generate funds for
Cure and Care Animal
Help Foundation.
2224 March
Metropolyptical: A
Tale of A City
Mumbai
Risham Syeds rst
solo exhibition in India
titled explores her
connection with Lahore
where she was brought
up and now resides.
In her work, she tries
to make sense of the
changes in the city.
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HTC Phones to Use New Sensor Technology
photo, one gets a 13-megapixel image.
Other specications are still vague.
One does not know whether the sensor
size would be larger than regular cell
phones, or whether it would be as high as
the Nokia 808 PureView. While the nal
results remain to be seen, it is great that cell
phone companies are innovating.
M
obile phone manufacturers, HTC,
are coming up with a new sensor,
which they are supposedly calling
Ultrapixel. The technology seems to
work exactly like Sigmas Foveon X3
sensor. There are three sensor layers of
4.3megapixels each. When the resultant
images are combined into one single
To watch the entire coverage, you can visit Better Photographys
YouTube page at www.youtube.com/betterphotoindia
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SNAPSHOTS
26

Our company was
founded in 2012,
and thus, we are
still very young and
upcoming. We began
with manufacturing
camera accessories and
photographic printers
for the Japanese brand
Yashica, which has been
in the forefront of the
photo industry for over
50 years. Therefore, for the past 20 years, we
have been pioneers in creating photographic
accessories for a global client base. The future
of the hardware photo industry is bright. We see
a huge potential in this eld and plan to make the
most of it in the years to come.
As of now, we are concentrating on integrating
our growth pattern for the Indian market.
Since we are based in Singapore, we need to
identify distributors and suitable partners in
India for both Polaroid and Yashica. In fact, we
are deliberating a region-wise expansion and
thus would like to partner with trustworthy local
distributors in the Indian photo industry.
At the end of the day, it comes down to the
quality of our products since customers all
over the world have similar demands. While we
are nascent in the Indian photo industry, our
experience and knowledge base, which has
been gathered from other parts of the world,
is going to be an advantage. We have set our
goals for 2013 and are geared up to overcome all
challenges to achieve the best possible results.
As told to Priyanka Chharia
I NDUSTRY VOI CE
At the end of the day, it comes down to
quality as customers all over the world
have similar demands and needs.

Chapters From a Movie
Stark black and white photographs ll my mind as soon as I hear the name of Ralph Gibson, one of my favourite
photographers. His book Nude was rst released by Taschen in 2009 as a collectors limited edition.
This new hardcover edition is a lot more accessible, both in terms of price as well as availability.
I was curious. I wondered how different would the book be from the work I have already
seen on the internet? Only one word describes my rst reactionawe.
With a spellbinding cover photo (different from the cover of the
limited edition version), Nude begins with an exceptionally interesting
interview between New York-based sculptor Eric Fischl and Gibson.
The conversation between them speaks about Gibsons afnity towards
the female form and his thought process when he photographs women.
Gibson is renowned for his graphical black and whites, but interestingly, this
book, which is a compilation of his work over the years, also includes some of his
more recent colour work. Students of light must study the way in which he masterfully
uses shadows to create a surreal feel. The book does justice to the works, with large,
dedicated dedicated spreads of photos that hold your gaze... as you turn each page, a new
photograph greets you, just like a chapter from a movie.
Chandni Gajria
Title: Nude
Author: Eric Fischl,
Ralph Gibson
ISBN: 978-3-836-52826-9
Publisher: Taschen
Price: Rs. 4003
BOOK REVI EW
Manoj Panjabi
Director
JCST Technology
L
ight Logics, India has set up
Asias rst 3D Hologram studio
in Thiruvananthapuram, Kerala.
3D holographic images are recorded with
laser light and specialised equipment.
This makes it possible to record and
reconstruct light. You can virtually
transport a space or a person to a different
place. You can even create life-size 3D
hologram images of yourself. But, priced
at Rs. 20,000 for each portrait, these 3D
holograms arent exactly inexpensive.
The Magic of 3D
Holograms in India
Ready for the Indian Photography League?
F
ujilm India has launched a new social
media campaign called the Indian
Photography League. The digital campaign
calls for entries from photographers across
all genres to participate and contribute
for the monthly themes. The best images
from every month will be awarded prizes.
The winning image for every month will be
featured in the annual calendar of Fujilm
India at the end of the year.
While there are several such
competitions on social media, the Indian
Photography League stands out because
of its catchy name and the duration of the
contest. Fujilm said that they hope that
this competition will help promote amateur
photographers and provide them with a
platform to showcase their work.
P
hoto Vision, New Delhi have partnered
with international photography gear
brands to bring their products to India.
Sun-Sniper, Giottos and Peak Design
are the three new brands whos products
will now be exclusively available through
Photo Vision. All three companies have
a list of interesting products which will
be of help to Indian photographers.
Photo Vision are already authorised
dealers of Nikon and ThinkTank
Photo products.
International Gear
Brands Come to India
Photograph Stored on
Strands of DNA
R
esearchers at Harvard have successfully
saved 700kb of data, including a photo
on a single speck of DNA. They believe that
all the data that exists on the planet can be
stored in a pile of DNA that would t in the
palm of your hand. While the idea of storing
all your precious photographs in a storage
device that is barely visible seems tempting,
it will take a long time before the costs of
using this technology is affordable.
500px Taken Off AppStore for Nudity, Restored
A
pple unexpectedly took off the well
known photo sharing app, 500px,
from its App Store on 22 January 2013.
It is reported that Apple had received
complaints of child pornography in the app.
However, the app was back on the store a
week later with few tweaks.
500px had to add a report button so
that users could ag inappropriate content.
It also had to tweak its search engine
facilities to allow users the ability to avoid
nude images, artistic or otherwise to appear
in the results. Additionally, the age limit
for the downloading the app has now been
increased from 12 years to 17 and older.
This entire
incident brings
us back to the
age-old debate
of art versus
pornography, and
whether artistic
nudity is perceived
as pornography.
Creative Commons licensing safeguards artists rights.
1. Place of Publication: Ruby House, A Wing, JK Sawant Marg,
Dadar (West), Mumbai-400028.
2. Periodicity of Publication: Monthly
3. Printers Name: Mr. Mohan Gajria
Nationality: Indian
Address: Ruby House, A Wing, JK Sawant Marg,
4. Publishers name: Mr. Lakshmi Narasimhan
Nationality: Indian
Address : Ruby House, A Wing, JK Sawant Marg,
5. Editors Name: Mr. Krishna Madhavan Pillai
Nationality: Indian
Address: Ruby House, A Wing, JK Sawant Marg,
6. Names and addresses of individuals who own the newspaper & partners
or shareholders holding more than 1% of the total capital : Network 18
Media & Investments Limited** is the owner of the publication namely
Better Photography, having its registered ofce at 503, 504 & 507, 5th Floor,
Mercantile House, 15, K. G. Marg, New Delhi - 110 001.
Details of the shareholders of Network 18 Media & Investments Limited who holds more
than 1% of the paid up equity capital of the Company as on 28-02-2013 is given below:
1 RRB MEDIASOFT PRIVATE LIMITED
403, Prabhat Kiran 17,Rajendra Place New Delhi 110008
2 RB MEDIASOFT PRIVATE LIMITED 403, PRABHAT KIRAN
17, Rajendra Place New Delhi 110008
3 RB MEDIA HOLDINGS PRIVATE LIMITED
403, Prabhat Kiran 17, Rajendra Place New Delhi 110008
4 WATERMARK INFRATECH PRIVATE LIMITED
403, PRABHAT KIRAN 17, RAJENDRA PLACE NEW DELHI 110008
5 COLORFUL MEDIA PRIVATE LIMITED
6 ADVENTURE MARKETING PRIVATE LIMITED
7 RB MEDIA HOLDINGS PRIVATE LIMITED
403 Prabhat Kiran 17 Rajendra Place New Delhi 110008
8 WATERMARK INFRATECH PRIVATE LIMITED
9 COLORFUL MEDIA PRIVATE LIMITED
10 ADVENTURE MARKETING PRIVATE LIMITED 403 PRABHAT KIRAN 17 RAJENDRA
Place New Delhi 110008
11 RB MEDIASOFT PRIVATE LIMITED
12 SHINANO RETAIL PRIVATE LIMITED
4th Floor Court House Lokmanya Tilak Marg Dhobitalao Mumbai 400002
13 Nexg Ventures India Private Limited C-157, Industrial Area,
Phase - Vii Mohali, Punjab 160055
14 ARIZONA GLOBAL SERVICES PRIVATE LIMITED
1204, 12Th Floor Hemkunt Chambers 89, Nehru Place New Delhi 110019
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Citibank N A, Custody Services 3Rd Flr, Trent House, G Block,
Plot No. 60, Bkc, Bandra - East Mumbai 400051
16 INDEPENDENT MEDIA TRUST (held in the name of its Trustee)
Empire Complex 1St Floor 414 Senapati Bapat Marg Lower Parel Mumbai 400013
17 NETWORK18 MEDIA TRUST (held in the name of its trustee)
503 504 And 507 5Th Floor Mercantile House 15 Kasturba Gandhi Marg
Delhi 110001
18 NETWORK18 GROUP SENIOR PROFESSIONAL WELFARE TRUST
(held in the name of its Trustee)
503 504 And 507 5Th Floor Mercantile House 15 Kasturba Gandhi Marg
Delhi 110001
I, Lakshmi Narasimhan, hereby declare that all particulars given above are true to
the best of my knowledge and belief.
Dated: 8th February 2013
LAKSHMI NARASIMHAN
Signature of the Publisher
** ownership of this magazine stands transferred from Infomedia Press
Limited (formerly known as Infomedia18 Limited, hereinafter Infomedia)
to Network18 Media & Investments Limited (Network18) in pursuance of the
scheme of arrangement between Network18 and Infomedia and their respective
shareholders and creditors, as approved by the Honble High Court of Delhi
and the necessary approval of Ministry of Information and Broadcasting is
being obtained.
Statement about ownership and other particulars about newspaper/periodical namely BETTER PHOTOGRAPHY,
as required to be published in the rst issue of every year after the last day of February
Form IV (See rule 8) (Press and Reg. Of Books Act, 1867)
SNAPSHOTS
28
Ever wondered how colour blind people see
the world around you? An online software,
Colour Blindness Simulator, lets you do exactly
that. All you have to do is upload the image on
the website and choose between three colour
blindness conditions.
The software is free of cost and takes hardly
a couple of minutes to show you the result.
However, while uploading images, you are
restricted to a resolution of 1000 x 1000 pixels and
a size of 100KB. This can be a problem as you need
to downsize most images.
The software is an interesting insight into the
world of those suffering from this peculiar visual
condition. However, it is still a work in progress.
You can try out the simulator at www.etre.com/
tools/colourblindsimulator
Ketan Kundargi
SOFTWARE OF THE MONTH
Colour Blindness Simulator
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he Computer History Museum in
California, USA has made the source
code of Adobe Photoshop v1.0.7 available
for a free download. The download
consists of around 1,28,000 lines of code
and is available for
non commercial
use. The museum
has also provided
links to the Adobe
Photoshop User
Guide and the
original Tutorial
that came with
the software.
Original Photoshop Code Made Available
While the source code might not be very
useful to build a new software it might be
of great interest for geeks. It will hold a
special place in the hearts of the people
who have been using Adobe Photoshop
for years now.
One look at the
software and one
can see how the
icons and layout
of tools in the
latest version of
Photoshop are
similar to the ones
in the rst version.
Google Strikes Controversial Deal with Getty
E
arlier in December 2012, Google
had announced that it would make
images available for their Google Drive
applications. These were stock images of
nature, sports, food, weather and more.
425 million active Google users would be
granted free permission to use these images
in documents, sheets and slides created on
the Google Drive Platform. However, it was
recently discovered that these images were
obtained by Google from Getty through a
rather controversial licensing deal.
Photographers are at a loss as they
are reportedly being paid as low as USD
12 (approx. Rs. 650) for unlimited and
possibly commercial use of their images.
The photographer does not even have the
ability to give his consent or withdraw it.
SNAPSHOTS
29
Flickr Bug Makes
Private Images Public
A
re your private images really as safe as
you think they are? A recent computer
bug made images set to Private on Flickr
go Public and be visible to everyone.
The images were public for 20 days
before the bug was identied and xed.
While Flickr claims only a small number of
users were impacted, it raises the question
of how secure our data is on the internet.
So, the next time you upload your
private images on photo sharing sites
such as Facebook and Flickr, remember
that a small bug could cause an
inadvertent breach of privacy.

Nikhil believes that
the colour, material,
texture and pattern of
the place adds to the
value of the photograph.
Sudipto Das
Photography Student Wins Toto Funds the Art Awards
LOOK WHO S SHOOTI NG
Space always
fascinates me.
Every space
has a character
which is dened
by a number of
elements within it.
Nikhil Patel is one of the two winners in the 2013
edition of the Toto Funds the Arts Photography prize
for his series Surface with Memories. Having studied
architecture and worked as an architect for over a
year, photography has helped him convey the stories of
places to people. However, he believes his series is only
a medium for conversationa way of talking about a
problem and not something that provides a solution.
Currently, Nikhil is studying photography at the
National Institute of Design, Ahmedabad. He says,
It feels great when your personal work is
appreciated. It serves as a great source of inspiration
and pushes me to work harder. He believes that the
images helps him document the emotions, memories
and the beauty of various places. The sketches help
him visualise spaces in the fourth dimension by taking
him back in time and offering a peek into how things
might have been.
In its physical form, the series is presented as a
book. Every image is a two-layered print where the
top layer is a sketch printed on transparent sheet
and the lower layer is a print. The multiple layers
enhance the experience of going through the images
in the book. I plan to publish this book and make it
accessible in bookstores, he says.
Written by Ketan Kundargi
Nikhil Patel
Edit Your Photos by Talking to Your Computer
P
ixeltone, an all new photography
editing app, lets you talk to your
computer or smartphone and tell it how
you want to edit your images. The app
is currently in its prototype stage and is
bound to hit the markets soon. Pixeltone
aims to make photo editing an easy and
handsfree affair.
It is being developed by a team that is
a collaboration of people from Adobe
Research and the University of Michigan.
Except using physical gestures to tell the
computer what you are referring to for the
rst time, users supposed to issue voice
commands for everything else. You can
educate the program about specic things
such as a persons name or an object like
a cap or shirt. Once the computer has
learned this, you can make adjustments
specically to those objects. You can tell
the program to brighten the shirt and it
will provide you with a slider that changes
only the shirts brightness.
SNAPSHOTS
32
Advt Single Pg.indd 200 11/15/12 5:19 PM
The Being of a Photograph:
Examining Perspective & History
Chandan Gomes makes photos for a living. At 23, he became the youngest recipient of the prestigious India Habitat Centre Fellowship for Photography in 2011.
A philosophy student, he enjoys writing on the medium. He lives in an eclectic Old Delhi neighbourhood, nestled in Mughal garden built by Aurangzebs sister, Roshanara.
V I S UA L MU S I N G S
33
A
round Christmas Eve, last year, similar photographs
surfaced in newspapers and magazines across the country.
Most captions read as Anti-rape protest turns violent,
police forces attacked / Protesters turn violent, police forces
attacked. As the author of the above photograph and a witness to the
events that unfolded on the 22nd and the 23rd in Delhi, here is my
captionA protester hurls back a teargas shell thrown at him.
Do the captions evoke a similar response or do they build upon
distinct perspectives? More importantly, which is the one you trust?

Putting Perspective in Perspective!
Simply put, perspective means a view, which is an integral part
of a photo. Trouble starts brewing when perspective becomes
the photograph itself. Every now and then, at exhibitions and
slideshows, I hear photographers say this is my perspective, my way
of looking at things. Mostly, they evoke this argument when they
wish to conveniently bow out of debates and discussions probing
the nature of their works.
A more rigorous examination of the statement reveals a
disregard for visual reciprocity, hence undermining the role of
the viewer. This power struggle results in a bipolar reading of a
photograph either it is met with great distrust and cynicism or is
accepted as an absolute truth. In both scenarios, there is no space
left for the multiplicity of viewpointthe notion that no single
point of view is the complete truth. A viewpoint accepts its specic
spatial and temporal nature and acknowledges the possibility of
other opinions existing simultaneously; thereby creating space for
dissent and dialogue, rebellion and reconciliation.
Whose History is it Anyway?
In 2011, at a slideshow in Delhi, a respected photojournalist shared
his documentation of the Maoist insurgency in Central India. In the
tightly packed room, I was standing next to the two attendants
Chandan Gomes
Chandan Gomes
responsible for managing the logistics. My weakness for whispers
and murmurs led me to eavesdrop on their conversation. He is
talking about the armed forces and the Maoists, but why isnt he
talking about us? The common man who inadvertently becomes a
victim of this power struggle; do we not exist? The photographer
was speaking in English, a language that these two men from
Chhattisgarh did not understand. But they understood the language
of his photographs, the slant in his work. They could not locate
themselves in the history that he was etching with his images.
A photograph is an object of the past that is rooted in the present
and projects itself onto the future. The being of a photograph
encompasses all the three tenses, thereby making it both powerful
and problematic. With every photograph that we make in the
present, we etch a certain past, from the reading of which, a certain
future will evolve. What we need to realise is that this past is, but a
selective recollection of what occurred. It is a part/fragment (of a
larger whole) that survived. It is not the whole in itself.
Let us ponder over the visual archives of the Indian Independence
Strugglemost photographs that one can recall are of stalwarts like
Gandhi, Nehru, Patel. But what about the common man who rallied
behind them? The countless freedom ghters whose stories went
untold? These courageous men and women came from different
walks of lifethey were farmers, carpenters, milkmen, maids,
homemakers, students, unemployed youth etc. By overlooking
their role, these celebrated archives etch a history that is no less than
a spectacle for the common man who will always locate himself
outside this illustrious past. And people who nd themselves
excluded from history, have no say in the present. They are the
unknown citizens who are reduced to statistics in government
records, who perish on the fringes.
Lets Accept our Limitations
We need to realise that for every story that is told, countless go
untold. They existed, but we lost them to the limitation of the
medium and the very paradigm of storytelling. Let us be careful of
the words we chose an expression like unique perspective is not
only misleading, it is divisive and undemocratic. As John Berger
lucidly puts it, To whom does the meaning of the art of the past
properly belong? To those who can apply it to their own lives or to
a cultural hierarchy of relic specialists? The next time you go to an
opening, look into the eyes of the men who serve you with wine and
cheese. And in them, you may see how vulnerable, how left out they
feel in a space reeking with freedom of expression.
Freedom is not a right, it is a responsibility. Create with empathy,
as your freedom can infringe upon someone elses liberty.
34
Nikon D5200
Nikons new APS-C sensor camera, the D5200 has some fantastic vital
statistics. Supriya Joshi spends some time with this beauty.
A Cool 24.1 / 39!
E
veryone loves a stunner.
And heres the Nikon D5200,
vying for your attention.
With specications like the
ones it offers, it will be difcult
not to get enticed. So, what new features
and innovations will the D5200 bring to
the table? Is it set to rule the entry-level
roost? Maybe youve found your new love.
Lets nd out.
Features
The feature set of the D5200 is a fusion of
the vari-angle screen of the D5100 and the
same metering and AF system as the Nikon
D7000. While its pixel count is similar to
the D3200, the Nikon D5200 features an
all-new 24.1MP CMOS sensor. This sensor,
combined with an EXPEED 3 processor,
helps record high megapixel les at 5fps.
Now the clincherlike the mid-level
D7000 and the full frame D600, the D5200
has a total of 39 AF points, nine of them
being cross-type. Wow. That, itself, is a
superb update, given that the D7000 and
the D600 cost considerably more than the
D5200. Meanwhile, its closest competitor,
the Canon EOS 650D has nine AF points,
all cross-type.
Unfortunately, like all entry-level
Nikons, the D5200 has no internal AF
motor, so it will not autofocus with the
older screw-drive AF lenses. One can
mount these lenses, but only focus them
WEIGHTAGE OF
PARAMETERS
Features
Performance
Build Quality
Ergonomics
Warranty &
Support
30%
20%
30%
15%
5%
HOW WE TEST
Product Categorisation
We rst segregate products
into categories for the purpose
of equitability in testing.
The DSLR is divided into
entry-level, semi-professional
and professional categories.
For compacts, we distinguish
between advanced and basic
compact cameras. Similarly, we
also test consumer and pro
lenses, ashguns, printers, and
other photographic accessories
and gear.
The Process
We primarily test for features,
performance, build, ergonomics,
warranty and support. While this
remains constant, the weightage
we give to these parameter
differs from category to
category, because different
types of consumers have diverse
expectations from products.
Final Ratings
Under each main parameter,
we list out hundreds of individual
variables (for eg. colour accuracy
for individual colours in different
lighting, individual features,
dynamic range, center-to-edge
denition, light falloff, etc) against
which we either give points
or simply mark yes or no.
Thus, we arrive at a score for
that parameter, and then, the nal
score, denoted as a percentage.
Additionally, based on the current
pricing of a product, a star
rating for Value for Money is
considered. Value for Money does
not affect the nal percentage,
because prices for products
change constantly.
Our Seals of Approval
Any product that scores 80%
or higher in individual tests gets
BP Recommendeda seal
of approval from our team.
In comparison tests, we also tag
products as BP Best Performer
and BP Best Value for Money.
BP Excellence Awards
At the end of the calendar year,
the highest rated products in
each category automatically
win the Better Photography
Excellence Award. This is
Better Photographys recognition
of the very best products
launched in the course of the
year, and the companies that
made them.
GearGuide
35
The cameras vari-
angle LCD allowed me to
frame images from all
angles with ease.
Exposure: 1/160sec at f/7.1
(ISO 100)
manually. For this test, I used the AF-S
1855mm VR kit lens.
Like the D5100, one can shoot Full HD
video with the D5200. This time, the
frame rate has been expanded to include
60i and 50i recording as well as 30p, 25p
and 24p. This happens to be the best
video specication in any Nikon DSLR,
to date. One can focus continuously in
video, but the AF speed is not as good as
the competitions, and certainly nowhere
in the class of Sony SLT cameras.
Video functionality is a little twisted.
If you wish to change the aperture to
control the amount of depth in the photo,
you will need to make the change before
you enter Live View. So while shooting
video, if you decide that a change is
necessary, you need to switch modes
twice. This is a weird quirk and one hopes
that the company announces a rmware
update to rectify this.
The D5200 features several in-camera
editing and retouching abilities and also
NEF (RAW) processing.
The camera supports an optional
WiFi unit, which plugs into the cameras
accessory terminal and transmits images to
a smartphone or tablet, to upload to social
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An Easy Illustration of the Exposure Triangle
The Graphical User Interface (GUI) is a pleasure
to use. It is animated in nature and shows
shutterspeed, aperture and ISO settings in three
different circles, which adjusts in real time.
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WHATS IN THE BOX
K<JK
Samsung NX1000
The worlds rst WiFi
mirrorless camera
48
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BenQ LR100
Will a beginner
like this?
52
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Lensbaby Spark
Unique set of optics for
one-of-a-kind pictures
54
36
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On the hand grip is an infrared receiver, for use
with the wireless remote. The cameras AF-assist
illuminator can also be used as a self-timer lamp as
well as red-eye reduction lamp.
A stereo microphone sits in front of the hot shoe.
There is no LCD panel on the top plate. The Fn button
can be assigned to various functions, like ISO and White
Balance. A dedicated Drive Mode button is also present.
The 3-inch vari-angle LCD screen is of extremely good
quality, but in a camera that has upped the video
features, we expected a touchscreen. The external
control is limited, but not entirely limiting.
ERGONOMICS
Record
button
Drive button
Vari-angle
LCD
Infrared
receiver
Delete button
media. The device can also be used as a
remote control for the camera, complete
with Live View.
However, one cannot use the onboard
ash to wirelessly trigger an external
ashgun. Considering the 650D has
this feature and the fact that the D5200
has some other high-end features, the
exclusion of wireless ash control is a
glaring oversight.
Commendably, the Auto ISO functionality
has been revamped and is similar to the
one seen in the D800. It sets the minimum
shutterspeed automatically based on the
focal length of the lens. The D5200 shoots
14-bit RAW, which helps get the best
possible dynamic range from the camera.
A 3-inch, 921k dots, vari-angle LCD
screen completes the feature set of the
camera. Touchscreen is still missing,
however. It would have been a nice addition,
considering its rival, the Canon EOS 650D
has a touchscreen LCD.
Handling
Physically, the D5200 is near identical to
the D5100, though a few enhancements
have been added. A toggle-type switch is
used to move to the cameras Live View
mode. The lag between using the toggle
switch and the image appearing on screen
was minimal.
There is no dedicated ISO or White
Balance button, which is quite sad,
Flash
Mode dial
Front Top Rear
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Flash mode
button
Textured
rubber grip
Lens
Hot shoe
Fn Button
Menu button
Command
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ALSO LOOK FOR
Shutter-release
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Test Shots
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The 39 AF points ensure that you never miss a moment. Focusing is
quick and accurate as the camera would instantly lock on to subjects.
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The image above is actually a close crop of a much larger frame. The large
resolution allows cropping without compromising on image quality.
Info button
Pentamirror
viewnder
38
TEST
considering that several other entry-level
DSLRs and mirrorless cameras have these.
There is a Fn button next to the pop-up
ash which can be assigned to ISO or White
Balance, amongst other settings.

Performance
The D5200s 39-point AF does a very good
job of capturing fast moving subjects.
However, beginners need to keep one
thing in mind. This is an autofocus system
that is pretty high-end, and it needs a lot
of practice to be able to switch through
the various AF points quickly.
Images produced by the camera are
nice and vibrant, with the typical colour
palette that one expects from Nikon
cameras. The JPEG processing engine is
very good, and there are no artefacts or
oversharpening halos.
The camera produces a good amount
of detail, but one must remember that
one needs a high quality lens to do real
justice to the high-megapixel sensor.
The kit lens is not bad at all... it controls
are and fringing very well, but it is with
prime lenses that the sensor really shines.
The dynamic range is class leading,
especially at lower ISOs.
Colour noise is kept to a minimum
and images are usable even at the higher
ISO settings. That said, this is no D7000,
if you are comparing the quality at
the highest ISO. Video quality is good.
Sound recording is not the best, even
though there is manual control over it.
There is also the provision of attaching an
external microphone.
Conclusion
The camera is priced at Rs. 41,450 (body
only). It is approximately Rs. 14,000
cheaper than its closest competitor, the
Canon EOS 650D.
The Nikon D5200 combines the
simplicity of an entry-level DSLR with the
internal technology of something more
high end, to create a holistic new product.
There are a few missing linksdedicated
ISO and White Balance buttons, wireless
control over ash and a touchscreen
LCD. But for those who do not need the
weather-sealed bodies and all-round
handling of more expensive cameras, the
D5200 entices, excites and satises.
F I N A L R A T I N G S
Features
39-point AF system, new 24.1MP CMOS
sensor, no wireless ash control
28/30
Performance
Good ISO performance, quick AF
27/30
Build Quality
Sturdy, small handgrip
17/20
Ergonomics
Improved GUI, no ISO or White Balance button
12/15
Warranty & Support
Two-year warranty
4/5
OVERALL

88%
Noise Test
The images are quite usable up to ISO 6400,
though there is a slight softness at this level.
Considering the high resolution of the camera, one
can downsize the les to get relatively usable results
at the highest ISOs.
SPECI FI CATI ONS
Model name Nikon D5200
MRP Rs. 41,450 (body only)
Effective pixels 24.1MP
Max. resolution 6000 x 4000 pixels
Sensor size, type 23.5 x 15.6 mm, CMOS
Sensor cleaning Yes
Aspect ratio (w:h) 3:2
Focusing modes Contrast Detect (sensor),
Phase Detect, Multi-area,
Selective single-point, Tracking,
Single, Continuous, Face
Detection, Live View
AF points 39 focus points
Metering Multi, Center-weighted, Spot
Shutterspeed range 301/4000sec, Bulb
Exp. compensation +/- 5 (at 1/3 EV, 1/2 EV steps)
Colour space sRGB, Adobe RGB
ISO Auto, 1006400
(25,600 with boost)
White balance Auto, Incandescent,
Fluorescent, Direct Sunlight,
Flash, Cloudy, Shade
Drive modes Single frame, Continuous,
Self-timer, 2s Delayed Remote,
Quick-Response Remote, Quiet
Shutter Release
Built-in ash Yes
External ash Yes
Flash modes Auto, On, Off, Red-eye, Slow
sync, Rear curtain
LCD size 3-inch
LCD dots 9,21,000 dots
Viewnder Optical (pentamirror)
File format RAW, JPEG, H.264/MPEG-4
Image stabilisation No
Live View Yes
Mirror lock-up Yes
Remote control Yes
Self-timer Yes, 2, 5, 10, 20sec
Storage types SD, SDHC, SDXC
Timelapse recording Yes
Movie clips Yes, Full HD
USB Yes, USB 2.0
Environmentally sealed No
HDMI Yes, Mini Type C
Battery Lithium-ion
Dimensions (W X H X D) 129 x 98 x 78mm
Weight 510g
co
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ISO 3200
ISO 25,600
ISO 6400
ISO 12,800
Value for Money
Who should buy it? Those wanting good image
quality and AF performance in an affordable DSLR.
Why? Never before has an AF system this sophisticated
been seen in a DSLR that costs below Rs. 50,000. It is ideal for
those who dont need the advanced handling of the D7000.
48
MARCH 201 3
The Samsung NX1000 ghts hard to stay relevant amidst some strong
competition, but it has one neat trick up its sleeve. Raj Lalwani nds out.
Worth a Connect
T
he arrival of every new camera
brings a fresh buzz to the Better
Photography ofce. While we are
strong proponents of the fact that
the camera does not determine
how good a photographer is, we are also
a bunch of geeks, at heart. When the
Samsung NX1000 arrived on the test
bench last month, we werent quite sure
how to react.
At one level, I was very excited.
After all, this, is the rst interchangeable-
lens camera that has inbuilt WiFi (it
was announced before the Canon EOS
6D). But my response was also a little
guarded... after all, Samsung themselves
seem to promote their consumer gadgets
like the Galaxy camera much more.
Would the NX1000 nd its place in a
brand-loyal, price-conscious India?

Features
The NX1000 is a camera that seems to
be simplistic and low-end, but it also has
several interesting shades. For those who
are late to the party, Samsung are actually
quite experienced in the mirrorless
gamethis is the eighth camera in the
NX lineup. Though it only has entry-
level aspirations, it packs in a decent
number of features from its high-end
predecessors as well.
The NX1000 has a new 20MP APS-C
sized sensor. This is a stepup from the
older 14.MP sensor that wasnt as good in
terms of resolution and noise performance
Samsung NX1000
TEST
WEIGHTAGE OF
PARAMETERS
Features
Performance
Build Quality
Ergonomics
Warranty &
Support
30%
20%
30%
15%
5%
49
MARCH 201 3
as competing APS-C sensors. The camera
comes with a kit lens that has a rather
curious focal length. The 2050mm
(equivalent focal length of 3075mm) is
neither as wide as regular kit lenses, nor
does it get as close.
While one may question why Samsung
has made such a choice, I think it has a few
advantages. The smaller zoom range is not
something that gave me too many problems,
and the size of the lens is perfect for a
camera this small. At least we do not have a
situation like Sony NEX, wherein the lenses
completely dwarf the bodies.
I just wish they had not skimped out on
optical stabilisation though. The camera
does not have in-body stabilisation either.
The Magic Smart Filters arent as rened
as similar modes in Olympus and Sony
cameras. The Vignette lter gives great
results, but it sometimes results in banding,
when the sky is in the frame. The lack of a
great in-camera B&W mode was something
else I missed. The Magic Frame options are
downright childish though, even cell phone
users do not play with such effects anymore.
WiFi, as I mentioned, is the big trump card
of this camera. And before you dismiss that
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WHATS IN THE BOX
TEST
as a gadgetry gimmick, let me tell you the
various things one can do. Imagine the ease
of immediately uploading something the
moment you have shot it, just like one does
with their cell phones. Such functionality
would be appreciated by both consumers
and professionals on the go!
One can also use the connectivity in
other, interesting ways. Smartphone users
can download an app that allows you to see
exactly what the camera is seeing... so you
can keep the camera in one location, and
All photographs by Raj Lalwani
The camera is nice
and responsive, but
since the 20.3MP les
are large, you need to
use a fast card to get the
possible performance.
Exposure: 1/500sec at f/8
(ISO 1250)
The NX1000s high ISO
performance is much
improved. There is only
some luminance noise
and colour delity hasnt
been affected.
(ISO 6400)
50
MARCH 201 3
Like most mirrorless cameras, the front of the
camera is completely minimalist, with no real
controls. The grip is nice and deep, but the overall
plastic body is quite slippery. Handle carefully if you
are shooting in difcult conditions!
ERGONOMICS
AF-assist
lamp
Front Top Rear
Textured
handgrip
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Test Shots
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The colours straight out of the box are vibrant, without being overdone. A P Wiz
mode allows you to bracket between three different Picture Wizard settings
TEST
The LCD screen is sharp and detailed, but there is
no touchscreen functionality. I never had a problem
in accessing any particular function. Samsung must
be appreciated for keeping a good number of direct-
control and customisable buttons on the camera.
Fn Quick
Menu button
The direct-access button called Smart Link helps
connect the camera to a smartphone via WiFi instantly.
Thankfully, the camera has a mode dial, unlike some
other entry-level mirrorless cameras that tend to
exclude one.
Hot shoe
Strap eyelet
Lens
Smart Link
WiFi button
High resolution
LCD screen
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The startup time and the amount of time the camera takes to recover from the Sleep
mode is a little more than ideal. Once it is up and running, the shot-to-shot time is fast.
Thumbpad
All-plastic body
Custom WB
shortcut button
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One can customise
this Fn button which
is on the lens itself.
You can control
which features
you would want to
access, which is
very good.
monitor its framing from somewhere else
altogether. Not just that, you can change
settings and even re the shutter remotely!
A big thumbs up to Samsung for including
this vital feature... something that other
manufacturers are still catching up to.
Handling
There are a few basic handling quirks,
but those apart, this is a remarkably well
thought out camera. My praise comes from
the fact that almost every company has
made compromises while keeping the size
of their mirrorless cameras down.
Since the negatives are few, let me
rst quickly mention them. The plastic
body of the camera, while nice and
solid, is extremely smooth and slippery.
Thankfully, it has a large grip, but this isnt
a camera I would be comfortable holding
without a strap.
The On/Off switch is smartly nestled
around the shutter-release button, but it
is very loose. There were occasions that
the camera accidentally switched on,
while inside my bag. Though the styling is
modern, Samsungs menu system will please
the traditionalists. Unlike Sony (gimmicky
A rather loose
On/Off switch
Customisable
iFn button
51
MARCH 201 3
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PLUS
Features
No stabilisation, no touchscreen, inbuilt WiFi,
high-megapixel APS-C sensor
25/30
Performance
Noise performance not as good as
competition, sharp kit lens, good battery life
26/30
Build Quality
All-plastic body
16/20
Ergonomics
Excellent menu system, simple without being
restrictive in any way
13/15
Warranty & Support
Wide service network
3/5
Value for Money
Who should buy it? Those who enjoy shooting with
a small camera, and also want to share them instantly.
Why? Unlike other APS-C mirrorless cameras, Samsung
has several small lenses that one can use on this intuitively
designed camera. Inbuilt WiFi is another big advantage.
OVERALL

83%
SPECI FI CATI ONS
Model name Samsung NX1000
MRP Rs. 34,990
(with 2050mm IS kit lens)
Effective pixels 20.3 megapixels
Max. resolution 5472 x 3648 pixels
J\ejfij`q\#kpg\ APS-C, CMOS
Sensor cleaning Yes
Focusing modes Single AF, Continuous AF,
Manual Focus
AF points 15
Metering Multi, Centre-weighted, Spot
J_lkk\ijg\\[iXe^\ 301/4000sec
Exp. compensation +/- 3EV (in 0.3 EV steps)
Colour space sRGB, Adobe RGB
@JF Auto, ISO 10012,800
N_`k\YXcXeZ\ Auto, Cloudy, Custom,
Daylight, Flash, Fluorescent
(Day White), Fluorescent
(Natural White),
Fluorescent (White), Kelvin,
Manual, Tungsten
Drive modes Single, Continuous High (8fps),
Continuous Low (3fps), Burst
(10fps), Time, AE Bracket,
WB Bracket, P Wiz Bracket
9l`ck$èXj_ No
<ok\ieXcXj_ Yes, included
=cXj_df[\j Auto, Auto/Red-eye
Reduction, 1st Curtain Sync,
Fill-in, Off
C:;j`q\ 3-inch
C:;[fkj 921k dots
M`\ne[\i No
File format Still: RAW, JPEG,
Video: MOV
@dX^\jkXY`c`jXk`fe No
C`m\M`\n Yes
J\c]$k`d\i Yes
Storage types SD/SDHC/SDXC
Timelapse recording No
Movie clips Yes, Full HD
LJ9 Yes
Environmentally sealed No
HDMI Yes
Battery Lithium-ion
;`d\ej`fejNO?O; 116.8 x 63.5 x 38.1mm
N\`^_k 119g
ISO 6400
The dynamic range suffers at the highest ISOs, but if
you shoot in RAW, you will be pretty happy with the
results up to ISO 6400.
Noise Test
ISO 3200
ISO 12,800
and unintuitive) and Olympus (detailed,
but complex), the menus of the NX1000 are
perfectly categorised.
The 921k dot LCD is very sharp.
Though the camera does not have an
AMOLED screen like its more expensive
brethren, I welcome that. LCDs may not be
as easy to view in daylight, but Samsungs
AMOLED screens are way too vibrant,
making it difcult to gauge what the picture
actually looks like. The hot shoe and tripod
socket are perfectly aligned with the lens.
Performance
The NX1000 is a consistent performer.
In terms of AF, Samsung hasnt reached the
speed levels of the competition, but there
was never a situation when I missed a photo
due to focusing. When used with a fast card,
the camera is nice and responsive (8fps!), but
the startup time could have been better.
Colour delity is excellent, as is
dynamic range. The NX1000 does not
match the Sony NEX-5R in terms of high
ISO performance, but it is far better than
previous Samsung cameras. ISO 6400 is
not bad, if you are willing to spend time
processing the RAW les. Battery life is
excellent for this category of cameras.
The quality of the 2050mm optics is
excellent. There are minimal aberrations
and sharpness is very good. For once, we
have a kit lens that does reasonable justice to
a high-resolution sensor.
Conclusion.
The Samsung faces some very tough
competition. The Sony NEX-5R only costs
a little more and produces better quality at
high ISOs. A serious photographer would
also be tempted to go in for the pocketable
RX100, which may not change lenses, but
gives incredible image quality and value.
There are two things that go in the
Samsungs favour though. Unlike Sony
(the only other mirrorless brand whose
pricing comes close), their lens system
is actually quite nice, with a bunch of
pancake prime lenses that make perfect
sense on a camera of this size. The second,
of course, is the fact, that this is the rst
mirrorless camera that can share images
instantly. If you appreciate small primes,
simplicity or connectivity, this should be
your mirrorless choice.
and
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52
TEST
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WHATS IN THE BOX
Does the feature packed BenQ LR100 do enough to stand out amongst a wide
range of similar compact cameras? Ketan Kundargi nds out.
!|S!
A Disappointing Bundle
BenQ LR100
T
he LR100 marks BenQs rst
camera launch in the Style
and Slim series of cameras.
This section of compact
cameras is quickly being
replaced by smartphones. The BenQ needs
to bring something really unique to the
fray to make its presence felt in this already
crowded segment of compact cameras.
Features
A 14MP camera with 5x optical zoom,
the LR100 has an effective focal length of
26-130mm in 35mm parlance. The 2.7-inch
230k dot LCD display screen at the back
is rather disappointing. On the side, the
camera sports a miniHDMI port for video
output and a miniUSB port for charging
the camera and to transfer images.
The camera has an ISO range of 100
1600, which can be controlled only in the
Program mode. You can push this further
up to ISO 3200 and 6400 but only at the cost
of a compressed image at a lower resolution.
Multiple aspect ratio options including 1:1
and 16:9 make a great addition.
In the Burst mode, the camera can either
shoot ten continous frames in the High
Speed mode, make a collage of 16 sequential
shots in a single image or take three images
at different exposures for exposure
bracketing. An additional Speedy Burst
mode shoots 60 frames at high speed at a
compromised image size of 640 x 480 pixels.
Other than the usual Sports, Night Scene
and Landscape modes, it also has an HDR,
Lomo and panorama-shooting modes.
The Super Macro mode is not really as
super as it claims to be. The minimum
focussing distance is 5cm and not 1cm,
which is not as good as the competition.
Similarly, manual focus is actually
an option to choose between four
prefocussed distances and nothing more.
The LR100 lets you shoot Full HD
video at 30fps while you can shoot 720p
HD video, even at 60fps. The Watercolor
Recording adds an arty touch to videos.
WEIGHTAGE OF
PARAMETERS
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53
TEST
SPECI FI CATI ONS
Df[\ceXd\ BenQ LR100
DIG Rs. 8990
J\ejfij`q\#kpg\ 1/2.3-inch, CMOS
I\jfclk`fe 14MP, 4320 x 3240 pixels
C:; 2.7-inch, 2,30,000 dots
=fZXciXe^\ 26130mm
@JFiXe^\ Auto, ISO 1001600
Fgk`ZXcqffd 5x
D\k\iè^df[\j Matrix, Center Weighted, Spot
=`c\]fidXkj Still: JPEG
Movie: MOV
9Xkk\ip Li-ion battery
JkfiX^\ SD,SDHC,SDXC
;`d\ej`fejNo?o; 92.7 x 55.3 x 18.1mm
N\`^_k 100g
The Night Scene mode helps
avoid blurs but Digital IS
smudges all the details.
(ISO 3200)
Ketan Kundargi
Features
31 Scene modes, Full HD video, no IS
23/30
Performance
Poor image quality, decent AF, a pseudo MF
mode, good video quality, poor optics
22/35
Build Quality
Polycarbonate body, metallic nish
12/15
Ergonomics
Easy to handle, dedicated Function key
10/15
Warranty & Support
Two years warranty, limited service centre
2/5
Value for Money
Who should buy it? Someone who wants a
pocketable compact camera with good Full HD video quality.

Why? Besides video, this is not a compelling camera at all.
Cameras from other brands like Nikon, Canon and Sony offer
stabilisation and more zoom in the same price.
OVERALL

69%
Continous AF, Optical Zoom and a
Stereo microphone promise great results
with video.
Handling
The LR100 is an incredibly compact and
lightweight camera. About the size of a
smartphone, it can easily t in your pocket
and is easy to carry around. The back of
the camera also features a dedicated video
button and a functions key. The latter is
almost indispensible as it is an easy shortcut
to every feature that camera mode offers.
The inclusion of an AE/AF lock on
the four-way controller at the expense
of the Self Timer is surprising as this
is a consumer camera. Being able to
customise the centre button to make it
into an AF/AE lock and have the Self
Timer on the controller would have been
a better option.
Performance
When it comes to image quality, the BenQ
LR100 reproduces the colours well and
the metering is spot on. However, it loses
out when it comes to image sharpness.
Even in broad daylight, the highlights
are blown out and the shadow areas are
smudgy. During the day, the noise is
under control. The same cannot be said
when shooting in low light. Even at ISO
400, noise is distinctly visible. The lack of
sensor-shift/optical image stabilisation is
a glaring omission, and due to this, one
has to depend on the underperforming
Digital IS. This only boosts the ISO,
leading to extreme softening.
The quality of optics is worse than we
have seen in this price range. The lens
ares up badly when shooting against the
light, and we sometimes saw rainbow-
shaped ghosting in our frames too!
The camera delivers decent video
performance. The Watercolor Recording
mode overexposes scenes. Due to this, it
resembles the Negative Scene mode.

Conclusion
The LR100 has several features, but
considering its price tag of Rs. 8990, one
really misses true image stabilisation.
There are other cameras in this price
range, like the Canon SX150 IS and
Nikon S6200, that have stabilised 10x
zoom lenses. Its image quality is the real
problem, and one would be well advised
to look at other options.
54
TEST
The springy bellows and a xed f/5.6 aperture of the Lensbaby Spark promises
to be liberating and a whole lot of fun. K Madhavan Pillai puts it to the test.
TEST
Fun Sparky Baby
Lensbaby Spark
I
ntroduced in September 2012, the Spark
is the latest, and the most inexpensive, in
the line-up of selective focus lenses by
Lensbaby. Walking down a busy street
with the Lensbaby Spark attached to a
Nikon D600 certainly attracts attention.
Curious bicyclists and college kids stop and
stare as I squeeze the bellows of the Spark,
trying to position the circular sweet spot of
focus over my subject.
It takes about ten frames and just as many
minutes to ensure that I have got the perfect
focus and composition. Yet, the effect I get
on my image with the Spark is nothing short
of pleasing.
Features
This 50mm lens lets a circular part of
the frame be in focus, while the rest
progressively blurs out. This circular sweet
spot can be moved around the frame, and
towards innity or for a closeup, by simply
pushing or squeezing the bellows around.
Unlike the Spark, previous versions of the
Lensbaby (the considerably more expensive
Composer and the Composer Pro) uses a
swivel ball to position the sweet spot and a
focus ring to get the subject sharp. Once you
position and focus the lens, the Composer
retains it for the next shot. On the other
hand, the bellow of the Spark springs back
into its original position once you release
it. This makes it quite tough to get a second
shot that is identical to the rst.
Another big difference between the Spark
and the Composer is that the aperture of the
Spark is xed at f/5.6. With the Composer,
aperture can be changed from f/2 to f/22
using interchangeable, magnetic aperture
disks that need to be inserted.
That said, I nd the rationale for
xing the aperture to f/5.6 quite sound.
It lets enough light into the camera for
comfortably viewing either through the
optical viewnder or on the LCD panel.
It is narrow enough for the right amount
of depth-of eld, so that the user can focus
quickly. An aperture of f/5.6 is also large
enough for relatively high shutterspeeds in
good daylight, to freeze motion.
The Spark uses the Lensbaby Optic Swap
system. By default, the lens comes with the
WEIGHTAGE OF
PARAMETERS
Features
Performance
Build Quality
Ergonomics
Warranty &
Support
15%
25%
35%
20%
5%
55
TEST
SPECI FI CATI ONS
Model name Lensbaby Spark
MRP Rs. 6990
Lens construction Multicoated double glass optics
Min focusing distance 0.35m
Focusing Manual focus using a bellow
Aperture f/5.6, xed
Filter diameter 37mm
Mounts Canon, Nikon
The sharp sweet spot is
rather nicely complemented
with smooth, progressive
blurs towards the edges.
(ISO 1600) K Madhavan Pillai
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PLUS
Features
Selective focus, Optic Swap system, bellows
17/20
Performance
Fixed f/5.6, sharp sweet spot, smooth blurs
30/35
Build Quality
Tough despite plastic lens mount and bellows
21/25
Ergonomics
Plastic ange for accurate two-handed use,
difcult to clean
11/15
Warranty & Support
Limited number of service facilities
2/5
Value for Money
Who should buy it? Students will nd that there is
a lot to learn from the Spark. It is also good for anyone who
wishes to experiment with selective focus and optical blurs.
Why? It needs practice and patience, but it is an extremely
creative lens. It is also a lot of fun to use.
OVERALL

81%
multi-coated double-glass optical module.
However, you can purchase other optical
modules (sh-eye, soft focus, single glass,
plastic, or pinhole/zone plate) and use them
instead for different effects. To swap the
optics, you need a special tool, which comes
bundled with the optic swap modules.
The lter diameter is 37mm, which is
common enough to nd creative lters
for. Lensbaby also sells a rather interesting
accessories kit which includes macro
lters, wide angle and telephoto converters
and creatively shaped apertures.
The image circle thrown by the lens
is meant for a full frame 35mm camera.
While the lens can also be used with DSLRs
with APS-C sized sensors, I nd their
viewnders a little too small for setting the
focus accurately.
Handling
The Spark is extremely light, but is made
of robust plastic, including the lens mount.
The front of the lens that holds the optics
and lters is metal. The rubber bellow is
tough and should see through plenty of
wear. I liked the wide plastic ange at the
front of the lens. It allows one to use the
bellows quite effectively.
It takes a while to get used to handling the
Spark, especially if it is the rst time you are
using a Lensbaby. The camera needs to be
used in the Manual mode because there is
no information being exchanged between
the camera and the lens.
A two-handed, more accurate operation
of the bellows also takes time to learn,
especially with full frame DSLRs that have
larger right-hand grips. However, once you
get used to it, handling becomes instinctive
and producing good images becomes easier.
My only serious gripe with the Spark is
that the front element of the optical module
is so recessed, that it is difcult to clean.
Performance
On the other hand, the advantage of the
optical module being so recessed is that
are is cut off quite effectively, improving
colour contrast and sharpness. I was quite
surprised to see a high level of sharpness
produced by the rather simplistic
double-glass optics. The progressive
blurring outside of the sweet spot is well
controlled, smooth and looks just right.
Conclusion
Being spontaneous with the Spark takes a
bit of practice. But once you get there, it is
a lot of fun indeed. What I like most about
the Spark is that it is an expandable system,
albeit one without the advantage of smaller
or larger apertures. This is certainly not a
serious shooters lens. For those who want
more control, the Lensbaby Composer is
the next best option.
Yet, the Spark has an excellent price of
Rs. 6990. If you like optical blurs and can
enjoy the quirkiness of a lens on a bellow,
the Lensbaby Spark is a good choice.
R
E
C
O
M
M
E
N
D
E
D
E
N
D
E
D
56
MI CRO TEST
Vanguard BBH-200 Ballhead
Unique design and excellent build make
this ballhead a great option.
Innovative and Sturdy
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SPECI FI CATI ONS
Joby Gorillapod SLR-Zoom
The guerrilla tripod is portable, exible
and offers impressive stability.
The Flexible Monster
E
ver thought of letting your
precious camera hang off a pole
or a branch of tree to take a
picture? If you did and have been
wondering how to do it, then the
Joby Gorillapod SLR-Zoom will help you
do just that. The rst time you set it up
around a pole and realise the camera is
not going to fall, it opens up a completely
new and fun approach to photography.
As the name suggests, the gorillapod
is designed to handle a DSLR along with
a zoom lens attached. Not only does it
handle an entry-level DSLR and lens with
ease, it is just as good with a full frame
camera and a heavy lens. It is rugged,
lightweight and very
portable. While each of
the joints can seem rather
stiff, the leg as a whole is
exible. It can be easily
adjusted to wrap around
any object or to make it
stand in any position.
Each leg joint has a thick
rubber ring around
it which signicantly
improves its grip.
The SLR-zoom misses
out a quick release plate
that would have made the
gorillapod much easier
to use. However, it does
come with an adapter that
lets you attach an optional tripod head to it.
The gorillapod often tends to shake when
you release the shutter after being set up.
It is advisable that you either set up a 10sec
timer or use a remote to release the shutter.
The Joby Gorillapod SLR Zoom does
not replace a tripod. But it comes very
close to it with its stability, portability
and exibility. It is not something that
you can completely depend on for your
professional assignments, but is the perfect
companion when you are going out for a
family vacation and want to travel light.
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SPECI FI CATI ONS
Product source:
Inter Foto, Mumbai
Tel: +91-22-24925151
RATI NG
Product source:
Nikita Distributors,
Pune
Tel: +91-2030500614 )
RATI NG
T
he BBH-200 is one of the three
top-of-the line BBH Series
of ballheads from Vanguard.
Having won a slew of awards in
for its design including the 2012
TIPA Best Accessory award, I was curious
to see as to how good this ballhead
really was. For a tripod that has a weight
bearing capacity of 20kgs, the ball head
is surprisingly exible, lighter and easy
to use.
The magnesium ball head has a scratch-
free surface and an open construction that
cuts down on overall weight. This makes
it considerably lighter and easier to carry
around. However, that does not mean
that it compromises on its build. Even a
full frame pro DSLR along with a heavy
lens is like a childs play for this ballhead.
The traditional and cumbersome knobs
are replaced with lever-style tab locks.
This is a huge improvement and makes
the process of setting up the head
faster and easier.
A rotatable lower base ensures
that 360 degree panning is
possible. The two spirit levels
instead of the usual one level are
of great help to get your
horizons right even when
shooting vertical frames.
The highlight of the
BBH-200 is the Rapid
Level System. It is a one
step button to level the camera with
the base of the ballhead. It works equally
well irrespective of whether the camera is
in the vertical or horizontal position.
While Vanguard is a well known
brand in the world of tripods, it has not
been known to produce high-end pro
accessories. With this product, Vanguard
seems to have proved that it is capable of
producing high grade ballheads. Add to
that the innovative design and reasonable
pricing, the BBH-200 seems is bound to get
noticed as one of the best ballhead around.
58
MI CRO TEST
Lowepro Photo Traveler 150
This small travel backpack stores more than
one would think, but wont work in the rains.
Travel At Ease In Summer
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Lowepro Vertebral Tech Shoulder Strap
A shoulder strap that is bound to make
carrying heavy luggage more comfortable.
Relief from Heavy Load!
P
hotographers seldom think of
purchasing a shoulder strap.
It is like a neglected appendix
that is not treated until it creates
a problem. A shoulder strap
should not be taken lightly as a wrong
kind of strap can cause a lot of muscle
damage on the shoulders and spine.
Lowepros Vertebral Tech Shoulder Strap
is ideal for photographers who tend to
carry a lot of load.
Remember that this is not a camera
strap. Photographers can attach this strap
to their camera sling cases, or even laptop
bags, Lowepro suggests the strap for
anyone carrying a dufe bag, sports bag,
excessive luggage, or even a briefcase.
The Vertebral Tech Shoulder Strap
is designed in a spine-
like structure and
the strap comes
with a double layer
of EVA (expanded
rubber) foam padding
that is exible and
very comfortable.
The strap bends
to conform the shape
of the shoulder and
distributes weight evenly.
It is built with sturdy 360
metal swivel snaphooks
that provide no-twist
durable connections.
Moreover, one can use the
strap in any way on the left shoulder,
right shoulder, or even placed across as
a sling. The strap can be easily adjusted
to the required length at which you want
your bag/case to be.
One can even adjust the strap such
that the padding falls a little below the
shoulder to provide some support to the
spine. It is not exactly reasonable, but
for photographers who really need to be
carrying heavy bags and walk for long
distances, it is a great buy.
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SPECI FI CATI ONS
Product source:
Inter Foto, Mumbai
Tel: +91-22-24925151
Product source:
Inter Foto, Mumbai
Tel: +91-22-24925151
L
owepros Photo Traveler 150 is
built for the hobbyist who wants
to travel with a camera or two.
This small backpack is sturdy and
has padded back support and
shoulder straps for comfort. Because
of its small size, the backpack can be
carried through crowded market areas
quite easily. The backpack has three
compartmentsa small zippered front
pocket, a front zippered accessory pocket
and a main camera compartment.
The spacious camera compartment
comes with adjustable paddings and
is meant to accommodate a DSLR or a
mirrorless camera with two lenses and a
ash. We could also manage to t in two
Nikon D700s, but that is a tight t and
the straps become uncomfortable with so
much weight.
A dedicated pocket for a 10-inch tablet
lets you travel with
your pictures. There
is no real space to
put a laptop though.
The accessory pocket
has enough padding
to store a ash if the
camera compartment
gets crowded.
Essentials like
wallet, keys, cell
phone can also be
kept in this pocket.
Stretchmesh side pockets can be used to
carry a water bottle or store the lens cap
while shooting.
On the negative side, there is no quick
way to access the equipment. Also, this
is not a very inexpensive bag. It costs
Rs. 3750. Lowepro has missed out on
incorporating an all-weather cover.
For a bag that targets travellers and is at
this price point, the omission is quite
glaring. So if you want to go for long
photographic trips, you will have to travel
only during the non-rainy season.
RATI NG RATI NG
60
F
or some time now, I have
been looking for a lightweight
and compact tripod that is
sturdy and easy to use. As a
photographer who travels quite
frequently, I have most often detested
carrying a tripod along because of the
additional weight.
My photography equipment is heavy
enough, and to add to that when I have
to walk around with a heavy tripod,
especially in sunny weather conditions, it
just kills the joy of traveling for me. But as
Murphys law would have it, its always
when you do not carry a piece of gear,
that you will need it the most!
Performance, Quality and Pricing
It was only recently that I picked up the
Vanguard Alta+ 233 AP tripod, for one
of my out-station shoots. I must say that
I am impressed with the quality it offers
at such a reasonable price.
The tripod offers all the features
that most professional tripods offers.
It sells in India for a little over 8000
INR. In addition, the tripod comes
with an accessory hook to hang an
accessory bag, or a bag of weights, for
better stabilisation. Although I am yet
to try the tripod in extremely windy and
testing conditions. But my bet is that it
can surely perform well with additional
weights attached.
Since most of the good tripods and
head combos that I have used in the
past have cost more than double, I was
a little apprehensive if the tripod would
be sturdy enough for my heavy gear.
However, after using it extensively for
over a week, I am pleasantly surprised!
A Photographers Companion
The size and weight of the tripod is
just about perfect! In fact, it is compact
enough to t into my check-in luggage.
This way I do not have to worry about my
tripod getting damaged in transit or about
forgetting to collect it after landing.
Additionally, the Vanguard Alta+ 233
AP tripod comes with a tripod carry
bag, which is a nice touch. It weighs just
under 1 kg, which makes it quite easy on
the shoulders!
Strong, Sturdy and Smooth
One of the rst things you notice about
this tripod is its ne nishing. The legs
Why do I use Vanguards
Alta+ 233 AP tripod?
The Alta 233AP
not just holds
the camera
steady but
also holds its
own against its
competition!
Neeta Shankar
is a freelance
photographer based in
Bangalore. She worked
as a R&D engineer
in a leading software
company prior to
taking up photography
full time.
To view her work, visit
www.neetashankar.com
and www. facebook.
com/ NeetaShankar
Photography
The Vanguard Alta+ 233 AP tripod is ideal for shooting in low light and holds the camera steady in most eld conditions.
61
MARCH 201 3 B E T T E R P H O T O G R A P H Y
have soft foam grip and the tripod in itself
looks elegant.
It is made of aluminum alloy which makes
it strong and durable. For most of my work,
this aluminum alloy tripod held its own
and was reliable. According to Vanguard,
the tripod can hold up to 3kgs of weight,
which makes it suitable for all contemporary
DSLRs and lenses.
I used it all the time outdoors with my
5D Mark III and 24-70mm f/2.8 lens, under
slightly windy conditions, and the tripod
was stable as a rock. Additionally, I tried it
with the heavy 70-200mm f/2.8 lens, and it
was surprisingly sturdy even when the legs
were completely extended.
Attention to Detail
What is truly splendid about the Vanguard
Alta+ 233 AP tripod is the attention paid
to detail. The tripod comes with a shock
control rubber ring, which absorbs the
shock caused by accidentally releasing
the center column. In addition, the tripod
consists of a dual locking system, which
helps avoid the possibility of accidentally
dropping the camera!
I simply love the way the center column
dismantles for various uses. You can detach
the accessory hook with the press of a
button, and unscrew the hook from it to
convert it to a low-angle adapter.
Moreover, the rubber feet can be rotated
by hand to expose metal spikes for stable
use on uneven surfaces like mud and grass.
Vanguard has indeed put in a lot of thought
into designing this product!
Conclusion
The centre column of the tripod can be
dismantled and conveniently setup for use
in low angle and macro photography.
There are some run of the mill tripods
available in the market, that are best suited
for compact cameras. However, if you are
planning to invest in a reliable tripod
with professional features, the Vanguard
Alta+ 233AP is a steal!
The Vanguard Alta+ 233 AP tripod is ideal for frequent travellers, as it is compact enough to t into a check-in luggage. The tripod weighs just
under 1kg, and hence is not bound to burden the photographer with any additional load.
The Vanguard Alta+ 233 AP is made of allumium
alloy, which makes it strong and durable.
.....................................................................................................................................................................................................................................................................
.....................................................................................................................................................................................................................................................................
MARCH 201 3
SHOOTI NG TECHNI QUE SH SH SH H S OO OO O OO OOTI TI TII TTI TI NG NG NG NNNN TTTTEC EC EC C EC CCCC EEE HN HN HN HN HN HN HNI Q I Q I Q I Q I Q I Q I Q I UE UE UE UE UE UE E UE
BetterPictures
M
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P
a
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a
i
k
The very rst step to
making great backlit
photographs is to reach
the location at the right
time of the day and to
simply soak in the magic
that the light paints.
(ISO 400)
62
The common notion is that good photography necessitates subjects to be perfectly
lit from the front. Moving away from the norm, Chandni Gajria describes eight
simple techniques to create breathtaking photographs with backlighting.
DARE TO SHOOT
AGAINST THE LIGHT
63
MARCH 201 3
SHOOTI NG TECHNI QUE SHH SH SH S OO OO OO OOTI TI TII NG NG NN TEC EC EC ECHN HNI Q I QQUE UE UE
ON ASSIGNMENT
Play with close-up
photos of toys and food
to convey an idea
84
PHOTOCRITIQUE
Our panel of experts
review silhouette
pictures shot by you
88
TIPS AND TRICKS
Make nightscapes,
couple portraits
and sports photos.
92
Using Translucence
When light passes through a semi-transparent subject, it
transforms it into something that is extraordinarily beautiful.
W
ander around your local park
in the early hours of morning
and observe how the foliage
look against the light.
You will notice that they take
on a translucent quality that can be quite
stunning to behold.

How to Achieve it
Of all backlighting techniques, shooting
translucence is among the easiest. The key
to great pictures of translucent subjects
is to ensure that the colours stand out.
Simple colour combinations with one hue
dominating the scene, usually work best.
To ensure that you get strong colours,
all you need to do is to use the Vivid
colour setting in your compact camera or
DSLR. Shoot using the default Metering
mode of the camera. Let the subject ll
the frame and release the shutter.
In certain situations, you may need
to underexpose the image from the
metered value, to make the colours more
saturated. You can do this by using the
Exposure Compensation button (+/-) of
your camera.

Subjects That Will Work Well
Keep an eye out for both colour and
texture. Leaves and owers work
extremely well as translucent subjects
and they can be found anywhere.
Stained glass windowpanes inside
a church or a monument can also give
interesting results. Try photographing
dupattas or free-owing drapes of dancers
during a performance.
The midday sky
often forms a perfect
backdrop for colourful
tree canopies.
Exposure: Details not available
You dont need
to go outdoors.
There are plenty
of translucent
subjects to explore
right at home.
Objects like bottles,
containers, coloured
paper or even jellies,
syrups and ice cubes
can make fascinating
subjects for shooting
against the light.
Start by practising
with window light
and then try articial
light like simple
tungsten lamps.
Try This
K
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a
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M
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SHOOTI NG TECHNI QUE
64
Backlighting
is interesting
as it brings
out features
that otherwise
go unnoticed.
Darkened interiors
with light streaming
in from windows or
doorways can offer great
photo opportunities.
(ISO 100)
Translucence caused
by direct rays of
sunlight often lets you
expose for a nicely
saturated background.
(ISO 400)
Arghya Chatterjee
Siva Nadarajah
65
A perfect silhouette has
no tonal features and only
a denite form. Here, a
clean green background
conveys the environment
and also makes the
silhouette strong
and uncluttered.
Exposure: 1/750 sec at f/5.3
(ISO 400)
MARCH 201 3
66
Zoom in to isolate
the subject against a
brighter background
and to avoid clutter
around the edges of
your frame.
Try This
MARCH 201 3
Playing with Silhouettes
Find a strong subject with a denite form to create stunning
silhouettes against a bright colourful backdrop.
S
ilhouettes can lend mystery to
a photograph. Since there is
virtually no light on the main
subject itself, a silhouette is
transformed into a graphical
shape and form. They look best when sthe
background that is much brighter than
the subject.

How to Achieve it
When the subject is situated against a bright
background, the camera automatically
renders it as a silhouette. You can make the
silhouette darker by underexposing slightly.
Silhouettes often work well in monochrome.
You can also play with the White Balance
settings of the camera to alter the colour of
the background.
The Making of a Perfect Silhouette
Richly hued skies during dawn and dusk
offer the perfect backdrop for silhouettes.
Remember that a silhouette looks best
when it does not merge with other subjects.
It is important to keep the edges of your
silhouette sharp. Hence, focus carefully.
Bhawana Jaiswal
67
68
MARCH 201 3
To make rimlighting
prominent, it is essential
that the background is
darker than the subject.
Exposure: 1/320 sec at f/6.3
(ISO 400)
Julieanne Wiseman
68
Rimlighting isnt
always about drama.
The effect can subtle too.
(ISO 100)
69
MARCH 201 3
Lining with Light
Rimlighting can help dene your subjects. Angle yourself
and watch light draw outlines of nature and people.
H
ave you ever seen a cloud
outlined with light? Or a
golden halo surrounding and
illuminating a persons hair?
This is known as rimlighting.
It can make the subject stand out by
simply making its edges very apparent.

How to Achieve it
To capture rimlighting, position the
subject or adjust your vantage point
such that the light falls on the subject
from the back, but in an oblique manner.
Since the subject and the background are
considerably darker than the outline, the
camera will accidentally overexpose the
scene. To avoid this, press the Exposure
Compensation button and input a
negative value.

What Looks Good With Rimlight
Natural subjects like reeds, prickly
fruit or even blades of grass look
great when rimlit. Stark portraits
with a subtle rimlight can create a
cinematic effect. You can also try using
the onboard ash to illuminate the
subject while using rimlighting as the
hairlight. Also, have you ever thought of
combining rimlighting with a silhouette?
Animals that have a thick fur coat can also
be great subjects for this technique.
Still life objects like
vases, wine glasses,
coffee cups and even
simple candle stands
can be outlined with
the use of rimlighting.
Try This
Y
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G
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69
You can photograph
articial colourful
light rays that are
common during live
stage performances.
Try This
Let the Rays Spread
Wake up before the sun rises and head out to shoot slanting
sunrays as they nd their way into your surroundings.
C
apturing sunbeams is not only
about knowing how to apply
the correct camera techniques,
but also about observing and
acknowledging the quality of
lightfrom thin, pale rays to bright shafts
that pierce through leaves.
How to Achieve it
The suns rays are more visible and
prominent when the background is
comparatively darker. You can amplify
this effect by slightly underexposing the
frame. Do this by pressing the +/- button
of the camera.
Varun Thottathil
70
Choose a high contrast
scene with dark
surroundings as this is
ideal for photographing
and enhancing the effect
of sunrays.
(ISO 100)
Early to Rise
Early mornings and evenings are a good
time to photograph sun rays. During
these hours, the air is lled with fog, mist,
dust or vapour. When sunlight reects off
particles in the vapour, it makes the rays
more pronounced. The effect of sun rays
is also accentuated when there is fog and
smoke in the air. Moreover, this vapour
helps in keeping direct sunlight from
overpowering the individual rays of light,
thus making them more prominent.
Another reason why this effect looks great
is that the colour of light in the morning
and evening is soft and golden. If there are
clouds in the sky, they turn pink and orange,
with rays bursting from behind them.
Do Not Include the Sun Itself
Compose the picture such that the sun is
not directly in your frame. You can try
hiding the sun behind a few branches of a
tree or leaves.
Of course, you dont need to restrict
yourself to only landscapes. You can
photograph monuments, with light
bursting from behind them. Alternatively,
include a human element in the frame
and click the shutter when its position is
perfect with relation to the sunbeam.
71
A Low Key Drama
You may be shooting against the light, but there will be
situations in which you can use large shadows to create drama.
L
ow key images have predominantly
darker tones. In backlit situations,
this occurs when the subject is
directly lit, but a large part of its
surroundings is in shadow. One
would usually see this in the morning or
afternoon, as that is the time when one can
see a large difference in bright and dark
areas. In the night, you can make use of
streetlight for similar effects.
Low key backlit photographs are common
to nd in the monsoon as well, at a time
when the sun has just moved from behind
the clouds. Sunlight often falls on only a
small part of the frame on such occasions.

How to Achieve it
Once you have found your backlit subject,
see that it is not directly in front of the sky
but rather closer to the ground level. For
instance, nd a sunower that is backlit but
has shrubs, branches or even tree trunks in
the background.
Experiment with a - ve value of Exposure
Compensation until the background is
sufciently dark.
72
Due to dark tones
and shadows, low key
tends to works well in
black and white.
(ISO 200) K
o
m
a
l

G
a
n
d
h
i
Low key landscapes
are easier to
photograph in the
morning. Birds are
out in the open, dew
can be seen on leaves
and the leaves and
owers are fresh.
These are subjects
that will catch the light
better, and thus lend
themselves to good
low key photos.
Try This
73
MARCH 201 3
Silence with High Key
Induce a feeling of tranquility and rest in your
photograph by making it seem bright and soulful.
W
hen a photograph is
dominated by light tones
or highlights across a large
part of the frame, it becomes
a high key picture. The use
of high key in photography is usually to
convey positivity, radiance, purity, or even
quietude, or melancholy.

Understanding High Key
Many photographers confuse high key
with high contrast. High key images often
look good with a high degree of contrast,
where few dark elements in the frame
stand out starkly against a much lighter
background. However, low contrast high
key images can also look quite stunning.
These images are characterised with no
blacks, slight midtones, and lots of lighter
tones and highlights.

How to Achieve it
Generally, good high key photography
demands clean, clutter-free backgrounds
and foregrounds. Extremely simple
subjects, which are dened by their form,
work best. For example, dark or black
human gures silhouetted against a large
white sky can make a very graphical backlit
high key image.
74
Winter haze
minimises shadows
and almost completely
eliminates details in
the background.
Exposure: 1/640sec at
f/5.6 (ISO 100)
Bright colours tend
to take on soft, pastel
hues in high key.
Try shooting high key
silhouettes against
vividly coloured
skies at dusk.
Alternatively, try
photographing
low contrast high
key images of
colourful owers
against foiliage.
Try This
R
a
g
h
u

M
a
n
i
k
u
p
p
e
Instead of stark whites, you can also
bring in subtle tonal variation in the image.
This usually depends on the exposure,
composition and whether the backlighting
is subdued or direct.

Subdued and Direct Backlight
Strong sunlight often means that the
number of shadows increase, giving you
greater possibilities for high contrast high
key photography. Shadows can prove
to be a distraction too. For instance, the
foreground may have unwanted shadows
of rocks, shrubs or vehicles. In this case,
you need to choose a lower vantage point,
tilt the camera upwards and let the sky be
a major part of the frame.
On the other hand, subdued lighting
can be caused by overcast skies, fog and
haze, or even large patches of shade
outdoors. In these cases, overexposing
the frame results in low contrast high
key images.
How to Compensate for Exposure
In bright daylight, when the sky
dominates the frame, the cameras meter
will automatically reduce exposure to
maximise midtones. Therefore, you need to
compensate for this by forcing the camera
to increase the exposure from the metered
value. This is done by using the Exposure
Compensation button, which is available in
every compact camera and DSLR today.
For a beginner, remember that the simple
rule of thumb is to overexpose until you can
see the whites dominate the frame.

Shooting in RAW
DSLRs, mirrorless and some compact
cameras allow you to shoot in the
uncompressed RAW format. RAW les
retain a higher dynamic range than JPEG.
This allows you to recover more details
from highlight or shadow areas of the scene.
RAW is a big advantage when you are editing
your photos for high key or low key.
75
Flare Up Your Frame
Immerse your senses in the warmth of the sun even as the are
lls your eyes, lens and your photographs.
W
hile it is a fact that are
is indeed an optical aw,
it cannot be denied that
it is a wonderful effect
to add in your pictures.
Oddly enough, dirty lenses are more prone
to are. Wide angle lenses have a greater
propensity to cause are when the sun is in
the frame. Also, complex lenses like zooms,
which have more optical elements, will are
more than single focal length lenses.

How to Achieve it
Getting usable are that looks good in your
photograph will take some trial and error.
It is easy to go wrong with this technique.
Flare occurs when strong rays of light
enter the lens at an angle. For the are to
be easily visible, a darker background
is preferable than a brighter one.
Narrow apertures like f/8 or 11 will give
you better looking are. Apart from this,
ensure that the sun is inside your frame,
but towards the edges or just immediately
outside your frame.
Because the sun is such a strong source
of light, your cameras meter will reduce
the overall brightness in the scene to a great
extent. Therefore, you will need to adjust
this by slightly overexposing.

A Dream-like Effect
Flare can also cause a loss of overall contrast
which can make colours appear washed
out and soft. When used well, this effect
can look really good. Fashion and wedding
photographers tend to use this effect in
their pictures quite frequently.
MARCH 201 3
Raj Lalwani
76
By changing your
position slightly and
opting for a narrow
aperture, you can get
a are and a sunburst
simultaneously in
your frame.
(ISO 320)
MARCH 201 3
SHOOTI NG TECHNI QUE SHOOTI NG TECHNI QUE
Sunbursts (or
starbursts) are
created by sharp,
pointillistic sources of
light like streetlamp
or the sun in the
frame. To get a
starburst, shoot at
narrow apertures
(f/8, 11, 16 and so on).
Try This
77
Pay attention to tiny points of lights in the background.
Make them shimmer and come alive in your frame.
B
okeh is essentially points of
light in the frame that have been
thrown completely out of focus.
When these points of light
blur, they form circles of light.
The tinier the source of light, sharper and
more circular is the bokeh. It can be used to
enhance portraits, wildlife, or still life shots...
or practically any kind of photography
where the focus is limited to the main
subject in the foreground.

How to Achieve it
Bokeh is more apparent with lenses that
have apertures of f/2.8 or wider, and
when the lens is focussed at its minimum
focussing distance. With a compact camera,
bokeh becomes more visible when you
switch to the macro more and lock the
focus on a subject that is a few centimetres
in front of the lens, with the lights in
the background.
What Turns into Bokeh
Everything from car headlights, lights from
distant highrises, or even tiny fairy lights
during festivals can create fascinating bokeh.
Also, if the lens is focussed at a distance with
the foreground blurred, point of light right
in front of the lens can turn into bokeh.
While a colourful
bokeh looks good, make
sure it does not draw
attention away from
the main subject.
(ISO 100)
The next time
you are invited
to a wedding, try
getting some great
portraits with bokeh
in the background.
Weddings usually
have a lot of colourful
light decorations
that you can use to
create bokeh.
Try This
The Brilliance of Bokeh
Udayan Sankar
78
The light painting
can itself be a subject.
You need not always
paint around a subject.
Exposure: 4.2sec at f/14
(ISO 200)
During the day,
patches of sunlight
through leaves in the
background can also
form good bokeh.
(ISO 3200)
MARCH 201 3
Rinske Blok-van Middendorp
79
Through a series of intricate cityscapes, Stephen Wilkes explores
different shades of day and night. He does this by creating a narrative
out of the chaos of city life.
From Day to Night
80
MARCH 201 3
ON ASSI GNMENT
Description
To effectively change time in a single image while
keeping a human narrative.
Duration
It is an on-going series which I started almost
three and a half years ago.
Notes
I started the series in New York and then decided
to expand the entire project globally, covering
major cities of the world.
My Assignment
When shooting an
area, I like to emphasise
on the people in the
frame. Their role in
the narrative is very
important to me. W
hen you are creating a
personal body of work, it
is very important that you
deeply love the subject you
are photographing. In my
case, I grew up in New York City and so,
it has always been near and dear to me.
The city energises me and I find it very
inspiring. With this series, I want to show
New York in a way people have never
experienced it.
My Perspective
The idea of changing time in a single image
rst came to me when I was asked to shoot
the entire cast and crew of the movie
Romeo + Juliet. I had the lead actors, Claire
Danes and Leonardo DiCaprio embracing
in the rst photograph. There was a huge
30-foot mirror on the other side of the
set. As I moved my camera to the mirror,
there was a reection of them. I asked if
they could kiss. In the reection, time had
81
ON ASSI GNMENT ON ASSI GNMENT
MARCH 201 3
I like to describe
my work as a Rubiks
Cube, being constructed
visually in real time.
changed. That concept stayed with me for
16 years and bloomed when the New York
Magazine commissioned me to shoot the
High Line, which is an elevated park.
The Process
The entire process usually starts with a
memory, for instance how one remembers
New York. Then, I go around scouting
for places where I can get a specic
composition with a human narrative.
Once I have that, I search for a building
or a place where I can view the location
from. I usually shoot from a cherry picker,
which is a hydraulic lift system, because it
gives me scenarios that do not exist from
the rooftop of a building. However, it is a
very expensive way to go. Sometimes even
after all the research and scouting, I really
@eefmXk\1I love to innovate. Think of new things to do. Instead of getting
sidetracked by hurdles, nd different solutions and invent your own methods.
;fek<dg_Xj`j\feK\Z_e`ZXc;\kX`cj1 Doing very elaborate technical work is not the
most important thing. First, dene your vision and ask yourself what you want to
achieve. When you get to that point, begin to expand.
;\m\cfgXG\ijfeXcM`j`fe1 The essence of great photography is seeing and feeling
moments. Master and develop who you are. Seal yourself into your photographs
and be patient. No matter what you shoot, people will be able to identify you easily.
Tips to Develop Your Personal Style
While photographing,
I am in a constant state
of creating a puzzle.
82
ON ASSI GNMENT
By being high up,
I am essentially like a
bird observing the body
language of the people
below me.
For this series I used
a 4 x 5 digital camera
and an 80MP digital
back. I also use a
range of wide angle
and large format
lenses depending
on the scale of
the scene.
My Equipment
do not know how the day is going to play
out until I get up there. Once I do, I have
no idea whether something unexpected is
going to happen. Nevertheless, I love the
unpredictability of what I put myself into.
I keep my camera in a locked position
for 15 hours. I begin early in the morning
and work late into the evening. I capture
anywhere between 12001400 images
during a single day. The editing can take
upto three months.
People often confuse this work as a
time-lapse series. They think I set up my
camera at some place while I drink coffee,
and every ve seconds an image is taken.
This is not what actually happens. I choose
every single moment that you see in my
images. My eyes are constantly scanning
each portion of the scene.
I like to describe it as street photography
done on an epic scale. New York is much
more than an epic cityscape, it is this great
chaotic harmony that takes place between
taxis and people.
I have had unfavourable days as well.
Last year I had shot the Christmas tree at
the Rockerfeller Center in New York City,
and the only problem with the photograph
was that there was no snow. It was a
particularly warm December last year, and
as a result, while the images were fabulous,
they were not exactly what I wanted.
The best advice that I have received, was
from my mentor who told me that most
photographers are lousy businessmen and
that I should get myself a business degree.
I want people
to discover
something new
each time that
they look at my
images. It is all
about layers
and depth
and narrative.
I am grateful to have something to look
forward to when I wake up in the morning.
To see more of Stephen Wilkes work you can visit
his website www.stephenwilkes.com
My frame is made up of
layers of stories, each
occupying a different time
and space in the scene.
83
ON ASSI GNMENT
A Small Wonder?
Through his quirky images, Christopher Boffoli cleverly uses
juxtaposition to show human fascination with small objects.
T
he photo series, The Big Appetite,
was a result of the various kinds
of media that I was exposed
to as a child. Most young kids
nd themselves coexisting
with objects and people twice their
size. This leads them to exercise their
imagination around the world of toys,
that are further out of scale.
My Perspective
I knew that I wanted food to form a large
part of the series. There is something
about food, its texture and colour that
makes for beautiful looking images. I was
inspired by a project called Travelers by
American and Spanish artists, Walter
Martin and Paloma Muoz, amongst
many others. I thought that adding little
Twinkies Hostess cakes
are an iconic American
snack. The casualty in
the image relates to our
affection and nostalgia
for a food item that
would not exist without a
lot of food chemistry.
B E T T E R P H O T O G R A P H Y MARCH 201 3 B E T T E R P H O T O G R A P H Y B E T T E R P H O T O G R A P H Y
84
Description
To open a conversation about Americas often
dysfunctional relationship with food.
Duration
The project began in 2002 and is an ongoing series.
Notes
Through this series, I have attempted to display our
fascination with, and celebration of food.
My Assignment
85
ON ASSI GNMENT ON ASSI GNMENT
gurines with food as the backdrop
would make the images easily relatable
to people.
The Process
The setups of my images come from
a very natural place. You will nd me
I always try to shoot
food that is fresh and
in season. This image
features macaroons that
were sourced from a
patisserie in my
neighbourhood.
I found a citrus
rinding tool in the
kitchen drawer.
I realised that it
created rinds which
matched the mower that
I had prepared.
visiting the farmers market in search
of new produce or stuff that I have not
worked with before. Alternatively, I think
about iconic American foods like Oreo
cookies or Twinkiess Hostess snack cakes
and how they can tap into someones
early memory.
In the next step, I add the little
gurines, ensuring that a narrative is
being created. I have a large collection of
miniature gures that are all handpainted.
The main task I face is, nding an
appropriate gurine that goes well with
the setup. There have been times where
=è[è^:fek\ok1 It is not enough to place a gure on a piece of cheese and be
done with it. You really need to nd context of what the characters are doing
and how they are interacting with the food.
=fZljfeC`^_kè^1 It is the hardest thing to get right in macro food
photography. Try to work with natural light as much as possible as it is best
suited for a good rendition of the colour and texture of food.
C\jj`jDfi\1Being challenged to make do with less equipment often makes
us creative and more innovative in overcoming problems. Restrict yourself
to a single lens, preferably a macro lens and see what you come up with.
Innovatively Photographing Food to Create A Narrative
MARCH 201 3
86
ON ASSI GNMENT
No piece of gear or
equipment is ever
as important as
what is present in
the front of the lens.
However, for this
series, I used the
Canon EOS 5D Mark
II, the EOS 5D Mark
III and a Canon EF
100mm f/2.8 lens.
My Equipment
The origin of the idea
came about when I saw
some fresh pasta drying
on a rack and it reminded
me of the brushes at
a car wash.
I have had to repaint or modify the
little miniatures to best suit my needs.
I usually create multiple sets to see which
one works best and then concentrate on
lighting and depth-of-eld.
In the past, I have heard several people
comment about how they wish to live
in a world with oversized patisserie.
I personally think that anything in excess
can overwhelm us and eventually turn us
against what we think we love.
To see more of Christopher Boffolis work, you can
visit his website, www.bigappetites.net
This image is fairly
monochromatic in
comparison to the other
photographs. It is also
one of the few images that
employs the use of liquids
which present their own
challenges of shooting.
I think that
everyone has
the capacity
to be creative
but not many
people spend
most of their
time creating.
87
ON ASSI GNMENT
88
MARCH 201 3
PhotoCritique
Want your photographs reviewed? Send your photographs to
The Editor, Better Photography, Network18 Publishing,
Ruby House, A Wing, J K Sawant Marg, Dadar (W)
Mumbai - 400 028, India
E-mail: photocritique@betterphotography.in
By Roshen Alex
Jacob, Kollam,
Kerala
Camera: Canon EOS 60D
Aperture: f/9
Shutterspeed: 1/25sec
ISO: 400
Amit Chakravarty: Firstly, I must
say that the image has lovely colours.
Although these type of photos are quite
clich, including silhouette gures always
seems to work. Now, what bothers me the
most is the tree on the right side. I wish it
wasnt there, or that it was included in a
more interesting manner.
I would have also liked to see less of the
black band in the lower half of the frame.
You could have done this by slightly tiling
the camera upwards. Additionally, I nd
this to be too tight a crop with barely any
breathing space.
Togetherness
The only thing that mars
an otherwise tender
sunset moment is this
merging of gures
and shapes.
Including this black portion
of the foreground was a
good idea as it makes the
silhouettes seem as if they
are emerging from it.
The deep pink and
orange hues of a sun
that has just set lend a
wonderful colour palette
to this photograph.
There is slight
distortion at the edges
of the frame which
could have easily
been corrected.
Repositioning yourself
slightly would have
helped avoid this
undesirable overlapping
of silhouettes.
Stepping back a little
would have allowed you
to include this tree in
its entirety. The crop is
quite unnnecessary.
Amrita Ganguly-Salian: Manual exposures
can be tricky business. While the colour
banding makes the image memorable,
sharper focus on the dark silhouettes would
have made the photograph crisper and also
more rened.
While the choice of frame is subjective,
in this case, more drama is possible with a
tighter frame. There is an obvious generation
difference between the two couples on
the left. The one on the right is diluted by
the foliage as a subject. Playing up just
two couples would have amounted to
some storytelling.
89
MARCH 201 3

The Panelists
89
Amit Chakravarty
began his photography
career in Hindustan
Times and currently
works with the Time
Out Mumbai magazine.
He received the
Ramnath Goenka
Indian Press Award in
2006 and his work has
also been exhibited
at the Delhi Photo
Festival 2011.
Ambarin Afsar
is a writer with the BP
team. She exudes an
infectious zest for almost
everything around her.
Consequently, everything
is a possible subject for
photography and she
is more than happy to
appreciate new ways
of seeing.
Amit Chakravarty: This is an impressive
picture, a typical instant-impact visual.
What I also liked about this image is
the manner in which the person in the
foreground is standing with his legs
crossed, and the umbrella by his side.
However, the composition would have
been better if the photographer had
moved a little to the right. This would
have helped him include more of the
railing. This would have lent the image
a sense of space, and would have also
provided a diagonal line into the frame.
This sort of a leading line would have
improved the picture quite a bit.
Being Alone
Amrita Ganguly-Salian: This is a truly an
ad campaign-like palette which plays with
perspective and composition. Good skills
and observation have been demonstrated
here. The nal result is signature,
eyecatching and engaging.
However, I will balance the critique with
an observation. High-end equipment and
access to photo-editing software are making
images look more and more synthetic.
While this is a generic observation, I see
it at play here as well. We tweak curves/
contrast to make images edgy. It is not always
required. Try a more organic palette and let
your equipment follow your vision.
The gure of the man
standing with his umbrella
lends an overall pensive
and thoughtful mood to
the photo.
Adding a gradient during
postprocessing has further
enhanced an already
dramatic sky.
Including more of the
mans shadow would
have also created an
impactful visual.
The lines of the railing
as well as the horizon,
lead the viewer to the
gure, and lend a sense of
geometry to the frame.
It is noteworthy how
the horizon does not
overlap with the railing.
By Soumadeep
Bhattacharya,
Kolkata
Aperture: f/3.5
Exposure: 1/1000sec
ISO: 200
Amrita Ganguly-
Salian
befriended the camera
22 years ago, and
continues to inspire
many students of
photography. Her critique
is rooted in classical
theories and balances
the photographers
opportunity with the use
of technique.
90
MARCH 201 3
PHOTOCRI TI QUE
B E T T E R P H O T O G R A P H Y B E T T E R P H O T O G R A P H Y
By Ranjan Sarmah,
Silonijan, Assam
Camera: Nikon COOLPIX L120
Aperture: f/5.7
ISO: 80
Amit Chakravarty: While this is a
good attempt, it is again a clich use of
silhouettes. Neither is it an abstract, nor is
it a complete photograph. The technique
is in place, and the observation of
the photographer is noteworthy.
However, the image has something
missing. It does not lead me into a story.
It does have a calm and serene feeling,
but maybe, a more striking composition
would have helped.
I would want to know what the
photographer was thinking when he
made this image. In my opinion, it is
nothing more than a nice photo.
Meandering Through the Evening
Ambarin Afsar: A photograph should be
more than just a pretty picture. While this
photo certainly has a particular mood and
is an intriguing abstract, it falls short on
compositional considerations.
I could speak about the coffee colours of
the image, or even of how I am reminded
of a warm summer evening, but the
composition could have been more
cohesive. With silhouettes, you have the
chance to play with forms and shapes.
And it is very easy to fall into the trap of
simply capturing an interesting shape,
without adding your perspective to it, and
interpreting it in your own way.
It looks like the highlights
of the image have
been burnt slightly
in postprocessing.
This was unnecessary.
Paying attention to
the corners would
have helped avoid the
merging and loss of
these silhouettes.
Changing the frame to
include a different part
of the branch, and then
balancing it with the
clouds would have helped.
These clouds divide the
image into two distinct
parts. However, this
could have been
managed better.
The thick meandering
lines of this branch
lead the viewer across
the frame, and form a
striking pattern.
91
MARCH 201 3
PHOTOCRI TI QUE
Send your pictures to
us, to be featured in the
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Searching for the Light
Amit Chakravarty: Once again, there
are lovely coloursa visual treat
for ones eyes. You have made an
interesting use of slow shutterspeed to
create a dreamlike effect with the water,
and this adds to the photo. It seems
as if you have consciously tried to
create an image which evokes a calm,
soothing feeling.
What bothers me are the overlapping
structures in the distance, which look
a bit chaotic. Perhaps a different angle
would have helped. The trick to good
composition is knowing how much to
not include within a single frame.
Ambarin Afsar: I love this photograph,
simply for the number of layers it has.
From the structures in the foreground, to
the cluster in the background, the silken
water and the wonderful colour palette
of twilight, the image is one that you can
keep deciphering for a long time.
While the overlapping silhouettes
bother me as well, the mysterious mood
of the photograph overpowers these
considerations. The image makes me
want to journey to this place and see these
surreal structures for myself. Kudos on
making the mundane seem so intriguing
and enigmatic!
With silhouettes, all the
drama lies in the sky.
Here, the hues of the
purple sky have been
rendered beautifully.
Cropping the image
slightly from the left
would have made for a
tighter composition.
This part of the beach acts
as dark foreground space.
It anchors the viewer
and provides him with
some context.
This overlapping could
have been avoided by
a change in position or
perhaps even a change
in camera angle.
By Kiran
Kumar
Camera: Sony A100
Aperture: f/22
Shutterspeed: 20sec
ISO: 100
This reection creates
the illusion that the pillars
are far taller than they
actually are.
Despite it being a long
exposure, everything
from the foreground
to the background is
admirably sharp.
Critics
Choice
Award
e
urs
h,

DOCUMENTING A LOVE STORY
K Madhavan Pillai
Subhodeep Banerjee
Experiment with
setting the camera
to the Auto mode and
then handing it over
to the couple for great
candid shots!
If you have a great
frame in mind, make
it happen! Do not keep
waiting for what you
have visualised.
Raj Lalwani
Posed vs Candid
As a photographer, you need to decide
whether you are going to ask the couple to
pose for the camera or just capture candid
moments as and when they happen. If you
make the couples pose, then direct them
on the nuances of posing. Give them a few
posing options and make sure that they are
comfortable in front of the camera.
If the candid approach works better for
you, then concentrate on spending time
with the couple and getting to know them.
This will let them be more comfortable
around you. However, engage them in some
activity instead of just asking them to be
themselves. You can prompt them to strike
exaggerated, silly poses or even play a song
or a funny video to get them to emote.
Tell Their Tale
What is the couple like in their daily life?
Are they the adventurous kind who spend
their weekends on a hilltop? Or are they
the party animals who head to a club
every Saturday night? Get to know these
little things about them. Photograph their
favourite pastime, their favourite restaurant,
secret hideout or even photograph them at a
regular night at home, watching television.
Show Some Love...
...because at the end of the day, isnt that
what couples really want? While few
couples would actually care to admit
this, but everyone loves one of those
clich pictures with their better halves.
However, instead of simply shooting the
clich, add a unique twist to it. But, make
sure to let the romance shine through.
You can take inspiration from the movies!
Find locations that feature in Bollywood
lms and recreate the scene with the couple.
Alternatively, you can use interesting props
or even create a custom photobooth!
Want to share your ideas and tips? Write to
The Editor, Better Photography
Network18 Publishing
Ruby House, A Wing
J K Sawant Marg, Dadar (W)
Mumbai-400 028, India
E-mail: editor@betterphotography.in
MARCH 201 3
92
Shot at 6:45pm, this
beautiful moonrise is
an example of how you
can begin shooting night
landscapes even when
the sky is light.
Rodolfo Belloli
When using the
onboard ash, set
the Flash Exposure
Compensation to -1 to
avoid at images.
QUICK TIP
Scout for locations
that will allow you to
capture the grids formed
by the lights of a city
at night.
Chandan DSouza
LANDSCAPES AT NIGHT
Make the Most of Streetlight
The obvious challenge of shooting at
night is the lack of light. At such times,
streetlight can be of great assistance.
It provides a decent amount of
illumination to help you capture your
subjects. However, it is often restricted
to only a small part of the overall scene.
So, move in closer to those subjects that
are lit by a streetlamp.
If you point your camera at
streetlights directly, you will realise
that these bright and powerful lamps
illuminate the wires and tree leaves around
them quite nicely. They stand out clearly
against the dark night sky. This contrast lets
you capture interesting patterns and lines.
Take the Help of Flash
Using an external ashgun to get
details can be a great way to get unique
nightscapes. Set a long exposure of
a minute or more and start ring the
ashgun. You can set up multiple
ashguns at different places around a
structure and trigger them all at once.
You can even simply use a single ashgun
Explore Fun Locations
Couple portraits do not require an
exotic location or a scenic background.
Sometimes, a caf down the road or a busy
market place will serve just as well.
Where was the place where they rst
met? Where did they go for their rst
date? Is there a place they frequent often?
Such locations add a more personal touch
to the photograph. The couple is bound to
love the image and it will bring back fond
memories even years later.
93
During a game,
lock focus on the main
subject, and then
include the reactions
of the people in
the surroundings.
Streetlight has
helped capture falling
snow, which would
otherwise not have been
possible at night.
Milan Jurek
Sushaman Kadavil
FUN WITH SPORTS
Capture Action Taking Place Off the Field
Most photographers are so busy shooting
the action in front of them that they forget
what is happening behind them.
So, turn your camera to the audience and
photograph the supporters as they cheer
their team on. Spend some time with the
players as they warm up or go up to the
stands as fans celebrate their victory.
and re it multiple times. Try to point the
ashgun in different directions and cover
as much area as possible. If you do not
have a ashgun, you can always use a torch
to illuminate your night landscape.
Get the Focus Right
Ensuring sharp focus for night
landscapes can be quite a difcult
task. Unless you have an interesting
foreground, which you wish to highlight,
set the focus to innity.
You can even take help of the Live View
feature of your camera to ensure that
everything is in focus before you release
the shutter. Choosing an aperture of f/9
or f/11 will help you to make sure that the
scene is rendered perfectly sharp.
Soak in the Magic of the Sky
The most beautiful part of the night is
when the stars come alive in the sky.
Including them in the frame can enliven a
dull landscape.
Plan your shoot on a day you will get
a clear, moonless sky. Avoid places with
light pollution so as to ensure that the
stars are clearly visible in your photo.
You can make very long exposures using
the Bulb mode or even stack exposures to
capture star trails.
94
Everyone is always talking about placing your
subject off-centre when composing images.
However, placing your subject in the centre can
work wonders for your image too.
This kind of placement can be a great way to
highlight size. Depending on how much space there
is around your subject, you can either create the
illusion of smallness or make an object look grand.
Choosing this framing method also lets you direct the
attention of the viewer immediately to your subject.
For example, when shooting landscape images,
placing a single subject such as a tree, a human
gure or even an interesting structure in the centre
can make the entire frame look striking.
This framing method works well when you are
postprocessing your images to have a soft focus
effect or even when you are adding a vignette.
Ultimately, rules are meant to be broken. But it is
important to know what you are doing.
Somnath Chakraborty
READERS TIP
Placing Your Subject in the Centre
Shoot from the hip
without looking at
the LCD. This will
help you capture
mundane scenes from
unusual angles.
QUICK TIP
I positioned myself such that when the sherman threw his net, it would eclipse the sun, located in the centre.
Somnath Chakraborty
Raj Lalwani
Play with Shutterspeed
There is a notion that a good action photo
is all about using a fast shutterspeed and
freezing the moment. However, you can
break this rule by using a shutterspeed
such as 1/60sec or slower. The motion blurs
provided by slow shutterspeeds will help
you establish the fastpaced nature of the
game. You can even experiment with slow-
sync ash and panning.
Additionally, motion blur can help you
achieve a clean background, if there is
plenty of clutter in the surroundings.

Avoid the Trap of Repetition
Sports photography can get repetitive.
You are shooting the same location in
constant lighting with the same set of players
for the entire duration of the game.
So, try to avoid repetition by moving
around the play area. For example, if you
are shooting a soccer match, move to the
corners from the sidelines or even move
to the back of the goalpost. The idea is to
achieve a different persective.
Go Wide
Photographers often choose a telephoto lens
and photograph the entire game from the
bleachers. Choose a wide angle lens as it will
help you capture the action from up close.
Anticipate when the action will be closer
to where you are located in the sidelines.
Once the game has ended, you can even go
up to the players and capture some great
moments of the celebrations.
The sharp
background combined
with the motion blur
makes the game look
more dynamic.
95
Want your doubts cleared? Write to
The Editor, Better Photography
Network18 Publishing Limited
Ruby House, A Wing, J K Sawant Marg
Dadar (W), Mumbai-400 028, India.
E-mail: editor@betterphotography.in
Memory Card Woes
When reviewing images on my camera,
I noticed that a few photographs could not
be displayed. Is it a problem with my camera
or the memory card?
Vandana Trivedi, Mumbai, via email
The problem you are referring to certainly has
nothing to do with your camera. This error
occurs when the device has been interrupted
when accessing the memory card.
Ensure that you do not
turn off your camera or
remove your memory card
while the device is still
recording video and writing
or formatting images.
Also, when the cameras
battery is low, avoid using the camera for long
periods of continuous shooting and do not
record video. The battery can run out while the
card is being written to. This could corrupt the
images and video.
Countering Shutter Lag
At a sports event, my camera experienced
shutter lag which resulted in quite a few
missed shots. How can I avoid this problem?
Devika Pandey, Patna, via email
Shutter lag is delay between the pressing of the
shutter-release button to the actual moment
when the image is captured. There can be
several reasons for shutter lag. It could be that
while using autofocus, the lens did not properly
lock focus on the subject, thus delaying the
release of the shutter. It could also be that you
were shooting with the ash and the ash did
not recycle completely. Alternatively, another
reason could be that the buffer memory of your
camera was full and the camera was still writing
images to the card.
To resolve the autofocus problem, you
can simply switch to manual focus, or even
prefocus and wait for something to take place
in the frame. In the other two situations,
ensure that you are not shooting too quickly
or indiscriminately.
Left-handed Camera
I am planning to gift a camera to my dad.
He is left-handed and since most cameras
are built for right-handed people, will there
be a problem for him in this regard?
Aziz Malik, Pune, via post
Since the shutter-release button and the camera
grip are present on the right-hand side, initially
it can be cumbersome for left-handed users.
But, in all likelihood, he will get accustomed to it
over time.
DSLRs have a heavier right-handed grip. So if
you think that your father might not be able to
adjust to it, you could consider buying him a
mirrorless or a compact camera. Some of them
even have touchscreens which makes handling
easier. Besides this, there are camera straps
available for left-handed users to increase the
comfort and convenience of shooting.
Shutter Cycle
Just like any mechanical moving part, the
cameras shutter curtain and gears are
subject to wear and tear as well. Each time the
shutter opens and closes, it has completed
one cycle. Professional DSLRs are usually
rated to have a much longer shutter life.
Calculating the Shutter Cycle
Camera manufacturers use proprietary
equipment to calculate shutter cycles.
They release the shutter button and check for
any variations in shutterspeeds after every
few cycles. A trip to the service centre can
reveal the number of shutter cycles your
camera has gone through and subsequently
the age of your cameras shutter.
A Common Misconception
It is untrue that your camera will stop functioning
after it has completed its rated number of shutter
cycles. What may happen is that the cameras
shutter accuracy might decreasethere might
be a minuscule difference in shutterspeeds, which
may not even be apparent to the user.
In most cases, a cameras shutter continues
to function perfectly, well beyond the rated
number of shutter cycles. However, the care
with which you handle your camera plays an
important role in shutter life expectancy.
Repair and Replacement
Minor variations in shutterspeeds, which are
usually detected only at the service centre, may
What is
backscatter?
It is an effect that mostly
occurs underwater or
in a smoky marriage
hall. It is caused when
the strobe light or the
cameras onboard ash
lights up the tiny particles
of dust or smoke present
between the camera and
the subject.
BRI EFLY
This is the shutter block of the Nikon D700. It is rated
for 1,50,000 shutter cycles
be rectied with an electronic recalibration.
But, if the shutter stops working completely, it
may necessitate the replacement of the entire
shutter block.
Mark Teo
WHAT I S
96
MARCH 201 3

MARCH 201 2
Investing in a Camera Bag
When purchasing a camera bag, what
should I specically look for?
Trisha Kapoor, Mumbai, via post
Start by asking yourself three important
questionswhat type of photographer are you,
where will you be carrying the bag to and how
much gear would you be carrying with you.
Importantly, you need to ensure that the
bag has a weather cover to protect your gear.
Another feature to look for is how easy it is for
you to access your equipment. For instance,
if you are a street photographer, you may nd
yourself constantly changing lenses or in the
need of memory cards.
You also need to make sure that it is not easy
for someone else to have access to your bag.
Additionally, the bag should have an adequate
number of compartments. Also, you need
to choose a bag that is comfortable for you.
The shoulder and neck
straps need to be
padded. Lastly, it
would be a good idea
to select a bag that
does not look like
a camera bag or
look conspicuous.
Unsteady Hands
I shoot a lot with my smartphone. But, I
cannot keep my hands steady and eventually
end up with blurry images. Please help!
Athul Laukar, New Delhi, via email
Treat your smartphone as you would treat a
camera. This means adopting a similar posture.
Hold the phone with both hands and keep
your arms close to your body while shooting.
Also, make sure that when you click the shutter
button, you do it gently.
In most modern-day smartphones, the shutter
does not re as soon as you press the button.
The image is made only after your nger has
lifted off the button. Also, avoid shooting in very
low light as the phone compensates by using
longer shutterspeeds.
Long Exposures in Daylight
Is it possible to create a long exposure in
broad daylight?
Varun Khanna, Surat, via post
Long exposures involve leaving the shutter open
for a long duration of time. So, to avoid getting a
completely washed out long exposure during the
day, you will need to use a Neutral Density lter,
and shoot at the lowest possible ISO value.
Send in your
queries to Better
Photography. If your
letter wins Question
of the Month, you
stand to win a Lexar
8GB 100x SDHC
media card!
My 14-year-old daughter has been forcing me to get
her a DSLR. I think that she is too young to own such
an expensive piece of gadget. Please advise.
Revathi Joshi, Indore, via post
Until a few years ago, you would only nd a DSLR in
the hands of a professional photographer. However, it
did not take too long for that scenario to change.
DSLRs, mirrorless and compact cameras have all become
affordable today. The main question is what kind of camera
does your daughter require and what she will be mostly
using it for.
Assuming that you already have a compact camera
at home, nd out what your daughter loves shooting.
Does your daughter carry the camera only to birthday
parties and sleepovers? Or, do you nd that she spends
a lot of time outdoors shooting candid shots of subjects
that include people, buildings and nature?
If she is going to be shooting her friends, purchasing
another compact camera would be a good option.
But If she is venturing out to shoot other interesting
subjects, a mirrorless camera would be ideal as it would
give her more control over the image in comparison
to a compact camera. Besides being less expensive,
both these cameras are simple and lightweight to use.
However, if you nd that she is more interested in
learning the ner nuances of photography, then you can
consider purchasing a DSLR.
Too Young for a DSLR?
What is a lter
adapter ring?
When the attachment
size between a lter
and the lens is different,
then a lter adapter ring
is used. They are also
called step-up rings
for lters.
BRI EFLY
97
Ghanshyam Kahar
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The sheer simplicity of
Ghanshyams images
are what make them
so impactful.
PROFI LE
98
PROFI LE
ShowCase
Ghanshyam Kahar talks to Ketan Kundargi about his passion and drive
to document the little details of everyday life.
from daily life. Ghanshyam brings a fresh
perspective to routine living. However, he
does it in a way that is individualistic and
often breaks away from what is considered
popular. His images make us aware of a
world we see everyday, yet fail to recognise
its eccentricities.
H
uge photographs adorn the
walls of the Piramal Art Gallery,
Mumbai in November 2012.
Ghanshyam Kahars exhibition
Through His Vision is on display.
As you walk around the gallery, you realise
that behind the striking frames are moments
Eyes that Explore
PROFI LE
99
D8I:? )'( *
PROFI LE
DP9<JKJ?FK
Anish Andheria
talks about his
favourite photo
104
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Julia Margaret
Cameron
Fairytales from the past
106
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Pattabi Raman
Photographing the lives
of the displaced
114
An Early Start
Ghanshyam rst picked up the camera
as a teenager just out of college at his
uncles studio. Photographing friends and
relatives in the studio soon became a hobby.
Subsequently, the Pentax K1000, his rst
camera, became his new love. With every
new roll of lm he shot, Ghanshyam
taught himself the technical aspects of
photography. In 1991, he won a prize at the
National Photo Contest organised by the
Ministry of Information and Broadcasting.
Two years later, his images were being
exhibited as a part of a group show at
M S University of Baroda. There has been
no looking back ever since.
Competing to Learn
Having learnt the process of making a
picture, I was now at a loss of how to judge
the image for its aesthetic value, he says.
He turned to photography competitions to
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TIPS BY GHANSHYAM
Ghanshyam has
a special afnity
for photographing
children and animals
as he believes
they are the most
expressive subjects.
His ability to connect
with people lets him
approach them with
ease and capture such
touching moments.
100
GIF=@ C<
The images he makes
invoke a sense of
nostalgia and sometimes
take you back to your
childhood days.
101
PROFI LE
Dont run
around behind
the perfect
shot. You have
just got to let
the moment
happen on
its own.
gauge how his visual style was perceived.
Competing with photographers from across
the world was the ideal platform for him.
Every competition was like an assignment.
I would dedicatedly shoot for every contest,
irrespective of the theme. This helped
me avoid the monotony of sticking to a
single genre in my early years. Today, 22
years later, he has over 80 national and
international awards to his credit.
A Sense of Belonging
Over the years, Ghanshyam has explored
various regions of Gujarat, Madhya
Pradesh, Rajasthan and Uttar Pradesh.
However, one look at his work and you
can see his affection for photographing
the countryside. Instead of being a mere
spectator, Ghanshyam involves himself
with the lifestyle of the locals. Some images
are laced with irony, while some capture
A number of his
photographs are
made at the spur of
the moment, eliciting
instant reactions.
Being a sculptor
himself, he nds it easier
to juxtapose statues with
real life.
PROFI LE
a eeting moment, but every frame has
attention to detail and always amounts to
a wholesome understanding of the world.
A Photographer in an Artist
Ghanshyams love for photography is
only a small fraction of his love for art.
Apart from being a photographer, he is
also a sculptor and a painter. He has often
created interesting art by integrating his
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GADGETS & GEAR
His images have
interesting interactions
between the subjects
present in the frame.
Ghanshyam has a
very subtle sense of
humour which is visible
in his images.
visual style from one medium onto another.
Recently, he has also been experimenting
with video.
Ghanshyam talks about his work with
utmost enthusiasm, which is reected in his
approach to photography. His simple and
clear vision translates itself to the images he
makes. As he puts it, for him photography is
a simple task of transferring the reality that
surrounds him onto electronic pixels.
103
GIF=@ C<
104
My
Best
Shot
Why it is my best shot
Each year, the forest department
traps several tigers from villages along the
fringes of the Sunderban delta and releases
them deep inside the core of the tiger
reserve. Once the tiger is captured, they
examine it for injuries and release it into
the wild. This is one of my favourite images
because it has captured the exuberance
on the face of the tiger on being released.
The leap itself epitomises the freedom
awarded to this tiger after being tormented
by villagers and being kept in a 7 x 4 feet
cage for ve long days. Many tigers are not
so fortunate!
Where and when I shot this image
This picture was made in
January 2010 at the Sunderban Tiger
Reserve, West Bengal.
How I achieved it
By switching to the Burst mode and
anticipating the trajectory of the leap,
I managed to capture six images, from the
time the tigers head rst appeared till it
plunged into the estuary. This particular
frame is the fourth in that series.
The gear I used to get the shot
I used a Nikon D200 with a Nikkor
28105mm lens to make this photograph.
ANISH ANDHERIA
Anish Andheria is the Director of the
Wildlife Conservation Trust and a recipient of
the prestigious Carl Zeiss Conservation Award
(2008). His love affair with the camera began
in 1994 and his collection of over 1,30,000
images serves as an archival record of the wildlife
and wildernesses of India.
105
106
GREAT MASTERS
106
Julia was known
to photograph her
family and friends
dressed as historical
characters from the
past. This image is a
portrayal of Beatrice,
the protagonist from
Percy Shellys play
The Cenci.
GREAT MASTERS
Julia Margaret Cameron
Priyanka Chharia takes you back to the start, and revisits the
fascinating fairy tale that was Julia Margaret Cameron.
107
GRREAT MASTERS
10
A
ccidents can be beautiful.
In fact, photography is perhaps
one of the most beautiful
accidents that ever happened
to me. I still remember the
rst time that I noticed Julia Margaret
Camerons work. Interestingly, it was
just another serendipitous accident as
well. In an instant, I had travelled back
to the Victorian era. I was enamoured by
the subdued sepia tones of her images.
And, in this age of digital reproductions
and instant uploads... I felt that this was
something unique. In fact, it seemed
to me that her photographs, which
reeled from an innocent imperfection,
were accidents too. And, yes... they
were beautiful.
The camera
has become
to me, a living
thing, with
voice, memory
and a creative
vigour.
16-year-old
Shakespearean
actress Ellen Terry
was photographed
by Julia shortly after
her marriage in 1864.
(1815-1879)
108
GREAT MASTERS
Julia drew heavily
from biblical subject
matter, and often
photographed young
children as angels.
This image is titled I Wait
and is a portrait of her
niece Rachel Gurney.
What is focus,
and who has
the right to say
what focus is the
legitimate focus?
GREAT MASTERS
108
The Gift
For Julia Margaret Cameron, photography
was literally a gift. It was at the age of
48 when she was presented a camera
by her daughter, as a means to curb her
loneliness. It may amuse you, mother; to
try to photograph during your solitude at
Freshwater, said the accompanying note
from her daughter.
The Beginning
As a beginner, Julia learnt how to
photograph simply because of the
perseverance of her own efforts. She was
born in Kolkata, and lived in India for a long
time, before she eventually moved to the
United Kingdom in 1948.
With time, the camera was no longer
just a means of amusement for her, and
MARCH 201 3
Scientist Sir John
Herschel was Julias
lifelong friend and
the inventor of the
cyanotype print.
The unending exchanges
on photography between
the two proved to be
the principle source of
learning for Julia.
109 109
GREAT MASTERS
became much more than a forthright
bequest. She began photographing at home.
While she transformed her hen house into a
studio, she used the coal bin as a darkroom.
In a letter to scientist and friend Sir John
Herschel in 1864, Julia described her initial
struggle, and wrote, At the beginning of this
year, I took up photography, and set to work
alone and unassisted. I felt my way literally
in the dark through endless failures, and last
came endless successes!
The Portraitist
Julia Margaret Cameron marked the
beginning of portrait photography, as we
know it today. In more ways than one, she
was the predecessor to photographers such
as Richard Avedon and Steve McCurry,
who came to embody the art of portraiture
in photography.
In fact, she was the rst one to
introduce the technique of soft-focus
images. Her slightly out-of-focus portraits
were made from collodion glass plate
negatives, and were considered to be a
mistake by her peers.
However, Julia was more of an image-
maker, than a mere documentarist.
Quite often, she would scrape away
segments of collodion from the nal print,
Julias images draw
from myths and folklore,
and attach a sense
of tragedy and loss
with women.
Julia strived to
capture the essence
of an individual in her
portrait. This image
is of poet Henry
Wadsworth Longfellow,
that Julia made during
her time in England.
Women and children
are repetitive themes
in Julias work.
This portrait is of a
local woman from
Freshwater, England.
110
GREAT MASTERS
This portrait of Annie
Philpot was described
by Julia as her rst
success in photography.
From the
rst moment,
I handled my
lens with a
tender ardour.
or draw with ink on the same. She did not
follow the traditional methods of making
prints, and experimented in a number
of ways, such that each of her images was
unlike the other.
The Hostess
Julias residence in South East England
was frequented by illustrious Victorian
personalities, such as scientists Charles
Darwin and Thomas Carlyle. She lived next
door to poet Alfred Lord Tennyson, and
upon his request, photographed for his
book called Idylls of the King (18561885).
Virginia Woolf, Julias niece and noted
writer, penned down the life and times of
her aunt in a play called Freshwater (1929).
According to the writer, Julia and her circle
of fair women and famous men were a
group of eccentric, yet creative artists.
In fact, Julias amicable persona pushed
her forward as a photographer. She would
often make each of her friends and
acquaintances pose for hours on end.
The Legend
Julia Margaret Cameron was the most
prominent woman photographer of the
19th century. However, like most artists,
Julias photography was not understood
during her time. She made more than 1000
photographs, before she eventually moved
to Sri Lanka.
Her namesake, niece
and mother of Virginia
Woolf; Julia Jackson
was Camerons
favourite subject
to photograph.
MARCH 201 3
111
GREAT MASTERS
The Question
According to me, Julia is the Louisa May
Alcott of photography. While Alcott is best
remembered for Little Women (1868), her
other publications under the pen name of
A M Barnard, show a far more complex side
of the artist. Similarly, as a photographer,
Julia touched upon a number of themes
apart from angelic mothers and children.
Some of her portraits of semi-clad children
are held evocative by many. In fact, Julias
images echo in the works of photographers
such as Sally Mann, and the inciting
portraits of her children.
In more ways than one, Julia Margaret
Cameron breaks the image of a typical
Victorian woman. Even as some might
nd her work dated and non-relatable,
I feel that she is very much a woman of the
present; rather than the past.
This image of Alice
Lidell, the inspiration
behind Lewis Carolls
Alices Adventure in
Wonderland, is perhaps
the only portrait of her
as a young woman.
MARCH 201 3
112
A selection of some of
the best images from the
Indian mainstream media
Vishal Shrivastav,
The Indian Express
A Gust of Chaos
During the Kumbh Mela in January, a gathering
of sadhus were seen assembling after taking their
ritual bath in Sangam, Allahabad. By including
the sadhu wearing orange in the frame, the
photographer has bought a unique point of
interest to the image, which may have looked
bland otherwise.
Little Gandhis
To mark the 65th death anniversary of
Mahatma Gandhi, a large group of school
children dressed up as Bapu and gathered at
Marina Beach, Chennai. Instead of joining
the other photojournalists on the bus, the
photographer has framed the image from
the childrens perspective, showing an
interesting standoff between the two groups.
B A Raju,
The Times of India
113
Renuka Puri,
The Indian Express
Sharing a Joke
President Pranab Mukherjee and BJP leader
L K Advani are seen sharing a light moment
on Republic Day. The frame, which shows
these stalwarts in the foreground, and
former President A P J Abdul Kalam and
seasoned politician Sushil Kumar Shinde in
the background is an effective reection of
Indian politics.
Celebrating Victory
Congress Party workers are seen celebrating
Rahul Gandhis elevation to the post of the
partys VP on January 20 in New Delhi.
The photographers timing has allowed him
to capture the zeal of the supporters.
Virendra Singh Gosain,
Hindustan Times
Pattabi Raman is
an award-winning
photojournalist
based in Puducherry.
A photographer for
The New Indian
Express, he specialises
in photographing
socioeconomic,
cultural and
environmental issues.
Children sleep inside
a broken house at
Killinochi district, the
former headquarters of
the LTTE.
PHOTO
FEATURE
114
MARCH 201 3
Souls of a Homeland
Pattabi Raman captures the lives of displaced and rehabilitated Tamilians
in the aftermath of the Sri Lankan Civil War.
T
he Sri Lankan Civil War began
in 1983, when the Liberation
Tigers of Tamil Eelam (LTTE), a
separatist military organisation,
rebelled against the government
for an independent Tamil state. In 2009,
after 26 long years, the Sri Lankan military
defeated the Tamil Tigers, bringing an
end to the Civil War. In the meanwhile,
Tamil residents of the north and eastern
provinces of the island nation were badly
affected. Physical, cultural and human
losses surmounted in the Tamil colonies.
The bloodbath killed over 90,000 people,
predominantly civilians. More than a year
after the war ended, almost half of the
115
MARCH 201 3
This is one family
among the millions
displaced internally
during the last phase of
26-year-old Sri Lankan
Civil War.
One of the resettled
families inside a
home in Mullaitivu
district. The bullet-
ridden walls are
particularly haunting.
Tamilians were displaced, and had to make
a livelihood for themselves.
This issue has been close to me for the
longest. After the war ended, I approached
the Sri Lankan government for a possibility
to photograph the aftermath for The New
Indian Express Sunday paper. They agreed,
and the week-long assignment turned into
a project that has been ongoing for the last
two-and-a-half years.
The Sri Lankan
Civil War is
responsible
for the deaths
of about
90,000 people,
mostly civilians.
116
PHOTOFE ATURE
An unemployed
and handicapped
youth resettled at
Killinochi district.
If you must photograph high security zones,
take appropriate permissions from the
proper authorities.
Prepare a mental script to visualise the story you
want to tell.
Split your project into different phases and analyse
it yourself, as well as discuss with peers and
academicians who know the issue in depth.
Never underestimate any minorities, especially
those who have faced conict over the years.
They keenly follow all national affairsso be
prepared with enough knowledge about the issue.
Tips for Making Photographs in Conict Areas
Two sisters with
their grandchildren
at Udairkattu.
Several Tamil
families are
displaced
because of
the war and
struggle to make
a livelihood.
117
PHOTOFE ATURE
YourPictures
118
Want your photographs showcased?
Send in your photographs to
The Editor, Better Photography,
Network18 Publishing, Ruby House,
A Wing, J K Sawant Marg,
Dadar (W) Mumbai-400 028, India
Email:
entries@betterphotography.in
119
The Green Enticer
Parimal R Patel, Navsari
I was trekking through
a forest one day, when
I came across this green
vine snake. Its stance
combined with its
beautiful colours made
for a striking capture.
Aperture: f/7.1
Lens: Canon EF-S
18135mm f/3.5-5.6 IS
ISO: 200
Fluttering
Golden Nuggets
Alan Varghese,
Thiruvananthapuram
Bees are the most
organised and dedicated
creatures in the insect
world. This was a
beautiful moment where
I captured their hectic
working schedule.
Camera: Canon
EOS 1000D
Lens: Canon EF-S
55250mm f/4-5.6 IS
Aperture: f/8
ISO: 800
120
YOUR PI CTURES
A Delicate Visitor
Subhash Rawat, Dehradun
The sun had almost set
while I was wandering
in a eld. I noticed a
dragony standing very
still and decided to shoot
a silhouette, as I thought it
would go well against the
orange sky.
Aperture: f/5.6
ISO: 400
121
Show of Dominance
Vishnu Sivadas, Chennai
I made this photograph
while visiting a marshland.
What looked like two
egrets dancing, was in
fact a terrotorial ght
between the two birds.
Lens: Sigma APO
150500mm f/5-6.3 DG
OS HSM
Aperture: f/5.6
Walking on
a Thin Line
Aroon Kalandy, Kozhikode
One morning, while I was
wandering in my garden,
I had an unexpected
visitor in a rather unique
situation. The ant and
the image forming in the
water bubble looked like
the perfect frame.
Camera: Sony Alpha 200
Lens: Tamron SP AF 90mm
f/2.8 Di Macro
Aperture: f/9
ISO: 100
Cameras
Interchangeable Lens Camera

These cameras offer serious enthusiasts many features like speed, great image quality, and the option of changing lenses.
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Canon EOS 1000D 25,295 K 10.1 22.2 14.8 CMOS 100-1600 30-1/4000 Canon EF 450 126.1 97.5 61.9 86 Sep 08
Canon EOS 1100D 29,990 K 12.2 22 14.7 CMOS 100-3200 30-1/4001 Canon EF 495 129.9 99.7 77.9 88 May 11
Canon EOS 550D 30,995 18 22.3 14.9 CMOS 100-6400 30-1/4000 Canon EF 530 128.8 97.5 75.3 86 May 10
Canon EOS 6D 1,24,995 20.2 35.8 23.9 CMOS 100-25600 30-1/4000 Canon EF 675 144.5 110.5 71.2
Canon EOS 60D 56,295 18 22.3 14.9 CMOS 100-6400 30-1/8000 Canon EF 675 144.5 105.8 78.6 87 Jan 11
Canon EOS 600D 35,990 18 22.3 14.9 CMOS 100-6401 30-1/4000 Canon EF 515 133.1 133.1 79.7 82 Jun 10
Canon EOS 650D 55995 18 22.3 14.9 CMOS 100-6400 30-1/4000 Canon EF 575 133.1 99.8 78.8 81 Sep 12
Canon EOS 5D Mark III 2,06,950 22 36 24 CMOS 100-25600 30-1/8000 Canon EF 950 152 116.4 76.4 90 Jun 12
Canon EOS 7D 87,995 18 22.3 14.9 CMOS 200-6400 30-1/8000 Canon EF 820 148.2 110.7 73.5 93 Dec 09
Canon EOS 1D X 4,29,995 18 36 24 CMOS 100-51200 30-1/8000 Canon EF NA 158 163.6 82.7
Canon EOS M 49,995 18 22.3 14.9 CMOS 100-12800 30-1/4000 Canon EF-M 262 108.6 66.5 32.3
Fujilm X-E1 72,009 16.3 23.6 15.6 CMOS 200-6400 30-1/4000 Fujilm X 350 129 74.9 38.3
Fujilm X-Pro1 1,04,999 16.3 23.6 15.6 CMOS 200-6400 30-1/4000 Fujilm X 450 139.5 81.8 42.5 90 Jun 12
Nikon D3S 2,89,950 12.1 36 23.9 CMOS 200-12800 30-1/8000 Nikon F 1240 159.5 157 87.5 95 Jan 10
Nikon D300S 84,950 12.3 23.6 15.8 CMOS 200-6400 30-1/8000 Nikon F 840 147 114 74 91 Nov 09
Nikon D3100 24,250 14.2 23.1 15.4 CMOS 100-3200 30-1/4000 Nikon F 455 124 96 74.5 90 Nov 10
Nikon D3200 32,250 24.2 23.1 15.4 CMOS 100-6400 30-1/4000 Nikon F 505 125 96 76.5 83 July 12
Nikon D3X 5,24,950 24.5 35.9 24 CMOS 100-3200 30-1/8000 Nikon F 1260 160 157 88 96 Mar 09
Nikon D4 3,49,950 16.2 36 23.9 CMOS 100-12800 30-1/8000 Nikon F 1340 160 156.5 90.5 93 May 12
Nikon D5100 34,450 16.2 23.6 15.6 CMOS 100-6400 30-1/4000 Nikon F 509 128 96.9 78.7 83 Jun 11
Nikon D5200 41,450 24.1 23.5 15.6 CMOS 100-6400 30-1/4000 Nikon F 505 129 98 78
Nikon D600 135,950 24.3 35.9 24 CMOS 100 - 6400 30-1/4000 Nikon F 850 141 113 82 87 Nov 12
Nikon D700 1,29,950 12.1 36 23.9 CMOS 200-6400 30-1/8000 Nikon F 995 147 123 77 90 Oct 08
Nikon D7000 64,450 16.2 23.6 15.6 CMOS 100-6400 30-1/8000 Nikon F 690 132 105 77 91 Jan11
Nikon D800 1,69,950 36.3 35.9 24 CMOS 100-6400 30-1/8000 Nikon F 1000 146 123 81.5
Nikon D800E 1,84,950 36.3 35.9 24 CMOS 100-6400 30-1/8000 Nikon F 1000 146 123 81.5
Nikon D90 43,450 12.3 23.6 15.8 CMOS 100-6400 30-1/4000 Nikon F 620 132 103 77 90 Dec 08
Nikon 1 J1 24,950K 10.1 13.2 8.8 CMOS 100-3200 30-1/4000 Nikon CX 277 106 61 29.8
Nikon 1 V1 38,950K 10.1 13.2 8.8 CMOS 100-3200 30-1/4000 Nikon CX 383 113 76 43.5
Olympus PEN E-PM1 24,990 K 12.3 18 13.5 Live MOS 200-12800 60-1/4000 Micro Four Thirds 265 109.5 63.7 34
Olympus PEN E-PL3 34,990 K 12.3 18 13.5 Live MOS 200-12800 60-1/4000 Micro Four Thirds 313 109.5 63.7 37.3
Olympus PEN E-P3 41,990 K 12.3 18 13.5 Live MOS 200-12800 60-1/4000 Micro Four Thirds 369 122 69.1 34.3
Olympus PEN E-PL5 44,990 K 16 17.3 13 Live MOS 200-25600 60-1/4000 Micro Four Thirds 325 110.6 63.7 38.2 Jan 13
Olympus OM-D E-M5 66,990 16 18 13.5 Live MOS 200-12800 60-1/4000 Micro Four Thirds 425 122 89 43 85 Jun 12
Panasonic LUMIX DMC-GH2 1,09,990 16 17.3 13 Live MOS 160-12800 60-1/4000 Micro Four Thirds 392 124 89.6 75.8 75 Sep 10
Panasonic LUMIX DMC-GF2 29,990 12.1 17.3 13 Live MOS 100-6400 60-1/4000 Micro Four Thirds 265 112.8 67.8 32.8 87 Aug 09
Panasonic LUMIX DMC-GF5 40,990 12.1 12.1 13.0 Live MOS 100-6400 60-1/4000 Micro Four Thirds 267 108 67 37 80 July 12
Panasonic LUMIX DMC-GX1 45,900 K 16 17.3 13 Live MOS 160-12800 60-1/4000 Micro Four Thirds 272 116 68 39 85 May 12
Samsung NX10 44,990 K 14.6 23.4 15.6 CMOS 100-3200 30-1/4000 Samsung NX Mount 353 123 87 39.8 79 Aug 10
Sony Alpha 37 35,990 K 16.1 23.4 15.6 CMOS 100-16000 30-1/4000 Sony A 448 124.4 92 84.7
BuyersGuide
BP Recommended, NA: Not Applicable, NR: Not Reviewed, K: Price with Kit Lens (Mount C: Canon, M: Minolta, N: Nikon, Q: Manual Film Cameras, S: Sigma, So: Sony, X: Fujilm)
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Sony Alpha 57 45,990 K 16.1 23.5 15.6 CMOS 100-12800 30-1/4000 Sony A 539 132.1 97.5 80.7
Sony Alpha 65 59, 990 K 24.3 23.5 15.6 CMOS 100-16000 30-1/4000 Sony A 543 132.1 97.5 80.7
Sony Alpha 77 69,990 24.3 23.5 25.6 CMOS 100-16000 30-1/4000 Sony A 653 142.6 104 80.9 84 Aug 12
Sony Alpha 99 1,79,270 24.3 35.8 23.8 CMOS 100-25600 30-1/8000 Sony A 812 147 111 78
Sony Alpha NEX-3 19,990 K 14.2 23.4 15.6 CMOS 200-12800 30-1/4000 Sony E 297 117 63 33
Sony Alpha NEX-5 24,990 K 14.2 23.4 15.6 CMOS 200-12800 30-1/4000 Sony E 287 111 59 38
Sony Alpha NEX-7 79,990 K 24.3 23.4 15.6 CMOS 100-16000 30-1/4000 Sony E 291 119.9 66.9 42.6
Advanced Compact Camera

A bridge between DSLRs and compact cameras, these cameras allow you to shoot in RAW and/or have a hot shoe for an external ashgun.
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Canon Powershot G1X 47,995 14.3 4352 2904 1.5 28-112 100-12800 60-1/4000 f/2.8-16 Yes Yes Li-ion 84 May 12
Canon PowerShot G12 31,995 10 3648 2736 1/1.7 28-140 80-3200 15-1/4000 f/2.8-8 Yes Yes Li-ion 86 Dec 10
Canon PowerShot SX50HS 29,995 12.1 4000 3000 2.8 4.3-215 80 - 6400 15 - 1/2000 f/3.4-8 Yes Yes Li-ion
Canon PowerShot SX40HS 22,995 12.1 4000 3000 1/2.3 24-120 100-3200 15-3200 f/2.7-8 No Yes Li-ion 85 Dec 11
Canon PowerShot SX30 IS 24,995 14.1 4320 3240 1/2.3 24-840 80-1600 15-1/3200 f/2.7-8 No Yes Li-ion
Fujilm FinePix HS20EXR 26,999 16 4608 3456 1/2 24-720 100-12800 30-1/4000 f/2.8-5.6 Yes Yes Li - i on
Fujilm X10 44,999 12 4000 3000 2/3 28-112 100-3200 30-1/4000 f/2-2.8 Yes Yes Li - i on
Fujilm XF1 33,988 12 4000 3000 2/3 25-100 100-3200 30-1/4000 f/1.8-4.9 Yes No Li-ion
Fujilm X-S1 59,999 12 4000 3000 2/3 24-624 100-3200 30-1/4000 F/2.8-11 Yes Yes Li - i on
Fujilm FinePix X100 76,999 12.3 4288 2848 APS-C 35 100-12800 30-1/4000 f/2 Yes Yes Li - i on
Nikon COOLPIX P7100 22,950 10.1 3648 2736 1/1.7 28-200 100-6400 60-1/4000 f/2.8 - 8 Yes No Li-ion
Olympus XZ-1 26,990 10.1 3648 2736 1/1.63 28-112 100-6400 60-1/200 f/1.8-2.5 Yes No Li-ion
Panasonic LUMIX DMC-FZ40 20,990 14.1 4320 3240 1/2.3 25-600 100-6400 60-1/2000 f/2.8-5.2 Yes No Li-ion
Panasonic LUMIX DMC-FZ100 29,990 14.1 4320 3240 1/2.3 25-600 100-6400 60-1/2000 f/2.8-5.2 Yes No Li-ion
Panasonic LUMIX DMC-LX5 29,990 10.1 3648 2736 1/2.3 24-90 80-12,800 60-1/4000 f/2-8 Yes Yes Li-ion
Sony Cyber-shot DSC-RX100 34,990 20.2 5472 3648 1 28-100 80-6400 30-1/2000 f/1.8-f/11 Yes No Li-ion
Using the BP Buyers Guide:
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500+
PRODUCTS
LISTED HERE
Interchangeable Lens Camera

DLSRs offer serious enthusiasts a host of shooting features, speed, good image quality, and the option of changing lenses.
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A Few Things to Think of Before You Buy
1. Always remember that your cameras, lenses and accessories are all tools: The picture is eventually made by you.
Perfect composition, using light well, and capturing just the right moment is far more important than the kind of camera
you use. Some of the worlds most renowned photographers use very basic equipment to capture the most beautiful frames.
2. The photography you do most dictates the kind of equipment you buy: There is no reason to purchase equipment for things you
intend to do in the future or just because it seems to be a good buy. Photographic equipment improves in quality and
technology every few months.
3. When you feel continuously constrained by what you have: First, try moving beyond your constraints by using every possible feature
and function of your existing equipment, and by being creative. Once you exhausted your options,
it is time to make your next purchase.
4. Spend on the right accessories: While you can make your own accessories, some of them are quite important for a serious
photographer. For instance, spend on a light but sturdy tripod, or a good set of creative lters, or a small ashgun, or a
lenshood. They will radically improve your photography and offer you a range of creative techniques you can try out with them.
BP BUYERS GUIDE
Basic Compact Camera

This compact shooting device offers automation and numerous creative features for basic, everyday shooting situations.
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Canon Digital IXUS 115 HS 8,495 12.1 4000 3000 1/2.3 28-112 80-1600 1-1/1500 f/2.8-8 Li-ion
Canon Digital IXUS 1100 HS 12,995 12.1 4000 3000 1/2.3 28-336 100-1600 1-1/4000 f/3.4-6.3 Li-ion
Canon Digital IXUS 125 HS 16995 16.1 4608 2592 1/2.3 24-120 100-3200 15-1/2000 f/2.7-17 Li-ion
Canon Digital IXUS 230 HS 13,995 12.1 4000 3000 1/2.3 28-224 100-1600 1-1/2000 f/3-9 Li-ion
Canon Digital IXUS 240 HS 18995 16.1 4608 2592 1/2.3 24-120 100-3200 15-1/2000 f/2.7-17 Li-ion
Canon Digital IXUS 310 HS 10,995 12.1 4000 3000 1/2.3 24-105 100-3200 1-1/1600 f/2-8 Li-ion
Canon PowerShot A1200 4,495 12.1 4000 3000 1/2.3 28-112 80-1600 1-1/1600 f/2.8-8 Li-ion
Canon PowerShot A2200 5,495 14.1 4000 3240 1/2.3 28-112 80-1600 1-1/1600 f/2.8-8 Li-ion
Canon PowerShot A2300 6995 16 4000 3456 1/2.3 28-140 100-1600 15-1/2000 f/2.8-20 Li-ion
Canon PowerShot A2400 IS 7995 16 4000 3456 1/2.3 28-140 100-1600 15-1/2000 f/2.8-20 Li-ion
Canon PowerShot A3200 IS 5,995 14.1 4000 3240 1/2.3 28-140 80-1600 1-1/1600 f/2.8-8 Li-ion
Canon PowerShot A3300 IS 7,495 16 4000 3456 1/2.3 28-140 80-1600 1-1/1600 f/2.8-8 Li-ion
Canon PowerShot A3400 IS 9995 16 4000 3456 1/2.3 28-140 100-1600 15-1/2000 f/2.8-20 Li-ion
Canon PowerShot A4000 IS 11995 16 4000 3456 1/2.3 28-224 100-1600 15-1/2000 f/3-18 Li-ion
Canon PowerShot A800 3,995 10 3648 2736 1/2.3 37-122 100-800 1-1/2000 f/3-9 Li-ion
Canon PowerShot A810 5995 16 4000 3456 1/2.3 28-140 100-1600 15-1/2000 f/2.8-20 AA
Canon PowerShot SX150 IS 9,995 14.1 4000 3240 1/2.3 28-336 80-1600 1-1/2500 f/2.8-8 Li-ion
Canon PowerShot SX240 HS 19,995 12.1 4000 3000 1/2.3 28-392 100-3200 1-1/3200 f/3.1-8 Li-ion
Canon PowerShot SX260 HS 22,995 12.1 4000 3000 1/2.3 28-392 100-3200 1-1/3200 f/3.1-8 Li-ion
Fujilm FinePix AV200 5,499 14 4288 3216 1/2.3 32-96 100-1600 8-1/1400 f/2.9-5.2 AA
Fujilm FinePix AX300 5,999 14 4288 3216 1/2.3 33-165 100-1600 8-1/1400 f/3.3-5.9 AA
Fujilm FinePix F80EXR 12 4000 3000 1/2 27-270 100-1600 8-1/2000 f/3.3-5.6 Li-ion
Fujilm FinePix F500EXR 18,999 16 4608 3456 1/2 24-360 100-1600 8-1/2000 f/3.5-5.3 Li-ion
Fujilm FinePix HS20EXR 16 4608 3456 1/2 24-720 100-3200 30-1/4000 f/2.8-5.6 AA
Fujilm FinePix HS25EXR 16 4608 3456 1/2 24-720 100-1600 30-1/4000 f/2.8-5.6 AA
Fujilm FinePix JV200 6,499 14 4288 3216 1/2.3 36-108 100-1600 8-1/1400 f/2.9-5.2 Li-ion
Fujilm FinePix JX300 7,499 14 4288 3216 1/2.3 28-140 100-1600 8-1/1800 f/2.6-6.2 Li-ion
Fujilm FinePix JX500 14 4288 3216 1/2.3 26-130 100-1600 8-1/1400 f/3.5-6.3 Li-ion
Fujilm FinePix JZ100 8,499 14 4288 3216 1/2.3 25-200 64-1600 8-1/2000 f/2.9-5.9 Li-ion
Fujilm FinePix S2500HD 12.2 4000 3000 1/2.3 28-504 100-1600 8-1/200 f/3.1-5.6 AA
Fujilm FinePix S2950 10,999 14 4288 3216 1/2.3 28-504 64-1600 8-1/2000 f/3.1-5.6 AA
Fujilm FinePix S2980 14 4288 3216 1/2.3 28-504 100-1600 8-1/2000 f/3.1-5.6 AA
Fujilm FinePix S3300 15999 14 4288 3216 1/2.3 24-624 64-1600 8-1/2000 f/3.1-5.9 AA
Fujilm FinePix S4000 18,999 14 4288 3216 1/2.3 24-720 64-1600 8-1/2000 f/3.1-5.9 AA
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MARCH 201 3
167
Fujilm FinePix SL260 14 4288 3216 1/2.3 24-720 64-1600 8-1/2000 f/3.1-5.9 Li-ion
Fujilm FinePix SL300 14 4288 3216 1/2.3 24-576 64-1600 8-1/2000 f/3.1-5.9 Li-ion
Fujilm FinePix T200 11,999 14 4288 3216 1/2.3 24-720 100-1600 8-1/2000 f/3.1-5.9 Li-ion
Fujilm FinePix T350 14 4288 3216 1/2.3 28-280 100-1600 8-1/2000 f/3.4-5.6 Li-ion
Fujilm FinePix Z800EXR 16 4608 3456 1/2 28-140 100-3200 8-1/2000 f/3.4-5.6 Li-ion
Fujilm FinePix Z900EXR 14 4608 3456 1/2 35-175 100-3200 8-1/2000 f/3.9-4.7 Li-ion
Fujilm FinePix Real 3D W3 26,999 10 3648 2736 1/2.3 35-105 100-1600 1-1/1000 f/3.7-8 Li-ion
Nikon COOLPIX P500 20,950 12.1 4000 3000 1/2.3 22.5-810 160-3200 2-1/1500 f/3.5-5.7 Li-ion
Nikon COOLPIX P300 14,950 12.2 4000 3000 1/2.3 24-100 160-3200 4-1/2000 f/1.8-4.9 Li-ion
Nikon COOLPIX P500 20,950 12.1 4000 3000 1/2.3 22.5-810 160-3200 2-1/1500 f/3.5-5.7 Li-ion
Nikon COOLPIX P510 23,950 16.1 4608 3456 1/2.3 24-1000 100-3200 1-1/4000 f/3-5.9 Li-ion
Nikon COOLPIX P7000 19,950 10.1 4608 3456 1/2.3 28-200 100-6400 60-1/4000 f/2.8-8 Li-ion
Nikon COOLPIX P7700 24,950 12.2 4000 3000 1/1.7 28-200 80-3200 1-1/4000 f/2-4 Li-ion
Nikon COOLPIX S1200Pj 14,950 14.1 4320 3240 1/2.3 28-140 80-6400 1-1/1500 f/3.9-5.8 Li-ion
Nikon COOLPIX S2500 5,950 12 4000 3000 1/2.3 27-108 80-3200 f/3.2-5.9 Li-ion
Nikon COOLPIX S2600 5,950 14 4320 3240 1/2.3 26-130 80-3200 1-1//2000 f/3.2-6.5 Li-ion
Nikon COOLPIX S30 4,990 10.1 3648 2736 1//3 29.1-87.3 80-1600 1-1//2000 f/3.3-5.9 AA
Nikon COOLPIX S100 12,950 16 4608 3456 1/2.3 35-175 125-3200 1-1/1500 f/3.9-4.8 Li-ion
Nikon COOLPIX S9100 18,950 12.1 4000 3000 1/2.3 25-450 160-3200 1/1/2000 f/3.5-5.9 Li-ion
Nikon COOLPIX S8200 15,450 16.1 4608 3456 1/2.3 25-350 100-3200 1-1/1600 f/3.3-5.9 Li-ion
Nikon COOLPIX S6300 9,950 16 4608 3456 1/2.3 25-250 125--3200 1-1/2000 f/3.2-5.8 Li-ion
Nikon COOLPIX S6400 12,950 16 4608 3456 1/2.3 25-300 125--3200 1-1/2000 f/3.1-6.5 Li-ion
Nikon COOLPIX S800c 20,950 16 4608 3456 1/2.3 25-250 125--3200 1-1/2000 f/3.2-5.8 Li-ion
Nikon COOLPIX S8100 13,450 12.1 4000 3000 1/2.3 25-300 160-3200 f/3.5-5.6
Nikon COOLPIX L120 13,950 14.1 4320 3240 1/2.3 25-525 80-6400 f/3.-5.8 AA
Nikon COOLPIX L24 5,450 14.0 4320 3240 1/2.3 37-134 80-1600 f/3.1-6.7 Li-ion
Nikon COOLPIX L23 4,490 10.1 3648 2736 1/2.9 28-140 80-1600 f/2.7-6.8 AA
Nikon COOLPIX L25 4,490 10.1 4000 3000 1/2.3 28-140 80-1600 1-1/2000 f/2.7-6.8 Li-ion
Nikon COOLPIX L310 11,950 14 4320 3240 1/2.3 37-134 80-1600 1-1/2000 f/3.1-6.7 Li-ion

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BP BUYERS GUIDE
Nikon COOLPIX AW100 14,950 16 4608 3456 1/2.3 28-140 125-3200 1-1/1500 f/3.9-4.8 Li-ion
Olympus SH-25MR 21,990 16 4608 3456 1/2.3 24-300 100-6400
Li-ion
Olympus SP-620UZ 12,990 14 4320 3240 1/2.3 25-525 80-1600
Li-ion
Olympus SP-720UZ 12,990 14 4320 3240 1/2.3 26-676 80-1600
Li-ion
Olympus SP-810UZ 12,990 14 4320 3240 1/2.3 24-864 80-1600
Li-ion
Olympus SZ-14 16,990 14 4320 3240 1/2.3 25-600 80-1600
Li-ion
Olympus SZ-31MR 25,990 16.0 4608 3456 1/2.3 25-600 80-6400
Li-ion
Olympus VG-150 4,990 12 4000 3000 1/2.3 27-108 100-1600
Li-ion
Olympus VG-160 6,490 14 4320 3240 1/2.3 26-130 100-1600
Li-ion
Olympus VG-170 8,990 14 4320 3240 1/2.3 26-130 100-1600
Li-ion
Olympus VR-350 9,990 16 4608 3456 1/2.3 24-240 100-1600
Li-ion
Panasonic LUMIX DMC-S1 5,990 12.1 4000 3000 1/2.3 28-112 100-6400 8-1/1600 f/3.1-6.5 Li-ion
Panasonic LUMIX DMC-S3 6,990 14.1 4320 3240 1/2.3 28-112 100-6400 8-1/1600 f/3.1-6.5 Li-ion
Panasonic LUMIX DMC-FH2 7,990 14.1 4320 3240 1/2.3 28-112 100-6400 8-1/1600 f/3.1-6.5 Li-ion
Panasonic LUMIX DMC-FP5 9,990 14.1 4320 3240 1/2.3 35-140 100-6400 8-1/1600 f/3.3-5.9 Li-ion
Panasonic LUMIX DMC-FP7 10,990 16.1 4608 3456 1/2.3 35-140 100-6400 8-1/1600 f/3.3-5.9 Li-ion
Panasonic LUMIX DMC-TZ18 15,990 14.1 4320 3240 1/2.3 28-448 100-6400 8-1/1600 f/3.3-5.9 Li-ion
Panasonic LUMIX DMC-TZ20 17,990 14.1 4320 3240 1/2.3 29-464 100-6400 8-1/1600 f/3.3-5.9 Li-ion
Panasonic LUMIX DMC-FX78 17,990 12.1 4000 3000 1/2.3 24-120 100-6400 8-1/1600 f/2.5-5.9 Li-ion
Panasonic LUMIX DMC-FT3 27,990 12.1 4000 3000 1/2.3 28-128 100-6400 8-1/1600 f/3.3-5.9 Li-ion
Samsung DV100 8,900 16 4608 3456 1/2.3 80-1600 1-1/2000 f/3.5-5.9
Samsung DV300F 12,400 16 4608 3456 1/2.3 80-3200 1-1/2000 f/2.5-6.3
Samsung ES90 6,400 14 4320 3240 1/2.3 27-135 80-3200 1-1/2000 f/3.5-5.9
Samsung MV800 15,990 16.1 4608 3456 1/2.3 26-130 100-3200 1-1/2000 f/3.3-5.9
Samsung PL20 6,490 14.2 4320 3240 1/2.3 27-135 80-1600 1-1/2000 f/3.5-5.9
Samsung PL120 8,490 14.2 4320 3240 1/2.3 26-130 80-1600 1-1/2000 f/3.3-5.9
Samsung PL210 11,990 14.2 4320 3240 1/2.3 27-270 80-3200 1-1/2000 f/3.3-5.9
Samsung SH100 14,900 14.2 4320 3240 1/2.3 26-130 80-3200 1-1/2000 f/3.3-5.9
Samsung ST66 7,900 16.1 4608 3456 1/2.3 26-416 80-3200
Samsung ST200F 12,400 16 4608 3456 1/2.3 24-384 100-12800
Samsung WB150F 12,900 14.2 4320 3240 1/2.3 25-500 100-12800
Samsung WB700 15,900 14.2 4320 3240 1/2.3 27-870 100-12800
Sony Cyber-shot DSC-S2000 6,490 10.1 3648 2736 1/2.3 36-105 100-3200 1-1/2000 f/3.1-5.6 AA
Sony Cyber-shot DSC-S2100 6,990 12.1 4000 3000 1/2.3 35-105 100-3200 1-1/2000 f/3.1-5.6 AA
Sony Cyber-shot DSC-W310 7,990 12.1 4000 3000 1/2.3 28-112 100-3200 1-1/1600 f/3-5.8 Li-ion

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168
UPDATED INDIAS MOST COMPREHENSIVE BUYERS GUIDE
MARCH 201 3
169
Camera Myths Busted!
The Best Cameras are the Most Expensive Ones: There is no best camera.
Depending on the kind of photography you wish to do, a certain camera may be
the most appropriate one for your needs.
Higher the Megapixels, Better the Quality: A higher-megapixel camera is not
always better than a lower-megapixel one. The only thing that the megapixel
count refers to, is the largest print size one can make using the camera. Even an
8MP camera is good enough to make an 12 X 18-inch print.
Sensor Size Does Not Matter: A camera that has a larger sensor has larger pixel
sites, which basically ensures better quality, dynamic range, as well as better
image quality at higher ISO settings.
Compact Cameras Cannot Make Good Pictures: Some of the best photographs
in the world are shot with point-and-shoot cameras and even cell phones!
Also, they are convenient and discreet.
Digital Zoom is Better: All that digital zoom does, is crop the image to a slightly
closer frame, and interpolate causing a severe loss of image quality.
Stabilisation Helps Shoot Sharper Images in Every Situation: Image Stabilisation
only reduces camera shake, and does not have any effect on motion blur. It does
not freeze moving subjects.
You Need a High ISO Machine: If you are someone who enjoys shooting from
dawn to dusk, an ISO setting up to 1600 is good enough for most situations.
Digital is Better than Film... or Vice Versa: Both lm and digital have their
advantages. While lm offers better resolution and dynamic range, digital scores
highly in terms of convenience and low light shooting.
Automatic Modes are Good Enough: Auto modes are reasonably intelligent and
can help make good pictures. However, if you wish to get really creative, you
ought to look beyond the Auto mode.
You Should Shoot Only in RAW: Shooting in RAW is a worthwhile option if you
are able to spend a good amount of time, editing the images so that they can be
converted to usable JPEG or TIFF les.
Higher Frame Rates Are Needed for Action: You do not need an 8fps or 10fps
to shoot sports and action. It is all about anticipation and timing. Moreover, the
frame rate of a camera is not entirely indicative of its speed. Other factors
like startup time, responsiveness, general ergonomics and AF speed are
also important.
You Need High Speed Storage: For most general users, even an Extreme III card
is an overkill. Before you buy a new memory card, try borrowing memory cards
of different speeds from friends. This will help you evaluate if a slower card
really slows down your camera.

Third-party Products are Inferior: Every company has some good and bad
products. Sometimes, a third party lens may actually be superior to the one
produced by the original camera company!
K_\i\Xi\k`d\jn_\ej`dgc\]XZkjXYflkZXd\iXjXe[c\ej\jXi\fm\icffb\[fid`jle[\ijkff[%N\c`jkflkX]\n
Zfddfedpk_jk_XkXi\f]k\egifgX^Xk\[Ypk_\dXib\kèî\c\Xj\jf]ZXd\iXdXel]XZkli\ij%
Sony Cyber-shot DSC-W320 9,990 14.1 4320 3240 1/2.3 26-105 80-3200 1-1/1600 f/2.7-5.7 Li-ion
Sony Cyber-shot DSC-TX1 14,990 10.2 3648 2736 1/2.4 35-140 125-3200 2-1/1250 f/3.5-7.1 Li-ion 77 Dec 09
Sony Cyber-shot DSC-TX7 22,990 10.2 3648 2736 1/2.4 25-100 125-3200 2-1/1600 f/3.5-4.6 Li-ion 80 May 10
Sony Cyber-shot DSC-WX1 14,990 10.2 3648 2736 1/2.4 24-120 160-3200 2-1/1600 f/2.4-5.9 Li-ion
Sony Cyber-shot DSC-W380 13,990 14.1 4320 3240 1/2.3 24-120 80-3200 2-1/1600 f/2.4-5.9 Li-ion 76 Apr 10
Sony Cyber-shot DSC-H55 14,990 14.1 4320 3240 1/2.3 25-250 80-3200 30-1/1600 f/3.5-8 Li-ion
Sony Cyber-shot DSC-HX1 24,990 9.1 3456 2592 1/2.4 28-560 125-3200 1-1/4000 f/2.8-8 Li-ion 85 Aug 09
Sony Cyber-shot DSC-H90 13,990 16.1 1/2.3 28-140 100-3200 30-1/1600 f/2.6-8 Li-ion
Sony Cyber-shot DSC-HX10V 17,990 18.2 1/2.3 28-140 100-3200 30-1/1600 f/3.3-8 Li-ion
Sony Cyber-shot DSC-S5000/B 5,490 14.1 4320 3240 1/2.3 28-140 100-3200 f/3.2-9.1 Li-ion
Sony Cyber-shot DSC-W610 6,490 14.1 4320 3240 1/2.3 28-140 100-3200 1-1/1600 f/2.8-8 Li-ion
Sony Cyber-shot DSC-W630 8,990 16.1 4608 3456 1/2.3 25-250 80-3200 1-1/1600 F2.6-8.0 Li-ion
Sony Cyber-shot DSC-W690 10,990 16.1 4608 3456 1/2.3 26-156 80-3200 1-1/1600 f/2.6-8 Li-ion
Sony Cyber-shot DSC-WX50 11,990 18.2 4608 3456 1/2.3 25-125 100-12800 1-1/1600 f 2.6-6.3 Li-ion
Sony Cyber-shot DSC-WX150 14,990 18.2 1/2.3 25-125 100-12800 1-1/1600 f/3.2-3.3 Li-ion
W
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BLOG OF THE MONTH
Last months winning entry
Moo out of my way!
Sonal Upadeo, via SMS
Provide a caption for this picture, photographed
by Aditya Nair, to get a chance to win Camelion
batteries and charger worth Rs. 1455.
The selected entry will be published in the
April 2013 issue of Better Photography.
Created by Masaki Hosaka, a Tokyo-based
photographer, this blog is called Square Tokyo.
It presents a graphical view of Japans capital in
the square format. Made using the Hasselblad
9055WC, the images are almost all in black and
white and are pretty minimalist in their style.
In that, they successfully reect the clean,
controlled infrastructure and the meticulousness
of Japanese culture.
The photographer does not speak much about
his photographs, besides providing a brief caption
and posting almost regularly. The stark black and
whites are quite evocative of an urban landscape,
characterised by the ennui and boredom of a
concrete city. Almost all the pictures are devoid of
any human presence, not even as an afterthought.
They make one feel as if he is looking not at an
actual, living, breathing city, but a surreal place.
Masakis images dwell in the realm somewhere
between clinical precision and fantasy. And so, the
blog is a great visit for those who wish to present
an unseen side of their city.
Tokyo Cut Out in Squares
12 Hasselblad EDC cameras
were left on the surface
of the moon before the
last US mission, Apollo
17, returned in 1972.
The cameras were used to
make iconic images from
19691972 and then were left there due to weight
restrictions, since the astronauts wanted to carry
lunar rock. Only the lm packs were brought back.
Recently, Apollo 17s commander, Eugene
Cernan, also known as the last man to walk on the
moon, stated that he left his Hasselblad camera
there with the lens pointing up at the zenith.
The idea was that someday, someone would come
back and nd out how much solar cosmic radiation
had deteriorated the glass. Consequently, he never
managed to make a photo of his last footstep!
DID YOU KNOW?
A Camera Was Left on the Moon
Solely for a Long-term Gear Test
Send your captions to
E-mail: entries@betterphotography.in,
or SMS BP Mar <your caption> <your name> to 51818
(for eg. BP March Spider senses tingling Hitesh Mehta)
Last date to receive entries
5 March 2013
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171
172
MARCH 201 3
The Photo Albums
Unconventional Journey
HISTORY
O
ver the years, the humble photo
album has become a reason for
friends and family to get together
and step into the world of old
forgotten memories. However, it
did not exactly have such a warm beginning.
Let us explore the interesting journey of the
photo album.
Photographic Documentation
Did you know that early photo albums
began as research journals? During the
1830s and 40s, inventors maintained diaries
of their research, which contained photo
records of experiments. These were not
disclosed as the contents of the albums
were considered classied information.
The Beginning of a Trend
In 1854, French photographer Andr-
Adolphe-Eugne Disdri patented the
carte de visite. These were albumen prints
that were later mounted on top of thick
card paper. The name of the individual
photographed would then be engraved
onto the card. Carte de visites were used just
like modern day business cards and became
popular among the masses.
Introducing Bound Albums
As carte de visites increased in popularity,
photography studios began producing
cards of famous actors and politicians.
These began to be traded among people and
became collectibles. Eventually, the need
This is an example of
a carte de visite family
album created
between 186465.
Conchita Fernandes traces the history of the photo album,
the oldest companion of photographs.
Photo albums
have turned
people from
chroniclers into
storytellers.
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MARCH 201 3
HISTORY
If you think
about it, a
photo album is
a window into a
persons soul.
to preserve and store these cards arose and
albums in the form of bound books came
into being.

Getting Creative
Despite the popularity of these albums,
a new breed of collectors emerged, who
preferred the idea of scrapbooking.
They would cut up photographs and
combine them with illustrations, text and
other printed material. Carte de visites were
also used in these books and they eventually
turned into personal diaries.
The Emergence of Cabinet Cards
Meanwhile, in 1866, cabinet cards
were introduced. These cards were
bigger than the carte de visites and
were placed on a cabinet for viewing,
hence the name, cabinet cards.
They became the most popular medium
for displaying portraiture images.
Gradually, manufacturers came out with
albums that had slots to accommodate
these cabinet cards.
Say Cheese!
By the late 19th century, the Kodak lm
camera was invented. Photographs were
now easier to shoot which allowed the
common man to make images. With a
large inow of photos, a need for a
bigger expandable photo album became
necessary. These albums had a leather
cover with removable pages. These were
joined with a cord and had sleeves to
insert the photographs in, unlike earlier
bound albums.
A Different Showcase
Have you ever gone through your
grandparents old photo album?
These albums were basically large books
with black card paper and photos were
stuck to them with glue. This album
became popular during the 1950s.
Since photographs were glued to its pages,
these are reminiscent to the scrapbook
style of albums. However they were
not ideal for photo preservation as the
paper and the glue used had a high acidic
content and could lead to the eventual
deterioration of prints.
In the late 1970s, smaller albums became
popular. These were not only portable but
made it easy for people to share individual
prints and slip them back in the album.
Present-Day Photo Albums
Photo albums today bear only little
resemblance to their predecessors.
Instead they are in the form of expensive
coffee table books. However, the albums
exterior has gone through a radical
change. The covers have become even
more extravagant, from fur covered
exteriors to album covers encrusted in
precious stones.
Keeping up with Technology
With the gradual decline of lm
photography, fewer people are resorting
to prints and most people prefer storing
their photographs on electronic devices.
Even though the world of album
making progressed, looking back to its
origins provides a wonderful insight
to the beginnings of unique image
showcases. Albums have allowed us to
become storytellers, and even helped us
understand our past.
Albums as Private Narratives
It is interesting to note when memoirs and travelogues constitute as
autobiographical albums. These albums are personal accounts of its compilers.
Did You Know?
A Costly Affair
Just like Indian
weddings, wedding
albums can be
extravagant and
expensive. They can
cost anywhere
between Rs. 50,000
to Rs. 5,00,000.
Exchanging Collectibles
Remember exchanging cricket and wrestling trump
cards when you were younger? The idea of these
cards originated from the frequently traded
carte de visites.
Photo Album as Documentation
Besides containing information, the census recorded in India during the British
period, also included photographs of the citizens. This essentially became a
photo record book.
Changing Times
The word album has achieved a different connotation today. People now
associate it with a Facebook or a Myspace photo album.
Everlasting Prints
To preserve precious moments in the long run,
several studios offer its customers with archival-
quality paper to print their images on. These prints
are expected to last for at least 100 years.
Source: weddingdocumentary.com
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174
The Human Statue of Liberty
W
hen photography was still at its nascent stage, two photographers
produced a series of extraordinary images using large groups of people
to form breathtaking shapes. Arthur S Mole, a British-born commercial
photographer travelled with his partner John D Thomas from one
military camp to another, during the First World War. To make such
large scale productions, they posed thousands of soldiers to form gigantic patriotic
symbols. In many ways, they were pioneers in the eld of group photography.
The image above was shot at the training camp Dodge in Iowa, USA. 18,000 men
preparing for war were made to stand in a specic formation so that they depicted an
image of the Statue of Liberty. Records say that 12,000 men were used to form the torch
and ame, with 2800 men forming the ame alone. Execution of such photographs
using such large numbers, were done solely by relying on lines of perspective
stretching out for more than a hundred meters. It took them a week of preparation
and then hours to actually perfect the arrangement. They would then capture the
formation from a watch tower, 80 feet above the ground with an 11 x 14 inch view
camera. Some of their other famous works are images of the Liberty Bell, American
Eagle, The Human US Shield and Woodrow Wilson. Even though such formations may
be easier to create today, capturing such a spectacle then is still mind-boggling.
Photograph by:
Arthur S Mole and
John D Thomas
Image Source:
Wikimedia Commons
MARCH 201 3
RNI No: 66339 / 1997
176

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